#imperial academy st petersburg

[camillevanneerart]

portrait study - graphite | 20 x 15

[pwlanier]

Stepanov Alexander Nikolaevich (1861-1911). "A herd of cows in the forest." 1900s - beginning of the 1910s. Oil on canvas. Author's signature at the bottom right: "A.N. Stepanov"

Expert opinion of NINE them. P.M. Tretyakov dated April 23, 2021 signed by Y.V. Chaykina and A.G. Popova.

Alexander Nikolaevich Stepanov (1861-1911) - Russian painter, graphic artist, animalist, landscape painter, portraitist. Born into a noble family in St. Petersburg, he was deaf and dumb since childhood and studied at a school for the deaf and dumb. From 1883 to 1891 he studied at the Imperial Academy of Arts. He received the title of a class artist. Full member of the IORA, member of the society named after Kuindzhi and Mussarov Mondays. Participant of exhibitions since 1883.

Works by A.N. Stepanov are represented in the State Russian Museum, the Vladimir-Suzdal Historical, Architectural and Art Museum-Reserve, the Taganrog Art Museum, Sevastopol and Odessa Art Museums and other private collections.

Litfund

[sepdet]

@torc87 in the replies to this post mentioned loving renowned Russian-Armenian 19th century painter Ivan Aivazovsky, inviting us to look him up.

I just did, and now I'm marveling at his seascapes and, especially, Aivazovsky's use of color. He graduated from the Imperial Academy of the Arts in St Petersburg with high honors, and also studied in Italy — where I suspect he may have adapted the bold color glazes of Titian — France, and the Netherlands.   In fact, he was a world traveler, as his misty paintings of Niagara and the Great Pyramid attest.

A View of the Bosphorus with the Hagia Sophia and the Maiden's tower in the Moonlight.

(more striking pictures below!)

Ship at Sea (notice it's mostly two complementary colors, and he lets the background show through some areas while treating others with a draftsman's attention to detail... this painting is about 1860. Aivazovsky was working in Paris in 1856-57, about the time the Impressionists were scandalizing the Salon.

Sunset 1866

The Ninth Wave (survivors of a shipwreck about to have a very bad time)

Tiflis (Tbilisi, capital of Georgia)

Moscow in Winter from the Sparrow Hills

Niagara Falls 1892

Winter Landscape

Self-Portrait, Portrait of the Artist's Wife Anna Burnazyan

@torc87 — I just did a 3am dash through his Wikipedia entry, which is of course only as good as the randos who edit it.  please feel free to offer your own thoughts,favorite images, or corrections!

[artthatgivesmefeelings]

Karl Bryullov (Russian, 1799-1852) The Last Day of Pompeii, 1830-33 The Mikhailovsky Palace The subject of the canvas is the destruction of the ancient Roman town of Pompeii during an eruption of the volcano Vesuvius in the year 79 AD. Among the characters in the painting, Brullov depicts himself (the artist on the steps of the temple) and Countess Yulia Samoilova (the mother embracing her daughter). Brullov’s historical sources were the letters written by the ancient Roman historian Pliny the Younger, a witness of the catastrophe, to Tacitus, and a study of the ruins of Pompeii, where archaeological excavations had begun in the middle of the eighteenth century. The scene of the action is the Strada dei Sepolcri (Road of Tombs), the Pompeii necropolis and a kilometre perspective from the Gates of Hercules to the Villa Diomedes in the direction of the Villa of Mysteries. The Last Day of Pompeii was exhibited at the Pinacoteca di Brera in Milan in 1833. It was then sent to the annual Paris Salon, which had opened in the Louvre in March 1834, winning Brullov a first gold medal. The painting was shown at the Imperial Hermitage in St Petersburg in 1834 and at a special exhibition organized by the Imperial Academy of Arts in 1835.

[scotianostra]

Christina Robertson, the Fife artist, was born on December 17th 1796 in Kinghorn.

She rose to prominence at a time when it was simply unheard of for women to create art in a male-dominated world.

It is unknown when she first started painting, and where received her education. In 1822, she married the artist James Robertson, and together, they settled in London. The marriage would produce eight children, four of whom would die in childhood.

Starting from 1823, Christina Robertson began participating in the annual exhibitions of the Royal Academy in London and Edinburgh. She also exhibited her works with the Society of British Artists and the British Institution (from 1833), and was frequently lauded by critics. In 1829, she was elected an honorary member of the Scottish Academy -- the first woman to ever receive this distinction. During the 1830s, she travelled to Paris several times.

Her portraits were frequently used as the basis for engravings for journals and magazines of the 1830s and 40s, including The Court Magazine, La Belle Assemblée, Heath's Book of Beauty and John Burke's Portrait Gallery of Distinguished Females. It was through these publications that her fame spread to the Russian nobility in St. Petersburg.

In 1837, Robertson travelled to Paris, and it was here that she painted the portraits of several Russian clients, any one of whom could've recommended the artist to the Imperial Court. This was a period of "Anglomania" in Russian high society, and anything British was very fashionable.

In 1839, Robertson participated in an exhibition at the Academy of Arts in St. Petersburg, to great critical and public acclaim. As a result, in 1840, she was commissioned to paint for two full-length portraits, one of the Emperor Nicholas I and one of the Empress Alexandra Feodorovna. Robertson received numerous other commissions from the Russian nobility.

In 1841, already after her return to Britain, the artist was elected an honorary free associate of the Academy of Arts in St. Petersburg.

Robertson's second visit to Russia, from 1847 to 1854, was considerably longer. This period was marked by growing tensions between Britain and Russia that would culminate in the Crimean War and, although Robertson was greeted with the same enthusiasm as before, the changing tastes of Russian high society would cause her several setbacks.

In 1849, she painted two portraits of the Emperor's daughters-in-law. One of these works was rejected outright, while the other was deemed by the Emperor to be "unsatisfactory." Despite this, Robertson continued to receive commissions from the Imperial family and the St. Petersburg court. In 1850, she painted several portraits of Grand Duchess Maria Aleksandrovna, the Emperor's daughter-in-law whose earlier portrait he had rejected, and her children. In 1852, she worked on a portrait of the Empress.

By this time, Robertson's health had begun to decline, and might have been running into financial difficulties, as there is evidence that several of her clients had refused to pay her.

Christina Robertson died in St. Petersburg, in 1854 and was interred in the Volkovo Cemetery.

Pics are a self portrait, Tsar Nicholas I Pavlovich Romanov and Empress Alexandra Feodorovna I of Russia

[mid0o]

One Of The Two Sphinxes Of The King Amenhotep III In Front Of The Imperial Academy Of Arts On The Bank Of The Neva River In St. Petersburg, Russia

[ruscatontheroof]

Korotkoff sounds are the sounds that medical personnel listen for when they are taking blood pressure using a non-invasive procedure. They are named after Nikolai Korotkov, a Russian physician who discovered them in 1905, when he was working at the Imperial Medical Academy in St. Petersburg, the Russian Empire.

Метод Короткова - звуковой метод измерения артериального давления, предложенный русским хирургом Николаем Коротковым в 1905 году. В настоящее время метод Короткова является единственным официальным методом неинвазивного измерения артериального давления .Измерение давления производится при помощи тонометра (сфигмоманометра), а выслушивание тонов Короткова от пульсирующей пережатой артерии — при помощи стетоскопа.

[orthodoxydaily]

Saints&Reading: Wednesday, August 14, 2024

august 1_august 14

Beginning of the Dormition Fast.

Procession of the Precious Wood of the Life-giving Cross of the Lord (1164) (First of the three "Feasts of the Saviour" in August_ blessing of honey and poppy seeds).

THE SEVEN HOLY MACCABEAN MARTYRS: HABIM, ANTONIN, GURIAH, ELEAZAR, EUSEBON, HADIM (HALIM) AND MARCELLUS, THEIR MOTHER SOLOMONIA AND THEIR TEACHER ELEAZAR (166 BC)

The seven holy Maccabee martyrs Abim, Antonius, Gurias, Eleazar, Eusebonus, Alimus and Marcellus, their mother Solomonia and their teacher Eleazar suffered in the year 166 before Christ under the impious Syrian king Antiochus IV Epiphanes. This foolish ruler loved pagan and Hellenistic customs, and held Jewish customs in contempt. He did everything possible to turn people from the Law of Moses and from their covenant with God. He desecrated the Temple of the Lord, placed a statue of the pagan god Zeus there, and forced the Jews to worship it. Many people abandoned the God of Abraham, Isaac, and Jacob, but there were also those who continued to believe that the Savior would come.

A ninety-year-old elder, the scribe and teacher Eleazar, was brought to trial for his faithfulness to the Mosaic Law. He suffered tortures and died at Jerusalem.

The disciples of Saint Eleazar, the seven Maccabee brothers and their mother Solomonia, also displayed great courage. They were brought to trial in Antioch by King Antiochus Epiphanes. They fearlessly acknowledged themselves as followers of the True God, and refused to eat pig’s flesh, which was forbidden by the Law.

The eldest brother acted as spokesman for the rest, saying that they preferred to die rather than break the Law. He was subjected to fierce tortures in sight of his brothers and their mother. His tongue was cut out, he was scalped, and his hands and feet were cut off. Then a cauldron and a large frying pan were heated, and the first brother was thrown into the frying pan, and he died.

The next five brothers were tortured one after the other. The seventh and youngest brother was the last one left alive. Antiochus suggested to Saint Solomonia to persuade the boy to obey him, so that her last son at least would be spared. Instead, the brave mother told him to imitate the courage of his brothers.

The child upbraided the king and was tortured even more cruelly than his brothers had been. After all her seven children had died, Saint Solomonia, stood over their bodies, raised up her hands in prayer to God and died.

The martyric death of the Maccabee brothers inspired Judas Maccabeus, and he led a revolt against Antiochus Epiphanes. With God’s help, he gained the victory, and then purified the Temple at Jerusalem. He also threw down the altars which the pagans had set up in the streets. All these events are related in the Second Book of Maccabees (Ch. 8-10).

Various Fathers of the Church preached sermons on the seven Maccabees, including Saint Cyprian of Carthage, Saint Ambrose of Milan, Saint Gregory Nazianzus and Saint John Chrysostom.

ST. NICHOLAS (KASSATKIN), ENLIGHTENER OF JAPAN (1912)

Saint Nicholas (Kasatkin) Equal of the Apostles, Bishop of the Russian Orthodox Church. Missionary, Founder of the Orthodox Church in Japan, honorary member of the Imperial Orthodox Palestine Society. (Name Day: May 9).

Saint Nicholas (in the world John Kasatkin) was born on August 1,1836 in the village of Berezovsky Pogost, Belsky District, Smolensk Province into the family of a deacon. He graduated from the Belsk Theological School and the Smolensk Theological Seminary (1857). Among the best students he was recommended for the St. Petersburg Theological Academy, where he studied until 1860, when, at the personal request of Metropolitan Gregory (Postnikov) of St. Petersburg, he was given the post of rector of the church at the Russian consulate in the city of Hakodate (Japan), and was also awarded a Ph.D in Theology without having to submit an appropriate qualifying essay.

On June 23, 1860, he was tonsured by the rector of the Academy, Bishop Nektarios (Nadezhdin), and named for Saint Nicholas of Myra. On June 30 he was ordained a Hieromonk.

He arrived at Hakodate on July 2, 1861. During the first years of his stay in Japan, on his own he studied the Japanese language, culture and way of life.

The first Japanese person to convert to Orthodoxy, despite the fact that conversion to Christianity was forbidden by law, was the adopted son of a Shinto cleric, Takuma Sawabe, a former samurai who was baptized with two other Japanese in the spring of 1868.

During his half-century of service in Japan, Father Nicholas left only twice: in 1869-1870 and in 1879-1880. In 1870, through his intercession, a Russian ecclesiastical mission was opened in Japan with its center in Tokyo. On March 17, 1880, by the decision of the Holy Synod, he was assigned as vicar of Reval, then vicar of the Diocese of Riga. He was consecrated as a Bishop on March 30, 1880, in Holy Trinity Cathedral at Alexander Nevsky Lavra.

In the course of his missionary work, Father Nicholas translated the Holy Scriptures and other liturgical books into Japanese; he established a theological seminary, six theological schools for girls and boys, a library, a shelter and other institutions. He published the Orthodox journal Church Herald in Japanese. According to his report to the Holy Synod, by the end of 1890 the Orthodox Church in Japan numbered 216 communities with 18,625 Christians in them.

On March 8, 1891, the Cathedral of the Resurrection in Tokyo, called Nikorai-do (ニコライ堂) by the Japanese, was consecrated. During the Russo-Japanese War, he remained with his flock in Japan, but did not take part in any public services. because according to the rite of worship (and the blessing of Japanese Christians to pray for their country's victory over Russia. Bishop Nicholas said: "Today, according to custom, I serve in the cathedral, but from now on I will no longer take part in the public services of our church... Hitherto I have prayed for the prosperity and peace of the Empire of Japan. Now, since war has been declared between Japan and my country, I, as a Russian subject, cannot pray for Japan's victory over my own homeland. I also have obligations to my country, and that is why I will be happy to see that you fulfill your duty in relation to your country."

When Russian prisoners of war began to arrive in Japan (their total number reached 73,000 people), Bishop Nicholas, with the consent of the Japanese government, formed the Society for the Spiritual Consolation of Prisoners of War. For their spiritual guidance, he selected five priests who spoke Russian. The prisoners were provided with icons and books. Vladyka repeatedly addressed them in writing (he himself was not allowed to see the prisoners).

On March 24, 1906, he was elevated to the rank of Archbishop of Tokyo and All Japan. In the same year, the Kyoto Vicariate was founded. In 1911, when half a century of Saint Nicholas' s missionary work was completed, there were already 266 communities of the Japanese Orthodox Church, which included 33,017 Orthodox laymen.

Archbishop Nicholas, the Enlightener of Japan, fell asleep in the Lord on February 3, 1912 at the age of 76, After the Hierarch's repose, the Japanese Emperor Meiji personally gave permission for him to be buried within the city, at the Yanaka cemetery. In Japan, Saint Nicholas is revered as a great righteous man and a special intercessor before the Lord.

He was canonized on April 10, 1970, by the decision of the Holy Synod of the Moscow Patriarchate. A Service was composed for him by Metropolitan Nikodim (Rotov) of Leningrad and Novgorod, and published in 1978.

Saint Nicholas is also commemorated on the Sunday before July 28 (Synaxis of the Smolensk Saints).

Source all text: Orthodox Church in America_OCA

1 CORINTHIANS 1:18-2

18 For the message of the cross is foolishness to those who are perishing, but to us who are being saved it is the power of God. 19 Fo it is written: 20 Where is the wise? Where is the scribe? Where is the disputer of this age? Has not God made foolish the wisdom of this world? 21 For since, in the wisdom of God, the world through wisdom did not know God, it pleased God through the foolishness of the message preached to save those who believe. 22 For Jews request a sign, and Greeks seek after wisdom; 23 but we preach Christ crucified, to the Jews a stumbling block and to the Greeks foolishness, 24 but to those who are called, both Jews and Greeks, Christ the power of God and the wisdom of God.

JOHN 5:1-4

1 After this there was a feast of the Jews, and Jesus went up to Jerusalem. 2 Now there is in Jerusalem by the Sheep Gate a pool, which is called in Hebrew, Bethesda, having five porches. 3 In these lay a great multitude of sick people, blind, lame, paralyzed, waiting for the moving of the water. 4

For an angel went down at a certain time into the pool and stirred up the water; then whoever stepped in first, after the stirring of the water, was made well of whatever disease he had.

[stormlit]

the first person that amalia turns into a vampire isn't until the 1880s, a full 80+ years after she was turned herself; for the longest time she couldn't imagine ever doing it because her own turning was so traumatic, and she refused to do that to anyone else. she couldn't imagine a situation where somebody would want the dark gift, because she certainly didn't.

larisa markova is a principal ballet dancer at the then-imperial russian ballet that amalia meets in 1878, having spent some years travelling across europe with the full intention of getting to st petersburg to get involved with dance there; over a period of years, amalia takes classes, views as many performances as she can, and gets involved in choreography and direction. larisa suffers from being considered too old to play the ingenue anymore but too young to retire, isn't getting the parts she wants, and the current company director hates her, constantly casting his favourites while trying to convince her to teach at the company's attached academy. she's miserable.

amalia and larisa begin a love affair, initially connecting over a love of dance and finding a deep connection and a place that feels safe. amalia choreographs a piece specifically for the two of them that they do amass enough of a company to perform in public for, larisa finds a place she can be herself for probably the first time in her life, have lively, passionate discussions, and feel safe to complain, while amalia finds someone who shares her passions, takes no shit (especially from her), and eases the loneliness that she's had for decades. larisa finds out what amalia is relatively early on and doesn't show fear or even bewilderment for a moment, lets amalia drink from her carnally, but they've been together years before she asks amalia to turn her. amalia refuses, but larisa keeps asking.

and finally, after a very thorough explanation of what larisa's asking for, what turning will be like, what it's like afterwards, what it's like to kill, amalia finally gives in. larisa's in her late 30s, has been all but forced out of the ballet company, and she wants to finally see the world, having grown up in the imperial ballet academy and knowing nothing else. and they do.

[brookstonalmanac]

Events 7.15 (before 1900)

484 BC – Dedication of the Temple of Castor and Pollux in ancient Rome 70 – First Jewish–Roman War: Titus and his armies breach the walls of Jerusalem. (17th of Tammuz in the Hebrew calendar). 756 – An Lushan Rebellion: Emperor Xuanzong of Tang is ordered by his Imperial Guards to execute chancellor Yang Guozhong by forcing him to commit suicide or face a mutiny. General An Lushan has other members of the emperor's family killed. 1099 – First Crusade: Christian soldiers take the Church of the Holy Sepulchre in Jerusalem after the final assault of a difficult siege. 1149 – The reconstructed Church of the Holy Sepulchre is consecrated in Jerusalem. 1207 – King John of England expels Canterbury monks for supporting Archbishop Stephen Langton. 1240 – Swedish–Novgorodian Wars: A Novgorodian army led by Alexander Nevsky defeats the Swedes in the Battle of the Neva. 1381 – John Ball, a leader in the Peasants' Revolt, is hanged, drawn and quartered in the presence of King Richard II of England. 1410 – Polish–Lithuanian–Teutonic War: Battle of Grunwald: The allied forces of the Kingdom of Poland and the Grand Duchy of Lithuania defeat the army of the Teutonic Order. 1482 – Muhammad XII is crowned the twenty-second and last Nasrid king of Granada. 1640 – The first university of Finland, the Royal Academy of Turku, is inaugurated in Turku. 1738 – Baruch Laibov and Alexander Voznitzin are burned alive in St. Petersburg, Russia. Vonitzin had converted to Judaism with Laibov's help, with the consent of Empress Anna Ivanovna. 1741 – Aleksei Chirikov sights land in Southeast Alaska. He sends men ashore in a longboat, making them the first Europeans to visit Alaska. 1789 – French Revolution: Gilbert du Motier, Marquis de Lafayette, is named by acclamation Colonel General of the new National Guard of Paris. 1799 – The Rosetta Stone is found in the Egyptian village of Rosetta by French Captain Pierre-François Bouchard during Napoleon's Egyptian Campaign. 1806 – Pike Expedition: United States Army Lieutenant Zebulon Pike begins an expedition from Fort Bellefontaine near St. Louis, Missouri, to explore the west. 1815 – Napoleonic Wars: Napoleon Bonaparte surrenders aboard HMS Bellerophon. 1823 – A fire destroys the ancient Basilica of Saint Paul Outside the Walls in Rome, Italy. 1834 – The Spanish Inquisition is officially disbanded after nearly 356 years. 1838 – Ralph Waldo Emerson delivers the Divinity School Address at Harvard Divinity School, discounting Biblical miracles and declaring Jesus a great man, but not God. The Protestant community reacts with outrage. 1849 – The first air raid in history occurs; Austria launches pilotless balloons against the city of Venice. 1862 – American Civil War: The CSS Arkansas, the most effective ironclad on the Mississippi River, battles with Union Navy ships commanded by Admiral David Farragut, severely damaging three ships and sustaining heavy damage herself. 1870 – Reconstruction Era of the United States: Georgia becomes the last of the former Confederate states to be readmitted to the Union. 1870 – Canadian Confederation: Rupert's Land and the North-Western Territory are transferred to Canada from the Hudson's Bay Company, and the province of Manitoba and the Northwest Territories are established from these vast territories. 1888 – The stratovolcano Mount Bandai erupts, killing approximately 500 people in Fukushima Prefecture, Japan.

[exhibit-of-the-century]

Lecture Notes MON 19th FEB

Masterlist

BUY ME A COFFEE

The Academy and the Public Sphere 1648-1830

Further Reading: Johann Joachim Wicklemann (1717 - 1768) from Reflections on the Imitation of Greek Works in Painting and Sculpture

Antonie Cotpel (1661-1722) on the grand manner, from 'On the Aesthetic of the Painter'

Andre Felibien (1619-1695) Preface to Seven Conferences

Charles Le Burn (1619-1690) 'First Confrence'

More and Other

The first Academies start in Italy and then begin to spread throughout Europe. However, in this lecture we mainly focus on Paris and London. The Louvre palace, where the royal academy started, was where artists established there thought themselves as elites due to being part of the court, near the ruling and partly due to monetary reasons. (Remember: French Revolution 1793)

Now the other place was the RA, or Royal Academy in London was established to promote art and design (not to be confused with the Art and Design/Craft Movement of 1880-1920). Which focused on displaying and teaching painting and sculpture, only sometimes exhibiting drawing. If your work was exhibited, it was seen as being awarded the highest status and praise.

Jean-Baptiste Martin, A meeting of the Académie Royale de Peinture et de Sculpture at the Louvre Palace, 1712-1721, Musée de Louvre

Although the academies had strict teaching rules and students had to follow. Which meant that art during this time and created by these artists had a regulated style.

While the French salons/academies had no entry fee when they exhibited the work (bi yearly), the British did have a fee of one shilling to view the exhibit (yearly), despite trying to advertise and claiming any person was welcome. When asked and confronted about the fee, they claimed it was to keep out “improper persons” (the poor).

A selection of Art Academies:

The Academia di San Luca, Rome, 1593                                             

The Académie Royale de Peinture et de Sculpture, Paris, 1648

The Akademie der Künste, Berlin 1696

The Royal Danish Academy of Portraiture, Sculpture, and Architecture, Copenhagen, 1754

Academy of Fine Arts Vienna, 1688/1701/1725

Real Academia de Bellas Artes de San Fernando, Madrid, 1752

Imperial Academy of Arts, St Petersburg, 1757

The Dresden Academy of Fine Arts, 1764

Royal Academy of Painting and Sculpture, Stockholm, 1766

Royal Academy of Art, London 1768

The Academy of San Carlos, Mexico, 1783

Royal Arts Academy in Düsseldorf,  (1777) 1819

Academia Imperial das Belas Artes, Brazil 1822 (based on an earlier institution)

Martin Ferdinand Quadal, Life drawing room at the Vienna academy, 1787

United in Guilds, mechanical and practical artists wanted to be recognised as artists from a scoio, utility aspect. Painting and sculpture were valued in liberal and intellectual arts.

At the beginning of the 17th century, most painters were part of the Maîtrise de Saint-Luc, a guild founded in 1391, which controlled the market and sanctioned the method of training artists by apprenticeship.

A group of artists, including the young Charles Le Brun, sought to the escape the Masters and placed themselves directly under the protection of the young King Louis XIV, who was capable of removing them from the constraints of the guild. The Academy was established in 1648.

In 1655 letters patent granted the new company the right to call itself the The Académie Royale de Peinture et de Sculpture (Royal Academy of Painting and Sculpture) and decreed that only its members could be painters or sculptors to the king or queen. The Academy moved to the Louvre, where the Galerie d'Apollon hosted the reception pieces (chef-d’oeuvre), works that had to be performed before being approved and then elected an Academician. It oversaw—and held a monopoly over—the arts in France until 1793. The institution trained artists.

Perspective view of the hall of the Royal Academy of Painting and Sculpture at the Louvre in Paris: [print].

Sir William Chambers, Somerset House, Now the Courtauld Institute of Art and Gallery

In 1768, architect Sir William Chambers petitioned George III on behalf of 36 artists seeking permission to ‘establish a society for promoting the Arts of Design’. They also proposed an annual exhibition and a School of Design. The King agreed and the Royal Academy of Arts, the Royal Academy Schools, and what you know today as the Summer Exhibition were established. The Royal Academicians were first based in Pall Mall, renting a gallery 30 feet long.

In 1775, Sir William Chambers won the commission to design the new Somerset House as the official residence. The Exhibition Room was 32 feet high and situated at the top of a steep winding staircase, it was described by contemporary literary critic Joseph Baretti as ‘undoubtedly at the date, the finest gallery for displaying pictures so far built’.

In the 1830s, the Academy moved to Trafalgar Square to share premises with the newly founded National Gallery, moving again in 1867 to Burlington House.

Summer Exhibition have been held every year since 1769.

Attributed to George Shepherd, The Hall at the Royal Academy, Somerset House, 1 May 1810

Before the establishment of Academies and their own openings to the public, there is no or very little actual documented art exhibitions and if there were any they were not documented. Or permanent.

These exhibitions and academies open art to the public, and gain a wider audience, mostly of the Bourgeois, who also usually commissioned the artists of the academy. Or the state did and the church – which was most common. But now individuals could now own art, which commodified art and created private ownership. This also was spurred on by art being more mobile, being painted on canvases which were easier to transport (in some cases).

The idea that came from this was: “art should be affordable”.

Another thing that came from exhibitions and wider audiences was that art became democratised, leaving it open for criticism and interpretation. Although the interpretation aspect wouldn’t be explored till around the 19th century, on wards really.

Teaching at the Academy

The Academy laid down strict rules for admission and based most of its teaching on the practice of drawing from the antique and the living model to support its teaching method and its artistic doctrine. Great importance was also given to the teaching of history, literature, geometry, perspective and anatomy.

In controlling education, the Academy regulated the style of art.

Professors of the Academy held courses in life drawing and lectures where students were taught the principles and techniques of the art. The students then looked for a master among the members of the academy, to learn the trade in their workshop. Only drawing was taught in the Academy and artists learned painting in the studios of the master, often working on his (rarely her) work.

(Left) Antoine Coysevox, Bust portrait of Charles Le Brun, Marble (Right) Charles Le Brun, The Family of Darius before Alexander, c.1660, 164 x 260 cm

Charles Le Brun became director in 1663 and was appointed chancellor for life. The Academy was administered by a director chosen from among its members, often the King’s favoured artist.

The sketch and finish

Le Brun introduced the sketch (esquisse) to French artistic practice, where it became central to the painter’s training in both official and private academies.

The esquisse was typically a small-scale, rapidly executed work intended to preserve an artist’s première pensée, or initial conception, of a subject. It elaborated composition and colouring, avoiding detail in favour of loose forms and fluid brushstrokes.

These studies were not for exhibition, and exhibited works were expected to be highly finished, often with glassy surfaces and the elimination of brushwork.

During the later eighteenth century some began to see merit in the sketch itself, but it was in the nineteenth century with Romanticism that an ‘aesthetics of the sketch’ really developed. In the 1830s sketch came to be identified with originality and genius.

Pierre Charles Jombert, Punishment of the Arrogant Niobe by Diana and Apollo, 1772, Oil paint on canvas, mounted on board, 35.7 x 28.1 cm, Metropolitan Museum, New York

The notion of aesthetic begins developing at the time, since the academies had a monopoly on aesthetic, they chose what they liked and didn’t. Their control on who was displayed in exhibits, could ensure an artist’s success. Rejection from and by the Salons was seen as the highest insult to an artist (and their aesthetic).

In the early nineteenth century the Academy instigated landscape sketch (études) competitions.

(Left) Pierre Henri de Valenciennes, The Banks of the Rance, Brittany, possibly 1785. Oil on paper, laid down on canvas, 21.3 x 49.2 cm. (Right) Théodore Caruelle d'Aligny, Landscape with a Cave, mid-1820s, Oil on canvas, 62.2 x 45.7cm

Here the importance of studying nature directly was emphasised through the practice of making plein air études, or small studies painted outdoors. Études generally did not serve as compositional models for particular paintings. Rather, these studies of different kinds of terrain and effects of light would be idealized or embellished by classically trained painters in landscapes produced entirely in the studio. From the time of Romanticism on, the sketch aesthetic became more-and-more central, but this was anathema to academic artists.

Exhibiting

In 1667 that the Académie Royale de Peinture et de Sculpture held the first semi-public show to display the works of its students considered worthy of royal commissions, laying a foundation the “group exhibition”. It was held in the Palais Brion in the Palais-Royal.

In 1725 the Salon moved to the Louvre and in 1737 exhibitions were opened to the public.

From 1748 group of Academicians formed a jury determining which works would be exhibited and where they were to be positioned. In 1673 the first catalogue (livret) was published. It was unillustrated until 1880. Exhibiting at the Salon was a condition of success.

Nicolas Langlois, Exhibition of works of painting and sculpture in the Louvre gallery in 1699. Detail of an almanac for the year 1700 – Etching and burin.

(Left) Giuseppe Castiglione, View of the Grand Salon Carré in the Louvre, Oil on Canvas, 1861 (Right) Alexandre Jean-Baptiste Brun, View of the Salon Carré at the Louvre, c.1880, Oil on Canvas

Key information:

France: The Louvre Palace, and other locations otherwise referred to as the Salon(s). The bigger the picture was the higher it was hung. The better and more favoured the artist the higher it was hung. Paintings of historical events were favoured and hung at the very top, all other lower in a specific order descending.

London: Portraits were positioned higher, gallery walls were still crowded all the same with frame to frame hanging, with no caption. Although you could purchase a booklet with all information and extra definitions. While there appeared less hierarchy in the London exhibitions, it still persisted just in a different form. Favoured artists got to choose where their paintings were hung. Even going as far as to developed an insult for paintings being hung so high: “the painting was skied”.

Hierarchy of genres

Inherited from Antiquity and codified in 1668 by André Félibien, secretary of the Academy, the hierarchy of genres ranked the different genres of painting assigning higher and lower significance.

 At the top was history painting, called “le grand genre’: often large paintings, with mythological, religious, or historical subjects. Their function was to instruct and educate the viewer. Its purpose was moral instruction.

 Portraiture, depicting important figures from the past as well as the present.

 Genre scenes, the less ‘noble’ subjects: representations, generally small in size, of scenes of daily life attached to ordinary people.

The so-called ‘observational’ genres of landscape painting, animal painting and still life.

Other genres were added, such as the gallant celebrations, in honour of Antoine Watteau, which did not, however, call into question the hierarchy.

These academies were called chaotic by critics, and kaleidoscopic.

Examples of outliers:

(Left) Paulus Potter, The Bull, 1647 - 3.4 metres wide. An unusually monumental animal painting that challenges the hierarchy of genres by its size (Right) Jean-Baptiste Greuze, The Marriage Contract (The Village Bride), 1761, oil on canvas, 92cm x 117cm. Musée du Louvre

These paintings also challenged the hierarchy of the Salon: it shows a scene that anyone could recognise.

This hierarchy was underpinned by the Ideal and the Liberal Arts.

Giogioni, Frieze in the main hall (detail), Fresco, Casa Marta, Castelfranco Veneto, c. 1510

From the Renaissance onwards artists conducted a campaign to be recognized as gentlemen, rather than workers or craftsmen. This centred on a distinction between the Liberal and the Mechanical arts.

The Liberal Arts were divided into the trivium - Grammar, Logic and Rhetoric - and the quadrivium - Geometry, Arithmetic, Astronomy and Music.

These involved imagination and intellect and were suitable activities for gentlemen.

In contrast, the Mechanical Arts were said to involve mere repetitive copying. These were activities conducted by workers and were often called ‘servile’ or ‘slavish’. They were deemed ‘mindless’ and demeaning to gentlemen.

Since the academies were open to not gentlemen, it was still believed they upheld class divisions. Examples of an artist from a lower background who rose through the ranks: J. M. W. Turner.

Ideal

Academic art, therefore, emphasised imagination and idealization and opposed copying things as they were. Abstract and mental properties were most valued. For instance, drawing was thought more important than colouring, which was often seen as superficial and feminine (cosmetics). Rather than copy a single figure ideal beauty was to be composed from the ‘best’ elements of multiple figures.

The nude was deemed more suitable, because modern dress was seen as ugly and ephemeral. Some thought the male nude more ideal.

In some senses this is a neo-Platonism, where ideal form exists in the mind of a divinity and things in the world are merely inferior copies of that ideal.

A second-century Roman marble copy of a Greek statue of Aphrodite, the goddess of beauty, crouching naked at her bath.

(Left) Artist Copying a Bust in the Royal academy at Somerset House, c.1780, Watercolour (Right) Academies and art schools had large collections of plaster casts made from antique sculpture.

The lower genres were thought to be too close to mechanical copying, whereas history painting involved imagination, intellectual learning and work with the ideal figure. This is complex because Academic artists and theorists rejected originality for adherence to principles and precedents.

Some important studies:

David and His School

J-L David, The Lictors Bring to Brutus the Bodies of His Sons, 1789

David was a member of the Jacobin Club and friend of Robespierre. He signed the death warrant for the King. With the fall of the Jacobins he was imprisoned and his life endangered. His paintings were very open to interpretation so upper and lower classes to understand and infer meaning from them, he also had political messages in his paintings. Although quite ambiguous, it engaged in emotions also over morality like usual historical paintings.

David’s austere student Wicar suggested that landscape painters should be executed.

Jacques-Louis David, The Death of Marat, 1793, Royal Museums of Fine Arts, Brussels

Painting around this time was developing Spectacle, as a primary focus to engage people’s emotions, and a shared emotional aspect rather than just class. The Royal Academy of Painting and Sculpture was suppressed by the Convention at the request of David (August 1793) and it was in 1796 that the School of Fine Arts was founded. In 1816, The Bourbon Monarchy restored the title ‘Academy’.

In the middle of the nineteenth century Hogarth came to be seen as the founder of the British School.

Beer Street and Gin Lane, engraving, 1751

The Public Sphere

Habermas: ‘The bourgeois public sphere may be conceived above all as the sphere of private people come together as a public; they soon claimed the public sphere regulated from above against the public authorities themselves, to engage them in a debate over the general rules governing relations in the basically privatized but publicly relevant sphere of commodity exchange and social labour.'

At the Margins

Johan Joseph Zoffany, The Academicians Of The Royal Academy 1771-72, Oil On Canvas, 101.1 X 147.5 cm

Within this painting there are two paintings on the right most side, two busts of women. These are the two female founders who were not actually allowed in the Academy. However, that’s not to say that women weren’t painting and hosting their own private events, even if they couldn’t be critics and artists academically, so they easily fell into obscurity.

Republican Madame Roland

Feminist historians have suggested that the Salons hosted by women were an essential part of this culture of debate.

In 18th century France, salons were organised gatherings hosted in private homes, usually by prominent women. Individuals who attended often discussed literature or shared their views and opinions on topics from science to politics. The different Salons belonged to artistic and political factions.

Elisabeth-Louise Vigée Lebrun, Self-portrait in a Straw Hat, 1782

[pwlanier]

Bryansky Mikhail Vasilyevich (1830–1908) "Little Russian Girls at the Harvest". The last quarter of the XIX century.

Oil on canvas

In the lower right corner, the author's signature: "Bryansk".

Known mainly as a portraitist and master of genre compositions, M.V. Bryansky, who worked in Kiev, also painted small-format Little Russian landscapes.

In 1864, the artist received a small silver medal for the painting "Little Russian Woman on the Harvest", and in 1887 he exhibited the painting "In the Month of August" in the halls of the Imperial Academy of Arts. Obviously, this landscape refers to the artist's development of the theme of summer field works, in which characteristic Little Russian types and landscapes are conveyed.

Expert opinion of NINE named after P.M. Tretyakov (A.A. Makhotin).

Painter, graphic artist. Studied at the Kiev gymnasium. He received his initial art education under the guidance of K.S. Pavlov (1850–1855) in Kiev. He traveled around Little Russia, worked as a portraitist. In 1864 he came to St. Petersburg; as a free listener he attended classes of the IAH (1864-1869). Lived in Kiev and St. Petersburg. He worked as a genre artist, portraitist, painted "women's heads". The works were reproduced in the magazines "World Illustration", "Bee", "Niva" and others. Exhibited at exhibitions of IAH (1864-1891, with interruptions), Society of Exhibitions of Works of Art (1876) in St. Petersburg. He held exhibitions of one painting ("Our Lady") in Kiev and St. Petersburg (1888-1889). Creativity is represented in a number of museum collections, including the Research Museum of the Russian Academy of Arts, the National Art Museum of Ukraine, the Odessa Art Museum.

Litfund

[wikiuntamed]

On this day in Wikipedia: Sunday, 17th September

Welcome, Velkommen, Dzień dobry, Bienvenida 🤗 What does @Wikipedia say about 17th September through the years 🏛️📜🗓️?

17th September 2022 🗓️ : Death - Maarten Schmidt Maarten Schmidt, Dutch astronomer (b. 1929) "Maarten Schmidt (28 December 1929 – 17 September 2022) was a Dutch-born American astronomer who first measured the distances of quasars. He was the first astronomer to identify a quasar, and so was pictured on the March cover of Time magazine in 1966. ..."

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17th September 2018 🗓️ : Event - Israeli Air Force The Israeli Air Force conducted missile strikes that hit multiple targets in western Syria, including one that accidentally downed a Russian plane. "The Israeli Air Force (IAF; Hebrew: זְרוֹעַ הָאֲוִיר וְהֶחָלָל, romanized: Zroa HaAvir VeHahalal, lit. 'tl', "Air and Space Arm", commonly known as חֵיל הָאֲוִיר‎, Kheil HaAvir, "Air Corps") operates as the aerial warfare branch of the Israel Defense Forces. It was founded on May 28, 1948, shortly..."

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Original:

Fry1989

 

Vector:

Mintz l

17th September 2013 🗓️ : Event - Grand Theft Auto V Grand Theft Auto V earns more than half a billion dollars on its first day of release. "Grand Theft Auto V is a 2013 action-adventure game developed by Rockstar North and published by Rockstar Games. It is the seventh main entry in the Grand Theft Auto series, following 2008's Grand Theft Auto IV, and the fifteenth instalment overall. Set within the fictional state of San Andreas,..."

17th September 1973 🗓️ : Birth - Diego Albanese Diego Albanese, Argentine rugby player "Diego Luis Albanese (born September 17, 1973) is an Argentine retired rugby union player who played as a winger. He played for the San Isidro Club in Argentina, French side Grenoble, Gloucester and Leeds Tykes. Albanese made 17 appearances for Gloucester scoring three tries. He has won 55 caps for..."

17th September 1923 🗓️ : Birth - Hank Williams Hank Williams, American singer-songwriter and guitarist (d. 1953) "Hiram "Hank" Williams (September 17, 1923 – January 1, 1953) was an American singer-songwriter. He is regarded as one of the most significant and influential American singers and songwriters of the 20th century. Williams recorded 55 singles that reached the top 10 of the Billboard Country & Western..."

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17th September 1821 🗓️ : Birth - Arthur Saint-Léon Arthur Saint-Léon, French choreographer (d. 1870) "Arthur Saint-Léon (17 September 1821, in Paris – 2 September 1870) was the Maître de Ballet of St. Petersburg Imperial Ballet from 1859 until 1869 and is famous for creating the choreography of the ballet Coppélia. ..."

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17th September 🗓️ : Holiday - Christian feast day: Zygmunt Szczęsny Feliński "Zygmunt Szczęsny Feliński (1 November 1822 in Voiutyn, now Ukraine – 17 September 1895 in Kraków) was a professor of the Saint Petersburg Roman Catholic Theological Academy, Archbishop of Warsaw in 1862-1883 (exiled by Tsar Alexander II to Yaroslavl for 20 years),and founder of the Franciscan..."

Image by Podolski, Ignacy (1854-1888)

[masgwi]

Walka (1921 - 1922)

Stanisław Ignacy Witkiewicz (Polish, 1885-1939)

Witkiewicz was reared at the family home in Zakopane. In accordance with his father's antipathy to the "servitude of the school," he was home-schooled and encouraged to develop his talents across a range of creative fields. Against his fathers wishes he studied at the Kraków Academy of Fine Arts with Józef Mehoffer and Jan Stanisławski.

Witkiewicz was close friends with composer Karol Szymanowski and, from childhood, with Bronisław Malinowski and Zofia Romer. Romer was romantically linked to both Bronisław Malinowski and Witkiewicz. He had a tumultuous affair with prominent actress Irena Solska who according to Anna Micińska is represented as the heroine Akne Montecalfi in his first novel, The 622 Downfalls of Bungo or The Demonic Woman, 1911. According to Micińska he also represented himself as the character Bungo and Malinowski as the Duke of Nevermore. The unfinished novel, which was not published until 1972, also describes erotic encounters between Bungo and the Duke of Nevermore. Taught wet plate photography by his father, it was during this period that he also began producing the intimate portrait photography for which he is known; producing striking portraits of his circle in Zakopane and many self-portraits.

In 1914 following a crisis in Witkiewicz's personal life due to the suicide of his fiancée Jadwiga Janczewska, for which he blamed himself, he was invited by Malinowski to act as draftsman and photographer on his anthropological expedition to the then Territory of Papua, by way of Ceylon and Australia. The venture was interrupted by the onset of World War I. After quarrelling with Malinowski in Australia, Witkiewicz who was by birth a subject of the Russian Empire, travelled to St Petersburg (then Petrograd) from Sydney and was commissioned as an officer in the Pavlovsky Regiment of the Imperial Russian Army. His ailing father, a Polish patriot, was deeply grieved by his son's decision and died in 1915 without seeing him again.

In July 1916 he was seriously wounded in the battle on Stokhid River in what is now Ukraine and was evacuated to St Petersburg where he witnessed the Russian Revolution. He claimed that he worked out his philosophical principles during an artillery barrage, and that when the Revolution broke out he was elected political commissar of his regiment. His later works would show his fear of social revolution and foreign invasion, often couched in absurdist language.

[fuzzysparrow]

Which Polish artist painted 'Christ with Martha and Maria' and other biblical and historical paintings?

Henryk Siemiradzki (1843-1902) was a renowned Polish painter of the 19th century, best known for his historical and biblical paintings. Born in the small town of Novobelgorod (now Ukraine), Siemiradzki's artistic talent was evident from a young age. He studied at the Imperial Academy of Arts in St. Petersburg, Russia, where he honed his skills and developed a unique style that would later make him famous.

Siemiradzki's works often depicted scenes from ancient Rome, Greece, and biblical narratives. One of his most notable paintings, 'Christ with Martha and Maria', showcases his exceptional ability to capture the essence of a moment and convey deep emotions through his brushstrokes. Siemiradzki portrays the biblical story of Jesus visiting the house of Martha and Mary. The painting depicts the contrasting personalities of the two sisters as they interact with Jesus. Martha, known for her practical nature, is shown bustling around, preparing a meal and attending to household chores. On the other hand, Mary is depicted sitting at Jesus' feet, listening intently to his teachings, completely absorbed in his words.

Apart from 'Christ with Martha and Maria', Siemiradzki's other notable works include 'Nero's Torches', 'The Last Days of Pompeii', and 'Phryne at the Festival of Poseidon in Eleusis'. These paintings further showcase his mastery of historical and biblical themes, as well as his ability to capture the grandeur and drama of ancient civilizations.

[ieisia]

Friedrich Konrad Beilstein

17 February 1838 – 18 October 1906, was a Russian chemist and founder of the famous Handbuch der organischen Chemie (Handbook of Organic Chemistry). The first edition of this work, published in 1881, covered 1,500 compounds in 2,200 pages. This handbook is now known as the Beilstein database.

Beilstein was born in Saint Petersburg in a family of German descent. Although he mastered the Russian language, he was educated in a German school. At the age of 15, he left for the University of Heidelberg where he studied chemistry under the tuition of Robert Bunsen. After two years he moved to the University of Munich and became a pupil of Justus Liebig, but soon returned to Heidelberg. There he acquired an interest and preference for organic chemistry, which became his major. For his Ph.D., Beilstein joined Friedrich Wöhler at the University of Göttingen, receiving his doctorate in February 1858. To increase his skill and experience he went to Paris to work with Adolphe Wurtz and Charles Friedel. In autumn of 1859, he accepted an invitation for a post of laboratory assistant at the University of Breslau offered to him by Carl Jacob Löwig, but soon changed it for Göttingen. There he became Privatdozent and lectured in organic chemistry. In 1865 he received the title of "Professor Extraordinarius" (i.e. assistant professor). In addition, he became editor of the journal the Zeitschrift für anorganische und allgemeine Chemie.  His research in that time was focused on the isomerism of the derivatives of the benzeneseries. In particular, he discovered the relations between chlorotoluene and benzyl chloride. 

In Göttingen, Beilstein began to collect systematic notes on organic compounds which finally led to the production of his famous handbook published in Hamburg. The first edition, which Beilstein compiled single-handedly, appeared in 1881–83 in two volumes, and was rapidly exhausted. The second edition began to appear in 1886 and filled three volumes of larger size than the first. The third edition was commenced in 1893, and its four volumes became unwieldy. It was finished in 1900, and has been supplemented by four large volumes of additions edited by the German Chemical Society, which became the proprietor of the handbook. S.R Heller. The Beilstein Online Database An Introduction. The Beilstein Online Database ACS Symposium Series; American Chemical Society: Washington, DC, 1990.

In 1866, Beilstein returned to St. Petersburg where he became professor of chemistry at the Imperial Technological Institute. There he continued his research on isomerism of the aromatic series. In 1881, Beilstein became a member of the Russian Academy of Sciences, a position associated with a good income, a private dwelling and a laboratory. Leicester points out that Beilstein favoured the election of Dmitri Mendeleev, but Mendeleev's candidacy never succeeded.  Shortly after his election Beilstein left professorship for research, the compilation of his handbook and his favourite hobby, music. He was also very fond of travelling and spent several months each year in Europe. Beilstein remained a bachelor all his life, but adopted a daughter who was his companion in later years.