"asked Tallchief to marry him, much to her surprise. After some thought, she agreed and the couple wed on August 16, 1946. One night on tour in 1945, Tallchief was doing her barre when Balanchine remarked ""if only you would learn to do ""battement tendu"" properly you wouldn't have to learn anything else."" It was his way of saying she needed to start all over – ""battement tendu"" is the most basic ballet exercise there is. ""I wanted to die"", she recalled. ""But I had seen the difference between Mary Ellen's [who was a pupil of Balanchine] dancing and mine."
"Synthetism Synthetism is a term used by post-Impressionist artists like Paul Gauguin, Émile Bernard and Louis Anquetin to distinguish their work from ""Impressionism"". Earlier, ""Synthetism"" has been connected to the term ""Cloisonnism"", and later to ""Symbolism"". The term is derived from the French verb ""synthétiser"" (""to synthesize"" or ""to combine so as to form a new, complex product""). Paul Gauguin, Émile Bernard, Louis Anquetin, and others pioneered the style during the late 1880s and early 1890s. Synthetist artists aimed to ""synthesize"" three features: In 1890, Maurice Denis summarized the goals for synthetism as, The term was first used in 1877"
"Impressionism Impressionism is a 19th-century art movement characterized by relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, inclusion of ""movement"" as a crucial element of human perception and experience, and unusual visual angles. Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s. The Impressionists faced harsh opposition from the conventional art community in France. The name of the style derives from the title of a Claude"
"Impressionism Impressionism is a 19th-century art movement characterized by relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, inclusion of ""movement"" as a crucial element of human perception and experience, and unusual visual angles. Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s. The Impressionists faced harsh opposition from the conventional art community in France. The name of the style derives from the title of a Claude"
"276, 140. ""Bathers at Asnières"" by Georges-Pierre Seurat depicts a scene of 19th century leisure and developing industry in this suburb of Paris. In 1885 Seurat made ""Sunday Afternoon on the Island of La Grand Jatte"" used a technique of placing colored dots on a work which led a movement called ""Pointillism"". Vincent van Gogh made a series of paintings of Asnières. Influenced by Impressionism and Pointillism, van Gogh modified his traditional style and used vivid color, shorter brushstrokes and perspective to engage the viewer. His views of the banks of the Seine are an important progression for his later"
"the rooms on the ""bel étage"" of a country house, ""schloss"" or chateau. In French garden art the parterre en broderie was the highest form of parterre. Broderie (garden feature) Broderie (from the French word = ""embroidery"") is a garden art term associated with Baroque garden design. ""Broderie"" emerged in France around 1600 and was used until 1770. Several phases of development can be distinguished. A ""broderie"" is an ornamental garden made of sheared box hedges. The main motifs are wreaths and strapwork, more rarely they are in the shape of monograms and figures. The ornamental shapes were filled in"
"surrounding landforms. He was attacked in the press by two rival theorists, Richard Payne Knight and Uvedale Price. Repton countered by highlighting the differences between painting and landscape gardening, William Shenstone has been credited with coining the term ‘landscape gardening’. Unlike a painting, the viewer moves through a garden, constantly shifting viewpoints. The French landscape garden, also called the ""jardin anglais"" or ""jardin pittoresque"", was influenced by contemporary English gardens. Rococo features like Turkish tents and Chinese bridges are prevalent in French gardens in the 18th century. The French Picturesque garden style falls into two categories: those that were staged,"
"of the 14th century. The first trend was a continuation of the style of Master Honoré in which the human figure is treated with a sinuous plasticity and, despite the use of modeling to create the impression of relief, was contained within a flat and depthless field. In the second trend, represented by this manuscript, the human figures lack the fluidity of those of Honoré's followers and have a remarkable solidity and lack the affected poses and exaggerated stances of the first style. This trend was something new within Parisian illumination and combined the almost sculptural treatment of the human"
"academies usually strictly insisted on this hierarchy, over their reign, many artists were able to invent new genres which raised the lower subjects to the importance of history painting. Reynolds himself achieved this by inventing the portraiture style that was called the Grand Manner, where he flattered his sitters by likening them to mythological characters. Jean-Antoine Watteau invented a genre that was called fêtes galantes, where he would show scenes of courtly amusements taking place in Arcadian setting; these often had a poetic and allegorical quality which were considered to ennoble them. Claude Lorrain practised a genre called the ideal"
"Tachisme Tachisme (alternative spelling: Tachism, derived from the French word ""tache"", stain) is a French style of abstract painting popular in the 1940s and 1950s. The term is said to have been first used with regards to the movement in 1951. It is often considered to be the European equivalent to abstract expressionism, although there are stylistic differences (American abstract expressionism tended to be more ""aggressively raw"" than tachisme). It was part of a larger postwar movement known as Art Informel (or ""Informel""), which abandoned geometric abstraction in favour of a more intuitive form of expression, similar to action painting."
"called ""verdures"" in French. They are mostly flowering plants shown as a whole, and in flower. Many are recognizable as specific species, with varying degrees of realism, but accuracy does not seem to be the point of the depiction. There are very often animals and sometimes human figures dispersed around the field, often rather small in relation to the plants, and at a similar size to each other, whatever their relative sizes in reality. The tapestries usually include large figures whose meaning is not always apparent, which seems to derive from the division of labour under the guild system, so"
"Art Nouveau Art Nouveau (; ) is an international style of art, architecture and applied art, especially the decorative arts, that was most popular between 1890 and 1910. A reaction to the academic art of the 19th century, it was inspired by natural forms and structures, particularly the curved lines of plants and flowers. English uses the French name Art Nouveau (new art). The style is related to, but not identical with, styles that emerged in many countries in Europe at about the same time: in Austria it is known as ""Secessionsstil"" after ""Wiener Secession""; in Spanish ""Modernismo""; in Catalan"
"as a model... The object is definite, the art-object must be even more definite, withdrawn from all chance and removed from all ambiguity, lifted out of time and given to space, it has become permanent, capable of eternity. The model ""seems"", the art-object ""is""."" Just as Rilke had discovered landscape ""as the language for his confessions"" in Worpswede, and learned the ""language of the hands"" with Rodin, so did Cézanne lead him into the realm of colors. The special color perception that Rilke developed in France is illustrated in his famous Blaue Hortensie (Blue Hydrangea) sonnet, in which he shows,"
"provinces in newly conquered territories or territories which conserved older rites, because reforms could hardly be established for a long time. The diastematic notation of Aquitanian cantors and their most innovative use in tropes and punctum contra punctum polyphony which can be also found in the Chartres cathedral, the Abbey Saint-Maur-des-Fossés near Paris, and Fleury Abbey, also influenced the Winchester troper (see its tonary), the earliest and hugest collection of early organum or discantus. Since 1100, the florid organum reproduced the original function of the earlier intonation formula as it can be found in the tonaries. An initial ornament called"
"Tropez on the French Riviera alongside the Neo-Impressionist painters Paul Signac and Henri-Edmond Cross. Signac purchased the work, which was exhibited in 1905 at the Salon des Indépendants. The painting's title comes from the poem ""L'Invitation au voyage"", from Charles Baudelaire's volume ""Les Fleurs du mal"" (""The Flowers of Evil""): The painting is Matisse's most important work in which he used the Divisionist technique advocated by Signac. Divisionism is created by individual dots of colors placed strategically on the canvas in order to appear blended from a distance; Matisse's variant of this style is created by numerous short dashes of"
"us to escape from this vagueness in the design of colour. Ozenfant’s revised thoughts on the importance of colour were partly due to the influence of the artist Paul Signac and his theories on Divisionism. Signac maintained that the Neo-Impressionist technique of applying brushstrokes obtained the maximum brightness, colour, and harmony. Unlike the techniques used by the earlier Impressionists, patches of colours remained distinct, blending when viewed at a distance. In this instance, when no fusion of the colours takes place, the interaction is called “simultaneous contrast”, a condition in which colours merely influence one another by proximity. This technique"
"this style were made up of precise brush strokes carefully blended to hide the artist's hand in the work. Colour was restrained and often toned down further by the application of a golden varnish. The Académie had an annual, juried art show, the Salon de Paris, and artists whose work was displayed in the show won prizes, garnered commissions, and enhanced their prestige. The standards of the juries represented the values of the Académie, represented by the works of such artists as Jean-Léon Gérôme and Alexandre Cabanel. In the early 1860s, four young painters—Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, and"
"about the absence of premeditated structure, conception or approach (""sans cérémonie"") than a mere casual, loosened or relaxed art procedure. Tachisme Tachisme (alternative spelling: Tachism, derived from the French word ""tache"", stain) is a French style of abstract painting popular in the 1940s and 1950s. The term is said to have been first used with regards to the movement in 1951. It is often considered to be the European equivalent to abstract expressionism, although there are stylistic differences (American abstract expressionism tended to be more ""aggressively raw"" than tachisme). It was part of a larger postwar movement known as Art"
"L'art pompier L'art pompier, literally ""Fireman Art"", is a derisive late-nineteenth-century French term for large ""official"" academic art paintings of the time, especially historical or allegorical ones. It derives from the helmets with horse-hair tails, worn at the time by French firemen, which are similar to the Attic helmet often worn in such works by allegorical personifications, classical warriors, or Napoleonic cavalry. It also suggests half-puns in French with ""pompéien"" (""from Pompeii""), and ""pompeux"" (""pompous""). Pompier art was seen by those who used the term as the epitome of the values of the bourgeoisie, and as insincere and overblown. ""L'art"
"the French entries to claim the internationally coveted ""Grand Prix de Champagne"". The exposition also was the showcasing of another Russian entry, the famous matryoshka doll (Russian nesting doll). The Art Nouveau (""New Art"") style began to develop in the 1880s and became fashionable in Europe and the United States during the 1890s. The art form takes inspiration from the natural world, drawing references from botanical studies and deep sea organisms. Fluid twisting, curving lines and a ""whiplash"" effect are the trademarks of the natural art form. The art form took shape in works ranging from painting to sculpture and"
"and simplified design accommodated the need to be seen at a distance and to evoke strong feeling. Just as in Csaky's ""Groupe de femmes"" (1911–12), ""Danseuse"" already showed a new way of representing the human figure, an unwillingness to revert to classical, academic or traditional methods of representation. The complex angular syntax visible in ""Danseuse"" was born out of a growing sense of contemporary dynamism, out of rhythm, balance, harmony and out of the powerful geometric qualities of Egyptian art, African art, early Cycladic art, Gothic art, of Pierre Puvis de Chavannes, Auguste Rodin, Gustave Courbet, Paul Gauguin, Georges Seurat"
"attempts to establish a movement in France to resurrect the art of the 15th and 16th centuries. The influence of Botticelli and Leonardo da Vinci became evident in his work, for instance in the c. 1895 ""Eternal Chimera"". Hélène Linder became an ideal female model for Point who often painted her in a Leonardesque style but dressed like a muse from Botticelli. Leonardo da Vinci's ""Study for the head of Leda"" (study for an original painting now lost) seems to have influenced the hair styles that he gave Hélène. Hélène married French diplomat Philippe Berthelot just before the start of"
"term was coined by critic Edouard Dujardin on occasion of the Salon des Indépendants, in March 1888. Artists Émile Bernard, Louis Anquetin, Paul Gauguin, Paul Sérusier, and others started painting in this style in the late 19th century. The name evokes the technique of cloisonné, where wires (cloisons or ""compartments"") are soldered to the body of the piece, filled with powdered glass, and then fired. Many of the same painters also described their works as Synthetism a closely related movement. Post-Impressionism is the term coined by the British artist and art critic Roger Fry in 1910 to describe the development"
"Minerve"", a character piece, de Bury makes reference to the Roman goddess of wisdom and arts. ""Sarabande, Les Regrets"" is followed by a gavotte entitled ""Les graces Badines"" (“Graceful Triflers”). The title could be referring to ""amorous badinage"" or ""amorous playfulness."" ""La Tendre Agitation"" is a wonderfully inventive character piece in binary form. A pair of rondeaux, ""Le Plaidoyer de Cithere 1er Rondeau"" and ""2e Rouneau"", close out the first suite. The title can be translated as “In Defense of [the Island of] Cythera.” These movements, along with ""La Citherée"" from the second suite as well as François Couperin's ""Les"
"a move away from nature, away from imitation, toward the distillation of essential geometric shapes and harmonious movements. These forms were considered superior to nature because they contained ""idea"", representing the dominance of the artist over nature. ""Harmony means sacrifice"", wrote Henri-Edmond Cross, and much of early Neo-Impressionism was vacated. Cross, Paul Signac, along with Henri Matisse, Jean Metzinger, Robert Delaunay, André Derain (of the younger generation) now painted with large brushstrokes that could never blend in the eye of the observer. Pure bold colors (reds, blues, yellows, greens and magentas) bounced off the manifold of their canvas, ""making them"
"were masters of ""trompe l'oeil"", a genre of still life that aims to deceive the viewer into mistaking painted objects for reality. Exploiting the fallibility of human perception, the ""trompe l'oeil"" painter depicts objects in accordance with a set of rules unique to the genre. For example, Peto and Harnett both represented the objects in their paintings at their actual size, and the objects rarely were cut off by the edge of the painting, as this would allow a visual cue to the viewer that the depiction was not real. But the main technical device was to arrange the subject"
"engaged in courting, card playing, or reading to each other. While based on the fêtes galantes of Watteau and Nicolas Lancret and on 17th-century Dutch genre painting, de Troy's compositions distinguish themselves through their detailed rendering of clothing and furnishings. The dress of the protagonists discloses their high social status. These ""tableaux de mode"" are also characterized by the meticulous handling of the paint and their luxurious and modish qualities. While Watteau's 'fête galantes' were filled with a sense of mystery and timelessness, de Troy's ""tableaux de mode"" were intended to provide a more realistic depiction of contemporary fashions, pastimes"
"of line, color and value, the reform of Impressionism and of the Beaux-Arts tradition. Seurat ""wanted to be perceived as a technician of art, and so he borrowed from science some of the signs of its authority, including the regularity and clarity of pattern."" This can be compared to how Signac ""saw and emphasized a connection between anarchism, the Neo-Impressionist technique, the Mediterranean location, and the classical tradition in painting"". Signac also viewed the Mediterranean as the place for anarchist avant-garde art. The Mediterranean was rarely depicted by avant-garde painters partially because of the association between the south of France"
"Divisionism. In 1883, Seurat and some of his colleagues began exploring ways to express as much light as possible on the canvas. By 1884, with the exhibition of his first major work, ""Bathing at Asnières"", as well as croquetons of the island of La Grande Jatte, Seurat's style began taking form with an awareness of Impressionism, but it was not until he finished ""La Grande Jatte"" in 1886 that he established his theory of chromo-luminarism. Although this painting was originally rejected by the official salon it attracted the Salon des Indépendants where Paul Signac was engaged. Following the controversial success"
"worth: portraits, scenes of everyday life (called ""scènes de genre"", or ""genre painting"", and also ""petit genre"" to contrast it with the ""grande genre""), landscapes, animal painting, and finally still lifes. In his formulation, such paintings were inferior because they were merely reportorial pictures without moral force or artistic imagination. Genre paintings—neither ideal in style, nor elevated in subject—were admired for their skill, ingenuity, and even humour, but never confused with high art. The hierarchy of genres also had a corresponding hierarchy of formats: large format for history paintings, small format for still lifes. This had occasionally been breached in"
"and complex harmonically. ""L'Enfantine"" refers to a “child-like” manner, demonstrated by frequent shifts of range. Both the first and second rondeaux of ""La Citheré"" are unnamed gavottes. ""L'Enfantine"" and ""La Citheré"" are also marked ""Gracieusement"". Six of the eleven movements of this longest suite are rondeaux. They bookend this collection, with a paired set to open and a second paired set (plus doubles for each) to close. Centering on “G”, seven of the eleven movements are in the minor mode. ""Les Amusemens"" (“The Amusements”) could also be translated as “Entertainment”. Ornaments help provide forward motion to the opening cheerful syncopated"
"the late 19th century with the advent of Impressionism. The French Revolution of 1789 gave rise to further revolutions in thought. In the arts, these included a new self-consciousness about artistic styles and individuality. Art historian H. Harvard Arnason says ""a gradual metamorphosis took place in the course of a hundred years"", marked by significant events such as the completion in 1784 of Jacques-Louis David's painting ""The Oath of the Horatii""; the exhibition of Gustave Courbet's painting ""The Artist's Studio"" in 1855; and the exhibition of Édouard Manet's painting ""Le déjeuner sur l'herbe"" in the ""Salon des Refusés"" in Paris"
"masses, motets and chansons. His motets are particularly significant as they show the three separate stages of early sixteenth century motet development, highly unusual to find in the work of a single composer. In his earliest motets one can hear the influence of Ockeghem; in his middle period works, the paired imitation style of Josquin des Prez; and in his late works the stylistic refinement, well-crafted melodic lines and pervasive imitation recall Gombert. Manchicourt is an excellent example of a Franco-Flemish composer who learned his craft and art in northern Europe, and then assisted in the diffusion of the style"