Timeline of World History TIMELINE OF WORLD HISTORY


1800 - 1899
1800-09 1810-19 1820-29 1830-39 1840-49 1850-59 1860-69 1870-79 1880-89 1890-99
1800 1810 1820 1830 1840 1850 1860 1870 1880 1890
1801 1811 1821 1831 1841 1851 1861 1871 1881 1891
1802 1812 1822 1832 1842 1852 1862 1872 1882 1892
1803 1813 1823 1833 1843 1853 1863 1873 1883 1893
1804 1814 1824 1834 1844 1854 1864 1874 1884 1894
1805 1815 1825 1835 1845 1855 1865 1875 1885 1895
1806 1816 1826 1836 1846 1856 1866 1876 1886 1896
1807 1817 1827 1837 1847 1857 1867 1877 1887 1897
1808 1818 1828 1838 1848 1858 1868 1878 1888 1898
1809 1819 1829 1839 1849 1859 1869 1879 1889 1899
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1860 - 1869
History at a Glance
1860 Part I
Treaty of Turin
First Taranaki War
Convention of Peking
Secession of South Carolina
Poincare Raymond
The Church Union
1860 Part II
Barrie James Matthew
Boucicault Dion
Dion Boucicault: "The Colleen Bawn"
Collins Wilkie
Wilkie Collins: "The Woman in White"
Wilkie Collins 
"The Moonstone"
"The Woman in White"
George Eliot: "The Mill on the Floss"
Di Giacoma Salvatore
Labiche Eugene-Marin
Multatuli: "Max Havelaar"
Alexander Ostrovski: "The Storm"
Chekhov Anton
Anton Chekhov
"Uncle Vanya"
1860 Part III
Degas: "Spartan Boys and Girls Exercising"
Hunt: "Finding of the Saviour in the Temple"
Manet: "Spanish Guitar Player"
Ensor James
James Ensor
Mucha Alfons
Alfons Mucha
Levitan Isaak
Isaac Levitan
Steer Philip Wilson
Philip Wilson Steer
Mahler Gustav
Mahler - Das Lied von der Erde
Gustav Mahler
Paderewski Ignace
Paderewski - Minuet
Ignace Paderewski
Suppe Franz
Franz von Suppe - Das Pensionat
Franz von Suppe
Wolf Hugo
Hugo Wolf - "Kennst du das Land"
Hugo Wolf
MacDowell Edward
MacDowell - Piano Sonata No. 1 "Tragica"
Edward MacDowell
Albeniz Isaac
Albeniz - Espana
Isaac Albeniz
1860 Part IV
Fechner Gustav Theodor
Lenoir Etienne
Walton Frederick
Across the Continent
Burke Robert O'Hara
Wills William John
Stuart John McDouall
Grant James Augustus
"The Cornhill Magazine"
"The Catholic Times"
Heenan John Camel
Sayers Tom
The Open Championship
Park William
1861 Part I
Confederate States of America
Davis Jefferson
First inauguration of Abraham Lincoln
American Civil War
First Battle of Bull Run
Battle of Hatteras
The American Civil War, 1861
1861 Part II
Siege of Gaeta
Emancipation Manifesto
Louis I
1861 Part III
Dal Vladimir
Steiner Rudolf
Whitehead Alfred North
Charles Dickens: "Great Expectations"
Dostoevsky: "The House of the Dead"
George Eliot: "Silas Marner"
Oliver Wendell Holmes: "Elsie Venner"
Tagore Rabindranath
Charles Reade: "The Cloister and the Hearth"
Wood Ellen
Mrs. Henry Wood: "East Lynne"
Spielhagen Friedrich
Friedrich Spielhagen: "Problematische Naturen"
1861 Part IV
Garnier Charles
Anquetin Louis
Louis Anquetin
Godward John William
John William Godward
Bourdelle Antoine
Antoine Bourdelle
Korovin Konstantin
Konstantin Korovin
Maillol Aristide
Aristide Maillol
Melba Nellie
Royal Academy of Music, London
The Paris version "Tannhauser"
1861 Part V
Thallium (Tl)
Hopkins Frederick Gowland
Mort Thomas Sutcliffe
Nansen Fridtjof
Fermentation theory
Baker Samuel
Baker Florence
The Bakers and the Nile
Beeton Isabella
Harden Maximilian
First horse-drawn trams in London
Order of the Star of India
Otis Elisha Graves
1862 Part I
Battle of Fort Henry
Second Battle of Bull Run
Battle of Fredericksburg
Grey Edward
Briand Aristide
The American Civil War, 1862
1862 Part II
Rawlinson George
Ogai Mori
Ivan Turgenev: "Fathers and Sons"
Flaubert: "Salammbo"
Victor Hugo: "Les Miserables"
Barres Maurice
Maeterlinck Maurice
Hauptmann Gerhart
Wharton Edith
Schnitzler Arthur
Uhland Ludwig
1862 Part III
Albert Memorial, London
Manet: "Lola de Valence"
Manet: "La Musique aux Tuileries"
Nesterov Mikhail
Mikhail Nesterov
Klimt Gustav
Gustav Klimt
Rysselberghe Theo
Theo van Rysselberghe
Berlioz: "Beatrice et Benedict"
Debussy Claude
Debussy - Preludes
Claude Debussy
Delius Frederick
Frederick Delius - On Hearing the First Cuckoo in Spring
Frederick Delius
German Edward
Edward German - Melody in D flat major
Edward German
Kochel Ludwig
Kochel catalogue
Verdi: "La Forza del Destino"
1862 Part IV
Bragg William
Foucault Leon
Gatling Richard Jordan
Lamont Johann
Lenard Pnilipp
Sachs Julius
Palgrave William Gifford
The Arabian Desert
International Exhibition, London
1863 Part I
West Virginia
Emancipation Proclamation
Battle of Chancellorsville
Lincoln's "Gettysburg Address"
The American Civil War, 1863
1863 Part II
Isma'il Pasha
January Uprising
George I of Greece
Dost Mohammad Khan
Christian IX  of Denmark
Chamberlain Austen
Lloyd George David
Second Taranaki War
International Red Cross and Red Crescent Movement
1863 Part III
Huxley: "Evidence as to Man's Place in Nature"
Charles Lyell: "The Antiquity of Man"
Massachusetts Agricultural College
D'Annunzio Gabriele
Bahr Hermann
Dehmel Richard
Hale Edward Everett
Edward Everett Hale: "Man without a Country"
Hope Anthony
Charles Kingsley: "The Water Babies"
Longfellow: "Tales of a Wayside Inn"
Quiller-Couch Arthur
Stanislavsky Constantin
Stanislavsky system
1863 Part IV
Stuck Franz
Manet: "Dejeuner sur l'herbe"
Manet: "Olympia"
Meurent Victorine-Louise
The "Salon des Refuses" in Paris
Art in Revolt
Impressionism Timeline
Signac Paul
Paul Signac
Munch Edvard
Edvard Munch
Berlioz: "Les Troyens"
Bizet: "Les Pecheurs de perles"
Mascagni Pietro
Pietro Mascagni: Cavalleria rusticana
Pietro Mascagni
Weingartner Felix
Felix von Weingartner: Symphony No 6
Felix Weingartner
1863 Part V
Billroth Theodor
Butterick Ebenezer
Ford Henry
Graham Thomas
National Academy of Sciences
Sorby Henry Clifton
The Football Association, London
Grand Prix de Paris
Hearst William Randolph
Yellow journalism
Pulitzer Joseph
History of photography
Alexandra of Denmark
Royce Henry
Cuthbert Ned
Coburn Joe
Mike McCoole
1864 Part I
Schleswig-Holstein Question
First Schleswig War
Second Schleswig War
Halleck Henry
Sherman William
Sand Creek massacre
Venizelos Eleutherios
Maximilian II of Bavaria
Louis II
First International Workingmen's Association
Confederate Army of Manhattan
The American Civil War, 1864
1864 Part II
Lombroso Cesare
Newman: "Apologia pro Vita Sua"
Syllabus of Errors
Dickens: "Our Mutual Friend"
Karlfeldt Erik Axel
Trollope: "The Small House at Allington"
Wedekind Frank
Zangwill Israel
1864 Part III
Stieglitz Alfred
History of photography
Dyce William
William Dyce
Jawlensky Alexey
Alexei von Jawlensky
Ranson Paul
Paul Ranson
Serusier Paul
Paul Serusier
Toulouse-Lautrec Henri
Henri de Toulouse-Lautrec
A More Tolerant Salon
Impressionism Timeline
Whistler: "Symphony in White, No. 2"
Roberts David
David Roberts "A Journey in the Holy Land"
D'Albert Eugen
Eugen d'Albert - Piano Concerto No.2
Eugen d’Albert
Foster Stephen
Stephen Foster - Beautiful Dreamer
Offenbach: "La Belle Helene"
Strauss Richard
Richard Strauss - Metamorphosen
Richard Strauss
Fry William Henry
William Henry Fry - Santa Claus Symphony
William Henry Fry - Niagara Symphony
1864 Part IV
Lake Albert
Bertrand Joseph
Nernst Walther
Wien Wilhelm
Rawat Nain Singh
The Surveyors
First Geneva Convention
Knights of Pythias
"Neue Freie Presse""
De Rossi Giovanni Battista
"In God We Trust"
Travers Stakes
Farragut David
1865 Part I
Union blockade in the American Civil War
Charleston, South Carolina in the American Civil War
Lee Robert Edward
Conclusion of the American Civil War
Assassination of Abraham Lincoln
Johnson Andrew
Causes of the Franco-Prussian War
Leopold II of Belgium
Harding Warren
George V of Great Britain
Ludendorff Erich
Free State–Basotho Wars
The American Civil War, 1865
1865 Part II
Baudrillart Henri
William Stanley Jevons: "The Coal Question"
Billings Josh
Belasco David
Campbell Patrick
Lewis Carroll: "Alice's Adventures in Wonderland"
Dodge Mary Mapes
Mary Mapes Dodge: "Hans Brinker, or The Silver Skates"
Kipling Rudyard
Rudyard Kipling
Merezhkovsky Dmitry
John Henry Newman: "Dream of Gerontius"
Mark Twain: "The Celebrated Jumping Frog of Calaveras County"
Walt Whitman: "Drum-Taps"
Yeats William Butler
1865 Part III
Serov Valentin
Valentin Serov
Wiertz Antoine
Antoine Wiertz
Vallotton Felix
Felix Vallotton
"Olympia" - a Sensation
Impressionism Timeline (1863-1899)
Nielsen Carl
Carl Nielsen - Aladdin Suite
Carl Nielsen
Glazunov Alexander
Glazunov - The Seasons
Alexander Glazunov
Dukas Paul
Paul Dukas "L'Apprenti Sorcier"
Paul Dukas
Meyerbeer: "L'Africaine"
Sibelius Jean
Jean Sibelius - Finlandia
Jean Sibelius
Wagner: "Tristan und Isolde"
1865 Part IV
Plucker Julius
Hyatt John Wesley
Kekule: structure of benzene
Lowe Thaddeus
Mendelian inheritance
Sechenov Ivan
Whymper Edward
The High Andes
 Bingham Hiram
Rohlfs Friedrich Gerhard
Open hearth furnace
Martin Pierre-Emile
Ku Klux Klan
"The Nation"
Marquess of Queensberry Rules
"San Francisco Examiner"
"San Francisco Chronicle"
Mitchell Maria
1866 Part I
Cuza Alexandru
"Monstrous coalition"
Carol I
Austro-Prussian War
Battle of Custoza
Battle of Trautenau
Battle of Koniggratz
Battle of Lissa
Cretan Revolt of 1866–1869
MacDonald Ramsay
Sun Yat-sen
1866 Part II
Croce Benedetto
Soderblom Nathan
Larousse Pierre
Larousse: Great Universal Dictionary of the 19th Century
Friedrich Lange: "History of Materialism"
Benavente Jacinto
Dostoevsky: "Crime and Punishment"
Hamerling Robert
Ibsen: "Brand"
Kingsley: "Hereward the Wake"
Rolland Romain
Wells Herbert
H.G. Wells
"The War of the Worlds"

"The Invisible Man"
"A Short History of the World"
1866 Part III
Bakst Leon
Leon Bakst
Fry Roger
Kandinsky Vassili
Vassili Kandinsky
A Defender Appears
Impressionism Timeline (1863-1899)
Busoni Ferruccio
Ferruccio Busoni - Berceuse Elegiaque
Ferruccio Busoni
Offenbach: "La Vie Parisienne"
Smetana: "The Bartered Bride"
Satie Eric
Erik Satie: Nocturnes
Eric Satie
1866 Part IV
Aeronautical Society of Great Britain
Morgan Thomas Hunt
Nicolle Charles
Werner Alfred
Whitehead Robert
Whitehead torpedo
Doudart de Lagree Ernest
Panic of 1866
Thomas Morris
MacGregor John
1867 Part I
Manchester Martyrs
Austro-Hungarian Compromise of 1867
Constitution Act, 1867
Alaska Purchase
North German Confederation
Reform Act of 1867
Battle of Mentana
Mary of Teck
Baldwin Stanley
Rathenau Walther
Pilsudski Joseph
1867 Part II
Bagehot Walter
Walter Bagehot: "The English Constitution"
Freeman Edward Augustus
Freeman: The History of the Norman Conquest of England
Marx: "Das Kapital"
Thoma Ludwig
Soseki Natsume
Russell George William
Reymont Wladislau
Bennett Arnold
Balmont Konstantin
Pirandello Luigi
Galsworthy John
Charles de Coster: "The Legend of Thyl Ulenspiegel"
Ouida: "Under Two Flags"
Trollope: "The Last Chronicle of Barset"
Turgenev: "Smoke"
Zola: "Therese Raquin"
Ibsen: "Peer Gynt"
1867 Part III
Delville Jean
Jean Delville
Kollwitz Kathe
Kathe Kollwitz
Nolde Emil
Emil Nolde
Bonnard Pierre
Pierre Bonnard
Manet's Personal Exhibition
Impressionism Timeline (1863-1899)
Bizet: "La Jolie Fille de Perth"
Gounod: "Romeo et Juliette"
Offenbach: "La Grande-Duchesse de Gerolstein"
Johann Strauss II: The "Blue Danube"
Toscanini Arturo
Verdi: "Don Carlos"
Granados Enrique
Enrique Granados - Spanish Dances
Enrique Granados
1867 Part IV
Curie Marie
Michaux Pierre
Monier Joseph
Brenner Railway
Mining industry of South Africa
Thurn and Taxis
Chambers John Graham
London Athletic Club
Barnardo Thomas John
1868 Part I
British Expedition to Abyssinia
Battle of Magdala
Tokugawa Yoshinobu
Tenure of Office Act
Province of Hanover
Russian Turkestan
Mihailo Obrenovic III
Milan I of Serbia
Glorious Revolution
Horthy Nicholas
Fourteenth Amendment to the United States Constitution
1868 Part II
International Alliance of Socialist Democracy
Charles Darwin: "The Variation of Animals and Plants under Domestication"
Louisa May Alcott: "Little Women"
Robert Browning: "The Ring and the Book"
Wilkie Collins: "The Moonstone"
Dostoevsky: "The Idiot"
George Stefan
Gorki Maxim
Rostand Edmond
Edmond Rostand
"Cyrano De Bergerac"
1868 Part III
Bernard Emile
Emile Bernard
Vollard Ambroise
Slevogt Max
Max Slevogt
Vuillard Edouard
Edouard Vuillard
The Realist Impulse
Impressionism Timeline (1863-1899)
Bantock Granville
Bantock "Overture The Frogs"
Granville Bantock
Brahms: "Ein deutsches Requiem"
Schillings Max
Max von Schillings: Mona Lisa
Max von Schillings
Wagner: "Die Meistersinger von Nurnberg"
Tchaikovsky: Symphony No. 1
1868 Part IV
Lartet Louis
Haber Fritz
Millikan Robert Andrews
Richards Theodore William
Scott Robert Falcon
Armour Philip Danforth
Badminton House
Garvin James Louis
Harmsworth Harold
Trades Union Congress
"Whitaker's Almanack"
Sholes Christopher Latham
1869 Part I
Presidency of Ulysses S. Grant
French legislative election, 1869
Prohibition Party
Red River Rebellion
Chamberlain Neville
Gandhi Mahatma
1869 Part II
Matthew Arnold: "Culture and Anarchy"
Eduard Hartmann: "The Philosophy of the Unconscious"
Mill: "On The Subjection of Women"
First Vatican Council
Blackmore Richard Doddridge
Blackmore: "Lorna Doone"
Flaubert: "Sentimental Education"
Gide Andre
Gilbert: "Bab Ballads"
Halevy Ludovic
Bret Harte: "The Outcasts of Poker Flat"
Victor Hugo: "The Man Who Laughs"
Leacock Stephen
Mark Twain: "The Innocents Abroad"
Tolstoy: "War and Peace"
1869 Part III
Lutyens Edwin
Poelzig Hans
Carus Carl Gustav
Carl Gustav Carus
Somov Konstantin
Konstantin Somov
Matisse Henri
Henri Matisse
Manet Falls Foul of the Censor
Impressionism Timeline (1863-1899)
Bruckner: Symphony No. 0
Pfitzner Hans
Pfitzner - Nachts
Hans Pfitzner
Wagner Siegfried
Siegfried Wagner "Prelude to Sonnenflammen"
Richard Wagner: "Das Rheingold"
Roussel Albert
Albert Roussel - Bacchus et Ariane
Albert Roussel
Wood Henry
1869 Part IV
Francis Galton: "Hereditary Genius"
Periodic law
Nachtigal Gustav
Cincinnati Red Stockings
Girton College, Cambridge
1869 New Jersey vs. Rutgers football game
Co-operative Congress
Lesseps Ferdinand
Suez Canal

Edouard Manet. Le Dejeuner sur I'Herbe. 1863
YEAR BY YEAR:  1800 - 1899
1863 Part IV
Stuck Franz
Franz Stuck (February 23, 1863 – August 30, 1928) was a German painter, sculptor, engraver, and architect.

In 1906, Stuck was awarded the Verdienstorden der Bayerischen Krone and was henceforth known as Franz Ritter von Stuck.


Franz Stuck. Self-Portrait
  Life and career
Born at Tettenweis near Passau, Stuck displayed an affinity for drawing and caricature from an early age. To begin his artistic education he relocated in 1878 to Munich, where he would settle for life. From 1881 to 1885 Stuck attended the Munich Academy. He first became well known by cartoons for Fliegende Blätter, and vignette designs for programmes and book decoration. In 1889 he exhibited his first paintings at the Munich Glass Palace, winning a gold medal for The Guardian of Paradise.

In 1892 Stuck co-founded the Munich Secession, and also executed his first sculpture, Athlete. The next year he won further acclaim with the critical and public success of what is now his most famous work, the painting The Sin. Also during 1893, Stuck was awarded a gold medal for painting at the World's Columbian Exposition in Chicago, and was appointed to a royal professorship. In 1895 he began teaching painting at the Munich Academy.

In 1897 Stuck married an American widow, Mary Lindpainter, and began work designing his own residence and studio, the Villa Stuck. His designs for the villa included everything from layout to interior decorations; for his furniture Stuck received another gold medal at the 1900 Paris World Exposition.

Having attained much fame by this time, Stuck was ennobled on December 9, 1905 and would receive further public honours from around Europe during the remainder of his life. He continued to be well respected among young artists as professor at the Munich Academy, even after his artistic styles became unfashionable. Notable students of his over the years include Paul Klee, Hans Purrmann, Wassily Kandinsky, Alf Bayrle and Josef Albers.

He was a member of the International Society of Sculptors, Painters and Gravers.

Franz von Stuck died on August 30, 1928 in Munich; his funeral address memorialized him as "the last prince of art of Munich's great days". He is buried in the Munich Waldfriedhof next to his wife Mary.

Stuck's subject matter was primarily from mythology, inspired by the work of Arnold Böcklin. Large forms dominate most of his paintings and indicate his proclivities for sculpture. His seductive female nudes are a prime example of popular Symbolist content. Stuck paid much attention to the frames for his paintings and generally designed them himself with such careful use of panels, gilt carving and inscriptions that the frames must be considered as an integral part of the overall piece.

Ritter von Stuck's Kämpfende Amazone (fighting Amazon), created in 1897, graced Hermann Göring's Carinhall.


Franz Stuck. Fantastic Hunt
The number of Stuck's pupils who achieved great success served to enhance the teacher's own fame. Yet by the time of his death, Stuck's importance as an artist in his own right had almost been forgotten: his art seemed old-fashioned and irrelevant to a generation which had endured World War I. Stuck's reputation languished until the late 1960s when a renewed interest in Art Nouveau brought him to attention once more. In 1968 the Villa Stuck was opened to the public; it is now a museum.

In Robert Waite's book The Psychopathic God: Adolph Hitler and numerous other sources it is noted that Franz Stuck was Hitler's favorite painter from childhood on.

In this connection it is worth noting that Stuck made frequent use of the image of a woman wrapped by a serpent, a bondage image; Hitler was well known to be attracted to images of women in confinement. A British Intelligence report compiled on him noted that he appeared to only enjoy circus acts if they involved situations where a woman appeared to be in peril.

Stuck's works were never admitted to the Great German Art Exhibit.

One of Stuck's best-known paintings The Wild Chase depicts Wotan (Odin) on horseback leading a procession of the dead. It was completed about 1889, the year of Hitler's birth, and it has acquired a kind of semi-legendary status as the face of Wotan in the painting greatly resembles Hitler's.

Stuck's paintings were mentioned by Carl Jung, who wrote:

... Franz Stuck, whose snake-pictures bear significant titles like "Vice," "Sin," or "Lust". The mixture of anxiety and lust is perfectly expressed in the sultry atmosphere of these pictures,...

From Wikipedia, the free encyclopedia

Franz Stuck
  Neoclassicism and Romanticism
Realism, Impressionism and
Ferdinand-Eugene-Victor Delacroix (Delacroix Eugene), French Romantic painter, d. (b. 1799)

Eugène Delacroix (portrait by Nadar)
Eugene Delacroix
  Neoclassicism and Romanticism
Realism, Impressionism and
Dore Gustave: "Don Quichotte," illustrations

Gustave Dore: "Don Quichotte"
see also: CERVANTES "Don Quixote" - 1 - 2
  Gustave Dore
EDGAR POE "The Raven"

The History of the Crusades  - 1 - 2
DANTE ALIGHIERI "The Divine Comedy" - 1 - 2
MILTON "Paradise Lost" - 1 - 2
ARIOSTO "Orlando Furioso" - 1 - 2 - 3
RABELAIS "Gargantua and Pantagruel" - 1 - 2
CERVANTES "Don Quixote" - 1 - 2
TENNYSON "Idylls of the King"
  Neoclassicism and Romanticism
Realism, Impressionism and
Manet: "Dejeuner sur l'herbe"

Le Déjeuner sur l'herbe (English: The Luncheon on the Grass) – originally titled Le Bain (The Bath) – is a large oil on canvas painting by Manet Edouard created in 1862 and 1863. The painting depicts a female nude and a scantily dressed female bather on a picnic with two fully dressed men in a rural setting. Rejected by the Salon jury of 1863, Manet seized the opportunity to exhibit this and two other paintings in the 1863 Salon des Refusés where the painting sparked public notoriety and controversy. The piece is now in the Musée d'Orsay in Paris. A smaller, earlier version can be seen at the Courtauld Gallery, London.

Description and context
The painting features a nude woman casually lunching with two fully dressed men. Her body is starkly lit and she stares directly at the viewer. The two men, dressed as young dandies, seem to be engaged in conversation, ignoring the woman. In front of them, the woman's clothes, a basket of fruit, and a round loaf of bread are displayed, as in a still life. In the background a lightly clad woman bathes in a stream. Too large in comparison with the figures in the foreground, she seems to float above them. The roughly painted background lacks depth – giving the viewer the impression that the scene is not taking place outdoors, but in a studio. This impression is reinforced by the use of broad "photographic" light, which casts almost no shadows. The man on the right wears a flat hat with a tassel, of a kind normally worn indoors.

Despite the mundane subject, Manet deliberately chose a large canvas size, measuring 208 x 264cm, normally reserved for historical, religious, and mythological subjects. The style of the painting breaks with the academic traditions of the time. He did not try to hide the brush strokes; the painting even looks unfinished in some parts of the scene. The nude is also starkly different from the smooth, flawless figures of Cabanel or Ingres.

A nude woman casually lunching with fully dressed men was an affront to audiences' sense of propriety, though Émile Zola, a contemporary of Manet's, argued that this was not uncommon in paintings found in the Louvre; he also felt that such a reaction came from viewing art differently than "analytic" painters like Manet, who use a painting's subject as a pretext to paint.

There is much that we still do not know about the painting such as when he actually began painting it, exactly how he got the idea, and how and what sort of preparation works he did.] Though Manet had claimed this piece was once valued at 25,000 Francs in 1871, it actually remained in his possession until 1878 when Jules Faure, opera-singer and collector, bought it for just 2,600 Francs.


Edouard Manet. Le Dejeuner sur I'Herbe. 1863
Figures in the painting
The figures of this painting are a testament to how deeply connected Manet was to Le Déjeuner sur l’herbe. Some assume that the landscape of the painting is meant to be Ile Saint-Oeuen, which was just up the Seine from Gennevilliers, where his family property was. Manet often used real models and people he knew as reference during his creation process. The female nude is clearly thought to be Victorine Meurent, the woman who became his favorite and frequently portrayed model, that later was the subject of Olympia. The male figure on the right was based on a combination of his two brothers, Eugène and Gustave Manet. The other man is based on his brother-in-law and Dutch sculptor named Ferdinand Leenhoff. Nancy Locke referred to this scene as Manet’s family portrait.
The interactions of the figures
What many critics find shocking about this painting is the interaction, or lack thereof, between the three main subjects in the foreground and the woman bathing in the background. There are many contrasting qualities to the painting that juxtapose and distance the female nude from the other two male subjects. For example, the feminine versus the masculine, the naked versus the clothed, and the white color palette versus the dark color palette creates a clear social difference between the men and the woman. Additionally, viewers are intrigued by the questions raised by the gaze of the nude woman. It is indeterminable whether she is challenging or accepting the viewer, looking past the viewer, engaging the viewer, or even looking at the viewer at all. This encounter identifies the gaze as a figure of the painting itself, as well as the figure object of the woman’s gaze.
As with the later Olympia (1863), and other works, Manet's composition reveals his study of the old masters, as the disposition of the main figures is derived from Marcantonio Raimondi's engraving The Judgement of Paris (c. 1515) after a drawing by Raphael. Raphael was an artist revered by the conservative members of the Académie des Beaux-Arts and his paintings were part of the teaching programme at the École des Beaux-Arts, where copies of fifty-two images from his most celebrated frescoes were permanently on display. "Le Bain was therefore [-] in many ways, a defiant painting [-]Manet was cheekily reworking Raphael, turning a mythological scene from one of the most celebrated engravings of the Renaissance into a tableau of somewhat vulgar Parisian holidaymakers."

Judgement of Paris Engraving ca. 1515 by Raimondi to a design by Raphael.

Scholars also cite two works as important precedents for Manet's painting Le Déjeuner sur l'herbe, The Pastoral Concert, 1508, by Giorgione or possibly Titian (in the Louvre) and Giorgione's The Tempest, both of which are famous Renaissance paintings. The Tempest, which also features a fully dressed man and a nude woman in a rural setting, offers an important precedent for Manet's painting Le Déjeuner sur l'herbe. The painting Pastoral Concert even more closely resembles Le Déjeuner sur l'herbe, as it features two dressed men seated in a rural setting, with two undressed women. Pastoral Concert is in the collection of the Louvre in Paris and is likely, therefore, to have been studied by Manet.

The Pastoral Concert ca. 1510, by Giorgione or Titian, has been cited as an inspiration for Manet's painting.

Giorgione, The Tempest (c. 1508). Gallerie dell'Accademia, Venice, Italy.
According to Proust, he and Manet had been lounging by the Seine as they spotted a woman bathing in the river. This prompted Manet to say, “I copied Giorgione’s women, the women with musicians. It’s black that painting. The ground has come through. I want to redo it and do it with a transparent atmosphere with people like those we see over there.”

There may be a strong connection between Le Déjeuner sur l’herbe and the work of Jean Antoine Watteau. Manet’s original title, Le Bain, initially drew the main attention to the woman near the water. This bathing figure alone is quite similar to the figure in Watteau’s Le Villageoise, as both women crouch or lean over near water, simultaneously holding up their skirts. It’s possible that Manet adapted this pose, which is more clearly seen in a sketch of his years before his creation of Le Déjeuner sur l’herbe.


Antoine Watteau, Le Villageoise
Graveur : Pierre-Alexandre Aveline
Critique and controversy
There were many mixed reviews and responses to Le Déjeuner sur l’herbe when it was first displayed, and it continues to yield a variety of responses. The initial response was characterized by its blunt rejection from the Paris Salon and the subsequent display of it in the Salon des Refusés. Though many were rooted in confusion about the piece, the critiques weren’t always completely negative.

Odilon Redon, for example, did not like it. There is a discussion of it, from this point of view, in Proust's Remembrance of Things Past.

Le Capitaine Pompilius, a contributor for Le Petit Journal, thought the characteristically “male” colors of the piece brought the countryside into the salon, yet he did feel the painting itself was underdeveloped.

Castagnary, appreciator of realist works, identified it as a nice sketch but the painting itself created an absence of sincerity, and lost the definition of the anatomy of the subjects. He also described Manet’s painting technique as “flabby.”

Arthur Stevens, contributor for Le Figaro, praised Manet as a talented colorist that neglected form and modeling in this piece.

Thoré, Paul, and Louvet loved the energy of the colors in this piece but found the brush strokes to be uneven.

One interpretation of the work is that it depicts the rampant prostitution that occurred in the Bois de Boulogne, a large park at the western outskirts of Paris, at the time. This prostitution was common knowledge in Paris, but was considered a taboo subject unsuitable for a painting.[20] Indeed, the Bois de Boulogne is to this day known as a pick-up place for prostitutes and illicit sexual activity after dark, just as it had been in the 19th century.

Critiques of the subject matter
Louis Etienne characterized the painting as a puzzle, while describing the nude female as “a Bréda of some sort, as nude as possible, lolling boldly between two swells dressed to the teeth. These two persons look like high school students on holiday, committing a great sin to prove their manhood.”

Arthur Stevens simply just couldn’t understand what the painting was saying.

Didier de Montchaux found the subject to be “fairly scabrous.”

Thoré described the nude as an ugly and risqué subject matter, while describing the male on the right as one “who doesn’t even have the idea to take off his horrible padded hat outdoors…It’s the contrast of such as antipathetic animal to the character of a pastoral scene, with this undraped bather, that is shocking.”

Philip Hamerton, an English painter and contributor at the Fine Arts Quarterly, had an affinity for the characteristic photographic detail of the Pre-Raphaelite paintings. Though he did recognize the inspiration from Giorgione, he found Manet’s modern realism to be offensive in this situation. His disapproval of Manet and similar artists was related to the idea of indecency behind “vulgar men” painting nude women.
General response
Though the peculiarity of the combination of one female nude with three clothed figures sparked mixed responses, the lack of interaction of the figures in addition to the lack of engagement by the nude woman provoked laughter instead of offense. Laughter as a response represses the sexual tension and makes the scene rather unthreatening to the viewer in the end.

Commentary of Émile Zola

The Luncheon on the Grass is the greatest work of Édouard Manet, one in which he realizes the dream of all painters: to place figures of natural grandeur in a landscape. We know the power with which he vanquished this difficulty. There are some leaves, some tree trunks, and, in the background, a river in which a chemise-wearing woman bathes; in the foreground, two young men are seated across from a second woman who has just exited the water and who dries her naked skin in the open air. This nude woman has scandalized the public, who see only her in the canvas. My God! What indecency: a woman without the slightest covering between two clothed men! That has never been seen. And this belief is a gross error, for in the Louvre there are more than fifty paintings in which are found mixes of persons clothed and nude. But no one goes to the Louvre to be scandalized. The crowd has kept itself moreover from judging The Luncheon on the Grass like a veritable work of art should be judged; they see in it only some people who are having a picnic, finishing bathing, and they believed that the artist had placed an obscene intent in the disposition of the subject, while the artist had simply sought to obtain vibrant oppositions and a straightforward audience. Painters, especially Édouard Manet, who is an analytic painter, do not have this preoccupation with the subject which torments the crowd above all; the subject, for them, is merely a pretext to paint, while for the crowd, the subject alone exists. Thus, assuredly, the nude woman of The Luncheon on the Grass is only there to furnish the artist the occasion to paint a bit of flesh. That which must be seen in the painting is not a luncheon on the grass; it is the entire landscape, with its vigors and its finesses, with its foregrounds so large, so solid, and its backgrounds of a light delicateness; it is this firm modeled flesh under great spots of light, these tissues supple and strong, and particularly this delicious silhouette of a woman wearing a chemise who makes, in the background, an adorable dapple of white in the milieu of green leaves. It is, in short, this vast ensemble, full of atmosphere, this corner of nature rendered with a simplicity so just, all of this admirable page in which an artist has placed all the particular and rare elements which are in him.

Zola presents a fictionalised version of the painting and the controversy surrounding it in his novel L'Œuvre (The Masterpiece).

Works inspired by Déjeuner
In L'Oeuvre, Émile Zola's novel about a painter, a work by his main character, Claude Lantier, exhibited in a fictional salon des refusés, resembles Manet's painting.

Claude Monet's own version of Le Déjeuner sur l'herbe from 1865–1866, was inspired by Manet's masterpiece.

French painter James Tissot, painted La Partie Carrée, in 1870; arguably a tamer version without the nudity of Le Déjeuner sur l'herbe.

Claude Monet, Le Déjeuner sur l'herbe, 1865-1866, Musée d'Orsay, Paris.

James Tissot, La Partie Carrée, 1870
Paul Cézanne painted the same theme in his Le Déjeuner sur l'herbe (1876-1877), Musée de l'Orangerie, Paris. It is not certain, however, that Cézanne was responsible for the title of the work, but it does incorporate many of the same elements of subject in the piece. For example, Cézanne’s clothed female subject poses similarly to the model of Manet in which her chin rests in her hand. The male figure, meant to resemble the painter himself, mimics the hand gesture of the man furthest right in Manet’s piece. The composition of Cézanne's painting also bears resemblance to Bacchanal (between 1627 and 1628), by Nicolas Poussin, whose works in the Louvre were periodically copied by Cézanne. It is possible that Cézanne's Déjeuner represents nothing more than the joyful memories of outings in the countryside around Aix-en-Provence, known especially from the testimony of a childhood friend of the painter, Émile Zola.

Manet’s painting inspired Picasso immensely as he completed the largest concentration of art prompted by a single work during the 20th century, consisting of 27 paintings, 140 drawings, 3 linogravures and cardboard marquettes for sculpture carried out between 1949 and 1962. Picasso also adopted some of Manet’s techniques involving exploitation of the nude in the foreground as evident in his work Les Demoiselles d'Avignon, 1907.

Gauguin was clearly inspired by this piece in creating his work Where do we come from? Who are we? Where are we going?, as there is a clear connection and similarity of Manet’s depiction of the nude woman and Gaugin’s Tahitian woman.

Déjeuner also inspired the 1959 film by Jean Renoir, the cover of the Bow Wow Wow LP See Jungle! See Jungle! Go Join Your Gang, Yeah. City All Over! Go Ape Crazy and EP The Last of the Mohicans, which caused additional controversy since the naked girl (lead singer Annabella Lwin) was only 14 at the time.

Paul Cézanne, Le Déjeuner sur l'herbe, 1876-1877, Musée de l'Orangerie

Paul Gauguin, Where Do We Come From? What Are We? Where Are We Going?, 1897.

Pablo Picasso, Les Demoiselles d'Avignon, 1907, MoMA
Manet: "Olympia"

Olympia is a painting by Manet Edouard, first exhibited at the 1865 Paris Salon, which shows a nude woman ("Olympia") lying on a bed being brought flowers by a black servant. Olympia was modelled by Victorine Meurent. Olympia's confrontational gaze caused shock and astonishment when the painting was first exhibited because a number of details in the picture identified her as a prostitute. The French government acquired the painting in 1890 after a public subscription organized by Claude Monet. The painting is on display at the Musée d'Orsay, Paris.

What shocked contemporary audiences was not Olympia's nudity, nor the presence of her fully clothed maid, but her confrontational gaze and a number of details identifying her as a demi-mondaine or prostitute. Some of the details that indicated Olympia as a prostitute include the orchid in her hair, her bracelet, pearl earrings and the oriental shawl on which she lies, symbols of wealth and sensuality. The black ribbon around her neck, in stark contrast with her pale flesh, and her cast-off slipper underline the voluptuous atmosphere. "Olympia" was a name associated with prostitutes in 1860s Paris.

The painting is modelled after Titian's Venus of Urbino (1538). Whereas the left hand of Titian's Venus is curled and appears to entice, Olympia's left hand appears to block, which has been interpreted as symbolic of her sexual independence from men and her role as a prostitute, granting or restricting access to her body in return for payment. Manet replaced the little dog (symbol of fidelity) in Titian's painting with a black cat, which traditionally symbolized prostitution. Olympia disdainfully ignores the flowers presented to her by her servant, probably a gift from a client. Some have suggested that she is looking in the direction of the door, as her client barges in unannounced.

The painting deviates from the academic canon in its style, characterized by broad, quick brushstrokes, studio lighting that eliminates mid-tones, large color surfaces and shallow depth. Unlike the smooth idealized nude of Alexandre Cabanel's La naissance de Vénus, also painted in 1863, Olympia is a real woman whose nakedness is emphasized by the harsh lighting. The canvas alone is 51.4 x 74.8 inches, which is rather large for this genre-style painting. Most paintings that were this size depicted historical or mythological events, so the size of the work, among other factors, caused surprise. Finally, Olympia is fairly thin by the artistic standards of the time and her relatively undeveloped body is more girlish than womanly. Charles Baudelaire thought thinness more indecent than fatness.

The model for Olympia, Victorine Meurent, became an accomplished painter in her own right.


Edouard Manet. Olympia. 1863

In part, the painting was inspired by Titian's Venus of Urbino (c. 1538), which in turn refers to Giorgione's Sleeping Venus (c. 1510). Léonce Bénédite was the first art historian to explicitly acknowledge the similarity to the Venus of Urbino in 1897. There is also some similarity to Francisco Goya's La maja desnuda (c. 1800).

There were also pictorial precedents for a nude woman, attended by a black servant, such as Ingres' Odalisque with a Slave (1842), Léon Benouville's Esther with Odalisque (1844) and Charles Jalabert's Odalisque (1842). Comparison is also made to Ingres' Grande Odalisque (1814). Unlike other artists, Manet did not depict a goddess or an odalisque but a high-class prostitute waiting for a client.


Giorgione, Sleeping Venus (c. 1510), also known as the Dresden Venus

Titian, Venus of Urbino (1538)

Francisco de Goya, La maja desnuda (circa 1797–1800), known in English as The Naked (or Nude) Maja

Jean Auguste Dominique Ingres, Grande Odalisque, (1814)

Paul Cézanne A Modern Olympia (c. 1873/74)

Critical reaction
Though Manet's The Luncheon on the Grass (Le déjeuner sur l'herbe) sparked controversy in 1863, his Olympia stirred an even bigger uproar when it was first exhibited at the 1865 Paris Salon. Conservatives condemned the work as "immoral" and "vulgar." Journalist Antonin Proust later recalled, "If the canvas of the Olympia was not destroyed, it is only because of the precautions that were taken by the administration." The critics and the public condemned the work alike. Even Émile Zola was reduced to disingenuously commenting on the work's formal qualities rather than acknowledging the subject matter, "You wanted a nude, and you chose Olympia, the first that came along". He paid tribute to Manet's honesty, however, "When our artists give us Venuses, they correct nature, they lie. Édouard Manet asked himself why lie, why not tell the truth; he introduced us to Olympia, this fille of our time, whom you meet on the sidewalks."

From Wikipedia, the free encyclopedia

Meurent Victorine-Louise

Victorine-Louise Meurent (also Meurant) (February 18, 1844[1] – March 17, 1927) was a French painter and a famous model for painters. Although she is best known as the favourite model of Manet Edouard , she was also an artist in her own right who regularly exhibited at the prestigious Paris Salon. In 1876 her paintings were selected for inclusion at the Salon's juried exhibition, when Manet's work was not.


Victorine Meurent, c. 1865, album of portraits belonging to Édouard Manet
Born in Paris to a family of artisans (her father was a patinator of bronzes, while her mother was a milliner), Meurent started modeling at the age of sixteen in the studio of Thomas Couture and may also have studied art at his women's atelier. Meurent first modeled for Manet in 1862, for his painting The Street Singer. Manet was first drawn to Meurent when he saw her in the street, carrying her guitar. She was particularly noticeable for her petite stature, which earned her the nickname La Crevette (The Shrimp), and for her red hair, which is depicted as very bright in Manet's watercolor copy of Olympia. As well as playing the guitar, Meurent also played the violin, gave lessons in the two instruments, and sang in café-concerts.

Meurent's name remains forever associated with Manet's masterpieces of 1863, The Luncheon on the Grass and Olympia, which include nude portrayals of her. At that time she also modeled for Edgar Degas and the Belgian painter Alfred Stevens, both close friends of Manet. Her relationship with Stevens is said to have been particularly close.

Manet continued to use Meurent as a model until the early 1870s, when she began taking art classes and they became estranged, as she was drawn to the more academic style of painting that Manet opposed. The last Manet painting in which Meurent appears is Gare Saint-Lazare (Not to be confused with Monet's painting of the same name), painted in 1873, which is often referred to as The Railway. The painting is considered the best example of Manet's use of contemporary subject matter.

In 1875, Meurent began studying with the portraitist fr: Étienne Leroy. The following year, Meurent first submitted work of her own at the Salon and was accepted. Ironically, Manet's own submissions were rejected by the jury that year.

Bourgeoise de Nuremberg au XVIe siècle, Meurent's entry at the Académie des Beaux-Arts in 1879, was hung in the same room as the entry by Manet. Work by Meurent also was included in the 1885 and 1904 exhibitions. In all, Meurent exhibited in the Salon six times. She also continued to support herself by modelling through the 1880s for Norbert Goeneutte, an artist best known for his etchings, and for Toulouse-Lautrec, who took to introducing her as Olympia.

Meurent was inducted into the Société des Artistes Français in 1903, with the support of Charles Hermann-Leon and Tony Robert-Fleury, the Société's founder. By 1906 Meurent had left Paris for the suburb of Colombes, where she lived with a woman named Marie Dufour for the remainder of her life. The two appear to have shared ownership of their house. In her eighties she continued to refer to herself as an artist, as recorded in a census from that time. Meurent died on March 17, 1927. After the death of Dufour in 1930, the contents of the house were liquidated; in the late twentieth century, elderly neighbours recalled the last contents of the house, including a violin and its case, being burnt on a bonfire.

A painting by Meurent, Le Jour des Rameaux or Palm Sunday was recovered in 2004 and now hangs in the Colombes History Museum.


Portrait of Victorine Meurent
Museum of Fine Arts, Boston
Meurent in fiction
Victorine Meurent's life has inspired two historical novels, and she appears as a character in several others.

The Irish writer George Moore included Meurent as a character in his semi-fictional autobiography, Memoirs of My Dead Life (1906). She appears as a middle-aged woman past her prime, living in a lesbian relationship with a famous courtesan.

Meurent is the protagonist of both Mademoiselle Victorine: a Novel (2007) by Debra Finerman and A Woman With No Clothes On (2008) by V R Main and is a character in Christopher Moore's novel Sacré Bleu (2012).

She is also a character in the film Intimate Lives: The Women of Manet, aka Manet in Love (1998) and is played by Shelley Phillips.

Meurent in Manet's works

Street Singer,
Museum of Fine Arts, Boston
Woman with Parrot,
Metropolitan Museum of Art

Mlle. Victorine in the Costume of a Matador,
Metropolitan Museum of Art

The Guitar Player,
Hill-Stead Museum

The Railway,
National Gallery of Art, Washington, DC.

  Edouard Manet

Impressionism Timeline (1863-1899)
  Neoclassicism and Romanticism
Realism, Impressionism and
The "Salon des Refuses" in Paris

The Salon des Refusés, French for “exhibition of rejects”, is generally an exhibition of works rejected by the jury of the official Paris Salon, but the term is most famously used to refer to the Salon des Refusés of 1863.

Today by extension, salon des refusés refers to any exhibition of works rejected from a juried art show.


The Palais de l'Industrie, where the event took place. Photo by Édouard Baldus.
Background of the Salon of 1863
The Paris Salon, sponsored by the French government and the Academy of Fine Arts, took place annually, and was a showcase of the best academic art. A medal from the Salon was assurance of a successful artistic career; winners were given official commissions by the French government, and were sought after for portraits and private commissions. Since the 18th century, the paintings were classified by genre, following a specific hierarchy; history paintings were ranked first, followed by the portrait, the landscape, the "genre scene", and the still life. The jury, headed by the Comte de Nieuwerkerke, the head of the Academy of Fine Arts, was very conservative; near-photographic but idealized realism was expected.

Much intrigue often went on to get acceptance, and to be given a good place in the galleries. In 1851, Gustave Courbet managed to get one painting into the Salon, Enterrement á Ornans and in 1852 his Baigneuses was accepted, scandalizing critics and the public, who expected romanticized nudes in classical settings, but in 1855 the Salon refused all of Courbet's paintings. As early as the 1830s, Paris art galleries mounted small-scale, private exhibitions of works rejected by the Salon jurors.
Courbet was obliged to organize his own exhibit, called Le Realism, at a private gallery. Private exhibits attracted far less attention from the press and patrons, and limited the access of the artists to a small public.

In 1863 the Salon jury refused two thirds of the paintings presented, including the works of Courbet, Édouard Manet, Camille Pissaro and Johan Jongkind.

  The rejected artists and their friends protested, and the protests reached Emperor Napoleon III. The Emperor's tastes in art were traditional; he commissioned and bought works by artists such as Alexandre Cabanel and Franz Xaver Winterhalter, but he was also sensitive to public opinion. His office issued a statement: "Numerous complaints have come to the Emperor on the subject of the works of art which were refused by the jury of the Exposition. His Majesty, wishing to let the public judge the legitimacy of these complaints, has decided that the works of art which were refused should be displayed in another part of the Palace of Industry."

More than a thousand visitors a day visited the Salon des Refusés. The journalist Emile Zola reported that visitors pushed to get into the crowded galleries where the refused paintings were hung, and the rooms were full of the laughter of the spectators. Critics and the public ridiculed the refusés, which included such now-famous paintings as Édouard Manet's Déjeuner sur l'herbe and James McNeill Whistler's Symphony in White, No. 1: The White Girl. But the critical attention also legitimized the emerging avant-garde in painting.

The Impressionists successfully exhibited their works outside the traditional Salon beginning in 1874. Subsequent Salons des Refusés were mounted in Paris in 1874, 1875, and 1886, by which time the popularity of the Paris Salon had declined for those who were more interested in Impressionism; this was not the case for the artist Manet who still wanted to be acclaimed by the original Salon, looking for permanence and nobility like many other traditionalists.

From Wikipedia, the free encyclopedia
Impressionism Timeline (1863-1899)
Art in Revolt

Furious at their rejection from the Salon, hundreds of French artists complain to the authorities.
As a result, the Emperor orders an exhibition of rejected works, the Salon des Refuses. It is dominated by Manet's 'Dejeuner sur I'herbe', showing a naked woman picnicking in the open with two fully clothed men - to young artists a triumph of Realism, to conservatives a shameless piece of pornography.

The Government promulgates new regulations for the Salon whereby no artist can submit more than three works. Those who have won first-class or second-class medals in previous Salons do not have to submit their entries to the jury.

Lucien, the eldest son of Pissarro and Julie Vellay (Pissarro's mother's maid), is born in Paris.

Manet has a one-man exhibition at Louis Martinet's gallery in the boulevard des Italiens. The fourteen works on show include Lola de Valence, Music in the Tuileries Gardens, The Old Musician and Boy with a Sword.

7th 'Lola de Valence', a song by Zacharie Astruc about the popular Spanish dancer, is published with a cover by Manet.

Lola de Valence

Lola de Valence, star of Mariano Camprubi's ballet, which visited France in 1862—3, seemed to symbolize the spirit of Spain at a rime when Spanish themes were in vogue. This was one of a series of paintings by Manet that included The Spanish Singer.

In March 1863 a serenade appeared entitled Lola de Valence, dedicated to the Queen of Spain, with words and music by Manet's friend Zacharie Astruc. On the cover of the song sheet was a lithograph of the dancer by Manet.

Music in the Tuileries

The gardens of the Tuileries Palace (burned down during the Commune of 1871) were opened to the public by Napoleon III and soon became a popular meeting place. This lively portrait of Second Empire society (many of the figures are thought to have been based on photographs) is an example of Manet's concern with contemporary life. The artist himself can be seen standing in a dandyish pose on the extreme left; among the crowd are Baudelaire, Offenbach, Zacharie Astruc, Theophile Gautier and Fantin-Latour.

The ornate entrance to the
Palais de I'lndustrie in the Champs-Elysecs,
where the annual exhibition of the Salon
was held. Completed in 1853, it was built
as a permanent exhibition site.

The Salon jury announces its decisions. Of approximately 5000 works submitted, 2217 are accepted. There are 983 exhibitors, a marked drop in numbers from 1289 the previous year. Among the artists rejected is Manet, who had submitted three works — including his recently painted Dejeuner sur I'herbe. Fantin-Latour, Legros, Renoir and Whistler all have work hung.

24th An Imperial decree is published in Le Moniteur universel stating that 'Numerous complaints have reached the Emperor on the subject of works of art which have been refused by the [Salon] jury... His Majesty, wishing to let the public know the legitimacy of these complaints, has decided that the rejected works are to be exhibited in another part of the Palais de I'lndustrie. This exhibition will be voluntary, and artists who do not wish to participate will need only to inform the administration, which will hasten to return their works to them.'

Opening of the Salon. To avoid favouritism, the pictures are arranged in alphabetical order of the artists' names. Portraits and battle scenes predominate, with a generous scattering of nudes. Corot, Millet, Puvis de Ghavannes and Theodore Rousseau are among the more progressive artists included in the exhibition.

17th The Salon des Refuses opens in a separate part of the Palais de I'lndustrie from the main Salon. The catalogue lists only 781 exhibits, although there are actually many more. Among those exhibiting are Bracquemond, Cezanne, Manet and Pissarro. Whistler's The White Girl, rejected by the Royal Academy in London in 1862, is the success of the exhibition. Manet's Dejeuner sur I'herbe causes a sensation, establishing him as the leading dissident of the art world.

23rd Monet and Bazille paint en plein air in Ghailly. Pissarro moves to Varenne-St-Hilaire.

Symphony in White: No. I The White Girl

When this portrait of Whistler's mistress Joanna
Hifferman (known as Jo) was exhibited at the
Salon des Refuses in 1863, it attracted a great
deal of attention and was greeted with
enthusiasm by the avant-garde.

Degas visits his cousins the Mussons in Bourg-en-Bresse, where they have settled after leaving America
because of the Civil War. Berthe Morisot goes painting on the Oise with her sister Edma, who is learning to paint.

Renoir comes ninth out of twelve candidates in the composition examination at the Ecole des Beaux-Arts.

Manet marries the Dutch pianist Suzanne Leenhoff, with whom he has been having an affair since 1850. Despite their marriage, their son Leon, born in 1852, retains his mother's maiden name.

Cezanne applies for permission to study at the Louvre.

13th An Imperial decree is issued making radical changes to the Ecole des Beaux-Arts. Control of the school is to be taken away from the Academie des Beaux-Arts (part of the Institut de France) and vested in the government, which is to appoint the professors, lecturers and administrators. It also stipulates that students must be French nationals between the ages of 15 and 30, and foreigners can only be admitted on an exceptional basis.


Dejeuner sur I'herbe

The inspiration for this painting (originally entitled Le Bain] came from two sources: Marcantonio Raimondi's engraving (c.1500) of Raphael's The Judgement of Paris and Titian's Le Concert Champetre, of which Manet owned a copy. The man looking out from the painting is based on one of Manet's brothers (or possibly both), while his companion is the sculptor Ferdinand Leenhoff, brother of Suzanne Leen-hoff, whom Manet married in October. The nude sitting with them is Victorine Meurent — who also posed for Olympia.
I ought not to omit a remarkable picture of the Realist school, a translation of a thought ofGiorgione into modem French. Yes, there they are, under the trees, the principal lady entirely undressed, sitting calmly in the well-known attitude of Giorgione's Venetian woman; another female in a chemise coming out of a little stream that runs hard by; and two Frenchmen in wide-awakes [broad-brimmed hats] sitting on the very green grass with a stupid look of bliss.

PHILIP HAMERTON, Fine Arts Quarterly Review, June 1863

Unfortunately the nude hasn't a good figure and one can't think of anything uglier than the man stretched out beside her, who hasn't even thought of taking off ...his horrid padded cap. It is the contrast of a creature so inappropriate in a pastoral scene with this naked bather that is so shocking.


A commonplace woman of the demi-monde, as naked as possible, shamelessly lolls between two overdressed fops, who look like schoolboys on a holiday doing something naughty to play at being grown-up. I search in vain for any meaning to this unbecoming riddle.

LOUIS ETIENNE, Le Jury et les exposants, 1863

I see garments without feeling the anatomical structure that supports them and explains their movements. I see boneless fingers and heads without skulls. I see side-whiskers made of two strips of black cloth that could have been glued to the cheeks. What else do I see? The artist's lack of conviction and sincerity.

JULES CASTAGNARY, reprinted in Salons, 1892
Impressionism Timeline

  Neoclassicism and Romanticism
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Signac Paul
Paul Victor Jules Signac (11 November 1863 – 15 August 1935) was a French Neo-Impressionist painter who, working with Georges Seurat, helped develop the Pointillist style.

Paul Signac with his palette, ca. 1883
Paul Signac was born in Paris on 11 November 1863. He followed a course of training in architecture before deciding at the age of 18 to pursue a career as a painter after attending an exhibit of Monet's work. He sailed around the coasts of Europe, painting the landscapes he encountered. He also painted a series of watercolors of French harbor cities in later years.

In 1884 he met Claude Monet and Georges Seurat. He was struck by the systematic working methods of Seurat and by his theory of colors and became Seurat's faithful supporter, friend and heir with his description of Neo-Impressionism and Divisionism method. Under his influence he abandoned the short brushstrokes of Impressionism to experiment with scientifically juxtaposed small dots of pure color, intended to combine and blend not on the canvas but in the viewer's eye, the defining feature of Pointillism.

Many of Signac's paintings are of the French coast. He loved to paint the water. He left the capital each summer, to stay in the south of France in the village of Collioure or at St. Tropez, where he bought a house and invited his friends.

Paul Signac, Albert Dubois-Pillet, Odilon Redon and Georges Seurat were among the founders of the Société des Artistes Indépendants. The association began in Paris 29 July 1884 with the organization of massive exhibitions, with the device "No jury nor awards" (Sans jury ni récompense).

"The purpose of Société des Artistes Indépendants—based on the principle of abolishing admission jury—is to allow the artists to present their works to public judgement with complete freedom". For the following three decades their annual exhibitions set the trends in art of the early 20th century.

At the 1905 Salon des Indépendants, Henri Matisse exhibited the proto-Fauve painting Luxe, Calme et Volupté. In the Divisionist technique and brightly colored, it was painted in 1904, after a summer spent working in St. Tropez on the French Riviera alongside the neo-Impressionist painters Paul Signac and Henri-Edmond Cross. The painting is Matisse's most important work in which he used the Divisionist technique advocated by Signac, which Matisse had first adopted after reading Signac's essay, d'Eugène Delacroix au Néo-Impressionnisme in 1898. Signac purchased the work after the 1905 Salon des Indépendants. In 1908 Signac was elected president of the 24th Salon des Indépendants.

In 1886 Signac met Vincent van Gogh in Paris. In 1887 the two artists regularly went to Asnières-sur-Seine together, where they painted such subjects as river landscapes and cafés. Initially, Van Gogh chiefly admired Signac’s loose painting technique. In March 1889, Signac visited Vincent van Gogh at Arles. The next year he made a short trip to Italy, seeing Genoa, Florence, and Naples.
In 1888, Signac discovered anarchist ideas by reading Elisee Reclus, Kropotkin and Jean Grave, who all developed the ideas of anarchist communism. With his friends Angrand Cross, Maximilien Luce and Camille Pissarro he contributed to Jean Grave’s paper Les Temps Nouveaux (New Times).

His financial support was considerable; he sent regular cheques and made a gift of his works for five lotteries between 1895 and 1912. Signac's 1893 painting, In the Time of Harmony was originally titled In the Time of Anarchy but political repression targeting the anarchists in France at this time forced him to change it before the work could be accepted by a gallery.

Signac loved sailing and began to travel in 1892, sailing a small boat to almost all the ports of France, to the Netherlands, and around the Mediterranean as far as Constantinople, basing his boat at St. Tropez, which he "discovered". From his various ports of call, Signac brought back vibrant, colorful watercolors, sketched rapidly from nature. From these sketches, he painted large studio canvases that are carefully worked out in small, mosaic-like squares of color, quite different from the tiny, variegated dots previously used by Seurat.

Paul Signac. Two Milliners
Signac himself experimented with various media. As well as oil paintings and watercolors he made etchings, lithographs, and many pen-and-ink sketches composed of small, laborious dots. The Neo-Impressionists influenced the next generation: Signac inspired Henri Matisse and André Derain in particular, thus playing a decisive role in the evolution of Fauvism.

As president of the Société des Artistes Indépendants from 1908 until his death, Signac encouraged younger artists (he was the first to buy a painting by Matisse) by exhibiting the controversial works of the Fauves and the Cubists.

Signac served as a juror with Florence Meyer Blumenthal in awarding the Prix Blumenthal, a grant given between 1919 and 1954 to painters, sculptors, decorators, engravers, writers, and musicians.


Georges Seurat Portrait of Paul Signac, 1890, conté crayon, private collection
  Personal life
On 7 November 1892 Signac married Berthe Roblès at the town hall of the 18th arrondissement of Paris; witnesses at the wedding were Alexandre Lemonier, Maximilien Luce, Camille Pissarro and Georges Lecomte.

In November 1897, the Signacs moved to a new apartment in the Castel Béranger, built by Hector Guimard, and a little later, in December of the same year, acquired a house in Saint-Tropez called La Hune; there the painter had a vast studio constructed, which he inaugurated on 16 August 1898.

In September 1913, Signac rented a house at Antibes, where he settled with Jeanne Selmersheim-Desgrange, who gave birth to their daughter Ginette on 2 October 1913. In the meantime Signac had left La Hune as well as the Castel Beranger apartment to Berthe: they remained friends for the rest of his life. On 6 April 1927, Signac adopted Ginette, his previously illegitimate daughter. His granddaughter, Françoise Cachin, was an art historian.

Paul Signac died from septicemia in Paris on 15 August 1935 at the age of 71. His body was cremated and buried three days later, on 18 August, at the Père Lachaise Cemetery.

Some of his well known paintings are: In the Time of Harmony, Femmes au puits, Port St. Tropez, The Papal Palace, and The Demolisher.

In 2010, a previously unknown work was discovered at a hotel which was preparing an exhibition of its many paintings. The Hotel Spaander (nl) in Volendam has about 1,400 works of art and Signac apparently gave this one to pay for his stay there in 1894. Valued at €100,000, the untitled oil "representing a view of the harbour used to hang off a rusty nail in the lobby".
Signac left several important works on the theory of art, among them From Eugène Delacroix to Neo-Impressionism, published in 1899; a monograph devoted to Johan Barthold Jongkind (1819–1891), published in 1927; several introductions to the catalogues of art exhibitions; and many other still unpublished writings.

Politically he was an anarchist, as were many of his friends, including Félix Fénéon and Camille Pissarro.

From Wikipedia, the free encyclopedia


Paul Signac. Port of La Rochelle

   Paul Signac

Impressionism Timeline (1863-1899)
  Neoclassicism and Romanticism
Realism, Impressionism and
Munch Edvard
Edvard Munch, (born December 12, 1863, Loten, Norway—died January 23, 1944, Ekely), Norwegian painter and printmaker whose intensely evocative treatment of psychological themes built upon some of the main tenets of late 19th-century Symbolism and greatly influenced German Expressionism in the early 20th century. His painting The Scream, or The Cry (1893), can be seen as a symbol of modern spiritual anguish.

Edvard Munch
  Early years
Munch was born into a middle-class family that was plagued with ill health. His mother died when he was five, his eldest sister when he was 14, both of tuberculosis; Munch eventually captured the latter event in his first masterpiece, The Sick Child (1885–86). Munch’s father and brother also died when he was still young, and another sister developed mental illness. “Illness, insanity, and death,” as he said, “were the black angels that kept watch over my cradle and accompanied me all my life.” Munch showed a flair for drawing at an early age but received little formal training. An important factor in his artistic development was the Kristiania Bohème, a circle of writers and artists in Kristiania, as Oslo was then called. Its members believed in free love and generally opposed bourgeois narrow-mindedness. One of the older painters in the circle, Christian Krohg, gave Munch both instruction and encouragement. Munch soon outgrew the prevailing naturalist aesthetic in Kristiania, partly as a result of his assimilation of French Impressionism after a trip to Paris in 1889 and his contact from about 1890 with the work of the Post-Impressionist painters Paul Gauguin and Henri de Toulouse-Lautrec. In some of his paintings from this period he adopted the Impressionists’ open brushstrokes, but Gauguin’s use of the bounding line was to prove more congenial to him, as was the Synthetist artists’ ambition to go beyond the depiction of external nature and give form to an inner vision. His friend the Danish poet Emanuel Goldstein introduced him to French Decadent Symbolist poetry during this period, which helped him formulate a new philosophy of art, imbued with a pantheistic conception of sexuality.
Artistic maturity
Munch’s own deeply original style crystallized about 1892. The flowing, tortuous use of line in his new paintings was similar to that of contemporary Art Nouveau, but Munch used line not as decoration but as a vehicle for profound psychological revelation. The outraged incomprehension of his work by Norwegian critics was echoed by their counterparts in Berlin when Munch exhibited a large number of his paintings there in 1892 at the invitation of the Union of Berlin Artists. The violent emotion and unconventional imagery of his paintings, especially their daringly frank representations of sexuality, created a bitter controversy. Critics were also offended by his innovative technique, which to most appeared unfinished. The scandal, however, helped make his name known throughout Germany, and from there his reputation spread farther. Munch lived mainly in Berlin in 1892–95 and then in Paris in 1896–97, and he continued to move around extensively until he settled in Norway in 1910.

Edvard Munch
  Paintings of love and death
At the heart of Munch’s achievement is his series of paintings on love and death. Its original nucleus was formed by six pictures exhibited in 1893, and the series had grown to 22 works by the time it was first exhibited under the title Frieze of Life at the Berlin Secession in 1902. Munch constantly rearranged these paintings, and if one had to be sold, he would make another version of it. Thus in many cases there are several painted versions and prints based on the same image. Although the Frieze draws deeply on personal experience, its themes are universal: it is not about particular men or women but about man and woman in general, and about the human experience of the great elemental forces of nature. Seen in sequence, an implicit narrative emerges of love’s awakening, blossoming, and withering, followed by despair and death.

Love’s awakening is shown in The Voice (1893), where on a summer night a girl standing among trees seems to be summoned more by an inner voice than by any sounds from a boat on the sea behind her. Compositionally, this is one of several paintings in the Frieze in which the winding horizontal of the coastline is counterpoised with the verticals of trees, figures, or the pillarlike reflection across the sea of sun or moon. Love’s blossoming is shown in The Kiss (1892), in which a man and woman are locked in a tender and passionate embrace, their bodies merging into a single undulating form and their faces melting so completely into each other that neither retains any individual features.

An especially powerful image of the surrender, or transcendence, of individuality is Madonna (1894–95), which shows a naked woman with her head thrown back in ecstasy, her eyes closed, and a red halo-like shape above her flowing black hair. This may be understood as the moment of conception, but there is more than a hint of death in the woman’s beautiful face. In Munch’s art, woman is an “other” with whom union is desperately desired, yet feared because it threatens the destruction of the creative ego.

In other works forming the Frieze, Munch explored the theme of suffering caused by love, as seen in such titles as Melancholy (c. 1892–93), Jealousy (1894–95), and Ashes (1894). If isolation and loneliness, always present in his work, are especially emphasized in these pictures, they are equally apparent in Death in the Sick Room (1893–95), one of his many paintings about death. Here the focus is not on the dying child, who is not even visible, but on the living, each wrapped in their own experience of grief and unable to communicate or offer each other any consolation. The picture’s power is heightened by the claustrophobically enclosed space and by the steeply rushing perspective of the floor.

The same type of dramatic perspective is used in The Scream, which is Munch’s most famous work. Inspired by a hallucinatory experience in which Munch felt and heard a “scream throughout nature,” it depicts a panic-stricken creature, simultaneously corpselike and reminiscent of a sperm or fetus, whose contours are echoed in the swirling lines of the blood-red sky.


Edvard Munch
  In this painting anxiety is raised to a cosmic level, ultimately related to the ruminations on death and the void of meaning that were to be central to Existentialism. (The two earliest versions of The Scream date to 1893; Munch created another version in 1895 and completed a fourth likely in 1910.) His art also had evident affinities with the poetry and drama of his day, and interesting comparisons can be made with the work of the dramatists Henrik Ibsen and August Strindberg, both of whose portraits he painted.

Munch’s massive output of graphic art—consisting of etchings, drypoints, lithographs, and woodcuts—began in 1894. The principal attraction to him of printmaking was that it enabled him to communicate his message to a much larger number of people, but it also afforded him exciting opportunities for experimentation. His lack of formal training in any graphic medium was no doubt a factor in pushing him toward extremely innovative techniques. Like many of his contemporaries, he was influenced by the Japanese tradition in his use of the woodcut, but he radically simplified the process by, for example, printing from a single block of wood sawed into a number of small pieces.

Munch’s use of the actual grain of the wood for expressive purposes proved an especially successful experiment, and it greatly influenced later artists. He also frequently combined different media or overlaid one medium on top of another. Munch’s prints closely resemble his paintings in both style and subject matter.

Later years
Munch suffered a nervous breakdown in 1908–09, and afterward his art became more positive and extroverted without recovering its previous intensity. Among the few exceptions is his haunting Self-Portrait: The Night Wanderer (c. 1930), one of a long series of self-portraits he painted throughout his life. An especially important commission, which marked the belated acceptance of his importance in Norway, was for the Oslo University Murals (1909–16), the centrepiece of which was a vast painting of the sun, flanked by allegorical images. Both landscapes and men at work provided subjects for Munch’s later paintings. Yet it was principally through his work of the 1890s, in which he gave form to mysterious and dangerous psychic forces, that he made such a crucial contribution to modern art. In 1937 his work was included in the Nazi exhibition of “degenerate art.” Upon his death, Munch bequeathed his estate and all the paintings, prints, and drawings in his possession to the city of Oslo, which erected the Munch Museum in 1963. Many of his finest works are in the National Gallery in Oslo.

Munch was a leader in the revolt against the naturalistic dictates of 19th-century academic painting and also went beyond the naturalism still inherent in Impressionism. His concentration on emotional essentials sometimes led to radical simplifications of form and an expressive, rather than descriptive, use of colour. All these tendencies were taken up by a number of younger artists, notably the leading proponents of German Expressionism. Perhaps his most direct formal influence on subsequent art can be seen in the area of the woodcut. His most profound legacy to modern art, however, lay particularly in his sense of art’s purpose to address universal aspects of human experience. Munch was heir to the traditional mysticism and anxiety of northern European painting, which he re-created in a highly personal art of the archetypal and symbolic. His work continues to speak to the typically modern situation of the individual facing the uncertainty of a rapidly changing contemporary world.

Gray F. Watson

Encyclopædia Britannica


Edvard Munch. Girls on the Jetty. 1901
Edvard Munch
  Art of the 20th century

Art of the 20th century Timeline (1900-1999)
Berlioz: "Les Troyens"

Les Troyens (in English: The Trojans) is a French grand opera in five acts by Berlioz Hector . The libretto was written by Berlioz himself from Virgil's epic poem the Aeneid; the score was composed between 1856 and 1858. Les Troyens is Berlioz's most ambitious work, the summation of his entire artistic career, but he did not live to see it performed in its entirety. Under the title Les Troyens à Carthage, the last three acts were premièred with many cuts by Léon Carvalho's company, the Théâtre Lyrique, at their theatre (now the Théâtre de la Ville) on the Place du Châtelet in Paris on 4 November 1863, with 21 repeat performances.


Énée et Didon by Guérin (1815).

Composition history
Berlioz began the libretto on 5 May 1856 and completed it toward the end of June 1856. He finished the full score on 12 April 1858. Berlioz had a keen affection for literature, and he had admired Virgil since his childhood. The Princess Carolyne zu Sayn-Wittgenstein was a prime motivator to Berlioz to compose this opera.

[…] At that time I had completed the dramatic work I mentioned earlier and which I referred to in a footnote to one of my earlier chapters [i.e. chapter 59 concerning Les Troyens: see above]. Four years earlier I happened to be in Weimar at the home of Princess Wittgenstein – a devoted friend of Liszt, and a woman of character and intelligence who has often given me support in my darkest hours. I was led to talk of my admiration for Virgil and of the idea I had formed of a great opera, designed on Shakespearean lines, for which Books Two and Four of the Aeneid would provide the subject-matter. I added that I was all too aware of the pain that such an undertaking would inevitably cause me ever to embark on it. "Indeed, the princess replied, the conjunction of your passion for Shakespeare and your love of antiquity must result in the creation of something grand and novel. You must write this opera, this lyric poem; call it what you like and plan it as you wish. You must start work on it and bring it to completion." As I persisted in my refusal: "Listen, said the princess, if you shrink before the hardships that it is bound to cause you, if you are so weak as to be afraid of the work and will not face everything for the sake of Dido and Cassandra, then never come back here, for I do not want to see you ever again." This was more than enough to decide me. Once back in Paris I started to write the lines for the poem of Les Troyens. Then I set to work on the score, and after three and a half years of corrections, changes, additions etc., everything was finished. As I was polishing the work over and over again, after giving numerous readings of the poem in different places, listening to the comments made by various listeners and benefiting from them to the best of my ability, I decided to write the following letter to the Emperor.

On 3 May 1861, Berlioz wrote in a letter: "I am sure that I have written a great work, greater and nobler than anything done hitherto." Elsewhere he wrote: "The principal merit of the work is, in my view, the truthfulness of the expression." For Berlioz, truthful representation of passion was the highest goal of a dramatic composer, and in this respect he felt he had equalled the achievements of Gluck and Mozart.

Hector Berlioz - Les troyens
Cinquième Acte Tableau 1 N°38 - Chanson d`Hylas: Vallon sonore
Hector Berlioz
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Bizet: "Les Pecheurs de perles"
Les pêcheurs de perles (The Pearl Fishers) is an opera in three acts by the French composer Bizet Georges , to a libretto by Eugène Cormon and Michel Carré. It was first performed on 30 September 1863 at the Théâtre Lyrique in Paris, and was given 18 performances in its initial run. Set in ancient times on the island of Ceylon, the opera tells the story of how two men's vow of eternal friendship is threatened by their love for the same woman, whose own dilemma is the conflict between secular love and her sacred oath as a priestess. The friendship duet "Au fond du temple saint", generally known as "The Pearl Fishers Duet", is one of the best-known numbers in Western opera.

Bizet: "Les Pecheurs de perles". Final scene of act 1 (La Scala, 1886)
At the time of the premiere, Bizet was 25 years old and had yet to establish himself in the Parisian musical world. The commission to write Les pêcheurs arose from his standing as a former winner of the prestigious Prix de Rome. Despite a good reception by the public, press reactions to the work were generally hostile and dismissive, although other composers, notably Hector Berlioz, found considerable merit in the music. The opera was not revived in Bizet's lifetime, but from 1886 onwards it was performed with some regularity in Europe and North America, and from the mid-20th century has entered the repertory of opera houses worldwide. Because the autograph score was lost, post-1886 productions were based on amended versions of the score that contained significant departures from the original. Since the 1970s, efforts have been made to reconstruct the score in accordance with Bizet's intentions.

Modern critical opinion has been kinder than that of Bizet's day. Commentators describe the quality of the music as uneven and at times unoriginal, but acknowledge the opera as a work of promise in which Bizet's gifts for melody and evocative instrumentation are clearly evident. They have identified clear foreshadowings of the composer's genius which would culminate, 10 years later, in Carmen. Since 1950 the work has been recorded on numerous occasions, in both the amended and original versions.

Georges Bizet: The Pearl Fishers : Leila's aria
Performed by soprano Liliya Gubaidulina, Lithuanian symphony orchestra conducted by Gintaras Rimkevicius.
She sings: Me voilà seule dans la nuit...Comme autrefois (act II)
Georges Bizet
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Mascagni Pietro

Pietro Mascagni, (born December 7, 1863, Livorno, Kingdom of Italy—died August 2, 1945, Rome, Italy), Italian operatic composer, one of the principal exponents of verismo, a style of opera writing marked by melodramatic, often violent plots with characters drawn from everyday life.


Pietro Mascagni
  Mascagni, Pietro [Credit: Hulton Archive/Getty Images]Mascagni studied at the conservatory at Milan, but, unable to submit to the discipline of his master, Amilcare Ponchielli, he left to join a traveling opera company.

In 1889 he won the first prize in a competition with his one-act opera Cavalleria rusticana, based on a Sicilian melodrama by Giovanni Verga.

It was produced at the Teatro Costanzi, Rome, on May 17, 1890, and was an instant success; it subsequently maintained its popularity, usually being given with Ruggero Leoncavallo’s one-act Pagliacci.

Le maschere (1901), reviving the commedia dell’arte, is musically superior, though it had little success.

Mascagni succeeded Arturo Toscanini as musical director of La Scala, Milan, in 1929.

Among Mascagni’s other operas are L’amico Fritz (1891), Iris (1898), and Nerone (1935), the last glorifying Benito Mussolini.

Encyclopædia Britannica

Pietro Mascagni: Cavalleria rusticana
Cavalleria rusticana - Intermezzo
Lim Kek-tjiang conducts Evergreen Symphony Orchestra
Pietro Mascagni
  Classical Music Timeline

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Weingartner Felix

Felix Weingartner, Edler von Munzberg, (born June 2, 1863, Zara, Dalmatia Austrian Empire [now Zadar, Croatia]—died May 7, 1942, Winterthur, Switzerland), Austrian symphonic and operatic conductor and composer, best-known for his interpretations of the works of Ludwig van Beethoven and Richard Wagner.


Weingartner circa 1890
  Weingartner first studied composition at Graz. Beginning as a student of philosophy at the University of Leipzig, he turned to the conservatory, on the recommendation of Johannes Brahms. In 1883 he became a student of Franz Liszt’s at Weimar, and in 1884 his opera Sakuntala was produced there.

He was appointed court conductor of the Berlin Royal Opera in 1891 and led its symphony concerts until 1897. Moving to Munich in 1898, he conducted the Kaim concerts until 1905. In 1907 he succeeded Gustav Mahler as conductor of the Court Opera in Vienna and was conductor of the Vienna Philharmonic from 1908 to 1927. He directed the Vienna State Opera from late 1934 to 1936.

In 1937 he became a Swiss citizen. He conducted in London beginning in 1898 with the Royal Philharmonic Society, the London Symphony Orchestra, and the Scottish Orchestra. He toured with the New York Philharmonic Society Orchestra in 1906 and conducted opera in Boston (1912–13). His conducting style, exemplified in his performances of Beethoven and Wagner, represented a reaction against the eccentric aspects of Romantic conducting and a move toward an ideal of craftsmanship.
Weingartner composed operas, incidental music, choral works, symphonies, concerti, chamber music, and songs. His pamphlet on conducting, “Über das Dirigieren” (1895; “On Conducting”), is famous. He did much editing of the works of Hector Berlioz. His memoirs, Lebenserinnerungen (1923; “Reminiscences”), were translated into English as Buffets and Rewards (1937).

Encyclopædia Britannica

Felix von Weingartner: Symphony No 6
1. Movement "Andante moderato"
Symphony Orchestra Basel
Marco Letonja, conductor

Felix Weingartner
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