1.
Washington, D.C.
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Washington, D. C. formally the District of Columbia and commonly referred to as Washington, the District, or simply D. C. is the capital of the United States. The signing of the Residence Act on July 16,1790, Constitution provided for a federal district under the exclusive jurisdiction of the Congress and the District is therefore not a part of any state. The states of Maryland and Virginia each donated land to form the federal district, named in honor of President George Washington, the City of Washington was founded in 1791 to serve as the new national capital. In 1846, Congress returned the land ceded by Virginia, in 1871. Washington had an population of 681,170 as of July 2016. Commuters from the surrounding Maryland and Virginia suburbs raise the population to more than one million during the workweek. The Washington metropolitan area, of which the District is a part, has a population of over 6 million, the centers of all three branches of the federal government of the United States are in the District, including the Congress, President, and Supreme Court. Washington is home to national monuments and museums, which are primarily situated on or around the National Mall. The city hosts 176 foreign embassies as well as the headquarters of international organizations, trade unions, non-profit organizations, lobbying groups. A locally elected mayor and a 13‑member council have governed the District since 1973, However, the Congress maintains supreme authority over the city and may overturn local laws. D. C. residents elect a non-voting, at-large congressional delegate to the House of Representatives, the District receives three electoral votes in presidential elections as permitted by the Twenty-third Amendment to the United States Constitution, ratified in 1961. Various tribes of the Algonquian-speaking Piscataway people inhabited the lands around the Potomac River when Europeans first visited the area in the early 17th century, One group known as the Nacotchtank maintained settlements around the Anacostia River within the present-day District of Columbia. Conflicts with European colonists and neighboring tribes forced the relocation of the Piscataway people, some of whom established a new settlement in 1699 near Point of Rocks, Maryland. 43, published January 23,1788, James Madison argued that the new government would need authority over a national capital to provide for its own maintenance. Five years earlier, a band of unpaid soldiers besieged Congress while its members were meeting in Philadelphia, known as the Pennsylvania Mutiny of 1783, the event emphasized the need for the national government not to rely on any state for its own security. However, the Constitution does not specify a location for the capital, on July 9,1790, Congress passed the Residence Act, which approved the creation of a national capital on the Potomac River. The exact location was to be selected by President George Washington, formed from land donated by the states of Maryland and Virginia, the initial shape of the federal district was a square measuring 10 miles on each side, totaling 100 square miles. Two pre-existing settlements were included in the territory, the port of Georgetown, Maryland, founded in 1751, many of the stones are still standing
Washington, D.C.
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Clockwise from top left:
Smithsonian Institution Building,
Rock Creek Park,
National Mall (including the
Lincoln Memorial in the foreground),
Howard Theatre and the
Frederick Douglass National Historic Site
Washington, D.C.
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Map of the District of Columbia in 1835, prior to the
retrocession
Washington, D.C.
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Ford's Theatre in the 19th century, site of the 1865
assassination of
President Lincoln
Washington, D.C.
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Crowds surrounding the
Reflecting Pool during the 1963
March on Washington
2.
Geographic coordinate system
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A geographic coordinate system is a coordinate system used in geography that enables every location on Earth to be specified by a set of numbers, letters or symbols. The coordinates are chosen such that one of the numbers represents a vertical position. A common choice of coordinates is latitude, longitude and elevation, to specify a location on a two-dimensional map requires a map projection. The invention of a coordinate system is generally credited to Eratosthenes of Cyrene. Ptolemy credited him with the adoption of longitude and latitude. Ptolemys 2nd-century Geography used the prime meridian but measured latitude from the equator instead. Mathematical cartography resumed in Europe following Maximus Planudes recovery of Ptolemys text a little before 1300, in 1884, the United States hosted the International Meridian Conference, attended by representatives from twenty-five nations. Twenty-two of them agreed to adopt the longitude of the Royal Observatory in Greenwich, the Dominican Republic voted against the motion, while France and Brazil abstained. France adopted Greenwich Mean Time in place of local determinations by the Paris Observatory in 1911, the latitude of a point on Earths surface is the angle between the equatorial plane and the straight line that passes through that point and through the center of the Earth. Lines joining points of the same latitude trace circles on the surface of Earth called parallels, as they are parallel to the equator, the north pole is 90° N, the south pole is 90° S. The 0° parallel of latitude is designated the equator, the plane of all geographic coordinate systems. The equator divides the globe into Northern and Southern Hemispheres, the longitude of a point on Earths surface is the angle east or west of a reference meridian to another meridian that passes through that point. All meridians are halves of great ellipses, which converge at the north and south poles, the prime meridian determines the proper Eastern and Western Hemispheres, although maps often divide these hemispheres further west in order to keep the Old World on a single side. The antipodal meridian of Greenwich is both 180°W and 180°E, the combination of these two components specifies the position of any location on the surface of Earth, without consideration of altitude or depth. The grid formed by lines of latitude and longitude is known as a graticule, the origin/zero point of this system is located in the Gulf of Guinea about 625 km south of Tema, Ghana. To completely specify a location of a feature on, in, or above Earth. Earth is not a sphere, but a shape approximating a biaxial ellipsoid. It is nearly spherical, but has an equatorial bulge making the radius at the equator about 0. 3% larger than the radius measured through the poles, the shorter axis approximately coincides with the axis of rotation
Geographic coordinate system
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Longitude lines are perpendicular and latitude lines are parallel to the equator.
3.
Art museum
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An art museum or art gallery is a building or space for the exhibition of art, usually visual art. Museums can be public or private, but what distinguishes a museum is the ownership of a collection, the term is used for both public galleries, which are non-profit or publicly owned museums that display selected collections of art. On the other hand, private galleries refers to the commercial enterprises for the sale of art, however, both types of gallery may host traveling exhibits or temporary exhibitions including art borrowed from elsewhere. In broad terms, in North American usage, the word gallery alone often implies a private gallery, the term contemporary art gallery refers usually to a privately owned for-profit commercial gallery. These galleries are found clustered together in large urban centers. Smaller cities are home to at least one gallery, but they may also be found in towns or villages. Contemporary art galleries are open to the general public without charge, however. They usually profit by taking a portion of art sales, from 25% to 50% is typical, there are also many non-profit or collective galleries. Some galleries in cities like Tokyo charge the artists a flat rate per day, curators often create group shows that say something about a certain theme, trend in art, or group of associated artists. Galleries sometimes choose to represent artists exclusively, giving them the opportunity to show regularly, a gallerys definition can also include the artist cooperative or artist-run space, which often operates as a space with a more democratic mission and selection process. A vanity gallery is an art gallery that charges fees from artists in order to show their work, the shows are not legitimately curated and will frequently or usually include as many artists as possible. Most art professionals are able to identify them on an artists resume, University art museums and galleries constitute collections of art that are developed, owned, and maintained by all kinds of schools, community colleges, colleges, and universities. This phenomenon exists in both the West and East, making it a global practice, although largely overlooked, there are over 700 university art museums in America alone. This number, in comparison to other kinds of art museums, throughout history, large and expensive works of art have generally been commissioned by religious institutions and monarchs and been displayed in temples, churches, and palaces. Although these collections of art were private, they were made available for viewing for a portion of the public. In classical times, religious institutions began to function as a form of art gallery. Wealthy Roman collectors of engraved gems and other precious objects often donated their collections to temples and it is unclear how easy it was in practice for the public to view these items. At the Palace of Versailles, entrance was restricted to wearing the proper apparel – the appropriate accessories could be hired from shops outside
Art museum
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The Louvre in
Paris,
France, is one of the world's largest museums and
the most visited art museum in the world.
Art museum
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The Gallery of
Cornelis van der Geest,
Willem van Haecht, 1628. A private picture gallery as an early precursor of the modern museum.
Art museum
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University of Tartu Art Museum is the oldest museum in
Estonia.
Art museum
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The art collection at the
Palace of Versailles in
France was periodically open for 'respectable' public viewing.
4.
Dupont Circle (WMATA station)
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Dupont Circle is a station on the Red Line of the Washington Metro in Washington, D. C. Located below the circle of the name, it is one of the busiest stations in the Metro system. The stations southernmost point is more than two-and-a-half blocks north of Farragut North. With service beginning on January 17,1977, Dupont Circle station was the first station to open after the stretch of the Red Line between Union Station and Farragut North. The station remained the terminus of the Red Line until December 5,1981. On February 1,2012, WMATA closed the entrance of the Metro station for at least 8 months to replace all three escalators that were deemed as some of the least reliable in the entire system. The south entrance reopened on October 21,2012, Dupont Circle station has two tracks with two side platforms, it is the last station heading west on the Red Line with this setup. Due to the depth, the stations north entrance escalators are 188 feet long. In 2007, a portion of Walt Whitmans 1865 poem The Wound Dresser was inscribed into the wall around the north entrance escalators
Dupont Circle (WMATA station)
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Dupont Circle
Dupont Circle (WMATA station)
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Panorama of the north entrance with inscribed poem
Dupont Circle (WMATA station)
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Dupont Circle WMATA station, south entrance escalators
5.
Duncan Phillips (art collector)
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Duncan Phillips was a Washington, D. C. based art collector and critic who played a seminal role in introducing America to modern art. The grandson of James H. Laughlin, a banker and co-founder of the Jones and Laughlin Steel Company, Phillips was born in Pittsburgh and moved with his family to Washington, D. C. in 1895. Beginning with a small collection of paintings, Phillips, a published art critic. Phillips married painter Marjorie Acker in 1921 and his focus on the continuous tradition of art was revolutionary at a time when America was largely critical of modernism, which was seen as a break with the past. He presented visual connections—between past and present, between classical form and romantic expression—as dialogues on the walls of the museum and he exhibited watercolors by John Marin with paintings by Cézanne, and works by van Gogh with El Greco’s The Repentant St. Peter. Phillips’ vision brought together congenial spirits among the artists, and his ideas still guide the museum today, by purchasing works by such promising but unknown artists, Phillips provided them with the means to continue painting. There is a Duncan Phillips story that is worth recounting, the founder is standing with Dr. Albert C. Barnes, before the Renoir masterpiece Luncheon of the Boating Party, thats the only Renoir you have, isnt it. Asked the fearsome Dr. Barnes, whose collection of Impressionist and post-Impressionist fine art contains scores of Renoirs and is now the Barnes Foundation in Philadelphia. Phillipss reply was succinct, Its the only one I need. ”When Duncan Phillips died in 1966 and their son, Laughlin, became director in 1972
Duncan Phillips (art collector)
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Pierre-Auguste Renoir,
Luncheon of the Boating Party (1881) is one of the highlights of the
Phillips Collection.
Duncan Phillips (art collector)
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Augustus Vincent Tack, Time and Timelessness (The Spirit of Creation), 1943-1944, oil on canvas. Phillips was among the first to recognize Tack's paintings, Duncan Phillips acquired more than 40 of his works.
Phillips Collection Washington DC
6.
Marjorie Acker Phillips
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Marjorie Acker Phillips was an American Impressionist painter and art collector. She co-founded the Phillips Collection with her husband, Duncan Phillips and she was born Marjorie Acker in Bourbon, Indiana. She was the sister to six other siblings and her parents were Charles Ernest Acker and Alice Beal. She was raised in Ossining, New York, Phillips started drawing as a child. Her uncles were Reynolds Beal and Gifford Beal, both men noticed Phillips artistic ability and suggested she pursue art as a career path. She began attending the Art Students League in 1915 and graduated in 1918, Marjorie Phillips has the unmistakable style of the born painter. - Duncan Phillips Phillips is quoted as stating that she didnt want to paint depressing pictures and she painted primarily landscapes and still life works. Despite living a lifestyle alongside her husband, Phillips made the effort to paint every morning in her Washington. She attended an art exhibition for Duncan Phillips at the Century Association in January,1921 and she met Duncan, and the two married in October of that year. Duncan was an art collector, and the expanded their collecting. Phillips moved to Washington, D. C. and into Duncans Dupont Circle mansion, Duncans mother also lived at the mansion. Phillips gave birth to her first child with Duncan, Mary Marjorie, while visiting France in 1923, Phillips became interested in Impressionism. She found inspiration in the work of Pierre-Auguste Renoir and Paul Cézanne and she didnt only find inspiration in their work, but the couple began collecting their work. During that 1923 trip, they purchased Renoirs Luncheon of the Boating Party for $125,000, in 1924, their second and final child, Laughlin, is born. In 1930, the couple had collected so much artwork that they had to leave the mansion, with the art, the couple had a summer home in Ebensburg, Pennsylvania. It was called Ormsby Lodge and Carriage House, in total, the couple had collected over 2,500 works of art, many which were on display at the museum. After his death, Phillips, who served as Associate Director of the Phillips Collection, in 1971 she curated a retrospective about Paul Cézanne and published the book, Duncan Phillips and His Collection. Her son, Laughlin Phillips, became Director of the Phillips Collection, Phillips donated a piece of property, in Marthas Vineyard, to the Sheriffs Meadow Foundation in 1980
Marjorie Acker Phillips
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Marjorie Acker Phillips, ca. 1920
7.
Dupont Circle
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Dupont Circle is a traffic circle, park, neighborhood, and historic district in Northwest Washington, D. C. The traffic circle is located at the intersection of Massachusetts Avenue NW, Connecticut Avenue NW, New Hampshire Avenue NW, P Street NW, and 19th Street NW. The Dupont Circle neighborhood is bounded approximately by 16th Street NW to the east, 22nd Street NW to the west, M Street NW to the south, the local government Advisory Neighborhood Commission and the Dupont Circle Historic District have slightly different boundaries. The circle is named for Rear Admiral Samuel Francis Du Pont, the area that now constitutes Dupont Circle was once home to a brickyard and slaughterhouse. Improvements made in the 1870s by a board of public works headed by Alexander Boss Shepherd transformed the area into a residential neighborhood. In 1871, the U. S. Army Corps of Engineers began construction of the circle, then called Pacific Circle. On February 25,1882, Congress renamed it Dupont Circle, unveiled on December 20,1884, the statue was sculpted by Launt Thompson, and the circle was landscaped with exotic flowers and ornamental trees. In 1920, the current double-tiered white marble fountain replaced the statue, during the 1870s and 1880s, mansions were built along Massachusetts Avenue, one of Washingtons grand avenues, and townhouses were built throughout the neighborhood. In 1872, the British built a new embassy on Connecticut Avenue, stewarts Castle was built in 1873 on the north side of the circle. By the 1920s, Connecticut Avenue was more commercial in character, some residences, including Senator Philetus Sawyers mansion at Connecticut and R Street, were demolished to make way for office buildings and shops. The Patterson House, at 15 Dupont Circle, served as a residence for President Calvin Coolidge while the actual White House was being repaired in 1927. In 1933, the National Park Service took over administering the circle, Connecticut Avenue was widened in the late 1920s, and increased traffic in the neighborhood caused a great deal of congestion in the circle, making it difficult for pedestrians to get around. Medians were installed in 1948, in the circle, to separate the traffic on Massachusetts Avenue from the local traffic. In 1949 traffic tunnels and a streetcar station were built under the circle as part of the now-defunct Capital Transit project. The tunnels allowed trams and vehicles traveling along Connecticut Avenue to pass more quickly past the circle, when streetcar service ended in 1962, the entrances to the underground station were filled in and paved over, leaving only the traffic tunnel. The neighborhood declined after World War II and particularly after the 1968 riots, the neighborhood took on a bohemian feel and became popular among the gay and lesbian community. D. C. s first gay bookstore, Lambda Rising, opened in 1974, in 1975, the store ran the worlds first gay-oriented television commercial. Gentrification accelerated in the 1980s and 1990s, and the area is now a mainstream and trendy location with coffeehouses, restaurants, bars
Dupont Circle
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Dupont Circle Historic District
Dupont Circle
Dupont Circle
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Dupont Circle Farmers Market occurs year-round on Sunday mornings
Dupont Circle
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Homes located on the 2000 block of N Street, NW, are considered some of the city's finest examples of
Second Empire architecture.
8.
Jones and Laughlin Steel Company
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The Jones and Laughlin Steel Company began as the American Iron Company, founded in 1852 by Bernard Lauth and B. F. Jones, a few miles south of Pittsburgh along the Monongahela River. Lauths interest was bought in 1854 by James H. Laughlin, the first firm to bear the name of Jones and Laughlin was organized in 1861 and headquartered at Third & Ross in downtown Pittsburgh. Katharine Hepburns maternal uncle, Frank Garlinghouse, was an engineer for J&L Steel. Originally producing only iron, the enterprise began the production of steel in 1886, over the ensuing 60 years, the company expanded its facilities and its operations along both sides of the Monongahela River and along the Ohio River. The Hot Metal Bridge across the Monongahela River was built to connect the blast furnaces on one side of the river with the open hearth furnaces on the side of the river. In 1905, a new plant was begun at Aliquippa, Pennsylvania, other mines were along the nearby Becks Run, also directly connected by railroad. The incline and mines were gone before 1900, but mining continued in Pennsylvania towns such as Vestaburg, the former Otis Steel company along the Cuyahoga River in Cleveland was purchased in 1942, and then in the mid-1960s a finishing plant was constructed in Hennepin, Illinois. J & L Steel provided the most able competition to the Carnegie Steel Company in the vicinity of Pittsburgh and it took full control of the company in 1974. In 1978, J & L Steel acquired Youngstown Sheet and Tube, in 1981, J & L Steel bought a stainless steel mill from McLouth Steel Products in Detroit, which was probably an attempt to try to get closer to the auto market. It merged with Republic Steel in 1984 to form LTV Steel, the J&L Coal Incline was a 1, 300-foot incline connecting a coal mine to the J&L iron making facility. It ran from Josephine Street, between South 29th street and South 30th Street on the end to Summer Street on its upper end. It was supplied with coal from the American Mine, opened in 1854, dismantling of the buildings which housed J & L Steel produced an upsurge of building on the tracts of land where the buildings had stood. By September 2005, numerous new structures had been erected on both sides of the Monongahela River, the Hot Metal Bridge has been converted into a road bridge and a pedestrian/bike bridge. Another development, Almono, is under construction as of 2014, Jones & Laughlin Steel Co. is a builder of record for a number of bridges and other structures that are listed on the National Register of Historic Places. Works include, Big Blue River Bridge, Twp, rd. over Big Blue R.1 mi. SE of Surprise, Surprise, Nebraska, NRHP-listed Brewer Bridge, rd. over the Niobrara R.14.7 mi. E of Valentine, Valentine, Nebraska, NRHP-listed Hill Annex Mine, off US169, Calumet, Minnesota, NRHP-listed Nine Bridges Bridge, N of Doniphan, Doniphan, Nebraska, NRHP-listed Prairie Dog Creek Bridge, Twp. Rd. over Prairie Dog Cr.8.5 mi, orleans, Nebraska, NRHP-listed Southwest Fifth St. Bridge, SW Fifth St. over Raccoon R. Des Moines, Iowa, NRHP-listed Turkey Creek Bridge, Co
Jones and Laughlin Steel Company
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Hot Metal Bridge, formerly used by Jones and Laughlin to transport steel across the Monongahela River
Jones and Laughlin Steel Company
Jones and Laughlin Steel Company
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Tunnels
9.
Pierre-Auguste Renoir
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Pierre-Auguste Renoir, commonly known as Auguste Renoir, was a French artist who was a leading painter in the development of the Impressionist style. As a celebrator of beauty and especially feminine sensuality, it has said that Renoir is the final representative of a tradition which runs directly from Rubens to Watteau. He was the father of actor Pierre Renoir, filmmaker Jean Renoir and he was the grandfather of the filmmaker Claude Renoir, son of Pierre. Pierre-Auguste Renoir was born in Limoges, Haute-Vienne, France, in 1841 and his father, Léonard Renoir, was a tailor of modest means, so in 1844, Renoirs family moved to Paris in search of more favorable prospects. The location of their home, in rue d’Argenteuil in central Paris, although the young Renoir had a natural proclivity for drawing, he exhibited a greater talent for singing. His talent was encouraged by his teacher, Charles Gounod, who was the choir-master at the Church of St Roch at the time. However, due to the financial circumstances, Renoir had to discontinue his music lessons. Although Renoir displayed a talent for his work, he tired of the subject matter. The owner of the factory recognized his apprentice’s talent and communicated this to Renoir’s family, following this, Renoir started taking lessons to prepare for entry into Ecole des Beaux Arts. When the porcelain factory adopted mechanical reproduction processes in 1858, Renoir was forced to other means to support his learning. Before he enrolled in art school, he also painted hangings for overseas missionaries, in 1862, he began studying art under Charles Gleyre in Paris. There he met Alfred Sisley, Frédéric Bazille, and Claude Monet, at times, during the 1860s, he did not have enough money to buy paint. Renoir had his first success at the Salon of 1868 with his painting Lise with a Parasol, although Renoir first started exhibiting paintings at the Paris Salon in 1864, recognition was slow in coming, partly as a result of the turmoil of the Franco-Prussian War. This loss of a favorite painting location resulted in a change of subjects. Renoir was inspired by the style and subject matter of modern painters Camille Pissarro. Although the critical response to the exhibition was largely unfavorable, Renoirs work was well received. That same year, two of his works were shown with Durand-Ruel in London, hoping to secure a livelihood by attracting portrait commissions, Renoir displayed mostly portraits at the second Impressionist exhibition in 1876. He contributed a diverse range of paintings the next year when the group presented its third exhibition, they included Dance at Le Moulin de la Galette
Pierre-Auguste Renoir
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Pierre-Auguste Renoir
Pierre-Auguste Renoir
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The Theater Box, 1874,
Courtauld Institute Galleries, London
Pierre-Auguste Renoir
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Lise Sewing, 1866,
Dallas Museum of Art
Pierre-Auguste Renoir
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The Swing (La Balançoire), 1876, oil on canvas,
Musée d'Orsay, Paris
10.
Gustave Courbet
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Jean Désiré Gustave Courbet was a French painter who led the Realism movement in 19th-century French painting. Committed to painting only what he could see, he rejected academic convention and his independence set an example that was important to later artists, such as the Impressionists and the Cubists. Courbet occupies an important place in 19th-century French painting as an innovator, Courbets paintings of the late 1840s and early 1850s brought him his first recognition. They challenged convention by depicting unidealized peasants and workers, often on a grand scale traditionally reserved for paintings of religious or historical subjects, Courbets subsequent paintings were mostly of a less overtly political character, landscapes, seascapes, hunting scenes, nudes and still lifes. He was imprisoned for six months in 1871 for his involvement with the Paris Commune, Gustave Courbet was born in 1819 to Régis and Sylvie Oudot Courbet in Ornans. Being a prosperous farming family, anti-monarchical feelings prevailed in the household, Courbets sisters, Zoé, Zélie and Juliette, were his first models for drawing and painting. After moving to Paris he often returned home to Ornans to hunt, fish and he went to Paris in 1839 and worked at the studio of Steuben and Hesse. An independent spirit, he left, preferring to develop his own style by studying the paintings of Spanish, Flemish and French masters in the Louvre. Among his paintings of the early 1840s are several self-portraits, Romantic in conception, trips to the Netherlands and Belgium in 1846–47 strengthened Courbets belief that painters should portray the life around them, as Rembrandt, Hals and other Dutch masters had. By 1848, he had gained supporters among the younger critics, Courbet achieved his first Salon success in 1849 with his painting After Dinner at Ornans. The work, reminiscent of Chardin and Le Nain, earned Courbet a gold medal and was purchased by the state, the gold medal meant that his works would no longer require jury approval for exhibition at the Salon—an exemption Courbet enjoyed until 1857. In 1849-50, Courbet painted Stone-Breakers, which Proudhon admired as an icon of peasant life, the painting was inspired by a scene Courbet witnessed on the roadside. He later explained to Champfleury and the writer Francis Wey, It is not often that one encounters so complete an expression of poverty and so, right then, I told them to come to my studio the next morning. Courbets work belonged neither to the predominant Romantic nor Neoclassical schools, instead, he maintained that the only possible source for living art is the artists own experience. He and Jean-Francois Millet would find inspiration painting the life of peasants, Courbet painted figurative compositions, landscapes, seascapes, and still lifes. He courted controversy by addressing issues in his work, and by painting subjects that were considered vulgar, such as the rural bourgeoisie, peasants. His work, along with that of Honoré Daumier and Jean-François Millet and he depicted the harshness in life, and in so doing challenged contemporary academic ideas of art. The Salon of 1850–1851 found him triumphant with The Stone Breakers, the Burial, one of Courbets most important works, records the funeral of his grand uncle which he attended in September 1848
Gustave Courbet
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Gustave Courbet c. 1860s (portrait by
Étienne Carjat)
Gustave Courbet
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L'homme à la pipe (Self-portrait, Man with a pipe), 1848–49,
Musée Fabre, Montpellier
Gustave Courbet
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Les Demoiselles du bord de la Seine, 1856,
Petit Palais, Paris: one of the most famous of Courbet's paintings. "The uncompromising emphasis on density and weight"
Gustave Courbet
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The Wave (La Vague), 1869, oil on canvas, 66 x 90 cm,
Musée des beaux-arts de Lyon
11.
El Greco
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Doménikos Theotokópoulos, most widely known as El Greco, was a painter, sculptor and architect of the Spanish Renaissance. El Greco was a nickname, a reference to his Greek origin, El Greco was born in Crete, which was at that time part of the Republic of Venice, and the center of Post-Byzantine art. He trained and became a master within that tradition before traveling at age 26 to Venice, in 1570 he moved to Rome, where he opened a workshop and executed a series of works. During his stay in Italy, El Greco enriched his style elements of Mannerism. In 1577, he moved to Toledo, Spain, where he lived and worked until his death, in Toledo, El Greco received several major commissions and produced his best-known paintings. El Grecos dramatic and expressionistic style was met with puzzlement by his contemporaries, El Greco has been characterized by modern scholars as an artist so individual that he belongs to no conventional school. He is best known for tortuously elongated figures and often fantastic or phantasmagorical pigmentation, El Grecos father, Geórgios Theotokópoulos, was a merchant and tax collector. Nothing is known about his mother or his first wife, also Greek, El Grecos older brother, Manoússos Theotokópoulos, was a wealthy merchant and spent the last years of his life in El Grecos Toledo home. El Greco received his training as an icon painter of the Cretan school. In 1563, at the age of twenty-two, El Greco was described in a document as a master, meaning he was already a master of the guild and presumably operating his own workshop. Three years later, in June 1566, as a witness to a contract, most scholars believe that the Theotokópoulos family was almost certainly Greek Orthodox, although some Catholic sources still claim him from birth. One of his uncles was an Orthodox priest, and his name is not mentioned in the Catholic archival baptismal records on Crete, prevelakis goes even further, expressing his doubt that El Greco was ever a practicing Roman Catholic. Important for his biography, El Greco, still in Crete, painted his Dormition of the Virgin near the end of his Cretan period. Three other signed works of Doménicos are attributed to El Greco, in 1563, at the age of twenty-two, El Greco was already an enrolled master of the local guild, presumably in charge of his own workshop. He left for Venice a few later, and never returned to Crete. His Dormition of the Virgin, of before 1567 in tempera, the painting combines post-Byzantine and Italian Mannerist stylistic and iconographic elements, and incorporates stylistic elements of the Cretan School. It was natural for the young El Greco to pursue his career in Venice, though the exact year is not clear, most scholars agree that El Greco went to Venice around 1567. Knowledge of El Grecos years in Italy is limited and this may mean he worked in Titians large studio, or not
El Greco
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Portrait of a Man (presumed self-portrait of El Greco), c. 1595–1600, oil on canvas, 52.7 × 46.7 cm,
Metropolitan Museum of Art, New York City, United States
El Greco
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The Dormition of the Virgin (before 1567,
tempera and gold on panel, 61,4 × 45 cm, Holy Cathedral of the Dormition of the Virgin,
Hermoupolis,
Syros) was probably created near the end of the artist's Cretan period. The painting combines post-Byzantine and Italian mannerist stylistic and iconographic elements.
El Greco
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Portrait of Giorgio
Giulio Clovio, the earliest surviving portrait from El Greco (c. 1570,
oil on canvas, 58 × 86 cm,
Museo di Capodimonte,
Naples). In the portrait of Clovio, friend and supporter in Rome of the young Cretan artist, the first evidence of El Greco's gifts as a
portraitist are apparent.
El Greco
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Adoration of the Magi, 1568,
Museo Soumaya,
Mexico City
12.
Vincent van Gogh
–
Vincent Willem van Gogh was a Dutch Post-Impressionist painter who is among the most famous and influential figures in the history of Western art. In just over a decade he created about 2,100 artworks, including around 860 oil paintings and his suicide at 37 followed years of mental illness and poverty. Born into a family, Van Gogh drew as a child and was serious, quiet. As a young man he worked as an art dealer, often travelling and he turned to religion, and spent time as a Protestant missionary in southern Belgium. He drifted in ill health and solitude before taking up painting in 1881 and his younger brother Theo supported him financially, and the two kept up a long correspondence by letter. His early works, mostly still lifes and depictions of peasant labourers, in 1886 he moved to Paris, where he met members of the avant-garde, including Émile Bernard and Paul Gauguin, who were reacting against the Impressionist sensibility. As his work developed he created a new approach to still lifes and his paintings grew brighter in colour as he developed a style that became fully realised during his stay in Arles in the south of France in 1888. During this period he broadened his subject matter to include trees, cypresses, wheat fields. Van Gogh suffered from episodes and delusions and though he worried about his mental stability, he often neglected his physical health, did not eat properly. His friendship with Gauguin ended after a confrontation with a razor and he spent time in psychiatric hospitals, including a period at Saint-Rémy. After he discharged himself and moved to the Auberge Ravoux in Auvers-sur-Oise near Paris and his depression continued and on 27 July 1890, Van Gogh shot himself in the chest with a revolver. He died from his injuries two days later, Van Gogh was unsuccessful during his lifetime, and was considered a madman and a failure. He became famous after his suicide, and exists in the imagination as the quintessential misunderstood genius. His reputation began to grow in the early 20th century as elements of his style came to be incorporated by the Fauves. The most comprehensive source on Van Gogh is the correspondence between him and his younger brother, Theo. Their lifelong friendship, and most of what is known of Vincents thoughts, Theo van Gogh was an art dealer and provided his brother with financial and emotional support, and access to influential people on the contemporary art scene. Theo kept all of Vincents letters to him, Vincent kept few of the letters he received, after both had died, Theos widow Johanna arranged for the publication of some of their letters. A few appeared in 1906 and 1913, the majority were published in 1914, Vincents letters are eloquent and expressive and have been described as having a diary-like intimacy, and read in parts like autobiography
Vincent van Gogh
–
Self-Portrait, Spring 1887, Oil on pasteboard, 42 × 33.7 cm.,
Art Institute of Chicago (F 345)
Vincent van Gogh
–
Vincent c. 1871-1872 aged 18. This photograph was taken at the time when he was working at the branch of
Goupil & Cie 's gallery in
The Hague.
Vincent van Gogh
–
Vincent c. 1866, approx. age 13
Vincent van Gogh
–
Van Gogh's drawing of
87 Hackford Road
13.
Henri Matisse
–
Henri-Émile-Benoît Matisse was a French artist, known for both his use of colour and his fluid and original draughtsmanship. He was a draughtsman, printmaker, and sculptor, but is primarily as a painter. Although he was labelled a Fauve, by the 1920s he was increasingly hailed as an upholder of the classical tradition in French painting. His mastery of the language of colour and drawing, displayed in a body of work spanning over a half-century. Matisse was born in Le Cateau-Cambrésis, in the Nord department in northern France and he grew up in Bohain-en-Vermandois, Picardie, France. In 1887 he went to Paris to study law, working as an administrator in Le Cateau-Cambrésis after gaining his qualification. He first started to paint in 1889, after his mother brought him art supplies during a period of following an attack of appendicitis. He discovered a kind of paradise as he described it. In 1891 he returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau, initially he painted still lifes and landscapes in a traditional style, at which he achieved reasonable proficiency. Chardin was one of the painters Matisse most admired, as an art student he made copies of four of Chardins paintings in the Louvre, in 1896 and 1897, Matisse visited the Australian painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of van Gogh and he later said Russell was my teacher, and Russell explained colour theory to me. In 1896 Matisse exhibited five paintings in the salon of the Société Nationale des Beaux-Arts, with the model Caroline Joblau, he had a daughter, Marguerite, born in 1894. In 1898 he married Amélie Noellie Parayre, the two raised Marguerite together and had two sons, Jean and Pierre, Marguerite and Amélie often served as models for Matisse. In 1898, on the advice of Camille Pissarro, he went to London to study the paintings of J. M. W. Turner and then went on a trip to Corsica. Upon his return to Paris in February 1899, he worked beside Albert Marquet and met André Derain, Jean Puy, Matisse immersed himself in the work of others and went into debt from buying work from painters he admired. The work he hung and displayed in his home included a plaster bust by Rodin, a painting by Gauguin, a drawing by van Gogh, in Cézannes sense of pictorial structure and colour, Matisse found his main inspiration. Many of Matisses paintings from 1898 to 1901 make use of a Divisionist technique he adopted after reading Paul Signacs essay and his paintings of 1902–03, a period of material hardship for the artist, are comparatively somber and reveal a preoccupation with form. Having made his first attempt at sculpture, a copy after Antoine-Louis Barye, in 1899, he devoted much of his energy to working in clay, fauvism as a style began around 1900 and continued beyond 1910
Henri Matisse
–
Henri Matisse, 1913, by
Alvin Langdon Coburn
Henri Matisse
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Henri and Amélie Matisse, 1898
Henri Matisse
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Woman Reading, 1894, Museum of Modern Art, Paris
Henri Matisse
–
Blue Pot and Lemon (1897),
Hermitage Museum,
St. Petersburg, Russia
14.
Claude Monet
–
Monets ambition of documenting the French countryside led him to adopt a method of painting the same scene many times in order to capture the changing of light and the passing of the seasons. From 1883 Monet lived in Giverny, where he purchased a house and property, Claude Monet was born on 14 November 1840 on the fifth floor of 45 rue Laffitte, in the 9th arrondissement of Paris. He was the son of Claude Adolphe Monet and Louise Justine Aubrée Monet. On 20 May 1841, he was baptized in the parish church, Notre-Dame-de-Lorette, as Oscar-Claude. Despite being baptized Catholic, Monet later became an atheist, in 1845, his family moved to Le Havre in Normandy. His father wanted him to go into the familys ship-chandling and grocery business and his mother was a singer, and supported Monets desire for a career in art. On 1 April 1851, Monet entered Le Havre secondary school of the arts, locals knew him well for his charcoal caricatures, which he would sell for ten to twenty francs. Monet also undertook his first drawing lessons from Jacques-François Ochard, a student of Jacques-Louis David. On the beaches of Normandy around 1856 he met fellow artist Eugène Boudin, Boudin taught Monet en plein air techniques for painting. Both received the influence of Johan Barthold Jongkind, on 28 January 1857, his mother died. At the age of sixteen, he left school and went to live with his widowed, childless aunt, when Monet traveled to Paris to visit the Louvre, he witnessed painters copying from the old masters. Having brought his paints and other tools with him, he would go and sit by a window. Monet was in Paris for several years and met other painters, including Édouard Manet and others who would become friends. After drawing a low number in March 1861, Monet was drafted into the First Regiment of African Light Cavalry in Algeria for a seven-year period of military service. His prosperous father could have purchased Monets exemption from conscription but declined to do so when his son refused to give up painting. While in Algeria Monet did only a few sketches of scenes, a single landscape. In a Le Temps interview of 1900 however he commented that the light, after about a year of garrison duty in Algiers, Monet contracted typhoid fever and briefly went absent without leave. Following convalescence, Monets aunt intervened to get him out of the army if he agreed to complete a course at an art school and it is possible that the Dutch painter Johan Barthold Jongkind, whom Monet knew, may have prompted his aunt on this matter
Claude Monet
–
Claude Monet, photo by
Nadar, 1899.
Claude Monet
–
Impression, Sunrise (Impression, soleil levant), 1872; the painting that gave its name to the style.
Musée Marmottan Monet, Paris
Claude Monet
–
The Woman in the Green Dress,
Camille Doncieux, 1866,
Kunsthalle Bremen
Claude Monet
–
Le déjeuner sur l'herbe, (right section), 1865–1866, with
Gustave Courbet,
Frédéric Bazille and Camille Doncieux, first wife of the artist,
Musée d'Orsay,
Paris
15.
Pablo Picasso
–
Pablo Ruiz y Picasso, also known as Pablo Picasso, was a Spanish painter, sculptor, printmaker, ceramicist, stage designer, poet and playwright who spent most of his adult life in France. Picasso demonstrated extraordinary artistic talent in his years, painting in a naturalistic manner through his childhood. During the first decade of the 20th century, his style changed as he experimented with different theories, techniques, Picassos work is often categorized into periods. Much of Picassos work of the late 1910s and early 1920s is in a neoclassical style and his later work often combines elements of his earlier styles. Ruiz y Picasso were included for his father and mother, respectively, born in the city of Málaga in the Andalusian region of Spain, he was the first child of Don José Ruiz y Blasco and María Picasso y López. His mother was of one quarter Italian descent, from the territory of Genoa, though baptized a Catholic, Picasso would later on become an atheist. Picassos family was of middle-class background and his father was a painter who specialized in naturalistic depictions of birds and other game. For most of his life Ruiz was a professor of art at the School of Crafts, Picasso showed a passion and a skill for drawing from an early age. According to his mother, his first words were piz, piz, a shortening of lápiz, from the age of seven, Picasso received formal artistic training from his father in figure drawing and oil painting. Ruiz was an academic artist and instructor, who believed that proper training required disciplined copying of the masters. His son became preoccupied with art to the detriment of his classwork, the family moved to A Coruña in 1891, where his father became a professor at the School of Fine Arts. On one occasion, the father found his son painting over his sketch of a pigeon. In 1895, Picasso was traumatized when his sister, Conchita. After her death, the moved to Barcelona, where Ruiz took a position at its School of Fine Arts. Picasso thrived in the city, regarding it in times of sadness or nostalgia as his true home, Ruiz persuaded the officials at the academy to allow his son to take an entrance exam for the advanced class. This process often took students a month, but Picasso completed it in a week, the student lacked discipline but made friendships that would affect him in later life. His father rented a room for him close to home so he could work alone, yet he checked up on him numerous times a day. Picassos father and uncle decided to send the young artist to Madrids Real Academia de Bellas Artes de San Fernando, at age 16, Picasso set off for the first time on his own, but he disliked formal instruction and stopped attending classes soon after enrolment
Pablo Picasso
–
Picasso in 1908
Pablo Picasso
–
Pablo Picasso with his sister Lola, 1889
Pablo Picasso
–
Pablo Picasso, 1901, Old Woman (Woman with Gloves), oil on cardboard, 67 x 52.1 cm,
Philadelphia Museum of Art
Pablo Picasso
–
Pablo Picasso, 1901-02, Femme au café (Absinthe Drinker), oil on canvas, 73 x 54 cm,
Hermitage Museum, Saint Petersburg, Russia
16.
Georges Braque
–
Georges Braque was a major 20th-century French painter, collagist, draughtsman, printmaker and sculptor. His most important contributions to the history of art were in his alliance with Fauvism from 1906, braque’s work between 1908 and 1912 is closely associated with that of his colleague Pablo Picasso. Their respective Cubist works were indistinguishable for many years, yet the quiet nature of Braque was partially eclipsed by the fame, georges Braque was born on 13 May 1882 in Argenteuil, Val-dOise. He grew up in Le Havre and trained to be a house painter, however, he also studied artistic painting during evenings at the École des Beaux-Arts, in Le Havre, from about 1897 to 1899. In Paris, he apprenticed with a decorator and was awarded his certificate in 1902, the next year, he attended the Académie Humbert, also in Paris, and painted there until 1904. It was here that he met Marie Laurencin and Francis Picabia, Braques earliest works were impressionistic, but after seeing the work exhibited by the artistic group known as the Fauves in 1905, he adopted a Fauvist style. The Fauves, a group that included Henri Matisse and André Derain among others, Braque worked most closely with the artists Raoul Dufy and Othon Friesz, who shared Braques hometown of Le Havre, to develop a somewhat more subdued Fauvist style. In 1906, Braque traveled with Friesz to LEstaque, to Antwerp, in May 1907, he successfully exhibited works of the Fauve style in the Salon des Indépendants. The 1907 Cézanne retrospective at the Salon dAutomne greatly affected the artists of Paris. Braques paintings of 1908–1912 reflected his new interest in geometry and simultaneous perspective and he showed this in the painting Houses at lEstaque. Beginning in 1909, Braque began to work closely with Pablo Picasso who had been developing a similar proto-Cubist style of painting. At the time, Pablo Picasso was influenced by Gauguin, Cézanne, African masks, Picasso celebrates animation, while Braque celebrates contemplation. Thus, the invention of Cubism was a joint effort between Picasso and Braque, then residents of Montmartre, Paris and these artists were the styles main innovators. After meeting in October or November 1907, Braque and Picasso, in particular, both artists produced paintings of monochromatic color and complex patterns of faceted form, now termed Analytic Cubism. In 1912, they began to experiment with collage and Braque invented the papier collé technique, French art critic Louis Vauxcelles used the terms bizarre cubiques in 1908 after seeing a picture by Braque. He described it as full of little cubes, the term Cubism, first pronounced in 1911 with reference to artists exhibiting at the Salon des Indépendants, quickly gained wide use but Picasso and Braque did not adopt it initially. Art historian Ernst Gombrich described Cubism as the most radical attempt to stamp out ambiguity and to one reading of the picture—that of a man-made construction. The Cubist style spread quickly throughout Paris and then Europe, the two artists productive collaboration continued and they worked closely together until the beginning of World War I in 1914, when Braque enlisted with the French Army
Georges Braque
–
Georges Braque, 1908, photograph published in
Gelett Burgess, The Wild Men of Paris, Architectural Record, May 1910
Georges Braque
–
Georges Braque, 1906, L'Olivier près de l'Estaque (The Olive tree near l'Estaque). At least four versions of this scene were painted by Braque, one of which was stolen from the
Musée d'Art Moderne de la Ville de Paris during the month of May, 2010.
Georges Braque
–
Georges Braque, 1907-08, The Viaduct at L'Estaque (Le Viaduc de l'Estaque), oil on canvas, 65.1 x 80.6 cm,
Minneapolis Institute of Arts
Georges Braque
–
Georges Braque, 1908, Maisons et arbre (
Houses at l'Estaque), oil on canvas, 40.5 x 32.5 cm,
Lille Métropole Museum of Modern, Contemporary and Outsider Art
17.
Pierre Bonnard
–
Pierre Bonnard was a French painter and printmaker, as well as a founding member of the Post-Impressionist group of avant-garde painters Les Nabis. Bonnard preferred to work from memory, using drawings as a reference, the intimate domestic scenes, for which he is perhaps best known, often include his wife Marthe de Meligny. Identified as a practitioner of Impressionism in the early 20th century, Bonnard has since been recognized for his unique use of color. Bonnard was born in Fontenay-aux-Roses, Hauts-de-Seine on 3 October 1867 and he led a happy and carefree youth as the son of a prominent official of the French Ministry of War. He studied classics during his baccalaureate, at the insistence of his father, Bonnard studied law, graduating and briefly practicing as a barrister in 1888. However, he had attended art classes at Ecole des Beaux-Arts and Académie Julian. His earlier work such as Woman in Checkered Dress shows the influence of Japanese prints, in 1891, he met Toulouse-Lautrec and began showing his work at the annual exhibition of the Société des Artistes Indépendants. In the same year Bonnard also began an association with La Revue Blanche, for which he, Bonnards talent was appreciated early in his career, Claude Roger-Marx remarked in 1893 that he catches fleeting poses, steals unconscious gestures, crystallises the most transient expressions. His first show was at the Galerie Durand-Ruel in 1896, in his twenties Bonnard was a part of Les Nabis, a group of young artists committed to creating work of symbolic and spiritual nature. Other Nabis include Vuillard and Maurice Denis, in addition to his paintings, he also became known for his posters and book illustrations, as well as for his prints and theater set designs. He left Paris in 1910 for the south of France, Bonnard was described, by his own friend and historians, as a man of quiet temperament and one who was unobtrusively independent. His life was free from the tensions and reversals of untoward circumstance. It has been suggested that, Like Daumier, whose life knew little serenity, Bonnard is known for his intense use of color, especially via areas built with small brush marks and close values. His often complex compositions—typically of sunlit interiors and gardens populated with friends, Bonnards fondness for depicting intimate scenes of everyday life, has led to him being called an Intimist, his wife Marthe was an ever-present subject over the course of several decades. She is seen seated at the table, with the remnants of a meal, or nude. He also painted several self-portraits, landscapes, street scenes, and many still lifes, Bonnard did not paint from life but rather drew his subject—sometimes photographing it as well—and made notes on the colors. He then painted the canvas in his studio from his notes, I have all my subjects to hand, he said, I go back and look at them. And before I start painting I reflect, I dream and he worked on numerous canvases simultaneously, which he tacked onto the walls of his small studio
Pierre Bonnard
–
Self-portrait (c. 1889), tempera on canvas, private collection
Pierre Bonnard
–
Illustration for a poem by
Paul Verlaine, 1900
Pierre Bonnard
–
Les Parisiennes (1893), lithograph,
Library of Congress
Pierre Bonnard
–
Two Dogs in a Deserted Street (1894), oil on canvas,
National Gallery of Art
18.
Paul Klee
–
Paul Klee was a Swiss-German artist. His highly individual style was influenced by movements in art that included Expressionism, Cubism and he and his colleague, Russian painter Wassily Kandinsky, both taught at the Bauhaus school of art, design and architecture. His works reflect his dry humor and his sometimes childlike perspective, his personal moods and beliefs, and his musicality. First of all, the art of living, then as my ideal profession, poetry and philosophy, Paul Klee was born in Münchenbuchsee, Switzerland, as the second child of German music teacher Hans Wilhelm Klee and Swiss singer Ida Marie Klee, née Frick. His sister Mathilde was born on 28 January 1876 in Walzenhausen and their father came from Tann and studied at the Stuttgart Conservatory singing, piano, organ and violin, meeting there his future wife Ida Frick. Hans Wilhelm Klee was active as a teacher at the Bern State Seminary in Hofwil near Bern until 1931. Klee was able to develop his skills as his parents encouraged and inspired him until his death. In 1880, his family moved to Bern, where they moved 17 years later after numerous changes of residence into a house at the Kirchenfeld district. From 1886 to 1890, Klee visited primary school and received, at the age of 7 and he was so talented on violin that, aged 11, he received an invitation to play as an extraordinary member of the Bern Music Association. He stated, I didnt find the idea of going in for music creatively particularly attractive in view of the decline in the history of musical achievement. As a musician, he played and felt emotionally bound to traditional works of the eighteenth and nineteenth century, at sixteen, Klee’s landscape drawings already show considerable skill. Around 1897, Klee started his diary, which he kept until 1918, during his school years, he avidly drew in his school books, in particular drawing caricatures, and already demonstrating skill with line and volume. He barely passed his exams at the Gymnasium of Bern. With his characteristic dry wit, he wrote, After all, it’s rather difficult to achieve the exact minimum, and it involves risks. On his own time, in addition to his interests in music and art, Klee was a great reader of literature. With his parents reluctant permission, in 1898 Klee began studying art at the Academy of Fine Arts in Munich with Heinrich Knirr and he excelled at drawing but seemed to lack any natural color sense. He later recalled, During the third winter I even realized that I probably would never learn to paint, during these times of youthful adventure, Klee spent much time in pubs and had affairs with lower class women and artists models. He had a son in 1900 who died several weeks after birth
Paul Klee
–
Paul Klee in 1911
Paul Klee
–
My Room (German: Meine Bude), 1896. Pen and ink wash, 4¾ × 7½ inches. In the collection of the Klee Foundation,
Bern, Switzerland
Paul Klee
–
Flower Myth (Blumenmythos) 1918, watercolor on pastel foundation on fabric and newsprint mounted on board,
Sprengel Museum, Hannover, Germany
Paul Klee
–
Paul Klee as a soldier, 1916
19.
Arthur Dove
–
Arthur Garfield Dove was an American artist. An early American modernist, he is considered the first American abstract painter. Dove used a range of media, sometimes in unconventional combinations, to produce his abstractions. Me and the Moon from 1937 is an example of an Arthur Dove abstract landscape and has been referred to as one of the culminating works of his career. Dove did a series of experimental works in the 1920s. Dove was born to a family in Canandaigua, New York. His parents, William George and Anna Elizabeth, were of English ancestry, Arthur Dove grew up loving the outdoors on a farm, however, his father was a very successful businessman who owned a brickyard and expected his son to become wealthy. Doves childhood interests included playing the piano, painting lessons, as a child, he was befriended by a neighbor, Newton Weatherby, a naturalist who helped form Doves appreciation of nature. Weatherby was also a painter who gave Dove pieces of leftover canvas to work with. Dove attended Hobart College and Cornell University, and graduated from Cornell in 1903, Dove was chosen to illustrate the Cornell University yearbook. Doves illustrations proved popular because they brought life to the characters, after graduation, he became a well known commercial illustrator in New York City, working for Harpers Magazine and The Saturday Evening Post. In 1907, Dove and his first wife, Florence, traveled to France and moved to Paris and they made short trips to both Italy and Spain. While there, Dove joined a group of artists from the United States. Dove and Maurer remained friends until Maurers suicide in 1932, while in Europe, Dove was introduced to new painting styles, in particular the Fauvist works of Henri Matisse, and he exhibited at the annual Autumn Salon in 1908 and 1909. Feeling a clearer sense as an artist, he returned to New York and his return to commercial illustration was unsatisfying, so Dove moved out of New York to make a living off farming and fishing while devoting the rest of his time to painting. Dove, was born on July 4,1909, when Dove returned to America in 1909 he met Alfred Stieglitz, probably by way of Maurers written introduction. Stieglitz was a known photographer and gallery owner who was very active in promoting modern art in America. Dove decided to quit working as an illustrator but was in need of artistic identity along with emotional bolstering, the photographer was 16 years older than Dove and his urban, Jewish and European cultural roots were in contrast to Doves rural Anglo-Saxon Protestant heritage
Arthur Dove
–
Arthur Garfield Dove
Arthur Dove
–
Arthur Dove, Nature Symbolized No. 2, c.1911,pastel on paper, 45.8 x 55 cm,
Art Institute of Chicago
Arthur Dove
–
Arthur Dove, Cow, 1914, pastel on canvas, 45.1 x 54.6 cm,
Metropolitan Museum of Art, New York
Arthur Dove
–
The Critic (1925),
Whitney Museum of American Art, New York. Dove did a series of experimental
collage works in the 1920s.
20.
Winslow Homer
–
Winslow Homer was an American landscape painter and printmaker, best known for his marine subjects. He is considered one of the foremost painters in 19th-century America, largely self-taught, Homer began his career working as a commercial illustrator. He subsequently took up oil painting and produced major studio works characterized by the weight and he also worked extensively in watercolor, creating a fluid and prolific oeuvre, primarily chronicling his working vacations. Born in Boston, Massachusetts in 1836, Homer was the second of three sons of Charles Savage Homer and Henrietta Benson Homer, both from long lines of New Englanders and his mother was a gifted amateur watercolorist and Homers first teacher. She and her son had a relationship throughout their lives. Homer took on many of her traits, including her quiet, strong-willed, terse, sociable nature, her dry sense of humor, Homer had a happy childhood, growing up mostly in then rural Cambridge, Massachusetts. He was a student, but his art talent was evident in his early years. Homers father was a volatile, restless businessman who was looking to make a killing. When Homer was thirteen, Charles gave up the store business to seek a fortune in the California gold rush. When that failed, Charles left his family and went to Europe to raise capital for other schemes that didnt materialize. After Homers high school graduation, his father saw a newspaper advertisement, Homers apprenticeship at the age of 19 to J. H. Bufford, a Boston commercial lithographer, was a formative but treadmill experience. He worked repetitively on sheet music covers and other work for two years. By 1857, his career was underway after he turned down an offer to join the staff of Harpers Weekly. From the time I took my nose off that lithographic stone, Homer later stated, I have had no master, Homers career as an illustrator lasted nearly twenty years. His quick success was due to this strong understanding of graphic design. Before moving to New York in 1859, Homer lived in Belmont and his uncles Belmont mansion, the 1853 Homer House, was the inspiration for a number of his early illustrations and paintings, including several of his 1860s croquet pictures. The Homer House, owned by the Belmont Womans Club, is open for public tours, in 1859, he opened a studio in the Tenth Street Studio Building in New York City, the artistic and publishing capital of the United States. Until 1863, he attended classes at the National Academy of Design, and studied briefly with Frédéric Rondel, in only about a year of self-training, Homer was producing excellent oil work
Winslow Homer
–
Winslow Homer, at the
National Gallery of Art,
New York City, 1880, photo by
Napoleon Sarony (1821–1896)
Winslow Homer
–
The Bathers, wood engraving, Harper's Weekly, 1873
Winslow Homer
–
Prisoners from the front,
1866, The Metropolitan Museum of Art, Oil on canvas. 24 x 38in
Winslow Homer
–
Long Branch, New Jersey, 1869
21.
James McNeill Whistler
–
James Abbott McNeill Whistler was an American artist, active during the American Gilded Age and based primarily in the United Kingdom. He was averse to sentimentality and moral allusion in painting, and was a proponent of the credo art for arts sake. His famous signature for his paintings was in the shape of a stylized butterfly possessing a long stinger for a tail, the symbol was apt, for it combined both aspects of his personality—his art was characterized by a subtle delicacy, while his public persona was combative. Finding a parallel between painting and music, Whistler entitled many of his paintings arrangements, harmonies, and nocturnes and his most famous painting is Arrangement in Grey and Black No. 1, commonly known as Whistlers Mother, the revered and oft-parodied portrait of motherhood, Whistler influenced the art world and the broader culture of his time with his artistic theories and his friendships with leading artists and writers. James Abbott Whistler was born in Lowell, Massachusetts, on July 10,1834 and his father was a railroad engineer, and Anna was his second wife. James lived the first three years of his life in a modest house at 243 Worthen Street in Lowell, today, the house is a museum dedicated to Whistler. During the Ruskin trial, Whistler claimed St. Petersburg, Russia, as his birthplace, declaring, I shall be born when and where I want, in 1837, the Whistlers moved from Lowell to Stonington, Connecticut, where George Whistler worked for the Stonington Railroad. Sadly, during this period, three of George and Anna Whistlers children died in infancy, in 1839, the Whistlers fortunes improved considerably when George Whistler received the appointment that would make his fortune and fame - that of chief engineer for the Boston & Albany Railroad. Thus, the moved to Springfield, Massachusetts, then one of the United States most prosperous cities. The Whistlers lived in Springfield until they left the United States in late 1842, Nicholas I of Russia learned of George Whistlers ingenuity in engineering the Boston & Albany Railroad, and offered Whistler a position in 1842 engineering a railroad from St. Petersburg to Moscow. In the winter of 1842, the Whistlers moved from Springfield to St. Petersburg, in later years, James Whistler played up his mothers connection to the American South and its roots, and presented himself as an impoverished Southern aristocrat. After her death, he adopted her name, using it as an additional middle name. Young Whistler was a moody child prone to fits of temper and insolence and his parents discovered in his early youth that drawing often settled him down and helped focus his attention. Beginning in 1842, his father was employed to work on a railroad in Russia, after moving to St. Petersburg to join his father a year later, the young Whistler took private art lessons, then enrolled in the Imperial Academy of Fine Arts at age eleven. In 1844, he met the noted artist Sir William Allan, Whistlers mother noted in her diary, the great artist remarked to me Your little boy has uncommon genius, but do not urge him beyond his inclination. In 1847-48, his family spent some time in London with relatives, Whistlers brother-in-law Francis Haden, a physician who was also an artist, spurred his interest in art and photography. Haden took Whistler to visit collectors and to lectures, and gave him a set with instruction
James McNeill Whistler
–
Arrangement in Gray: Portrait of the Painter (self portrait, c. 1872),
Detroit Institute of Arts
James McNeill Whistler
–
Portrait of Whistler with Hat (1858),
Freer Gallery of Art,
Washington, D.C.
James McNeill Whistler
–
Symphony in White, No. 1: The White Girl (1862), The National Gallery of Art, Washington, D.C.
James McNeill Whistler
–
Nocturne: Blue and Gold - Old Battersea Bridge (1872),
Tate Britain, London, England
22.
Jacob Lawrence
–
Jacob Lawrence was an African-American painter known for his portrayal of African-American life. But not only was he a painter, storyteller, and interpreter, Lawrence referred to his style as dynamic cubism, though by his own account the primary influence was not so much French art as the shapes and colors of Harlem. He brought the African-American experience to life using blacks and browns juxtaposed with vivid colors and he also taught and spent 15 years as a professor at the University of Washington. Lawrence is among the best-known 20th-century African-American painters and he was 23 years old when he gained national recognition with his 60-panel Migration Series, painted on cardboard. The series depicted the Great Migration of African-Americans from the rural South to the urban North, a part of this series was featured in a 1941 issue of Fortune Magazine. The collection is now held by two museums and he is widely known for his modernist illustrations of everyday life as well as epic narratives of African American history and historical figures. Jacob Lawrence was born in 1917 in Atlantic City, New Jersey, jacobss parents moved him and his siblings from the rural south to the north for a chance at a better life. They divorced in 1924, after which his mother put him, when he was 13, he and his siblings moved to New York City, where he reconnected with his mother in Harlem. The young Lawrence often drew patterns with crayons, in the beginning, he copied patterns of his mothers carpets. One of his art teachers noted great potential in Lawrence, after dropping out of school at 16, Lawrence worked in a laundromat and a printing plant. He continued with art, attending classes at the Harlem Art Workshop, Alston urged him to attend the Harlem Community Art Center, led by the sculptor Augusta Savage. Lawrence continued his studies as well, working with Alston and Henry Bannarn, another Harlem Renaissance artist, on July 24,1941, Lawrence married the painter Gwendolyn Knight, also a student of Savage. She supported his work and even helped him with captions for many of his series of paintings and they were married until his death in 2000. In October 1943, Lawrence was drafted in the United States Coast Guard and served with the first racially integrated crew on the USCGC Sea Cloud and he continued to paint and sketch while in the Coast Guard, documenting the experience of war around the world. He produced 48 paintings during this time, all of which have been lost, but after the war, he created his famous War Series. Back in New York, Lawrence continued to paint and he grew depressed, however, and in 1949, he checked himself into Hillside Hospital in Queens, where he stayed for 11 months. These works differed from his usual artworks because they displayed sadness, shortly after leaving Hillside, Lawrence turned to theater. After many years in New York, in 1970 Lawrence and Knight moved to the Pacific Northwest, some of his works are displayed in the universitys Meany Hall for the Performing Arts and in the Paul G. Allen Center for Computer Science & Engineering
Jacob Lawrence
–
Self-portrait, 1977; This is typical in terms of color and style in its flattened and abstracted treatment of realistic subject matter
Jacob Lawrence
–
Lawrence teaching school children at the Abraham Lincoln School.
23.
Augustus Vincent Tack
–
Augustus Vincent Tack was an American painter of portraits, landscapes and abstractions. Tack was born in Pittsburgh, Pennsylvania and moved with his family to New York in 1883, after graduating from St. Francis Xavier College in New York City in 1890, Tack studied at the Art Students League of New York until 1895. He is believed to have frequented the studio of painter and stained glass designer John La Farge and he had his first solo exhibition at the Kraushaar Galleries in New York City in 1896. The following year he moved to a colony in Deerfield, Massachusetts. Tack maintained a studio in New York from 1894 until the end of his life and he had frequent exhibitions at New York City galleries. He taught at the Art Students League of New York between 1906 and 1910 and at Yale University from 1910 to 1913, about 1914 to 1915 his work attracted the notice of Washington DC art collector and critic Duncan Phillips, who became his close friend and chief patron. Phillips and Tack also collaborated on the organization of the Allied War Salon of 1918, Tack died in 1949 in New York City. Tacks portraits and murals were traditional in style, but he also painted mystical semiabstract landscapes and these paintings, subjective and poetic explorations of nature that carried suggestions of timelessness and spirituality, were commercially unsuccessful. Time and Timelessness is an example, displaying Tacks style of contrasting the abstract qualities of his work with figurative aspects, the painting is considered a contemporary reworking of nineteenth-century heroic idealism. These were executed almost exclusively for Phillips, Art Students League of New York, Current catalogue,2007. Art Students League of New York, former faculty
Augustus Vincent Tack
–
Time and Timelessness, (the Spirit of Creation), 1943-1944, oil on canvas,
Phillips Collection Washington DC
24.
Karel Appel
–
Christiaan Karel Appel was a Dutch painter, sculptor, and poet. He started painting at the age of fourteen and studied at the Rijksakademie in Amsterdam in the 1940s and he was one of the founders of the avant-garde movement Cobra in 1948. Christiaan Karel Appel was born on 25 April 1921 in his parents house at Dapperstraat 7 in Amsterdam, as a child he was often called Kik. On the ground floor his father, Jan Appel, had a barbershop and his mother, born Johanna Chevalier, was a descendant of French Huguenots. At fourteen, Appel produced his first real painting on canvas, for his fifteenth birthday, his wealthy uncle Karel Chevalier gave him a paint set and an easel. An avid amateur painter himself, Chevalier gave his namesake some lessons in painting, Appel had his first show in Groningen in 1946. In 1949 he participated with the other CoBrA artists in the Stedelijk Museum Amsterdam and he was influenced by Pablo Picasso, Henri Matisse, and the French brute-art artist Jean Dubuffet. In 1947 he started sculpting with all kinds of used materials and painted them in bright colors, white, red, yellow, blue and he joined the Experimentele Groep in Holland together with the young Dutch painters Anton Rooskens, Theo Wolvecamp, and Jan Nieuwenhuys. Later the Belgian writer Hugo Claus joined the group, in 1948 Appel joined CoBrA together with the Dutch artists Corneille, Constant, and Jan Nieuwenhuys, and with the Belgian poet Christian Dotremont. The new art of the CoBrA group was not popular in the Netherlands, by 1939, Danish artists had already started to make spontaneous art and one of their sources of inspiration was Danish and Nordic mythology. Appel used this very intensively, his 1949 fresco Questioning Children in Amsterdam City Hall caused controversy and was covered up for ten years and he also lived in New York City and Florence. He is particularly noted for his mural work, after 1990 he became much more popular in the Netherlands, he had several big shows in Amsterdam and Bruxelles, organized by director Rudy Fuchs. Also, the CoBrA-museum in Amstelveen organized several shows featuring his work and he became the most famous Dutch CoBrA artist. Appels work has exhibited in a number of galleries, including the Anita Shapolsky Gallery in New York City, Galerie Lelong in Paris, Galerie Ulysses in Vienna. Appel died on 3 May 2006 in his home in Zürich and he suffered from a heart ailment. He was buried on 16 May 2006 at the Père Lachaise Cemetery in Paris, in 2002 a number of Appels works went missing on the way to his foundation, an event that was not to be resolved before his death. However, in 2012 the works were found in a disused UK warehouse, in the wake of his death, the Foundation functions as his official estate in addition to its primary service as an image archive. The U. S. copyright representative for the Karel Appel Foundation is the Artists Rights Society, bern – Berlin, Verlag Gachnang & Springer,1999
Karel Appel
–
Karel Appel (1982)
Karel Appel
–
Questioning Children (1949) in the
Tate Modern in
London
Karel Appel
–
Frog with umbrella (2001) at the Spui in
The Hague
25.
Joan Miro
–
Joan Miró i Ferrà was a Spanish painter, sculptor, and ceramicist born in Barcelona. Earning international acclaim, his work has been interpreted as Surrealism, a sandbox for the mind, a re-creation of the childlike. Born into the family of a goldsmith and a watchmaker, Miró grew up in the Barri Gòtic neighborhood of Barcelona and his father was Miquel Miró Adzerias and his mother was Dolors Ferrà. He began drawing classes at the age of seven at a school at Carrer del Regomir 13. In 1907 he enrolled at the art academy at La Llotja. He studied at the Cercle Artístic de Sant Lluc and he had his first solo show in 1918 at the Dalmau Gallery, Miró initially went to business school as well as art school. He began his career when he was a teenager as a clerk. His early art, like that of the similarly influenced Fauves and Cubists exhibited in Barcelona, was inspired by Vincent van Gogh, the resemblance of Mirós work to that of the intermediate generation of the avant-garde has led scholars to dub this period his Catalan Fauvist period. A few years after Miró’s 1918 Barcelona solo exhibition, he settled in Paris where he finished a number of paintings that he had begun on his summer home. One such painting, The Farm, showed a transition to an individual style of painting. No one else has been able to paint these two very opposing things. ”Miró annually returned to Mont-roig and developed a symbolism and nationalism that would stick with him throughout his career. Two of Miró’s first works classified as Surrealist, Catalan Landscape and The Tilled Field, in 1924, Miró joined the Surrealist group. The already symbolic and poetic nature of Miró’s work, as well as the dualities and this antagonistic attitude towards painting manifested itself when Miró referred to his work in 1924 ambiguously as “x” in a letter to poet friend Michel Leiris. The paintings that came out of this period were eventually dubbed Miró’s dream paintings, Miró did not completely abandon subject matter. Despite the Surrealist automatic techniques that he employed extensively in the 1920s, Miró’s work rarely dipped into non-objectivity, maintaining a symbolic, schematic language. This was perhaps most prominent in the repeated Head of a Catalan Peasant series of 1924 to 1925, in 1926, he collaborated with Max Ernst on designs for ballet impresario Sergei Diaghilev. With Mirós help, Ernst pioneered the technique of grattage, in which he troweled pigment onto his canvases, Miró returned to a more representational form of painting with The Dutch Interiors of 1928. Crafted after works by Hendrik Martenszoon Sorgh and Jan Steen seen as postcard reproductions and these paintings share more in common with Tilled Field or Harlequin’s Carnival than with the minimalistic dream paintings produced a few years earlier
Joan Miro
–
Joan Miró, photo by
Carl Van Vechten, June 1935
Joan Miro
–
Joan Miró, Horse, Pipe and Red Flower, 1920, oil on canvas, 82.6 x 74.9 cm,
Philadelphia Museum of Art
Joan Miro
–
The Farm, 1921–22,
National Gallery of Art, Washington, DC. This painting evokes the family's summer home in
Mont-roig del Camp, Catalonia
Joan Miro
–
Joan Miró, The Tilled Field, 1923–24,
Solomon R. Guggenheim Museum. This early painting, a complex arrangement of objects and figures, was Miró's first
Surrealist masterpiece.
26.
Mark Rothko
–
Mark Rothko, born Markus Yakovlevich Rothkowitz, was an American painter of Russian Jewish descent. Although Rothko himself refused to adhere to any art movement, he is identified as an abstract expressionist. With Jackson Pollock and Willem de Kooning, he is one of the most famous postwar American artists, Mark Rothko was born in Dvinsk, Vitebsk Governorate, in the Russian Empire. His father, Jacob Rothkowitz, was a pharmacist and an intellectual who initially provided his children with a secular and political, rather than religious, according to Rothko, his pro-Marxist father was violently anti-religious. In an environment where Jews were often blamed for many of the evils that befell Russia, despite Jacob Rothkowitzs modest income, the family was highly educated, and Rothko was able to speak Russian, Yiddish, and Hebrew. Fearing that his sons were about to be drafted into the Imperial Russian Army. Markus remained in Russia, with his mother and elder sister Sonia and they arrived as immigrants, at Ellis Island, in late 1913. From that point, they crossed the country, to join Jacob, jacobs death, a few months later, from colon cancer, left the family without economic support. Sonia operated a cash register, while Markus worked in one of his uncles warehouses and his fathers death also led Rothko to sever his ties with religion. After he had mourned his fathers death for almost a year at a local synagogue, Markus had started school in the United States in 1913, quickly accelerating from third to fifth grade. In June 1921, he completed the level, with honors, at Lincoln High School in Portland. He learned his fourth language, English, and became a member of the Jewish community center. Like his father, Rothko was passionate about issues such as workers’ rights, at the time, Portland was the epicentre of revolutionary activity in the U. S. and the region where revolutionary syndicalist union Industrial Workers of the World, was strongest. He heard Emma Goldman speak on one of her West Coast activist lecture tours, with the onset of the Russian Revolution, Rothko organised debates about it. Despite the repressive political atmosphere, he wished to become a union organiser. Rothko received a scholarship to Yale, at the end of his freshman year in 1922, the scholarship was not renewed, and he worked as a waiter and delivery boy to support his studies. He found the Yale community to be elitist and racist, Rothko and a friend, Aaron Director, started a satirical magazine, The Yale Saturday Evening Pest, which lampooned the schools stuffy, bourgeois tone. In any event, Rothkos nature was more that of a man than a diligent pupil, One of his fellow students remembers that he hardly seemed to study
Mark Rothko
–
Rothko visiting the
Scott family in 1959
Mark Rothko
–
Mark Rothko, Yorktown Heights, ca. 1949.
Brooklyn Museum, by
Consuelo Kanaga
Mark Rothko
–
No. 3/No. 13 (Magenta, Black, Green on Orange), 1949, 85 3/8" × 65" (216.5 × 164.8 cm), oil on canvas,
Museum of Modern Art
Mark Rothko
–
No. 61 (Rust and Blue), 1953, 115 cm × 92 cm (45 in × 36 in).
Museum of Contemporary Art, Los Angeles
27.
Berenice Abbott
–
Abbott was born in Springfield, Ohio and brought up there by her divorced mother, née Lillian Alice Bunn. She attended Ohio State University for two semesters, but left in early 1918 and her university studies included theater and sculpture. Spending two years studying sculpture in Paris and Berlin and she studied at the Académie de la Grande Chaumiere in Paris and the Prussian Academy of Arts in Berlin. During this time, she adopted the French spelling of her first name, Berenice, in addition to her work in the visual arts, Abbott published poetry in the experimental literary journal transition. Abbott first became involved with photography in 1923, when Man Ray hired her as an assistant at his portrait studio in Montparnasse. Later she wrote, I took to photography like a duck to water, I never wanted to do anything else. Ray was impressed by her work and allowed her to use his studio to take her own photographs. In 1926, she exhibited her work in the gallery Au Sacre du Printemps, after a short time studying photography in Berlin, she returned to Paris in 1927 and started a second studio, on the rue Servandoni. Abbotts subjects were people in the artistic and literary worlds, including French nationals, expatriates, according to Sylvia Beach, To be done by Man Ray or Berenice Abbott meant you rated as somebody. Abbotts work was exhibited with that of Man Ray, André Kertész, and others in Paris, in the Salon de lEscalier and her portraiture was unusual within exhibitions of modernist photography held in 1928–9 in Brussels and Germany. In 1925, Man Ray introduced her to Eugène Atgets photographs and she became interested in Atgets work, and managed to persuade him to sit for a portrait in 1927. An early tangible result was the 1930 book Atget, photographe de Paris, Abbotts work on Atgets behalf would continue until her sale of the archive to the Museum of Modern Art in 1968. In addition to her book The World of Atget, she provided the photographs for A Vision of Paris, published a portfolio, Twenty Photographs and her sustained efforts helped Atget gain international recognition. In early 1929, Abbott visited New York City, ostensibly to find an American publisher for Atgets photographs, upon seeing the city again, however, Abbott immediately saw its photographic potential. Accordingly, she went back to Paris, closed up her studio and her first photographs of the city were taken with a hand-held Kurt-Bentzin camera, but soon she acquired a Century Universal camera which produced 8 x 10 inch negatives. Using this large format camera, Abbott photographed New York City with the diligence and her work has provided a historical chronicle of many now-destroyed buildings and neighborhoods of Manhattan. Abbott worked on her New York project independently for six years, unable to get support from organizations, foundations. She supported herself with work and teaching at the New School of Social Research beginning in 1933
Berenice Abbott
–
Berenice Abbott by
Hank O'Neal in New York City, November 18, 1979
Berenice Abbott
–
Bowery restaurant photograph for Changing New York, 1935.
Berenice Abbott
–
Encampment of the unemployed, New York City, 1935.
Berenice Abbott
–
Pike Street at
Henry Street (1936)
28.
Luncheon of the Boating Party
–
Luncheon of the Boating Party is a painting by French impressionist Pierre-Auguste Renoir. Included in the Seventh Impressionist Exhibition in 1882, it was identified as the best painting in the show by three critics and it was purchased from the artist by the dealer-patron Paul Durand-Ruel and bought in 1923 from his son by Duncan Phillips. It is now in The Phillips Collection in Washington, D. C and it shows a richness of form, a fluidity of brush stroke, and a flickering light. The painter and art patron, Gustave Caillebotte, is seated in the lower right, Renoirs future wife, Aline Charigot, is in the foreground playing with a small dog, an affenpinscher. On the table is fruit and wine, in this painting Renoir has captured a great deal of light. The main focus of light is coming from the opening in the balcony. The singlets of both men in the foreground and the all work together to reflect this light and send it through the whole composition. As he often did in his paintings, Renoir included several of his friends in Luncheon of the Boating Party, identification of the sitters was made in 1912 by Julius Meier-Graefe. Among them are the following, The seamstress Aline Charigot, who is holding a affenpinscher dog, Renoir married her in 1890, and they had three sons. Charles Ephrussi—wealthy amateur art historian, collector, and editor of the Gazette des Beaux-Arts—appears wearing a top hat in the background. The younger man to whom Ephrussi appears to be speaking, more casually attired in a coat and cap, may be Jules Laforgue, his personal secretary and also a poet. Actress Ellen Andrée drinks from a glass in the center of the composition, seated across from her is Baron Raoul Barbier, former mayor of colonial Saigon. Alphonsine is the woman leaning on the railing, Alphonse. Also wearing boaters are figures appearing to be Renoirs close friends Eugène Pierre Lestringez, a bureaucrat, Renoir depicts them flirting with the actress Jeanne Samary in the upper righthand corner of the painting. An art patron, painter, and important figure in the impressionist circle, Caillebotte was also an avid boatman, at the Seventh Impressionist Exhibition in 1882, the painting generally received praise from critics. It is fresh and free without being too bawdy, wrote Paul de Charry in Le Pays and it is one of the most beautiful pieces that this insurrectionist art by Independent artists has produced. Alternatively, Le Figaro published Albert Wolffs comment on March 2,1882, If he had learned to draw, the painting was featured prominently in Jean-Pierre Jeunets film Le Fabuleux destin dAmélie Poulain — released in English as Amélie. A homage to this appears in the final panel of On the False Earths
Luncheon of the Boating Party
–
Le déjeuner des canotiers
Luncheon of the Boating Party
–
Detail of
Ellen Andrée drinking from a glass in the center of the composition
29.
Collection (museum)
–
A museum is distinguished by a collection of often unique objects that forms the core of its activities for exhibitions, education, research, etc. A museum normally has a policy for new acquisitions, so only objects in certain categories. The process by which an object is included in the collection is called accessioning. Museum collections, and archives in general, are catalogued in a collection catalogue, traditionally in a card index. Transferring collection catalogues onto computer-based media is an undertaking for most museums. All new acquisitions are normally catalogued on a computer in modern museums, there are collections of art, of scientific specimens, of historic objects, of living zoological specimens and much more. Because there are so many things to collect, most museums have an area of specialization. For example, a museum may only collect objects relevant to a particular county or even a single person. Art museums may focus on a period, such as modern art, very large museums will often have many subcollections, each with its own criteria for collecting. A natural history museum, for example, will have mammals in a collection from insects. Because museums cannot collect everything, each new addition must be carefully considered as to its appropriateness for a given museums defined area of interest. Accessioning is the formal, legal process of accepting an object into a museum collection, because accessioning an object carries an obligation to care for that object in perpetuity, it is a serious decision. While in the past many museums accepted objects with little deliberation and these are typically set out as part of a museums Collections Management Policy or CMP. Several issues must be considered in the decision to accept an object, common issues include, Is the object relevant to the museums mission and its scope of collecting, as defined by its governing body. Was the object lawfully acquired and if foreign in origin, imported in compliance with international law, does the owner of an object have legal title to the object and therefore the right to transfer it. Are there any other parties with an interest in the object, is the object encumbered by any legal obligations or constraints. Would the object pose any threats or dangers to other objects or staff, does the museum have the resources to properly care for the object Is the object encumbered by any donor restrictions. Answering these questions often required investigating an objects provenance, the history of an object from the time it was made, many museums will not accession objects that have been acquired illegally or where other parties have an interest in the object
Collection (museum)
–
A
catalogue using
index cards
Collection (museum)
–
Visual storage at the Victoria & Albert Museum, London, England
30.
Modern art
–
Modern art includes artistic work produced during the period extending roughly from the 1860s to the 1970s, and denotes the style and philosophy of the art produced during that era. The term is associated with art in which the traditions of the past have been thrown aside in a spirit of experimentation. Modern artists experimented with new ways of seeing and with ideas about the nature of materials. A tendency away from the narrative, which was characteristic for the traditional arts, more recent artistic production is often called contemporary art or postmodern art. Matisses two versions of The Dance signified a key point in his career and in the development of modern painting, analytic cubism was jointly developed by Picasso and Georges Braque, exemplified by Violin and Candlestick, Paris, from about 1908 through 1912. Synthetic cubism is characterized by the introduction of different textures, surfaces, collage elements, papier collé, the notion of modern art is closely related to modernism. Although modern sculpture and architecture are reckoned to have emerged at the end of the 19th century, the beginnings of modern painting can be located earlier. The date perhaps most commonly identified as marking the birth of art is 1863. Earlier dates have also proposed, among them 1855 and 1784. In the words of art historian H, harvard Arnason, Each of these dates has significance for the development of modern art, but none categorically marks a completely new beginning. A gradual metamorphosis took place in the course of a hundred years, the strands of thought that eventually led to modern art can be traced back to the Enlightenment, and even to the 17th century. The important modern art critic Clement Greenberg, for instance, called Immanuel Kant the first real Modernist but also drew a distinction, The Enlightenment criticized from the outside. The French Revolution of 1789 uprooted assumptions and institutions that had for centuries been accepted with little question and this gave rise to what art historian Ernst Gombrich called a self-consciousness that made people select the style of their building as one selects the pattern of a wallpaper. The pioneers of art were Romantics, Realists and Impressionists. By the late 19th century, additional movements which were to be influential in art had begun to emerge. The advocates of realism stood against the idealism of the academic art that enjoyed public. The most successful painters of the day worked either through commissions or through public exhibitions of their own work. There were official, government-sponsored painters unions, while governments regularly held exhibitions of new fine
Modern art
–
Pablo Picasso, Dejeuner sur l'Herbe
Modern art
–
Henri de Toulouse-Lautrec, At the Moulin Rouge: Two Women Waltzing, 1892
Modern art
–
Vincent van Gogh, Country road in Provence by Night, 1889, May 1890,
Kröller-Müller Museum
Modern art
–
Paul Cézanne,
The Large Bathers, 1898–1905
31.
Pittsburgh
–
Pittsburgh is a city in the Commonwealth of Pennsylvania in the United States, and is the county seat of Allegheny County. The city proper has a population of 304,391. The metropolitan population of 2,353,045 is the largest in both the Ohio Valley and Appalachia, the second-largest in Pennsylvania, and the 26th-largest in the U. S. The city features 30 skyscrapers, two inclines, a fortification and the Point State Park at the confluence of the rivers. Aside from steel, Pittsburgh has led in manufacturing of aluminum, glass, shipbuilding, petroleum, foods, sports, transportation, computing, autos, and electronics. For part of the 20th century, Pittsburgh was behind only New York and Chicago in corporate headquarters employment, Americas 1980s deindustrialization laid off area blue-collar workers and thousands of downtown white-collar workers when the longtime Pittsburgh-based world headquarters moved out. The area has served also as the federal agency headquarters for cyber defense, software engineering, robotics, energy research. The area is home to 68 colleges and universities, including research and development leaders Carnegie Mellon University, the region is a hub for Leadership in Energy and Environmental Design, sustainable energy, and energy extraction. Pittsburgh was named in 1758 by General John Forbes, in honor of British statesman William Pitt, 1st Earl of Chatham. The current pronunciation, which is unusual in English speaking countries, is almost certainly a result of a printing error in some copies of the City Charter of March 18,1816. The error was repeated commonly enough throughout the rest of the 19th century that the pronunciation was lost. After a public campaign the original spelling was restored by the United States Board on Geographic Names in 1911. The area of the Ohio headwaters was long inhabited by the Shawnee, the first known European to enter the region was the French explorer/trader Robert de La Salle from Quebec during his 1669 expedition down the Ohio River. European pioneers, primarily Dutch, followed in the early 18th century, Michael Bezallion was the first to describe the forks of the Ohio in a 1717 manuscript, and later that year European fur traders established area posts and settlements. In 1749, French soldiers from Quebec launched an expedition to the forks to unite Canada with French Louisiana via the rivers, during 1753–54, the British hastily built Fort Prince George before a larger French force drove them off. The French built Fort Duquesne based on LaSalles 1669 claims, the French and Indian War, the North American front of the Seven Years War, began with the future Pittsburgh as its center. British General Edward Braddock was dispatched with Major George Washington as his aide to take Fort Duquesne, the British and colonial force were defeated at Braddocks Field. General John Forbes finally took the forks in 1758, Forbes began construction on Fort Pitt, named after William Pitt the Elder while the settlement was named Pittsborough
Pittsburgh
–
Clockwise:
Cathedral of Learning at the
University of Pittsburgh; Pittsburgh skyline;
Carnegie Mellon University;
PNC Park;
Duquesne Incline
Pittsburgh
–
This article is about the Pennsylvania city. For other uses, see
Pittsburgh (disambiguation).
Pittsburgh
–
Monongahela River scene, 1857
Pittsburgh
–
Downtown facade memorializing Pittsburgh's
industrial heritage with an image of legendary steelworker
Joe Magarac
32.
Modernism
–
Among the factors that shaped modernism were the development of modern industrial societies and the rapid growth of cities, followed then by reactions of horror to World War I. Modernism also rejected the certainty of Enlightenment thinking, and many modernists rejected religious belief, the poet Ezra Pounds 1934 injunction to Make it new. Was the touchstone of the approach towards what it saw as the now obsolete culture of the past. In this spirit, its innovations, like the novel, atonal and twelve-tone music, divisionist painting and abstract art. Modernism explicitly rejected the ideology of realism and makes use of the works of the past by the employment of reprise, incorporation, rewriting, recapitulation, revision, others focus on modernism as an aesthetic introspection. While J. M. W. Art critic Clement Greenberg describes the Pre-Raphaelite Brotherhood as proto-Modernists, There the proto-Modernists were, of all people, the Pre-Raphaelites actually foreshadowed Manet, with whom Modernist painting most definitely begins. They acted on a dissatisfaction with painting as practiced in their time, rationalism has also had opponents in the philosophers Søren Kierkegaard and later Friedrich Nietzsche, both of whom had significant influence on existentialism. A major 19th-century engineering achievement was The Crystal Palace, the huge cast-iron, Glass and iron were used in a similar monumental style in the construction of major railway terminals in London, such as Paddington Station and Kings Cross Station. These technological advances led to the building of structures like the Brooklyn Bridge. The latter broke all previous limitations on how tall man-made objects could be and these engineering marvels radically altered the 19th-century urban environment and the daily lives of people. Arguments arose that the values of the artist and those of society were not merely different, but that Society was antithetical to Progress, the philosopher Schopenhauer called into question the previous optimism, and his ideas had an important influence on later thinkers, including Nietzsche. Darwins theory of evolution by natural selection undermined religious certainty and the idea of human uniqueness, in particular, the notion that human beings were driven by the same impulses as lower animals proved to be difficult to reconcile with the idea of an ennobling spirituality. Karl Marx argued that there were fundamental contradictions within the capitalist system, historians, and writers in different disciplines, have suggested various dates as starting points for modernism. Everdell also thinks modernism in painting began in 1885–86 with Seurats Divisionism, the poet Baudelaires Les Fleurs du mal, and Flauberts novel Madame Bovary were both published in 1857. In the arts and letters, two important approaches developed separately in France, the first was Impressionism, a school of painting that initially focused on work done, not in studios, but outdoors. Impressionist paintings demonstrated that human beings do not see objects, the school gathered adherents despite internal divisions among its leading practitioners, and became increasingly influential. A significant event of 1863 was the Salon des Refusés, created by Emperor Napoleon III to display all of the paintings rejected by the Paris Salon. While most were in standard styles, but by artists, the work of Manet attracted tremendous attention
Modernism
Modernism
–
Eugène Delacroix 's
Liberty Leading the People, 1830, a
Romantic work of art
Modernism
–
A
Realist portrait of
Otto von Bismarck
Modernism
–
Odilon Redon, Guardian Spirit of the Waters, 1878, charcoal on paper,
The Art Institute of Chicago
33.
Francisco Goya
–
Francisco José de Goya y Lucientes was a Spanish romantic painter and printmaker. He is considered the most important Spanish artist of late 18th and early 19th centuries and throughout his career was a commentator. Immensely successful in his lifetime, Goya is often referred to as both the last of the Old Masters and the first of the moderns and he was also one of the great portraitists of modern times. He was born to a modest family in 1746 in the village of Fuendetodos in Aragon and he studied painting from age 14 under José Luzán y Martinez and moved to Madrid to study with Anton Raphael Mengs. He married Josefa Bayeu in 1773, the couples life together was characterised by an almost constant series of pregnancies and miscarriages, Goya was a guarded man and although letters and writings survive, little is known about his thoughts. He suffered a severe and undiagnosed illness in 1793 which left him completely deaf, after 1793 his work became progressively darker and more pessimistic. His later easel and mural paintings, prints and drawings appear to reflect a bleak outlook on personal, social and political levels and he was appointed Director of the Royal Academy in 1795, the year Manuel Godoy made an unfavorable treaty with France. In 1799 Goya became Primer Pintor de Cámara, the then-highest rank for a Spanish court painter, in the late 1790s, commissioned by Godoy, he completed his La maja desnuda, a remarkably daring nude for the time and clearly indebted to Diego Velázquez. In 1801 he painted Charles IV of Spain and His Family, in 1807 Napoleon led the French army into Spain. Goya remained in Madrid during the Peninsular War, which seems to have affected him deeply. Although he did not vocalise his thoughts in public, they can be inferred from his Disasters of War series of prints and his 1814 paintings The Second of May 1808 and The Third of May 1808. Goya eventually abandoned Spain in 1824 to retire to the French city of Bordeaux, accompanied by his much younger maid and companion, Leocadia Weiss, there he completed his La Tauromaquia series and a number of other, major, canvases. Following a stroke left him paralyzed on his right side. His body was later re-interred in Spain, Francisco Goya was born in Fuendetodos, Aragón, Spain, on 30 March 1746 to José Benito de Goya y Franque and Gracia de Lucientes y Salvador. The family had moved that year from the city of Zaragoza, José was the son of a notary and of Basque origin, his ancestors being from Zerain, earning his living as a gilder, specialising in religious and decorative craftwork. He oversaw the gilding and most of the ornamentation during the rebuilding of the Basilica of Our Lady of the Pillar, Francisco was their fourth child, following his sister Rita, brother Tomás and second sister Jacinta. There were two sons, Mariano and Camilo. His mothers family had pretensions of nobility and the house, a modest brick cottage, was owned by her family and, perhaps fancifully, about 1749 José and Gracia bought a home in Zaragoza and were able to return to live in the city
Francisco Goya
–
Portrait of Francisco Goya by
Vicente López y Portaña (1826). Oil on canvas, 93 × 75 cm,
Museo del Prado,
Madrid, Spain
Francisco Goya
–
La cometa, 1777–78, one of
Goya's tapestry cartoons
Francisco Goya
–
De Goya's 1790 Retrato de Martín Zapater at
Museo de Arte de Ponce,
Ponce, Puerto Rico
Francisco Goya
–
Charles IV of Spain and His Family, 1800.
Théophile Gautier described the figures as looking like "the corner baker and his wife after they won the lottery".
34.
Paul Gauguin
–
Eugène Henri Paul Gauguin was a French post-Impressionist artist. Underappreciated until after his death, Gauguin is now recognized for his use of color. His work was influential to the French avant-garde and many artists, such as Pablo Picasso. Many of his paintings were in the possession of Russian collector Sergei Shchukin and he was an important figure in the Symbolist movement as a painter, sculptor, printmaker, ceramist, and writer. He was also a proponent of wood engraving and woodcuts as art forms. Gauguin was born in Paris, France to Clovis Gauguin and Alina Maria Chazal on June 7,1848 and his birth coincided with revolutionary upheavals throughout Europe that year. His father, a 34-year-old liberal journalist, came from a family of petit-bourgeoisie entrepreneurs residing in Orléans and he was compelled to flee France when the newspaper for which he wrote was suppressed by French authorities. Gauguins mother, the 22-year-old Aline Marie Chazal, was the daughter of Andre Chazal, an engraver, and Flora Tristan and their union ended when Andre assaulted his wife Flora and was sentenced to prison for attempted murder. Paul Gauguins maternal grandmother, Flora Tristan, was the daughter of Thérèse Laisnay. Details of Thérèses family background are not known, her father, Don Mariano, was a Spanish nobleman, members of the wealthy Tristan Moscoso family held powerful positions in Peru. Nonetheless, Don Marianos unexpected death plunged his mistress and daughter Flora into poverty, when Floras marriage with Andre failed, she petitioned for and obtained a small monetary settlement from her fathers Peruvian relatives. She sailed to Peru in hopes of enlarging her share of the Tristan Moscoso family fortune and this never materialized, but she successfully published a popular travelogue of her experiences in Peru which launched her literary career in 1838. An active supporter of early socialist societies, Gauguins maternal grandmother helped to lay the foundations for the 1848 revolutionary movements, placed under surveillance by French police and suffering from overwork, she died in 1844. Her grandson Paul idolized his grandmother, and kept copies of her books with him to the end of his life. In 1850, Clovis Gauguin departed for Peru with his wife Alina and he died of a heart attack en route, and Alina arrived in Peru a widow with the 18-month-old Paul and his 2 ½ year-old sister, Marie. Gauguins mother was welcomed by her granduncle, whose son-in-law would shortly assume the presidency of Peru. To the age of six, Paul enjoyed an upbringing, attended by nursemaids. He retained a vivid memory of period of his childhood which instilled indelible impressions of Peru that haunted him the rest of his life
Paul Gauguin
–
Aline Marie Chazal Tristán, La mère de l'artiste ("The Artist's Mother"), 1889,
Staatsgalerie Stuttgart.
Paul Gauguin
–
Gauguin, c. 1891
Paul Gauguin
–
Woman Sewing, 1880,
Ny Carlsberg Glyptotek
35.
St. Peter
–
Saint Peter, also known as Simon Peter, Simeon, or Simōn pronunciation, according to the New Testament, was one of the Twelve Apostles of Jesus Christ, leaders of the early Christian Great Church. Hippolytus of Rome, a 3rd-century theologian, gave him the title of Apostle of the Apostles, according to Catholic teaching, Peter was ordained by Jesus in the Rock of My Church dialogue in Matthew 16,18. He is traditionally counted as the first Bishop of Rome and by Eastern Christian tradition also as the first Patriarch of Antioch. The ancient Christian churches all venerate Peter as a saint and as founder of the Church of Antioch. The New Testament indicates that Peter was the son of John and was from the village of Bethsaida in the province of Galilee or Gaulanitis and his brother Andrew was also an apostle. According to New Testament accounts, Peter was one of twelve apostles chosen by Jesus from his first disciples, originally a fisherman, he played a leadership role and was with Jesus during events witnessed by only a few apostles, such as the Transfiguration. According to the gospels, Peter confessed Jesus as the Messiah, was part of Jesuss inner circle, thrice denied Jesus and wept bitterly once he realised his deed, according to Christian tradition, Peter was crucified in Rome under Emperor Nero Augustus Caesar. It is traditionally held that he was crucified upside down at his own request, Tradition holds that he was crucified at the site of the Clementine Chapel. His remains are said to be contained in the underground Confessio of St. Peters Basilica. According to Catholic doctrine, the direct successor to Saint Peter is the incumbent pope. Two general epistles in the New Testament are ascribed to Peter, the Gospel of Mark was traditionally thought to show the influence of Peters preaching and eyewitness memories. Peters original name was Shimon or Simeon and he was later given the name Peter, New Testament Greek Πέτρος derived from πέτρα, which means rock. In the Latin translation of the Bible this became Petrus, a form of the feminine petra. Another version of this name is Aramaic, , after his name in Hellenised Aramaic. The English, Dutch and German Peter, French Pierre, the Italian Pietro, the Spanish and Portuguese Pedro, the Syriac or Aramaic word for rock is kepa, which in Greek became Πέτρος, also meaning rock. He is also known as Simon Peter, Cephas and Kepha, both Cephas and Kepha also mean rock. In the New Testament, he is among the first of the disciples called during Jesus ministry, Peter became the first listed apostle ordained by Jesus in the early church. Peter was a fisherman in Bethsaida and he was named Simon, son of Jonah or John
St. Peter
–
Saint Peter by
Peter Paul Rubens shows the saint holding the
Keys of Heaven and wearing the
pallium
St. Peter
–
Calling of Peter and Andrew,
Caravaggio
St. Peter
–
Ruins of ancient
Capernaum on north side of the
Sea of Galilee.
St. Peter
–
Apostle Peter striking the
High Priests ' servant
Malchus with a sword in the
Garden of Gethsemane.
36.
Expressionist
–
Expressionism was a modernist movement, initially in poetry and painting, originating in Germany at the beginning of the 20th century. Its typical trait is to present the world solely from a subjective perspective, Expressionist artists sought to express the meaning of emotional experience rather than physical reality. Expressionism was developed as an avant-garde style before the First World War and it remained popular during the Weimar Republic, particularly in Berlin. The style extended to a range of the arts, including expressionist architecture, painting, literature, theatre, dance, film. The term is sometimes suggestive of angst, in a general sense, painters such as Matthias Grünewald and El Greco are sometimes termed expressionist, though in practice the term is applied mainly to 20th-century works. The Expressionist emphasis on individual perspective has been characterized as a reaction to positivism, though an alternate view is that the term was coined by the Czech art historian Antonin Matějček in 1910, as the opposite of impressionism, An Expressionist wishes, above all, to express himself. Immediate perception and builds on more complex psychic structures, in 1905, a group of four German artists, led by Ernst Ludwig Kirchner, formed Die Brücke in the city of Dresden. This was arguably the founding organization for the German Expressionist movement, a few years later, in 1911, a like-minded group of young artists formed Der Blaue Reiter in Munich. The name came from Wassily Kandinskys Der Blaue Reiter painting of 1903, among their members were Kandinsky, Franz Marc, Paul Klee, and Auguste Macke. However, the term Expressionism did not firmly establish itself until 1913, though mainly a German artistic movement initially and most predominant in painting, poetry and the theatre between 1910–30, most precursors of the movement were not German. Expressionism is notoriously difficult to define, in part because it overlapped with other major isms of the modernist period, with Futurism, Vorticism, Cubism, Surrealism, more explicitly, that the expressionists rejected the ideology of realism. The term refers to a style in which the artist seeks to depict not objective reality but rather the subjective emotions. It is arguable that all artists are expressive but there are examples of art production in Europe from the 15th century onward which emphasize extreme emotion. Expressionism has been likened to Baroque by critics such as art historian Michel Ragon, according to Alberto Arbasino, a difference between the two is that Expressionism doesnt shun the violently unpleasant effect, while Baroque does. Expressionism throws some terrific fuck yous, Baroque doesnt, brazil, Anita Malfatti, Cândido Portinari, Di Cavalcanti, Iberê Camargo and Lasar Segall. Estonia, Konrad Mägi, Eduard Wiiralt Finland, Tyko Sallinen, Alvar Cawén, Juho Mäkelä, there were a number of groups of expressionist painters, including Der Blaue Reiter and Die Brücke. Der Blaue Reiter was based in Munich and Die Brücke was based originally in Dresden, Die Brücke was active for a longer period than Der Blaue Reiter, which was only together for a year. The Expressionists had many influences, among them Edvard Munch, Vincent van Gogh and they were also aware of the work being done by the Fauves in Paris, who influenced Expressionisms tendency toward arbitrary colours and jarring compositions
Expressionist
–
The Scream by
Edvard Munch (1893), which inspired 20th-century Expressionists
Expressionist
–
Portrait of Eduard Kosmack by
Egon Schiele
Expressionist
–
"View of Toledo" by
El Greco, 1595/1610 has been indicated to have a particularly striking resemblance to 20th-century expressionism. Historically however it is an example of
Mannerism. [
citation needed]
Expressionist
–
Wassily Kandinsky, On White II, 1923
37.
Georgian architecture
–
Georgian architecture is the name given in most English-speaking countries to the set of architectural styles current between 1714 and 1830. It is eponymous for the first four British monarchs of the House of Hanover—George I, George II, George III, and George IV—who reigned in continuous succession from August 1714 to June 1830. The style of Georgian buildings is very variable, but marked by a taste for symmetry and proportion based on the architecture of Greece and Rome. Ornament is also normally in the tradition, but typically rather restrained. In towns, which expanded greatly during the period, landowners turned into property developers, even the wealthy were persuaded to live in these in town, especially if provided with a square of garden in front of the house. There was an amount of building in the period, all over the English-speaking world. The period saw the growth of a distinct and trained architectural profession, before the mid-century the high-sounding title and this contrasted with earlier styles, which were primarily disseminated among craftsmen through the direct experience of the apprenticeship system. Authors such as the prolific William Halfpenny published editions in America as well as Britain, mail-order kit homes were also popular before World War II. The architect James Gibbs was a figure, his earlier buildings are Baroque, reflecting the time he spent in Rome in the early 18th century. Other prominent architects of the early Georgian period include James Paine, Robert Taylor, and John Wood, the styles that resulted fall within several categories. In the mainstream of Georgian style were both Palladian architecture—and its whimsical alternatives, Gothic and Chinoiserie, which were the English-speaking worlds equivalent of European Rococo. John Nash was one of the most prolific architects of the late Georgian era known as The Regency style, greek Revival architecture was added to the repertory, beginning around 1750, but increasing in popularity after 1800. Leading exponents were William Wilkins and Robert Smirke, regularity of housefronts along a street was a desirable feature of Georgian town planning. In Britain brick or stone are almost invariably used, brick is often disguised with stucco, in America and other colonies wood remained very common, as its availability and cost-ratio with the other materials was more favourable. Versions of revived Palladian architecture dominated English country house architecture, Houses were increasingly placed in grand landscaped settings, and large houses were generally made wide and relatively shallow, largely to look more impressive from a distance. The height was usually highest in the centre, and the Baroque emphasis on corner pavilions often found on the continent generally avoided, in grand houses, an entrance hall led to steps up to a piano nobile or mezzanine floor where the main reception rooms were. A single block was typical, with a perhaps a small court for carriages at the front marked off by railings and a gate, but rarely a stone gatehouse, or side wings around the court. Windows in all types of buildings were large and regularly placed on a grid, this was partly to minimize window tax and their height increasingly varied between the floors, and they increasingly began below waist-height in the main rooms, making a small balcony desirable
Georgian architecture
–
Late Georgian; the west curve of
Park Crescent, London, by
John Nash
Georgian architecture
–
Massachusetts Hall at
Harvard University
Georgian architecture
–
Palladian Stowe House, by
William Kent
Georgian architecture
–
Sutton Lodge,
Sutton, London, once used by the Prince Regent,
George IV of the United Kingdom
38.
Impressionism
–
Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s. The Impressionists faced harsh opposition from the art community in France. The development of Impressionism in the arts was soon followed by analogous styles in other media that became known as impressionist music. Radicals in their time, early Impressionists violated the rules of academic painting and they constructed their pictures from freely brushed colours that took precedence over lines and contours, following the example of painters such as Eugène Delacroix and J. M. W. Turner. They also painted scenes of modern life, and often painted outdoors. Previously, still lifes and portraits as well as landscapes were painted in a studio. The Impressionists found that they could capture the momentary and transient effects of sunlight by painting en plein air, the Impressionists, however, developed new techniques specific to the style. The public, at first hostile, gradually came to believe that the Impressionists had captured a fresh and original vision, even if the art critics and art establishment disapproved of the new style. In the middle of the 19th century—a time of change, as Emperor Napoleon III rebuilt Paris, the Académie was the preserver of traditional French painting standards of content and style. Historical subjects, religious themes, and portraits were valued, landscape, the Académie preferred carefully finished images that looked realistic when examined closely. Paintings in this style were made up of brush strokes carefully blended to hide the artists hand in the work. Colour was restrained and often toned down further by the application of a golden varnish, the Académie had an annual, juried art show, the Salon de Paris, and artists whose work was displayed in the show won prizes, garnered commissions, and enhanced their prestige. The standards of the juries represented the values of the Académie, represented by the works of artists as Jean-Léon Gérôme. In the early 1860s, four young painters—Claude Monet, Pierre-Auguste Renoir, Alfred Sisley and they discovered that they shared an interest in painting landscape and contemporary life rather than historical or mythological scenes. A favourite meeting place for the artists was the Café Guerbois on Avenue de Clichy in Paris, where the discussions were led by Édouard Manet. They were soon joined by Camille Pissarro, Paul Cézanne, during the 1860s, the Salon jury routinely rejected about half of the works submitted by Monet and his friends in favour of works by artists faithful to the approved style. In 1863, the Salon jury rejected Manets The Luncheon on the Grass primarily because it depicted a woman with two clothed men at a picnic. While the Salon jury routinely accepted nudes in historical and allegorical paintings, the jurys severely worded rejection of Manets painting appalled his admirers, and the unusually large number of rejected works that year perturbed many French artists
Impressionism
–
Claude Monet,
Haystacks, (sunset), 1890–1891,
Museum of Fine Arts, Boston
Impressionism
–
Pierre-Auguste Renoir, Dance at Le Moulin de la Galette (
Bal du moulin de la Galette),
Musée d'Orsay, 1876
Impressionism
–
Édouard Manet,
The Luncheon on the Grass (Le déjeuner sur l'herbe), 1863
Impressionism
–
Alfred Sisley, View of the Saint-Martin Canal, Paris, 1870,
Musée d'Orsay
39.
Jacques Villon
–
Jacques Villon was a French Cubist painter and printmaker. Born Emile Méry Frédéric Gaston Duchamp in Damville, Eure, in the Haute-Normandie region of France, he came from a prosperous, while he was a young man, his maternal grandfather Emile Nicolle, successful businessman and artist, taught him and his siblings. There, he studied law at the University of Paris, to distinguish himself from his siblings, Gaston Duchamp adopted the pseudonym of Jacques Villon as a tribute to the French medieval poet François Villon. His work appeared in the satirical weekly Le Courrier français, in 1903 he helped organize the drawing section of the first Salon dAutomne in Paris. In 1904-1905 he studied art at the Académie Julian, during the First World War, Villon worked as a cartographer for the army. At first, he was influenced by Edgar Degas and Henri de Toulouse-Lautrec, but later he participated in the fauvist, Cubist, by 1906, Montmartre was a bustling community and Jacques Villon moved to Puteaux in the quiet outskirts of Paris. There, he began to more of his time to working in drypoint. During this time he worked closely to develop his technique with other important printmakers such as Manuel Robbe and his isolation from the vibrant art community in Montmartre, together with his modest nature, ensured that he and his artwork remained obscure for a number of years. Villon was instrumental in having the group exhibit under the name Section dOr after the section of classical mathematics. Their first show, Salon de la Section dOr, held at the Galerie La Boétie in October 1912, in 1913, Villon created seven large drypoints in which forms break into shaded pyramidal planes. That year, he exhibited at the Armory Show in New York City and his works proved popular and all his art sold. From there, his reputation expanded so that by the 1930s he was known in the United States than in Europe. In May 2004, an oil painting by Villon dated 1913 entitled LAcrobate, an exhibition of Jacques Villons work was held in Paris in 1944 at the Galerie Louis Carré, following which he received honors at a number of international exhibitions. In 1938 he was named Chevalier of the Legion of Honor, in 1947 he was promoted to Officier of the Legion of Honor. In 1950, Villon received the Carnegie Prize, the highest award for painting in the world, the following year he was commissioned to design stained-glass windows for the cathedral at Metz, France. In 1956 he was awarded the Grand Prix at the Venice Biennale exhibition, Villon died in his studio at Puteaux. In 1967, in Rouen, his last surviving artist brother Marcel helped organize an exhibition called Les Duchamp, Jacques Villon, Raymond Duchamp-Villon, Marcel Duchamp, some of this family exhibition was later shown at the Musée National dArt Moderne in Paris. C. Art Gallery of New South Wales, Bibliothèque Nationale, Paris, leading private collections which include the works of Villon are the Joachim Collection of Chicago, the Vess Collection of Detroit, and the Ginestet Collection of Paris
Jacques Villon
–
Three Duchamp brothers, left to right:
Marcel Duchamp, Jacques Villon, and
Raymond Duchamp-Villon in the garden of Jacques Villon's studio in Puteaux, France, 1914, (
Smithsonian Institution collections.)
Jacques Villon
–
Le Petit Manège, rue Caulaincourt, 1905,
University of Michigan Museum of Art
Jacques Villon
–
Jacques Villon, 1912, Girl at the Piano (Fillette au piano), oil on canvas, 129.2 x 96.4 cm (51 x 37.8 in), oval,
Museum of Modern Art, New York. Exhibited at the 1913
Armory Show, New York, Chicago and Boston. Purchased from the Armory Show by
John Quinn
Jacques Villon
–
Jacques Villon, 1912, The Dining Table, oil on canvas, 65.7 × 81.3 cm,
Metropolitan Museum of Art, New York
40.
Edgar Degas
–
Edgar Degas was a French artist famous for his paintings, sculptures, prints, and drawings. He is especially identified with the subject of dance, more than half of his works depict dancers and he is regarded as one of the founders of Impressionism, although he rejected the term, preferring to be called a realist. He was a draftsman, and particularly masterly in depicting movement, as can be seen in his rendition of dancers, racecourse subjects. His portraits are notable for their complexity and for their portrayal of human isolation. At the beginning of his career, Degas wanted to be a history painter, in his early thirties, he changed course, and by bringing the traditional methods of a history painter to bear on contemporary subject matter, he became a classical painter of modern life. Degas was born in Paris, France, into a wealthy family. He was the oldest of five children of Célestine Musson De Gas, a Creole from New Orleans, Louisiana, and Augustin De Gas and his maternal grandfather Germain Musson, was born in Port-au-Prince, Haiti of French descent and had settled in New Orleans in 1810. Degas began his schooling at age eleven, enrolling in the Lycée Louis-le-Grand and his mother died when he was thirteen, and his father and grandfather became the main influences on him for the remainder of his youth. Degas began to paint early in life, by the time he graduated from the Lycée with a baccalauréat in literature in 1853, at age 18, he had turned a room in his home into an artists studio. Upon graduating, he registered as a copyist in The Louvre Museum, Degas duly enrolled at the Faculty of Law of the University of Paris in November 1853, but applied little effort to his studies. In April of that year Degas was admitted to the École des Beaux-Arts and he studied drawing there with Louis Lamothe, under whose guidance he flourished, following the style of Ingres. In July 1856, Degas traveled to Italy, where he would remain for the three years. In 1858, while staying with his aunts family in Naples and he also began work on several history paintings, Alexander and Bucephalus and The Daughter of Jephthah in 1859–60, Sémiramis Building Babylon in 1860, and Young Spartans around 1860. In 1861 Degas visited his childhood friend Paul Valpinçon in Normandy and he exhibited at the Salon for the first time in 1865, when the jury accepted his painting Scene of War in the Middle Ages, which attracted little attention. The change in his art was influenced primarily by the example of Édouard Manet, upon the outbreak of the Franco-Prussian War in 1870, Degas enlisted in the National Guard, where his defense of Paris left him little time for painting. During rifle training his eyesight was found to be defective, after the war, Degas began in 1872 an extended stay in New Orleans, Louisiana, where his brother René and a number of other relatives lived. Staying at the home of his Creole uncle, Michel Musson, on Esplanade Avenue, Degas produced a number of works, many depicting family members. One of Degass New Orleans works, A Cotton Office in New Orleans, garnered favorable attention back in France, Degas returned to Paris in 1873 and his father died the following year, whereupon Degas learned that his brother René had amassed enormous business debts
Edgar Degas
–
Self-portrait (Degas au porte-fusain), 1855
Edgar Degas
–
Edgar Degas c. 1850s
Edgar Degas
–
A Cotton Office in New Orleans, 1873
Edgar Degas
–
The Dance Class (La Classe de Danse), 1873–1876, oil on canvas, by Edgar Degas
41.
Thomas Eakins
–
Thomas Cowperthwait Eakins was an American realist painter, photographer, sculptor, and fine arts educator. He is widely acknowledged to be one of the most important artists in American art history and he painted several hundred portraits, usually of friends, family members, or prominent people in the arts, sciences, medicine, and clergy. Taken en masse, the offer an overview of the intellectual life of Philadelphia in the late 19th and early 20th centuries, individually. These active outdoor venues allowed him to paint the subject which most inspired him, in the process he could model the forms of the body in full sunlight, and create images of deep space utilizing his studies in perspective. Eakins also took a keen interest in the new technologies of motion photography, No less important in Eakins life was his work as a teacher. As an instructor he was an influential presence in American art. Eakins was a figure whose work received little by way of official recognition during his lifetime. Since his death, he has been celebrated by American art historians as the strongest, most profound realist in nineteenth-, Eakins was born and lived most of his life in Philadelphia. He was the first child of Caroline Cowperthwait Eakins, a woman of English and Dutch descent, and Benjamin Eakins, Benjamin Eakins grew up on a farm in Valley Forge, Pennsylvania, the son of a weaver. He was successful in his profession, and moved to Philadelphia in the early 1840s to raise his family. Thomas Eakins observed his father at work and by twelve demonstrated skill in precise line drawing, perspective, and he was an athletic child who enjoyed rowing, ice skating, swimming, wrestling, sailing, and gymnastics—activities he later painted and encouraged in his students. Eakins attended Central High School, the public school for applied science and arts in the city. He studied drawing and anatomy at the Pennsylvania Academy of the Fine Arts beginning in 1861, for a while, he followed his fathers profession and was listed in city directories as a writing teacher. His scientific interest in the body led him to consider becoming a surgeon. Eakins then studied art in Europe from 1866 to 1870, notably in Paris with Jean-Léon Gérôme, being only the second American pupil of the French realist painter, famous as a master of Orientalism. He also attended the atelier of Léon Bonnat, a realist painter who emphasized anatomical preciseness, a method adapted by Eakins. A letter home to his father in 1868 made his aesthetic clear, She is the most beautiful thing there is in the world except a naked man, already at age 24, nudity and verity were linked with an unusual closeness in his mind. Yet his desire for truthfulness was more expansive, and the home to Philadelphia reveal a passion for realism that included, but was not limited to
Thomas Eakins
–
Self portrait National Academy of Design, New York. In 1894 the artist wrote: "My honors are misunderstanding, persecution & neglect, enhanced because unsought."
Thomas Eakins
–
Thomas Eakins, at age 6
Thomas Eakins
–
Thomas Eakins House at 1729 Mount Vernon Street, Philadelphia. Benjamin Eakins added the 4th floor in 1874 as a studio for his son.
Thomas Eakins
–
Max Schmitt in a single scull (1871),
Metropolitan Museum of Art, New York.
42.
Maurice Prendergast
–
Maurice Brazil Prendergast was an American Post-Impressionist artist who worked in oil, watercolor, and monotype. He exhibited as a member of The Eight, though the delicacy of his compositions and mosaic-like beauty of his style differed from the artistic intentions and philosophy of the group. Maurice Prendergast and his sister, Lucy, were born at their familys subarctic trading post in the city of St. Johns, in Newfoundland. After the trading post failed, the moved to Boston. He grew up in the South End and was apprenticed as a youth to a commercial artist and this conditioned him from the start to the brightly colored, flat patterning effects that characterized his mature work. He was also inspired by the example of Boston Impressionist Childe Hassam, a shy individual who experienced increasing deafness in his later years, Prendergast remained a bachelor throughout his life. He became closely attached to his younger brother Charles, who was also a post-impressionist painter, Prendergast studied in Paris from 1891 to 1895, at the Académie Colarossi with Gustave Courtois and Jean-Joseph Benjamin-Constant and at the Académie Julian. A further acquaintance with Édouard Vuillard and Pierre Bonnard placed him firmly in the Post-Impressionist camp and he also studied the work of Vincent van Gogh and Georges Seurat at retrospectives held in Paris in 1891 and 1892. Prendergast was additionally one of the first Americans to espouse the work of Paul Cézanne and to understand and utilize his expressive use of form, Prendergast returned to Boston in 1895 and worked mainly in watercolor and monotyping. A trip to Venice in 1898 exposed him to the scenes of Vittore Carpaccio and encouraged him to experiment with even more complex. His inventive watercolors of Venice are among his most appreciated works today, in 1900, he had major exhibitions at the Art Institute of Chicago and at Macbeth Galleries in New York, which earned him critical acclaim. He showed in a National Arts Club exhibition in 1904, through which he befriended the painters William Glackens, Robert Henri and he exhibited with them in 1908 at Macbeth Galleries, along with George Luks, Everett Shinn, and Arthur B. Davies, a group collectively known after the show as The Eight, Glackens in particular became a lifelong friend. Despite poor health that hindered his work, Prendergast continued to show in major exhibitions throughout the remainder of his life, important collectors like Albert Barnes and Ferdinand Howald became his patrons after his shows at the Carroll Gallery and the Daniel Gallery. His seven works at the landmark Armory Show of 1913 presented examples of his stylistic maturity and his first New York memorial exhibition was held ten years later at the Whitney Museum of American Art. He believed in a no jury, no prizes openness that would allow independent or unconventional artists greater opportunities to find a wider, Prendergast was far more a Modernist than any of the other seven members of The Eight. His ties to The Eight did not necessarily help his reputation in the long run, a true independent, he fits into no particular category of modern American art. Prendergasts work was associated from the beginning with leisurely scenes set on beaches
Maurice Prendergast
–
Prendergast in 1913, photo by
Gertrude Käsebier
Maurice Prendergast
–
Sunny Day at the Beach
Maurice Prendergast
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Green Dress (1891-1894)
Maurice Prendergast
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Street Scene (1891-1894)
43.
James Abbott McNeill Whistler
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James Abbott McNeill Whistler was an American artist, active during the American Gilded Age and based primarily in the United Kingdom. He was averse to sentimentality and moral allusion in painting, and was a proponent of the credo art for arts sake. His famous signature for his paintings was in the shape of a stylized butterfly possessing a long stinger for a tail, the symbol was apt, for it combined both aspects of his personality—his art was characterized by a subtle delicacy, while his public persona was combative. Finding a parallel between painting and music, Whistler entitled many of his paintings arrangements, harmonies, and nocturnes and his most famous painting is Arrangement in Grey and Black No. 1, commonly known as Whistlers Mother, the revered and oft-parodied portrait of motherhood, Whistler influenced the art world and the broader culture of his time with his artistic theories and his friendships with leading artists and writers. James Abbott Whistler was born in Lowell, Massachusetts, on July 10,1834 and his father was a railroad engineer, and Anna was his second wife. James lived the first three years of his life in a modest house at 243 Worthen Street in Lowell, today, the house is a museum dedicated to Whistler. During the Ruskin trial, Whistler claimed St. Petersburg, Russia, as his birthplace, declaring, I shall be born when and where I want, in 1837, the Whistlers moved from Lowell to Stonington, Connecticut, where George Whistler worked for the Stonington Railroad. Sadly, during this period, three of George and Anna Whistlers children died in infancy, in 1839, the Whistlers fortunes improved considerably when George Whistler received the appointment that would make his fortune and fame - that of chief engineer for the Boston & Albany Railroad. Thus, the moved to Springfield, Massachusetts, then one of the United States most prosperous cities. The Whistlers lived in Springfield until they left the United States in late 1842, Nicholas I of Russia learned of George Whistlers ingenuity in engineering the Boston & Albany Railroad, and offered Whistler a position in 1842 engineering a railroad from St. Petersburg to Moscow. In the winter of 1842, the Whistlers moved from Springfield to St. Petersburg, in later years, James Whistler played up his mothers connection to the American South and its roots, and presented himself as an impoverished Southern aristocrat. After her death, he adopted her name, using it as an additional middle name. Young Whistler was a moody child prone to fits of temper and insolence and his parents discovered in his early youth that drawing often settled him down and helped focus his attention. Beginning in 1842, his father was employed to work on a railroad in Russia, after moving to St. Petersburg to join his father a year later, the young Whistler took private art lessons, then enrolled in the Imperial Academy of Fine Arts at age eleven. In 1844, he met the noted artist Sir William Allan, Whistlers mother noted in her diary, the great artist remarked to me Your little boy has uncommon genius, but do not urge him beyond his inclination. In 1847-48, his family spent some time in London with relatives, Whistlers brother-in-law Francis Haden, a physician who was also an artist, spurred his interest in art and photography. Haden took Whistler to visit collectors and to lectures, and gave him a set with instruction
James Abbott McNeill Whistler
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Arrangement in Gray: Portrait of the Painter (self portrait, c. 1872),
Detroit Institute of Arts
James Abbott McNeill Whistler
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Portrait of Whistler with Hat (1858),
Freer Gallery of Art,
Washington, D.C.
James Abbott McNeill Whistler
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Symphony in White, No. 1: The White Girl (1862), The National Gallery of Art, Washington, D.C.
James Abbott McNeill Whistler
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Nocturne: Blue and Gold - Old Battersea Bridge (1872),
Tate Britain, London, England
44.
Albert Pinkham Ryder
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Albert Pinkham Ryder was an American painter best known for his poetic and moody allegorical works and seascapes, as well as his eccentric personality. While his art shared an emphasis on subtle variations of color with tonalist works of the time, Ryder was born in New Bedford, Massachusetts. New Bedford, a whaling port during the 19th century, had an intimate connection with the sea that probably supplied artistic inspiration for Ryder later in life. He was as the youngest of four sons, little else is known of his childhood and he began to paint landscapes while in New Bedford. The Ryder family moved to New York City in 1867 or 1868 to join Ryders elder brother and his brother also managed the Hotel Albert, which became a Greenwich Village landmark. Ryder took his meals at this hostelry for many years, but it was named for the owner, Albert Rosenbaum. Ryders first training in art was with the painter William Edgar Marshall in New York, from 1870 to 1873, and again from 1874 to 1875, Ryder studied art at the National Academy of Design. He exhibited his first painting there in 1873 and met artist Julian Alden Weir, also in 1877, he became a founding member of the Society of American Artists. Ryder exhibited with this group from 1878 to 1887 and his early paintings of the 1870s were often tonalist landscapes, sometimes including cattle, trees and small buildings. The 1880s and 1890s are thought of as Ryders most creative, during the 1880s, Ryder exhibited frequently and his work was well received by critics. His art became more poetic and imaginative, and Ryder wrote poetry to accompany many of his works and his paintings sometimes depicted scenes from literature, opera, and religion. Ryders signature style is characterized by broad, sometimes ill-defined shapes or stylized figures situated in a land or seascape. His scenes are often illuminated by dim sunlight or glowing moonlight cast through eerie clouds, the shift in Ryders art from pastoral landscapes to more mystical, enigmatic subjects is believed to have been influenced by Robert Loftin Newman, with whom Ryder shared a studio. After 1900, around the time of his fathers death, Ryders creativity fell dramatically, for the rest of his life he spent his artistic energy on occasionally re-working existing paintings, some of which lay scattered about his New York apartment. He was shy and did not seek the company of others and he gained a reputation as a loner, but he maintained social contacts, enjoyed writing letters, and continued to travel on occasion to visit friends. While Ryders creativity fell after the turn of the century, his fame grew, by 1915 Ryders health deteriorated, and he died on March 28,1917, at the home of a friend who was caring for him. He was buried at the Rural Cemetery in his birthplace of New Bedford, a memorial exhibition of his work was held in the Metropolitan Museum of Art in New York in 1918. Ryder was—along with Thomas Hart Benton, David Siqueiros and Pablo Picasso—an important influence on Jackson Pollocks paintings, Ryder completed fewer than two hundred paintings, nearly all of which were created before 1900
Albert Pinkham Ryder
–
Ryder in 1905, photo by
Alice Boughton
Albert Pinkham Ryder
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The Lone Scout, ca. 1885
Albert Pinkham Ryder
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The Spirit of Autumn (c. 1875), the earliest documented work by Ryder.
Columbus Museum of Art,
Columbus, Ohio.
45.
Peter Ilsted
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Peter Ilsted was a leading Danish artist and printmaker. Ilsted, Carl Holsøe and Ilsted’s brother-in-law, Vilhelm Hammershøi, were the artists in early 20th-century Denmark. All three artists were members of ‘The Free Exhibition’, an art society created around 1890. They are famous for painting images of Sunshine and Silent Rooms and their works reflects the orderliness of a tranquil life –- similar to the earlier works of Vermeer. Their art was referred to as the ‘Copenhagen Interior School’. These interiors evoke at once a sense of calm, as well as a sense of mystery, the orderly rooms are often viewed from behind—causing one to wonder if the scenes are really tranquil or something else. James McNeill Whistler, Duret and important art critics were early admirers and collectors of Ilsted’s work, while at first glance their work appears similar, it is in fact quite different. Hammershøi’s work has an aloof austerity, in contrast to Ilsteds scenes of common life, though sometimes Hammershøi’s colorful early pictures are reminiscent of James Tissot, his work is quintessentially Danish. However, Ilsted was more of a technician, and he made contributions in the field of graphic art. Ilsted’s mezzotints were very popular and important in his day and they were an innovation in the media. Ilsted exhibited his work all over Europe, in London in 1907, in Germany and it is there that his work was first exposed to Europe’s art community. Ilsted was a success in his lifetime and won many awards. He was the member of the group to also focus on printmaking. Ilsted’s achievements in mezzotints were revolutionary, some of his mezzotints, most of which were created in black as well as color editions, are considered among the greatest ever made. Simon, Manuel Robbe, and others seemingly adopted was that of inking the plate à la poupée, some art historians have argued that these 3 men created the technique at about the same time but without consultation. The Metropolitan Museum of Art held an important exhibition on the work of Ilsted, Hammershøi, Peter Ilsted, Sunshine and Silent Rooms, Theodore B. Art Signature Dictionary, genuine signature by the artist Peter Ilsted – Several examples of Peter Ilsteds signature and monogram
Peter Ilsted
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The Artist's self-portrait with a cigaret (Kunstnerens selvportræt med cigaret), 1898
Peter Ilsted
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Sunshine Falling on a Door,
mezzotint in black, Vess Collection
46.
John Marin
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John Marin was an early American modernist artist. He is known for his landscapes and watercolors. Marin was born in Rutherford, New Jersey and his mother died nine days after his birth, and he was raised by two aunts in Weehawken, New Jersey. He attended the Stevens Institute of Technology for a year, from 1899 to 1901, Marin attended the Pennsylvania Academy of the Fine Arts in Philadelphia. In Philadelphia he studied with Thomas Pollock Anshutz and William Merritt Chase and he also studied at the Art Students League of New York. In 1905, like many American artists Marin went to Europe and he exhibited his work in the Salon, where he also got his first exposure to modern art. He traveled through Europe for six years, and painted in the Netherlands, Belgium, England, in 1909, Marin held his first one-man exhibition at Alfred Stieglitzs 291 gallery in New York City. He had been introduced to Stieglitz by the photographer Edward Steichen, Marins association with Stieglitz would last nearly forty years, and Stieglitzs philosophical and financial support would prove essential. From 1909 until his death in 1946, Stieglitz showed Marins work almost every year in one of his galleries, Marin also participated in the landmark 1913 Armory Show. Marin spent his first summer in Maine in 1914 and almost immediately the rocky coast there became one of his favorite subjects, over the rest of his life, Marin became intimately familiar with the many moods of the sea and sky in Maine. In painting water make the move the way the water moves. Marin had a show in 1936 at the Museum of Modern Art. Late in life Marin achieved tremendous prestige as an American painter, in 1950, he was honored by the University of Maine and Yale University with honorary degrees of Doctor of Fine Arts. Marin was a resident of Cliffside Park, New Jersey in his last years, and also maintained a home in Addison, Maine. He was interred at Fairview Cemetery, John Marin was among the first American artists to make abstract paintings. Marin is often credited with influencing the Abstract Expressionists and his treatment of paint—handling oils almost like watercolors—his forays into abstraction, and his use of evocative stretches of bare canvas caught the eye of younger painters. His experience with architecture might have contributed to the role played by architectural themes in his paintings, the Fogg Art Museum, Cambridge, Massachusetts, and many others. The White House acquired his 1952 painting The Circus No.1 in 2007, Marin, The Late Oils, New York, Adelson Galleries
John Marin
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John Marin in 1922
John Marin
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Young American Artists of the Modern School, L. to R.
Jo Davidson,
Edward Steichen,
Arthur B. Carles, John Marin; back:
Marsden Hartley, Laurence Fellows, c. 1911,
Bates College Museum of Art
John Marin
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Group of artists in 1912, L to R:
Paul Haviland,
Abraham Walkowitz, Katharine N. Rhoades, Stieglitz's wife Emily, Agnes Ernst (Mrs.
Eugene Meyer),
Alfred Stieglitz, J.B. Kerfoot, John Marin
John Marin
–
Cover of 291, No 4 1915
47.
Milton Avery
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Milton Clark Avery was an American modern painter. Born in Altmar, New York, he moved to Connecticut in 1898, the son of a tanner, Avery began working at a local factory at the age of 16 and supported himself for decades with a succession of blue-collar jobs. The death of his brother-in-law in 1915 left Avery, as the remaining adult male in his household. His interest in art led him to attend classes at the Connecticut League of Art Students in Hartford, in 1917, he began working night jobs in order to paint in the daytime. In 1924, he met Sally Michel, an art student. Her income as an illustrator enabled him to himself more fully to painting. The two had a daughter, March Avery, in 1932, for several years in the late 1920s through the late 1930s, Avery practiced painting and drawing at the Art Students League of New York. Roy Neuberger saw his work and thought he deserved recognition, determined to get the world to know and respect Averys work, Neuberger bought over 100 of his paintings, starting with Gaspé Landscape, and lent or donated them to museums all over the world. With the work of Milton Avery rotating through high-profile museums, he came to be a highly respected, in the 1930s, he was befriended by Adolph Gottlieb and Mark Rothko among many other artists living in New York City in the 1930s–40s. It was Rothko who wrote perhaps the most vivid summation of Averys art, the Phillips Collection in Washington, D. C. was the first museum to purchase one of Averys paintings in 1929, that museum also gave him his first solo museum exhibition in 1944. He was elected a Fellow of the American Academy of Arts, Avery was a man of few words. Why talk when you can paint and he often quipped to his wife. Their daughter, March Avery, is also a painter and he died at Montefiore Hospital in the Bronx, New York after a long illness, and is buried in the Artists Cemetery in Woodstock, Ulster County, New York. After his death in 1965, his widow, Sally Avery, donated his papers to the Archives of American Art. In 2007, the Archives optically scanned these papers and made available to researchers as the Milton Avery Papers Online. Avery was often thought of as an American Matisse, especially because of his colorful and his poetic, bold and creative use of drawing and color set him apart from more conventional painting of his era. Early in his career, his work was considered too radical for being too abstract, french Fauvism and German Expressionism influenced the style of Averys early work, and his paintings from the 1930s are similar to those of Ernst Ludwig Kirchner. By the 1940s, Avery’s painting style had more similar to Henri Matisse
Milton Avery
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Green Sea, 1958, oil on canvas,
University of Kentucky Art Museum (
Lexington, Kentucky)
48.
Betty Lane
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Betty Lane was an American artist. Lanes first exhibition was at the Phillips Memorial Gallery in 1931, Lane created figure subjects, portraits, and landscapes executed in watercolor and oil. Her work includes nature and street scenes in the Americas and Europe, domestic scenes, Lanes work is included in the permanent collections of the Metropolitan Museum of Art, The Phillips Collection, the Provincetown Art Association and Museum, and the Cape Cod Museum of Art. Born in Washington, D. C. in 1907, Betty Lane was the youngest of six born to a Marine officer. Lane began painting in watercolor around age 9, after high school Lane enrolled at the Corcoran College of Art and Design. Unhappy at Corcoran, she transferred to the Massachusetts Normal Art School, in 1928 Lane traveled to Paris and studied with André Lhote. In 1929 Lane returned to the United States, living in Falls Church, Virginia and Washington and it was during this period that Lanes work came to the attention of Duncan Phillips. In April 1931 Lane was part of an exhibition at the Phillips Memorial Gallery with John Marin, between 1930 and 1939 Lane lived in Cambridge, England and Paris, France. From 1939 to 1946 Lane was living in Ontario, Canada, in 1946 Lane moved to the United States, teaching at Miss Porters School from 1952 until 1965. During this time Lane began making works in woodblock printing, silkscreen, ceramics, after 1960 Lane lived in Brewster, Massachusetts, visiting Greece, Mexico, the Soviet Union, and Australia. Lane died in Brewster, Massachusetts in 1996,1931 Washington, D. C. Phillips Memorial Gallery. “April Exhibitions at the Phillips Memorial Gallery, John Marin, Harold Weston, Betty Lane. ”1931 Washington, D. C. Phillips Memorial Gallery. Betty Lane, The Road Less Taken
Betty Lane
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Betty Lane at work, 1960s
Betty Lane
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The Sunflower, 1937
Betty Lane
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Snow Hill, Boston, 1940s
Betty Lane
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You Can't Trust Kruschev, 1964
49.
Richard Diebenkorn
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Richard Diebenkorn was an American painter. His early work is associated with expressionism and the Bay Area Figurative Movement of the 1950s and 1960s. His later work were instrumental to his achievement of worldwide acclaim, Richard Clifford Diebenkorn Jr. was born on April 22,1922 in Portland, Oregon. His family moved to San Francisco, California, when he was two years old, from the age of four or five he was continually drawing. Hoppers influence can be seen in Diebenkorns representational work of this time, Diebenkorn served in the United States Marine Corps from 1943 to 1945. During the late 1940s and early 1950s, he lived and worked in places, San Francisco and Sausalito, Woodstock, New York, Albuquerque, New Mexico, Urbana, Illinois. He developed his own style of abstract expressionist painting, after WWII, the focus of the art world shifted from the School of Paris to the US and in particular to the New York School. In 1947, after ten months in Woodstock on an Alfred Bender travel grant, Diebenkorn had returned to the CSFA and he was offered a place on the CSFA Faculty in 1947 and taught there until 1950. He was influenced at first by Clyfford Still, who taught at the CSFA from 1946 to 1950, Arshile Gorky, Hassel Smith. He became an abstract expressionist on the west coast. In 1950 to 1952, Diebenkorn was enrolled under the G. I, bill in the University of New Mexico’s graduate Fine Arts department where he continued to adapt his abstract expressionist style. He lived in Berkeley, California, from 1955 to 1966, by the mid-1950s, Diebenkorn had become an important figurative painter, in a style that bridged Henri Matisse with abstract expressionism. Diebenkorn, Elmer Bischoff, Henry Villierme, David Park, James Weeks and others participated in a renaissance of figurative painting, dubbed the Bay Area Figurative Movement. From fall 1964 to spring 1965, Diebenkorn traveled through Europe and he was granted a visa to visit important Soviet museums. When he returned to painting in the Bay Area in mid-1965, the Henri Matisse paintings French Window at Collioure, and View of Notre-Dame both from 1914 exerted tremendous influence on Richard Diebenkorns Ocean Park paintings. According to art historian Jane Livingston, Diebenkorn saw both Matisse paintings in an exhibition in Los Angeles in 1966 and they had an impact on him. Two pictures he saw there reverberate in almost every Ocean Park canvas, View of Notre Dame and French Window at Collioure, both painted in 1914, were on view for the first time in the US. Livingston goes on to say Diebenkorn must have experienced French Window at Collioure as an epiphany, in 1967, Diebenkorn moved to Santa Monica and took up a professorship at UCLA
Richard Diebenkorn
–
Richard Diebenkorn in 1986
Richard Diebenkorn
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Richard Diebenkorn, Cityscape I,(Landscape No. 1), 1963, Oil on canvas, 60¼ × 50½ in,
San Francisco Museum of Modern Art
Richard Diebenkorn
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Richard Diebenkorn Ocean Park No. 67, 1973, Oil on canvas, 100 × 81 in.
Art critic Michael Kimmelman described Richard Diebenkorn, as one of the premier American painters of the postwar era, whose deeply lyrical abstractions evoked the shimmering light and wide-open spaces of California, where he spent virtually his entire life.
50.
Gene Davis (painter)
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Gene Davis was an American Color Field painter known especially for his paintings of vertical stripes of color. Davis was born in Washington D. C. in 1920, before he began to paint in 1949, he worked as a sportswriter, covering the Washington Redskins and other local teams. Working as a journalist in the late 1940s, he covered the Roosevelt and Truman presidential administrations and his first art studio was in his apartment on Scott Circle, later he worked out of a studio on Pennsylvania Avenue. Daviss first solo exhibition of drawings was at the Dupont Theater Gallery in 1952, the Washington painters were among the most prominent of the mid-century color field painters. The paintings typically repeat particular colors to create a sense of rhythm, one of the best-known of his paintings, Black Grey Beat, owned by the Smithsonian American Art Museum reinforces these musical comparisons in its title. His micro-paintings, at the extreme, were as small as 3/8 of an inch square. Davis began teaching in 1966 at the Corcoran School of Art and he died on April 6,1985 in his hometown of Washington, DC. Color field painting Western painting History of painting Lyrical abstraction Post-Painterly Abstraction Washington Color School G. Baro
Gene Davis (painter)
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"Black Grey Beat," (1964), acrylic on canvas, collection:
Smithsonian American Art Museum
Gene Davis (painter)
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Street in downtown Washington, D.C. painted in Davis' style
Gene Davis (painter)
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Franklin's Footpath
Gene Davis (painter)
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Sun Sonata by Gene Davis.
Dupont Circle
