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[
"Archduke Rudolf of Austria",
"country of citizenship",
"Austria"
] |
Rudolph Johann Joseph Rainier, Archduke of Austria, Prince Royal of Hungary and Bohemia, Cardinal-Archbishop of Olomouc (8 January 1788 – 24 July 1831), was a member of the House of Habsburg-Lorraine, and an Austrian clergyman and noble. He was consecrated as Archbishop of Olomouc (Olmütz) in 1819 and became cardinal in the same year. Rudolph is known for his patronage of the arts, most notably as sponsor of Ludwig van Beethoven, who dedicated several of his works to him.
| 3 |
[
"Archduke Rudolf of Austria",
"religion or worldview",
"Catholic Church"
] |
Rudolph Johann Joseph Rainier, Archduke of Austria, Prince Royal of Hungary and Bohemia, Cardinal-Archbishop of Olomouc (8 January 1788 – 24 July 1831), was a member of the House of Habsburg-Lorraine, and an Austrian clergyman and noble. He was consecrated as Archbishop of Olomouc (Olmütz) in 1819 and became cardinal in the same year. Rudolph is known for his patronage of the arts, most notably as sponsor of Ludwig van Beethoven, who dedicated several of his works to him.
| 4 |
[
"Archduke Rudolf of Austria",
"family",
"Habsburg-Lorraine"
] |
Rudolph Johann Joseph Rainier, Archduke of Austria, Prince Royal of Hungary and Bohemia, Cardinal-Archbishop of Olomouc (8 January 1788 – 24 July 1831), was a member of the House of Habsburg-Lorraine, and an Austrian clergyman and noble. He was consecrated as Archbishop of Olomouc (Olmütz) in 1819 and became cardinal in the same year. Rudolph is known for his patronage of the arts, most notably as sponsor of Ludwig van Beethoven, who dedicated several of his works to him.
| 18 |
[
"Archduke Rudolf of Austria",
"mother",
"Maria Luisa of Spain"
] |
Biography
Born in the Pitti Palace in Florence, Tuscany, he was the youngest son of Emperor Leopold II and Maria Louisa of Spain. In 1803 or 1804, Rudolph began taking lessons in piano and composition from Ludwig van Beethoven. The two became friends, and Rudolph became a supporter and patron of Beethoven; their meetings continued until 1824. Beethoven dedicated 14 compositions to Rudolph, including the Archduke Trio, the Hammerklavier Sonata, the Emperor Concerto and the Missa Solemnis. Piano Sonata No. 26 - Les Adieux ("The Farewells") was gifted to Rudolf just before his flight from Vienna with the Royal family on the occasion of the 1809 invasion by Napoleon. The movements are "Lebewohl", "Abwesenheit", and "Wiedersehen" ('farewell', 'absence', and 'reunion'). Rudolph dedicated one of his own compositions to Beethoven. The letters Beethoven wrote to Rudolph are today kept at the Gesellschaft der Musikfreunde in Vienna.
Franz Schubert and Ferdinand Ries also dedicated works to Rudolf.On 24 March 1819, aged 31, Rudolph was appointed Archbishop of Olomouc in the present day Czech Republic but then part of the Austrian Empire. He was made Cardinal-Priest of the titular church of S. Pietro in Montorio by Pope Pius VII on 4 June 1819. He was ordained a priest on 29 August 1819, and consecrated a bishop on 26 September.
In 1823–24, he was one of the 50 composers who composed a variation on a waltz by Anton Diabelli for Vaterländischer Künstlerverein. In Rudolph's case, the music was published anonymously, as by "S.R.D" (standing for Serenissimus Rudolfus Dux).
He died on 24 July 1831 of a cerebral hemorrhage in Baden bei Wien at the age of 43 and was interred in the Imperial Crypt in Vienna; his heart was buried in the crypt in Saint Wenceslas Cathedral in Olomouc.
| 26 |
[
"Archduke Rudolf of Austria",
"place of death",
"Baden"
] |
Biography
Born in the Pitti Palace in Florence, Tuscany, he was the youngest son of Emperor Leopold II and Maria Louisa of Spain. In 1803 or 1804, Rudolph began taking lessons in piano and composition from Ludwig van Beethoven. The two became friends, and Rudolph became a supporter and patron of Beethoven; their meetings continued until 1824. Beethoven dedicated 14 compositions to Rudolph, including the Archduke Trio, the Hammerklavier Sonata, the Emperor Concerto and the Missa Solemnis. Piano Sonata No. 26 - Les Adieux ("The Farewells") was gifted to Rudolf just before his flight from Vienna with the Royal family on the occasion of the 1809 invasion by Napoleon. The movements are "Lebewohl", "Abwesenheit", and "Wiedersehen" ('farewell', 'absence', and 'reunion'). Rudolph dedicated one of his own compositions to Beethoven. The letters Beethoven wrote to Rudolph are today kept at the Gesellschaft der Musikfreunde in Vienna.
Franz Schubert and Ferdinand Ries also dedicated works to Rudolf.On 24 March 1819, aged 31, Rudolph was appointed Archbishop of Olomouc in the present day Czech Republic but then part of the Austrian Empire. He was made Cardinal-Priest of the titular church of S. Pietro in Montorio by Pope Pius VII on 4 June 1819. He was ordained a priest on 29 August 1819, and consecrated a bishop on 26 September.
In 1823–24, he was one of the 50 composers who composed a variation on a waltz by Anton Diabelli for Vaterländischer Künstlerverein. In Rudolph's case, the music was published anonymously, as by "S.R.D" (standing for Serenissimus Rudolfus Dux).
He died on 24 July 1831 of a cerebral hemorrhage in Baden bei Wien at the age of 43 and was interred in the Imperial Crypt in Vienna; his heart was buried in the crypt in Saint Wenceslas Cathedral in Olomouc.
| 27 |
[
"Archduke Rudolf of Austria",
"place of burial",
"Saint Wenceslas Cathedral"
] |
Biography
Born in the Pitti Palace in Florence, Tuscany, he was the youngest son of Emperor Leopold II and Maria Louisa of Spain. In 1803 or 1804, Rudolph began taking lessons in piano and composition from Ludwig van Beethoven. The two became friends, and Rudolph became a supporter and patron of Beethoven; their meetings continued until 1824. Beethoven dedicated 14 compositions to Rudolph, including the Archduke Trio, the Hammerklavier Sonata, the Emperor Concerto and the Missa Solemnis. Piano Sonata No. 26 - Les Adieux ("The Farewells") was gifted to Rudolf just before his flight from Vienna with the Royal family on the occasion of the 1809 invasion by Napoleon. The movements are "Lebewohl", "Abwesenheit", and "Wiedersehen" ('farewell', 'absence', and 'reunion'). Rudolph dedicated one of his own compositions to Beethoven. The letters Beethoven wrote to Rudolph are today kept at the Gesellschaft der Musikfreunde in Vienna.
Franz Schubert and Ferdinand Ries also dedicated works to Rudolf.On 24 March 1819, aged 31, Rudolph was appointed Archbishop of Olomouc in the present day Czech Republic but then part of the Austrian Empire. He was made Cardinal-Priest of the titular church of S. Pietro in Montorio by Pope Pius VII on 4 June 1819. He was ordained a priest on 29 August 1819, and consecrated a bishop on 26 September.
In 1823–24, he was one of the 50 composers who composed a variation on a waltz by Anton Diabelli for Vaterländischer Künstlerverein. In Rudolph's case, the music was published anonymously, as by "S.R.D" (standing for Serenissimus Rudolfus Dux).
He died on 24 July 1831 of a cerebral hemorrhage in Baden bei Wien at the age of 43 and was interred in the Imperial Crypt in Vienna; his heart was buried in the crypt in Saint Wenceslas Cathedral in Olomouc.
| 31 |
[
"Archduke Rudolf of Austria",
"given name",
"Rudolf"
] |
Rudolph Johann Joseph Rainier, Archduke of Austria, Prince Royal of Hungary and Bohemia, Cardinal-Archbishop of Olomouc (8 January 1788 – 24 July 1831), was a member of the House of Habsburg-Lorraine, and an Austrian clergyman and noble. He was consecrated as Archbishop of Olomouc (Olmütz) in 1819 and became cardinal in the same year. Rudolph is known for his patronage of the arts, most notably as sponsor of Ludwig van Beethoven, who dedicated several of his works to him.
| 35 |
[
"Archduke Rudolf of Austria",
"topic's main category",
"Category:Archduke Rudolf of Austria (Cardinal)"
] |
Rudolph Johann Joseph Rainier, Archduke of Austria, Prince Royal of Hungary and Bohemia, Cardinal-Archbishop of Olomouc (8 January 1788 – 24 July 1831), was a member of the House of Habsburg-Lorraine, and an Austrian clergyman and noble. He was consecrated as Archbishop of Olomouc (Olmütz) in 1819 and became cardinal in the same year. Rudolph is known for his patronage of the arts, most notably as sponsor of Ludwig van Beethoven, who dedicated several of his works to him.
| 38 |
[
"Ferdinand Ries",
"student of",
"Ludwig van Beethoven"
] |
Ferdinand Ries (baptised 28 November 1784 – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He composed eight symphonies, a violin concerto, nine piano concertos (the first concerto is not published), three operas, and numerous other works, including 26 string quartets. In 1838 he published a collection of reminiscences of his teacher Beethoven, co-written with Franz Wegeler. The symphonies, some chamber works—most of them with piano—his violin concerto and his piano concertos have been recorded, exhibiting a style which, given his connection to Beethoven, lies between the Classical and early Romantic styles.
| 2 |
[
"Ferdinand Ries",
"instrument",
"piano"
] |
Early life
Ries was born into a musical family of Bonn. His grandfather, Johann Ries (1723–1784), was appointed court trumpeter to the Elector of Cologne at Bonn. Ries was the eldest son of the violinist and Archbishopric Music Director Franz Anton Ries (1755–1846) and the brother of violinist and composer (Pieter) Hubert Ries (1802–1886) and violinist Joseph Ries. He received piano lessons from his father and was instructed by Bernhard Romberg, who also belonged to the Bonn Hofkapelle as a cellist. At the end of 1798 he went for further training in Arnsberg to meet an organist friend of his father; a year later he went to Munich. There he worked hard as a music copyist.
The French dissolved the Electoral court of Bonn and disbanded its orchestra, but in the early months of 1803 the penniless Ries managed to reach Vienna, with a letter of introduction written by the Munich-based composer Carl Cannabich on 29 December 1802. Ries was then the pupil of Ludwig van Beethoven, who had received some early instruction at Bonn from Ries's father, Franz Ries. Together with Carl Czerny, Ries was the only pupil who Beethoven taught during these years. Beethoven took great care of the young man, teaching him piano, sending him to Albrechtsberger for harmony and composition and securing for him positions as piano tutor in aristocratic households in Baden and Silesia.
Ries was soon also Beethoven's secretary: he had correspondence with publishers, copied notes, completed errands and provided Beethoven the beautiful apartment in the Pasqualati House where the composer lived for several years. Ries made his public debut as a pianist in July 1804, playing Beethoven's C minor concerto, Op. 37, with his own cadenza, which he was allowed to write. His performance received glowing reviews. Ries spent the summers of 1803 and 1804 with Beethoven in Baden bei Wien, as well as in Döbling.
Ries' work as a secretary and a copyist won Beethoven's confidence in negotiations with publishers and he became a fast friend. One of the most famous stories told about Ries is connected with the first rehearsal of the Eroica Symphony, when Ries, during the performance, mistakenly believed that the horn player had come in too early and said so aloud, infuriating Beethoven.Ries feared conscription in the occupying French army (though he was blind in one eye) and so he fled Vienna in September 1805. He stayed in Bonn for a year with his family, and this is where he wrote his first piano concerto in C major, now known as Concerto no. 6 for piano and orchestra. While Ries was living in Bonn, his two piano sonatas, op. 1, dedicated to Beethoven were published by Simrock.Starting in 1807, Ries spent the next two years in Paris before returning to Vienna. Here Ries quickly expanded his catalogue of works (mainly to chamber and piano music, such as the later popular Septet op. 25). Ries had great difficulty succeeding in the capital city of the French Army and was at times so discouraged that he wanted to give up the profession of music and seek a position in the civil service.
On 27 August 1808, Ries arrived back in Vienna, where he again made contact with Beethoven. Ries helped Beethoven with the premieres of the Fifth and Sixth Symphonies and other works for the benefit concert held on 22 December 1808. In July 1809, Ries left Vienna for the second time; this time he was threatened by the call-up to the Austrian military, which mobilized all forces against the threat to Vienna by Napoleon. Again he took refuge in his paternal home of Bonn and spent the next one and a half years composing a series of larger works: his first Symphony, his second Piano Concerto in C minor (later known as Concerto no. 4 op. 115) and his Violin Concerto (unpublished during his lifetime) in E minor op. 24.
| 5 |
[
"Ferdinand Ries",
"genre",
"opera"
] |
Ferdinand Ries (baptised 28 November 1784 – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He composed eight symphonies, a violin concerto, nine piano concertos (the first concerto is not published), three operas, and numerous other works, including 26 string quartets. In 1838 he published a collection of reminiscences of his teacher Beethoven, co-written with Franz Wegeler. The symphonies, some chamber works—most of them with piano—his violin concerto and his piano concertos have been recorded, exhibiting a style which, given his connection to Beethoven, lies between the Classical and early Romantic styles.
| 8 |
[
"Ferdinand Ries",
"given name",
"Ferdinand"
] |
Ferdinand Ries (baptised 28 November 1784 – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He composed eight symphonies, a violin concerto, nine piano concertos (the first concerto is not published), three operas, and numerous other works, including 26 string quartets. In 1838 he published a collection of reminiscences of his teacher Beethoven, co-written with Franz Wegeler. The symphonies, some chamber works—most of them with piano—his violin concerto and his piano concertos have been recorded, exhibiting a style which, given his connection to Beethoven, lies between the Classical and early Romantic styles.
| 20 |
[
"Ferdinand Ries",
"place of burial",
"Frankfurt Main Cemetery"
] |
Ries wrote his Symphony No. 2 in D minor (numbered as Symphony no. 5), inspired by the quality of the Orchestra of the Philharmonic Society. His compositional work is effectively split in two at this time. Ries composed most of his orchestral works during his time in London: six of his eight symphonies (as well as two of his five concert overtures) were created for concerts of the Philharmonic Society. On the other hand, he wrote now increasingly light fare for the piano: fantasies, rondos, variations, adapted divertimentos and others, mostly about well-known opera arias or popular folk song melodies. the production of chamber music (string quartets, violin sonatas) and intermediate piano music (sonatas) came almost to a standstill. After 1820 he had disagreements with his fellow directors of the Philharmonic Society; Ries was of the opinion that his works were not adequately taken into account in the programming of concerts. In 1821, he resigned his position of Director and began to increase his contacts with continental Europe with the idea of a return. On 3 May 1824 he gave his farewell concert in London, at which he dedicated a Piano Concerto (Concerto no. 7 in A minor for piano and orchestra op. 132).
In July 1824 Ries retired to Germany with his English wife and three children, but returned to musical life in Frankfurt am Main as composer and conductor. His reputation as an instrumental composer and bandleader had strengthened now in Central Europe. In 1834 he was appointed head of the city orchestra and Singakademie in Aachen, for which he wrote two oratorios, Der Sieg des Glaubens (1829) and Die Könige in Israel (1837), both of which have been recorded. In addition, he was festival director of the Lower Rhenish Music Festival eight times — between 1824 and 1837. The first year he was the director of the festival he took the opportunity of performing Beethoven's 9th Symphony, which was the German premiere of this work. In Godesburg during 1825 and 1826 Ries wrote five string quartets (op. 150, no. 1–2; op. 166, no. 1; WoO 34 and 36). String quartets were a genre that Ries had barely touched. For his entire time in London he only wrote three works of this genre.
Beginning in April 1827 the Ries family moved to Frankfurt am Main. In Frankfurt the existence of a renowned Opera House attracted him. Since 1826, he had had plans to write operas, which he brought to fruition in the years 1827/28. On 15 October 1828, his first opera, The Robber Bride, was premiered in Frankfurt with great success. To the direction of the Dublin Music Festival in 1831 he used a month's stay in London, where he composed his second opera, The Sorceress (published in Germany under the title Liska or the Witch by Gyllensteen). It was premiered on 4 August 1831 at the London Royal Adelphi Theatre. His third opera was composed in 1834 (Die Nacht auf dem Libanon WoO 51), which for many years remained unperformed. In 1832/33 Ries and his wife made a several-month journey through Italy for a concert tour (which would remain his last), which led to Venice, Milan, Rome and Naples. During the trip, Ries wrote his last Piano Concerto (in G minor op. 177), his last Piano Sonata (A flat major op. 176) and his last String Quartet (F minor WoO 48, during his lifetime, unpublished). In the summer of 1834, Ries was briefly Director of the Aachen Theatre Orchestra in conversation; but he rejected the offer. In the winter 1836/37 Ries stopped in Paris; there, he composed his last work for orchestra (the overture dramatique L'apparition WoO 61) and briefly went to London, where he succeeded in the world premiere of his new overture in a concert of the Philharmonic Society (13 March). Ries returned to Frankfurt and he accepted an offer in August 1837. Ries was not able to fulfill the offer since he died on 13 January 1838 after a short and unexpected illness. When Ries died, he was so forgotten that no leading music magazine wrote an obituary for him.
Ferdinand Ries is buried in the Tomb (No. 45) of the Klotz family in the Frankfurt am Main cemetery.
| 21 |
[
"Ferdinand Ries",
"occupation",
"composer"
] |
Ferdinand Ries (baptised 28 November 1784 – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He composed eight symphonies, a violin concerto, nine piano concertos (the first concerto is not published), three operas, and numerous other works, including 26 string quartets. In 1838 he published a collection of reminiscences of his teacher Beethoven, co-written with Franz Wegeler. The symphonies, some chamber works—most of them with piano—his violin concerto and his piano concertos have been recorded, exhibiting a style which, given his connection to Beethoven, lies between the Classical and early Romantic styles.
| 23 |
[
"Ferdinand Ries",
"family name",
"Ries"
] |
Early life
Ries was born into a musical family of Bonn. His grandfather, Johann Ries (1723–1784), was appointed court trumpeter to the Elector of Cologne at Bonn. Ries was the eldest son of the violinist and Archbishopric Music Director Franz Anton Ries (1755–1846) and the brother of violinist and composer (Pieter) Hubert Ries (1802–1886) and violinist Joseph Ries. He received piano lessons from his father and was instructed by Bernhard Romberg, who also belonged to the Bonn Hofkapelle as a cellist. At the end of 1798 he went for further training in Arnsberg to meet an organist friend of his father; a year later he went to Munich. There he worked hard as a music copyist.
The French dissolved the Electoral court of Bonn and disbanded its orchestra, but in the early months of 1803 the penniless Ries managed to reach Vienna, with a letter of introduction written by the Munich-based composer Carl Cannabich on 29 December 1802. Ries was then the pupil of Ludwig van Beethoven, who had received some early instruction at Bonn from Ries's father, Franz Ries. Together with Carl Czerny, Ries was the only pupil who Beethoven taught during these years. Beethoven took great care of the young man, teaching him piano, sending him to Albrechtsberger for harmony and composition and securing for him positions as piano tutor in aristocratic households in Baden and Silesia.
Ries was soon also Beethoven's secretary: he had correspondence with publishers, copied notes, completed errands and provided Beethoven the beautiful apartment in the Pasqualati House where the composer lived for several years. Ries made his public debut as a pianist in July 1804, playing Beethoven's C minor concerto, Op. 37, with his own cadenza, which he was allowed to write. His performance received glowing reviews. Ries spent the summers of 1803 and 1804 with Beethoven in Baden bei Wien, as well as in Döbling.
Ries' work as a secretary and a copyist won Beethoven's confidence in negotiations with publishers and he became a fast friend. One of the most famous stories told about Ries is connected with the first rehearsal of the Eroica Symphony, when Ries, during the performance, mistakenly believed that the horn player had come in too early and said so aloud, infuriating Beethoven.Ries feared conscription in the occupying French army (though he was blind in one eye) and so he fled Vienna in September 1805. He stayed in Bonn for a year with his family, and this is where he wrote his first piano concerto in C major, now known as Concerto no. 6 for piano and orchestra. While Ries was living in Bonn, his two piano sonatas, op. 1, dedicated to Beethoven were published by Simrock.Starting in 1807, Ries spent the next two years in Paris before returning to Vienna. Here Ries quickly expanded his catalogue of works (mainly to chamber and piano music, such as the later popular Septet op. 25). Ries had great difficulty succeeding in the capital city of the French Army and was at times so discouraged that he wanted to give up the profession of music and seek a position in the civil service.
On 27 August 1808, Ries arrived back in Vienna, where he again made contact with Beethoven. Ries helped Beethoven with the premieres of the Fifth and Sixth Symphonies and other works for the benefit concert held on 22 December 1808. In July 1809, Ries left Vienna for the second time; this time he was threatened by the call-up to the Austrian military, which mobilized all forces against the threat to Vienna by Napoleon. Again he took refuge in his paternal home of Bonn and spent the next one and a half years composing a series of larger works: his first Symphony, his second Piano Concerto in C minor (later known as Concerto no. 4 op. 115) and his Violin Concerto (unpublished during his lifetime) in E minor op. 24.
| 26 |
[
"Ferdinand Ries",
"genre",
"symphony"
] |
Ferdinand Ries (baptised 28 November 1784 – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He composed eight symphonies, a violin concerto, nine piano concertos (the first concerto is not published), three operas, and numerous other works, including 26 string quartets. In 1838 he published a collection of reminiscences of his teacher Beethoven, co-written with Franz Wegeler. The symphonies, some chamber works—most of them with piano—his violin concerto and his piano concertos have been recorded, exhibiting a style which, given his connection to Beethoven, lies between the Classical and early Romantic styles.
| 27 |
[
"Carl Czerny",
"instance of",
"human"
] |
Carl Czerny (German: [ˈtʃɛʁniː]; 21 February 1791 – 15 July 1857) was an Austrian composer, teacher, and pianist of Czech origin whose music spanned the late Classical and early Romantic eras. His vast musical production amounted to over a thousand works and his books of studies for the piano are still widely used in piano teaching. He was one of Ludwig van Beethoven's best-known pupils.
| 0 |
[
"Carl Czerny",
"place of birth",
"Vienna"
] |
Carl Czerny (German: [ˈtʃɛʁniː]; 21 February 1791 – 15 July 1857) was an Austrian composer, teacher, and pianist of Czech origin whose music spanned the late Classical and early Romantic eras. His vast musical production amounted to over a thousand works and his books of studies for the piano are still widely used in piano teaching. He was one of Ludwig van Beethoven's best-known pupils.Early life
Infancy
Carl Czerny was born in Vienna (Leopoldstadt) and was baptized in St. Leopold parish. His father was of Czech origin; his mother was Moravian. His parents spoke Czech with him. Czerny came from a musical family: his grandfather was a violinist at Nimburg, near Prague, and his father, Wenzel, was an oboist, organist and pianist. When Czerny was six months old, his father took a job as a piano teacher at a Polish manor and the family moved to Poland, where they lived until the third partition of Poland prompted the family to return to Vienna in 1795.As a child prodigy, Czerny began playing piano at age three and composing at age seven. His first piano teacher was his father, who taught him mainly Bach, Haydn and Mozart. He began performing piano recitals in his parents' home. Czerny made his first public performance in 1800 playing Mozart's Piano Concerto No. 24 in C minor.
| 1 |
[
"Carl Czerny",
"languages spoken, written or signed",
"German"
] |
Carl Czerny (German: [ˈtʃɛʁniː]; 21 February 1791 – 15 July 1857) was an Austrian composer, teacher, and pianist of Czech origin whose music spanned the late Classical and early Romantic eras. His vast musical production amounted to over a thousand works and his books of studies for the piano are still widely used in piano teaching. He was one of Ludwig van Beethoven's best-known pupils.
| 3 |
[
"Carl Czerny",
"genre",
"classical music"
] |
Carl Czerny (German: [ˈtʃɛʁniː]; 21 February 1791 – 15 July 1857) was an Austrian composer, teacher, and pianist of Czech origin whose music spanned the late Classical and early Romantic eras. His vast musical production amounted to over a thousand works and his books of studies for the piano are still widely used in piano teaching. He was one of Ludwig van Beethoven's best-known pupils.
| 4 |
[
"Carl Czerny",
"student of",
"Ludwig van Beethoven"
] |
Carl Czerny (German: [ˈtʃɛʁniː]; 21 February 1791 – 15 July 1857) was an Austrian composer, teacher, and pianist of Czech origin whose music spanned the late Classical and early Romantic eras. His vast musical production amounted to over a thousand works and his books of studies for the piano are still widely used in piano teaching. He was one of Ludwig van Beethoven's best-known pupils.Studies with Beethoven
In 1801, Wenzel Krumpholz, a Czech composer and violinist, scheduled a presentation for Czerny at the home of Ludwig van Beethoven. Beethoven asked Czerny to play his Pathétique Sonata and Adelaide. Beethoven was impressed with the 10-year-old and accepted him as a pupil. Czerny remained under Beethoven's tutelage until 1804 and sporadically thereafter. He particularly admired Beethoven's facility at improvisation, his expertise at fingering, the rapidity of his scales and trills, and his restrained demeanour while performing.Czerny's autobiography and letters give many important references and details of Beethoven during this period. Czerny was the first to report symptoms of Beethoven's deafness, several years before the matter became public. Of his first meeting with Beethoven, he wrote: "I also noticed with that visual quickness peculiar to children that he had cotton which seemed to have been steeped in a yellowish ointment, in his ears."Beethoven selected Czerny as pianist for the premiere of the former's Piano Concerto No. 1 in 1806 and, at the age of 21, in February 1812, Czerny gave the Vienna premiere of Beethoven's "Emperor" Piano Concerto. Czerny wrote that his musical memory enabled him to play virtually all of Beethoven's piano works by heart without exception and, during the years 1804–1805, he used to play these works in this manner at Prince Lichnowsky's palace once or twice a week, with the Prince calling out only the desired opus numbers. Czerny maintained a friendship with Beethoven throughout his life, and also gave piano lessons to Beethoven's nephew Carl.
| 5 |
[
"Carl Czerny",
"student",
"Franz Liszt"
] |
Legacy
Influence
Czerny can be considered as a father of modern piano technique for generations of pianists, when it is taken into account that many of his students, such as Theodor Leschetizky, Franz Liszt and Theodor Kullak, also became teachers and passed on his legacy. The US music magazine The Etude presented in its issue of April 1927 an illustration (see above) showing how Czerny could be considered the father of modern piano technique and the basis of an entire generation of pianists. This list can be extended to the present day: examples of 'descent' are:Wanda Landowska: pupil of Moritz Moszkowski ← Theodor Kullak ← Czerny;
Sergei Prokofiev: pupil of Anna Yesipova ← Theodor Leschetizky ← Czerny;
Claudio Arrau: pupil of Martin Krause ← Liszt ← Czerny;
Ernő Dohnányi: pupil of István Thomán ← Liszt ← Czerny;
Georges Cziffra: pupil of István Thomán ← Liszt ← Czerny;
Daniel Barenboim: pupil of Edwin Fischer ← Martin Krause ← Liszt ← Czerny;
Van Cliburn: pupil of Rildia Bee Cliburn ← Arthur Friedheim ← Liszt ← Czerny;
Sergei Rachmaninoff: pupil of Alexander Siloti ← Liszt ← Czerny;
Leon Fleisher: pupil of Artur Schnabel ← Theodor Leschetizky ← Czerny;Czerny wrote an essay on the correct performing of the piano sonatas of Beethoven, "On the Proper performance of all Beethoven's works for piano" (1846). Johannes Brahms wrote about it to Clara Schumann in a letter of March 1878: "I certainly think Czerny's large pianoforte course Op. 500 is worthy of study, particularly in regard to what he says about Beethoven and the performance of his works, for he was a diligent and attentive pupil ... Czerny's fingering is particularly worthy for attention. In fact I think that people today ought to have more respect for this excellent man" In a letter written to Otto Jahn of 30 October 1852, Liszt wrote: "In the twenties, when a great portion of Beethoven's creations was a kind of Sphinx, Czerny was playing Beethoven exclusively, with an understanding as excellent as his technique was efficient and effective; and, later on, he did not set himself up against some progress that had been made in technique, but contributed materially to it by his own teaching and works."Czerny had an influential role in defining the canon of classical piano repertoire. Volume 4 (1847) of his Theoretico-Practical Piano School listed what he considered to be the most important piano works of the previous eighty years, including works of Mozart, Clementi, Chopin, Schumann, Liszt, Schubert, Mendelssohn, and works of his own.
| 6 |
[
"Carl Czerny",
"country of citizenship",
"Austrian Empire"
] |
Carl Czerny (German: [ˈtʃɛʁniː]; 21 February 1791 – 15 July 1857) was an Austrian composer, teacher, and pianist of Czech origin whose music spanned the late Classical and early Romantic eras. His vast musical production amounted to over a thousand works and his books of studies for the piano are still widely used in piano teaching. He was one of Ludwig van Beethoven's best-known pupils.
| 9 |
[
"Carl Czerny",
"instrument",
"piano"
] |
Studies with Beethoven
In 1801, Wenzel Krumpholz, a Czech composer and violinist, scheduled a presentation for Czerny at the home of Ludwig van Beethoven. Beethoven asked Czerny to play his Pathétique Sonata and Adelaide. Beethoven was impressed with the 10-year-old and accepted him as a pupil. Czerny remained under Beethoven's tutelage until 1804 and sporadically thereafter. He particularly admired Beethoven's facility at improvisation, his expertise at fingering, the rapidity of his scales and trills, and his restrained demeanour while performing.Czerny's autobiography and letters give many important references and details of Beethoven during this period. Czerny was the first to report symptoms of Beethoven's deafness, several years before the matter became public. Of his first meeting with Beethoven, he wrote: "I also noticed with that visual quickness peculiar to children that he had cotton which seemed to have been steeped in a yellowish ointment, in his ears."Beethoven selected Czerny as pianist for the premiere of the former's Piano Concerto No. 1 in 1806 and, at the age of 21, in February 1812, Czerny gave the Vienna premiere of Beethoven's "Emperor" Piano Concerto. Czerny wrote that his musical memory enabled him to play virtually all of Beethoven's piano works by heart without exception and, during the years 1804–1805, he used to play these works in this manner at Prince Lichnowsky's palace once or twice a week, with the Prince calling out only the desired opus numbers. Czerny maintained a friendship with Beethoven throughout his life, and also gave piano lessons to Beethoven's nephew Carl.Later career
Teacher and composer
At the age of fifteen, Czerny began a very successful teaching career. Basing his method on the teaching of Beethoven and Muzio Clementi, Czerny taught up to twelve lessons a day in the homes of Viennese nobility. His 'star' pupils included Theodor Döhler, Stephen Heller, Anna Sick, Sigismond Thalberg, and Ninette de Belleville. In 1819, the father of Franz Liszt brought his son to Czerny, who recalled:He was a pale, sickly-looking child, who, while playing, swayed about on the stool as if drunk...His playing was... irregular, untidy, confused, and...he threw his fingers quite arbitrarily all over the keyboard. But that notwithstanding, I was astonished at the talent Nature had bestowed upon him. Liszt became Czerny's most famous pupil. He trained the child with the works of Beethoven, Clementi, Ignaz Moscheles and Johann Sebastian Bach. The Liszt family lived in the same street in Vienna as Czerny, who was so impressed by the boy that he taught him free of charge. Liszt was later to repay this confidence by introducing the music of Czerny at many of his Paris recitals. Shortly before Liszt's Vienna concert of 13 April 1823 (his final concert of that season), Czerny arranged, with some difficulty (as Beethoven increasingly disliked child prodigies) the introduction of Liszt to Beethoven. Beethoven was sufficiently impressed with the young Liszt to give him a kiss on the forehead. Liszt remained close to Czerny, and in 1852 his Études d'exécution transcendante were published with a dedication to Czerny.Czerny left Vienna only to make trips to Italy, France (in 1837, when he was assisted by Liszt) and England. After 1840, Czerny devoted himself exclusively to composition. He wrote a large number of piano solo exercises for the development of the pianistic technique, designed to cover from the first lessons for children up to the needs of the most advanced virtuoso. (see List of compositions by Carl Czerny).Compositions
Overview
Czerny composed a very large number of pieces (more than one thousand and up to Op. 861).
Czerny's works include not only piano music (études, nocturnes, sonatas, opera theme arrangements and variations) but also masses and choral music, symphonies, concertos, songs, string quartets and other chamber music. The better known part of Czerny's repertoire is the large number of didactic piano pieces he wrote, such as The School of Velocity and The Art of Finger Dexterity. He was one of the first composers to use étude ("study") for a title. Czerny's body of works also include arrangements of many popular opera themes.
The majority of the pieces called by Czerny "serious music" (masses, choral music, quartets, orchestral and chamber music) remain in unpublished manuscript form and are held by Vienna's Society for the Friends of Music, to which Czerny (a childless bachelor) willed his estate.
| 10 |
[
"Carl Czerny",
"student",
"Theodor Leschetizky"
] |
Legacy
Influence
Czerny can be considered as a father of modern piano technique for generations of pianists, when it is taken into account that many of his students, such as Theodor Leschetizky, Franz Liszt and Theodor Kullak, also became teachers and passed on his legacy. The US music magazine The Etude presented in its issue of April 1927 an illustration (see above) showing how Czerny could be considered the father of modern piano technique and the basis of an entire generation of pianists. This list can be extended to the present day: examples of 'descent' are:Wanda Landowska: pupil of Moritz Moszkowski ← Theodor Kullak ← Czerny;
Sergei Prokofiev: pupil of Anna Yesipova ← Theodor Leschetizky ← Czerny;
Claudio Arrau: pupil of Martin Krause ← Liszt ← Czerny;
Ernő Dohnányi: pupil of István Thomán ← Liszt ← Czerny;
Georges Cziffra: pupil of István Thomán ← Liszt ← Czerny;
Daniel Barenboim: pupil of Edwin Fischer ← Martin Krause ← Liszt ← Czerny;
Van Cliburn: pupil of Rildia Bee Cliburn ← Arthur Friedheim ← Liszt ← Czerny;
Sergei Rachmaninoff: pupil of Alexander Siloti ← Liszt ← Czerny;
Leon Fleisher: pupil of Artur Schnabel ← Theodor Leschetizky ← Czerny;Czerny wrote an essay on the correct performing of the piano sonatas of Beethoven, "On the Proper performance of all Beethoven's works for piano" (1846). Johannes Brahms wrote about it to Clara Schumann in a letter of March 1878: "I certainly think Czerny's large pianoforte course Op. 500 is worthy of study, particularly in regard to what he says about Beethoven and the performance of his works, for he was a diligent and attentive pupil ... Czerny's fingering is particularly worthy for attention. In fact I think that people today ought to have more respect for this excellent man" In a letter written to Otto Jahn of 30 October 1852, Liszt wrote: "In the twenties, when a great portion of Beethoven's creations was a kind of Sphinx, Czerny was playing Beethoven exclusively, with an understanding as excellent as his technique was efficient and effective; and, later on, he did not set himself up against some progress that had been made in technique, but contributed materially to it by his own teaching and works."Czerny had an influential role in defining the canon of classical piano repertoire. Volume 4 (1847) of his Theoretico-Practical Piano School listed what he considered to be the most important piano works of the previous eighty years, including works of Mozart, Clementi, Chopin, Schumann, Liszt, Schubert, Mendelssohn, and works of his own.
| 11 |
[
"Carl Czerny",
"occupation",
"pianist"
] |
Carl Czerny (German: [ˈtʃɛʁniː]; 21 February 1791 – 15 July 1857) was an Austrian composer, teacher, and pianist of Czech origin whose music spanned the late Classical and early Romantic eras. His vast musical production amounted to over a thousand works and his books of studies for the piano are still widely used in piano teaching. He was one of Ludwig van Beethoven's best-known pupils.Early life
Infancy
Carl Czerny was born in Vienna (Leopoldstadt) and was baptized in St. Leopold parish. His father was of Czech origin; his mother was Moravian. His parents spoke Czech with him. Czerny came from a musical family: his grandfather was a violinist at Nimburg, near Prague, and his father, Wenzel, was an oboist, organist and pianist. When Czerny was six months old, his father took a job as a piano teacher at a Polish manor and the family moved to Poland, where they lived until the third partition of Poland prompted the family to return to Vienna in 1795.As a child prodigy, Czerny began playing piano at age three and composing at age seven. His first piano teacher was his father, who taught him mainly Bach, Haydn and Mozart. He began performing piano recitals in his parents' home. Czerny made his first public performance in 1800 playing Mozart's Piano Concerto No. 24 in C minor.
| 12 |
[
"Carl Czerny",
"occupation",
"composer"
] |
Carl Czerny (German: [ˈtʃɛʁniː]; 21 February 1791 – 15 July 1857) was an Austrian composer, teacher, and pianist of Czech origin whose music spanned the late Classical and early Romantic eras. His vast musical production amounted to over a thousand works and his books of studies for the piano are still widely used in piano teaching. He was one of Ludwig van Beethoven's best-known pupils.Early life
Infancy
Carl Czerny was born in Vienna (Leopoldstadt) and was baptized in St. Leopold parish. His father was of Czech origin; his mother was Moravian. His parents spoke Czech with him. Czerny came from a musical family: his grandfather was a violinist at Nimburg, near Prague, and his father, Wenzel, was an oboist, organist and pianist. When Czerny was six months old, his father took a job as a piano teacher at a Polish manor and the family moved to Poland, where they lived until the third partition of Poland prompted the family to return to Vienna in 1795.As a child prodigy, Czerny began playing piano at age three and composing at age seven. His first piano teacher was his father, who taught him mainly Bach, Haydn and Mozart. He began performing piano recitals in his parents' home. Czerny made his first public performance in 1800 playing Mozart's Piano Concerto No. 24 in C minor.
| 20 |
[
"Carl Czerny",
"student",
"Theodor Kullak"
] |
Legacy
Influence
Czerny can be considered as a father of modern piano technique for generations of pianists, when it is taken into account that many of his students, such as Theodor Leschetizky, Franz Liszt and Theodor Kullak, also became teachers and passed on his legacy. The US music magazine The Etude presented in its issue of April 1927 an illustration (see above) showing how Czerny could be considered the father of modern piano technique and the basis of an entire generation of pianists. This list can be extended to the present day: examples of 'descent' are:
| 22 |
[
"Carl Czerny",
"student",
"Stephen Heller"
] |
Later career
Teacher and composer
At the age of fifteen, Czerny began a very successful teaching career. Basing his method on the teaching of Beethoven and Muzio Clementi, Czerny taught up to twelve lessons a day in the homes of Viennese nobility. His 'star' pupils included Theodor Döhler, Stephen Heller, Anna Sick, Sigismond Thalberg, and Ninette de Belleville. In 1819, the father of Franz Liszt brought his son to Czerny, who recalled:He was a pale, sickly-looking child, who, while playing, swayed about on the stool as if drunk...His playing was... irregular, untidy, confused, and...he threw his fingers quite arbitrarily all over the keyboard. But that notwithstanding, I was astonished at the talent Nature had bestowed upon him. Liszt became Czerny's most famous pupil. He trained the child with the works of Beethoven, Clementi, Ignaz Moscheles and Johann Sebastian Bach. The Liszt family lived in the same street in Vienna as Czerny, who was so impressed by the boy that he taught him free of charge. Liszt was later to repay this confidence by introducing the music of Czerny at many of his Paris recitals. Shortly before Liszt's Vienna concert of 13 April 1823 (his final concert of that season), Czerny arranged, with some difficulty (as Beethoven increasingly disliked child prodigies) the introduction of Liszt to Beethoven. Beethoven was sufficiently impressed with the young Liszt to give him a kiss on the forehead. Liszt remained close to Czerny, and in 1852 his Études d'exécution transcendante were published with a dedication to Czerny.Czerny left Vienna only to make trips to Italy, France (in 1837, when he was assisted by Liszt) and England. After 1840, Czerny devoted himself exclusively to composition. He wrote a large number of piano solo exercises for the development of the pianistic technique, designed to cover from the first lessons for children up to the needs of the most advanced virtuoso. (see List of compositions by Carl Czerny).
| 23 |
[
"Carl Czerny",
"described by source",
"Biographisches Lexikon des Kaiserthums Oesterreich"
] |
Carl Czerny (German: [ˈtʃɛʁniː]; 21 February 1791 – 15 July 1857) was an Austrian composer, teacher, and pianist of Czech origin whose music spanned the late Classical and early Romantic eras. His vast musical production amounted to over a thousand works and his books of studies for the piano are still widely used in piano teaching. He was one of Ludwig van Beethoven's best-known pupils.
| 30 |
[
"Carl Czerny",
"student",
"Sigismond Thalberg"
] |
Later career
Teacher and composer
At the age of fifteen, Czerny began a very successful teaching career. Basing his method on the teaching of Beethoven and Muzio Clementi, Czerny taught up to twelve lessons a day in the homes of Viennese nobility. His 'star' pupils included Theodor Döhler, Stephen Heller, Anna Sick, Sigismond Thalberg, and Ninette de Belleville. In 1819, the father of Franz Liszt brought his son to Czerny, who recalled:He was a pale, sickly-looking child, who, while playing, swayed about on the stool as if drunk...His playing was... irregular, untidy, confused, and...he threw his fingers quite arbitrarily all over the keyboard. But that notwithstanding, I was astonished at the talent Nature had bestowed upon him. Liszt became Czerny's most famous pupil. He trained the child with the works of Beethoven, Clementi, Ignaz Moscheles and Johann Sebastian Bach. The Liszt family lived in the same street in Vienna as Czerny, who was so impressed by the boy that he taught him free of charge. Liszt was later to repay this confidence by introducing the music of Czerny at many of his Paris recitals. Shortly before Liszt's Vienna concert of 13 April 1823 (his final concert of that season), Czerny arranged, with some difficulty (as Beethoven increasingly disliked child prodigies) the introduction of Liszt to Beethoven. Beethoven was sufficiently impressed with the young Liszt to give him a kiss on the forehead. Liszt remained close to Czerny, and in 1852 his Études d'exécution transcendante were published with a dedication to Czerny.Czerny left Vienna only to make trips to Italy, France (in 1837, when he was assisted by Liszt) and England. After 1840, Czerny devoted himself exclusively to composition. He wrote a large number of piano solo exercises for the development of the pianistic technique, designed to cover from the first lessons for children up to the needs of the most advanced virtuoso. (see List of compositions by Carl Czerny).
| 40 |
[
"Carl Czerny",
"sex or gender",
"male"
] |
Carl Czerny (German: [ˈtʃɛʁniː]; 21 February 1791 – 15 July 1857) was an Austrian composer, teacher, and pianist of Czech origin whose music spanned the late Classical and early Romantic eras. His vast musical production amounted to over a thousand works and his books of studies for the piano are still widely used in piano teaching. He was one of Ludwig van Beethoven's best-known pupils.Early life
Infancy
Carl Czerny was born in Vienna (Leopoldstadt) and was baptized in St. Leopold parish. His father was of Czech origin; his mother was Moravian. His parents spoke Czech with him. Czerny came from a musical family: his grandfather was a violinist at Nimburg, near Prague, and his father, Wenzel, was an oboist, organist and pianist. When Czerny was six months old, his father took a job as a piano teacher at a Polish manor and the family moved to Poland, where they lived until the third partition of Poland prompted the family to return to Vienna in 1795.As a child prodigy, Czerny began playing piano at age three and composing at age seven. His first piano teacher was his father, who taught him mainly Bach, Haydn and Mozart. He began performing piano recitals in his parents' home. Czerny made his first public performance in 1800 playing Mozart's Piano Concerto No. 24 in C minor.
| 41 |
[
"Carl Czerny",
"occupation",
"music teacher"
] |
Carl Czerny (German: [ˈtʃɛʁniː]; 21 February 1791 – 15 July 1857) was an Austrian composer, teacher, and pianist of Czech origin whose music spanned the late Classical and early Romantic eras. His vast musical production amounted to over a thousand works and his books of studies for the piano are still widely used in piano teaching. He was one of Ludwig van Beethoven's best-known pupils.Early life
Infancy
Carl Czerny was born in Vienna (Leopoldstadt) and was baptized in St. Leopold parish. His father was of Czech origin; his mother was Moravian. His parents spoke Czech with him. Czerny came from a musical family: his grandfather was a violinist at Nimburg, near Prague, and his father, Wenzel, was an oboist, organist and pianist. When Czerny was six months old, his father took a job as a piano teacher at a Polish manor and the family moved to Poland, where they lived until the third partition of Poland prompted the family to return to Vienna in 1795.As a child prodigy, Czerny began playing piano at age three and composing at age seven. His first piano teacher was his father, who taught him mainly Bach, Haydn and Mozart. He began performing piano recitals in his parents' home. Czerny made his first public performance in 1800 playing Mozart's Piano Concerto No. 24 in C minor.
| 43 |
[
"Carl Czerny",
"student",
"Theodor Döhler"
] |
Later career
Teacher and composer
At the age of fifteen, Czerny began a very successful teaching career. Basing his method on the teaching of Beethoven and Muzio Clementi, Czerny taught up to twelve lessons a day in the homes of Viennese nobility. His 'star' pupils included Theodor Döhler, Stephen Heller, Anna Sick, Sigismond Thalberg, and Ninette de Belleville. In 1819, the father of Franz Liszt brought his son to Czerny, who recalled:He was a pale, sickly-looking child, who, while playing, swayed about on the stool as if drunk...His playing was... irregular, untidy, confused, and...he threw his fingers quite arbitrarily all over the keyboard. But that notwithstanding, I was astonished at the talent Nature had bestowed upon him. Liszt became Czerny's most famous pupil. He trained the child with the works of Beethoven, Clementi, Ignaz Moscheles and Johann Sebastian Bach. The Liszt family lived in the same street in Vienna as Czerny, who was so impressed by the boy that he taught him free of charge. Liszt was later to repay this confidence by introducing the music of Czerny at many of his Paris recitals. Shortly before Liszt's Vienna concert of 13 April 1823 (his final concert of that season), Czerny arranged, with some difficulty (as Beethoven increasingly disliked child prodigies) the introduction of Liszt to Beethoven. Beethoven was sufficiently impressed with the young Liszt to give him a kiss on the forehead. Liszt remained close to Czerny, and in 1852 his Études d'exécution transcendante were published with a dedication to Czerny.Czerny left Vienna only to make trips to Italy, France (in 1837, when he was assisted by Liszt) and England. After 1840, Czerny devoted himself exclusively to composition. He wrote a large number of piano solo exercises for the development of the pianistic technique, designed to cover from the first lessons for children up to the needs of the most advanced virtuoso. (see List of compositions by Carl Czerny).
| 44 |
[
"Carl Czerny",
"given name",
"Carl"
] |
Carl Czerny (German: [ˈtʃɛʁniː]; 21 February 1791 – 15 July 1857) was an Austrian composer, teacher, and pianist of Czech origin whose music spanned the late Classical and early Romantic eras. His vast musical production amounted to over a thousand works and his books of studies for the piano are still widely used in piano teaching. He was one of Ludwig van Beethoven's best-known pupils.Early life
Infancy
Carl Czerny was born in Vienna (Leopoldstadt) and was baptized in St. Leopold parish. His father was of Czech origin; his mother was Moravian. His parents spoke Czech with him. Czerny came from a musical family: his grandfather was a violinist at Nimburg, near Prague, and his father, Wenzel, was an oboist, organist and pianist. When Czerny was six months old, his father took a job as a piano teacher at a Polish manor and the family moved to Poland, where they lived until the third partition of Poland prompted the family to return to Vienna in 1795.As a child prodigy, Czerny began playing piano at age three and composing at age seven. His first piano teacher was his father, who taught him mainly Bach, Haydn and Mozart. He began performing piano recitals in his parents' home. Czerny made his first public performance in 1800 playing Mozart's Piano Concerto No. 24 in C minor.
| 45 |
[
"Carl Czerny",
"family name",
"Czerny"
] |
Carl Czerny (German: [ˈtʃɛʁniː]; 21 February 1791 – 15 July 1857) was an Austrian composer, teacher, and pianist of Czech origin whose music spanned the late Classical and early Romantic eras. His vast musical production amounted to over a thousand works and his books of studies for the piano are still widely used in piano teaching. He was one of Ludwig van Beethoven's best-known pupils.Early life
Infancy
Carl Czerny was born in Vienna (Leopoldstadt) and was baptized in St. Leopold parish. His father was of Czech origin; his mother was Moravian. His parents spoke Czech with him. Czerny came from a musical family: his grandfather was a violinist at Nimburg, near Prague, and his father, Wenzel, was an oboist, organist and pianist. When Czerny was six months old, his father took a job as a piano teacher at a Polish manor and the family moved to Poland, where they lived until the third partition of Poland prompted the family to return to Vienna in 1795.As a child prodigy, Czerny began playing piano at age three and composing at age seven. His first piano teacher was his father, who taught him mainly Bach, Haydn and Mozart. He began performing piano recitals in his parents' home. Czerny made his first public performance in 1800 playing Mozart's Piano Concerto No. 24 in C minor.
| 47 |
[
"Dorothea von Ertmann",
"instance of",
"human"
] |
Dorothea von Ertmann (born Dorothea Graumann; 3 May 1781 – 16 March 1849) was a German pianist.Biography
Dorothea Graumann was born in Frankfurt and married Stephan von Ertmann, an Austrian infantry officer, in 1798. The couple moved to Vienna, where Dorothea Ertmann began taking lessons with Ludwig van Beethoven; he called her his "Dorothea-Cecilia". He dedicated his Piano Sonata No. 28 (in A major, Op. 101, composed in 1816) to her, and she may also have been the intended recipient of his Immortal Beloved letters. Her only child, Franz Carl, died at a young age in March 1804. While she was in mourning, Beethoven invited her to his home and improvised on the piano for her for an hour in order to comfort her, saying "We will now talk to each other in tones". Ertmann premiered his Cello Sonata No. 3 on 5 March 1809 with Nikolaus Kraft. She and her husband moved to Milan in 1820, where she was visited by Felix Mendelssohn, but after her husband's death in 1835 she returned to Vienna where she died.Ertmann gave a number of public concerts and was most noted for her performance of Beethoven's compositions: Alexander Thayer said that "all contemporary authorities agree, [she was] if not the greatest player of these works at least the greatest of her sex". Anton Schindler suggested that "she grasped intuitively even the most hidden subtleties of Beethoven's works with as much certainty as if they had been written out before her eyes". He also said that "without Frau von Ertmann, Beethoven's music would have disappeared even sooner from the repertory" because she created a musical salon dedicated to preserving his style against the rise of newer, more "fashionable" composers.The German opera singer and teacher Mathilde Marchesi, née Graumann, was her niece.
| 0 |
[
"Dorothea von Ertmann",
"country of citizenship",
"Germany"
] |
Dorothea von Ertmann (born Dorothea Graumann; 3 May 1781 – 16 March 1849) was a German pianist.Biography
Dorothea Graumann was born in Frankfurt and married Stephan von Ertmann, an Austrian infantry officer, in 1798. The couple moved to Vienna, where Dorothea Ertmann began taking lessons with Ludwig van Beethoven; he called her his "Dorothea-Cecilia". He dedicated his Piano Sonata No. 28 (in A major, Op. 101, composed in 1816) to her, and she may also have been the intended recipient of his Immortal Beloved letters. Her only child, Franz Carl, died at a young age in March 1804. While she was in mourning, Beethoven invited her to his home and improvised on the piano for her for an hour in order to comfort her, saying "We will now talk to each other in tones". Ertmann premiered his Cello Sonata No. 3 on 5 March 1809 with Nikolaus Kraft. She and her husband moved to Milan in 1820, where she was visited by Felix Mendelssohn, but after her husband's death in 1835 she returned to Vienna where she died.Ertmann gave a number of public concerts and was most noted for her performance of Beethoven's compositions: Alexander Thayer said that "all contemporary authorities agree, [she was] if not the greatest player of these works at least the greatest of her sex". Anton Schindler suggested that "she grasped intuitively even the most hidden subtleties of Beethoven's works with as much certainty as if they had been written out before her eyes". He also said that "without Frau von Ertmann, Beethoven's music would have disappeared even sooner from the repertory" because she created a musical salon dedicated to preserving his style against the rise of newer, more "fashionable" composers.The German opera singer and teacher Mathilde Marchesi, née Graumann, was her niece.
| 1 |
[
"Dorothea von Ertmann",
"languages spoken, written or signed",
"German"
] |
Dorothea von Ertmann (born Dorothea Graumann; 3 May 1781 – 16 March 1849) was a German pianist.Biography
Dorothea Graumann was born in Frankfurt and married Stephan von Ertmann, an Austrian infantry officer, in 1798. The couple moved to Vienna, where Dorothea Ertmann began taking lessons with Ludwig van Beethoven; he called her his "Dorothea-Cecilia". He dedicated his Piano Sonata No. 28 (in A major, Op. 101, composed in 1816) to her, and she may also have been the intended recipient of his Immortal Beloved letters. Her only child, Franz Carl, died at a young age in March 1804. While she was in mourning, Beethoven invited her to his home and improvised on the piano for her for an hour in order to comfort her, saying "We will now talk to each other in tones". Ertmann premiered his Cello Sonata No. 3 on 5 March 1809 with Nikolaus Kraft. She and her husband moved to Milan in 1820, where she was visited by Felix Mendelssohn, but after her husband's death in 1835 she returned to Vienna where she died.Ertmann gave a number of public concerts and was most noted for her performance of Beethoven's compositions: Alexander Thayer said that "all contemporary authorities agree, [she was] if not the greatest player of these works at least the greatest of her sex". Anton Schindler suggested that "she grasped intuitively even the most hidden subtleties of Beethoven's works with as much certainty as if they had been written out before her eyes". He also said that "without Frau von Ertmann, Beethoven's music would have disappeared even sooner from the repertory" because she created a musical salon dedicated to preserving his style against the rise of newer, more "fashionable" composers.The German opera singer and teacher Mathilde Marchesi, née Graumann, was her niece.
| 2 |
[
"Dorothea von Ertmann",
"student of",
"Ludwig van Beethoven"
] |
Biography
Dorothea Graumann was born in Frankfurt and married Stephan von Ertmann, an Austrian infantry officer, in 1798. The couple moved to Vienna, where Dorothea Ertmann began taking lessons with Ludwig van Beethoven; he called her his "Dorothea-Cecilia". He dedicated his Piano Sonata No. 28 (in A major, Op. 101, composed in 1816) to her, and she may also have been the intended recipient of his Immortal Beloved letters. Her only child, Franz Carl, died at a young age in March 1804. While she was in mourning, Beethoven invited her to his home and improvised on the piano for her for an hour in order to comfort her, saying "We will now talk to each other in tones". Ertmann premiered his Cello Sonata No. 3 on 5 March 1809 with Nikolaus Kraft. She and her husband moved to Milan in 1820, where she was visited by Felix Mendelssohn, but after her husband's death in 1835 she returned to Vienna where she died.Ertmann gave a number of public concerts and was most noted for her performance of Beethoven's compositions: Alexander Thayer said that "all contemporary authorities agree, [she was] if not the greatest player of these works at least the greatest of her sex". Anton Schindler suggested that "she grasped intuitively even the most hidden subtleties of Beethoven's works with as much certainty as if they had been written out before her eyes". He also said that "without Frau von Ertmann, Beethoven's music would have disappeared even sooner from the repertory" because she created a musical salon dedicated to preserving his style against the rise of newer, more "fashionable" composers.The German opera singer and teacher Mathilde Marchesi, née Graumann, was her niece.
| 3 |
[
"Dorothea von Ertmann",
"place of birth",
"Frankfurt am Main"
] |
Dorothea von Ertmann (born Dorothea Graumann; 3 May 1781 – 16 March 1849) was a German pianist.Biography
Dorothea Graumann was born in Frankfurt and married Stephan von Ertmann, an Austrian infantry officer, in 1798. The couple moved to Vienna, where Dorothea Ertmann began taking lessons with Ludwig van Beethoven; he called her his "Dorothea-Cecilia". He dedicated his Piano Sonata No. 28 (in A major, Op. 101, composed in 1816) to her, and she may also have been the intended recipient of his Immortal Beloved letters. Her only child, Franz Carl, died at a young age in March 1804. While she was in mourning, Beethoven invited her to his home and improvised on the piano for her for an hour in order to comfort her, saying "We will now talk to each other in tones". Ertmann premiered his Cello Sonata No. 3 on 5 March 1809 with Nikolaus Kraft. She and her husband moved to Milan in 1820, where she was visited by Felix Mendelssohn, but after her husband's death in 1835 she returned to Vienna where she died.Ertmann gave a number of public concerts and was most noted for her performance of Beethoven's compositions: Alexander Thayer said that "all contemporary authorities agree, [she was] if not the greatest player of these works at least the greatest of her sex". Anton Schindler suggested that "she grasped intuitively even the most hidden subtleties of Beethoven's works with as much certainty as if they had been written out before her eyes". He also said that "without Frau von Ertmann, Beethoven's music would have disappeared even sooner from the repertory" because she created a musical salon dedicated to preserving his style against the rise of newer, more "fashionable" composers.The German opera singer and teacher Mathilde Marchesi, née Graumann, was her niece.
| 5 |
[
"Dorothea von Ertmann",
"occupation",
"pianist"
] |
Dorothea von Ertmann (born Dorothea Graumann; 3 May 1781 – 16 March 1849) was a German pianist.Biography
Dorothea Graumann was born in Frankfurt and married Stephan von Ertmann, an Austrian infantry officer, in 1798. The couple moved to Vienna, where Dorothea Ertmann began taking lessons with Ludwig van Beethoven; he called her his "Dorothea-Cecilia". He dedicated his Piano Sonata No. 28 (in A major, Op. 101, composed in 1816) to her, and she may also have been the intended recipient of his Immortal Beloved letters. Her only child, Franz Carl, died at a young age in March 1804. While she was in mourning, Beethoven invited her to his home and improvised on the piano for her for an hour in order to comfort her, saying "We will now talk to each other in tones". Ertmann premiered his Cello Sonata No. 3 on 5 March 1809 with Nikolaus Kraft. She and her husband moved to Milan in 1820, where she was visited by Felix Mendelssohn, but after her husband's death in 1835 she returned to Vienna where she died.Ertmann gave a number of public concerts and was most noted for her performance of Beethoven's compositions: Alexander Thayer said that "all contemporary authorities agree, [she was] if not the greatest player of these works at least the greatest of her sex". Anton Schindler suggested that "she grasped intuitively even the most hidden subtleties of Beethoven's works with as much certainty as if they had been written out before her eyes". He also said that "without Frau von Ertmann, Beethoven's music would have disappeared even sooner from the repertory" because she created a musical salon dedicated to preserving his style against the rise of newer, more "fashionable" composers.The German opera singer and teacher Mathilde Marchesi, née Graumann, was her niece.
| 8 |
[
"Dorothea von Ertmann",
"given name",
"Dorothea"
] |
Dorothea von Ertmann (born Dorothea Graumann; 3 May 1781 – 16 March 1849) was a German pianist.Biography
Dorothea Graumann was born in Frankfurt and married Stephan von Ertmann, an Austrian infantry officer, in 1798. The couple moved to Vienna, where Dorothea Ertmann began taking lessons with Ludwig van Beethoven; he called her his "Dorothea-Cecilia". He dedicated his Piano Sonata No. 28 (in A major, Op. 101, composed in 1816) to her, and she may also have been the intended recipient of his Immortal Beloved letters. Her only child, Franz Carl, died at a young age in March 1804. While she was in mourning, Beethoven invited her to his home and improvised on the piano for her for an hour in order to comfort her, saying "We will now talk to each other in tones". Ertmann premiered his Cello Sonata No. 3 on 5 March 1809 with Nikolaus Kraft. She and her husband moved to Milan in 1820, where she was visited by Felix Mendelssohn, but after her husband's death in 1835 she returned to Vienna where she died.Ertmann gave a number of public concerts and was most noted for her performance of Beethoven's compositions: Alexander Thayer said that "all contemporary authorities agree, [she was] if not the greatest player of these works at least the greatest of her sex". Anton Schindler suggested that "she grasped intuitively even the most hidden subtleties of Beethoven's works with as much certainty as if they had been written out before her eyes". He also said that "without Frau von Ertmann, Beethoven's music would have disappeared even sooner from the repertory" because she created a musical salon dedicated to preserving his style against the rise of newer, more "fashionable" composers.The German opera singer and teacher Mathilde Marchesi, née Graumann, was her niece.
| 9 |
[
"Dorothea von Ertmann",
"sex or gender",
"female"
] |
Dorothea von Ertmann (born Dorothea Graumann; 3 May 1781 – 16 March 1849) was a German pianist.Biography
Dorothea Graumann was born in Frankfurt and married Stephan von Ertmann, an Austrian infantry officer, in 1798. The couple moved to Vienna, where Dorothea Ertmann began taking lessons with Ludwig van Beethoven; he called her his "Dorothea-Cecilia". He dedicated his Piano Sonata No. 28 (in A major, Op. 101, composed in 1816) to her, and she may also have been the intended recipient of his Immortal Beloved letters. Her only child, Franz Carl, died at a young age in March 1804. While she was in mourning, Beethoven invited her to his home and improvised on the piano for her for an hour in order to comfort her, saying "We will now talk to each other in tones". Ertmann premiered his Cello Sonata No. 3 on 5 March 1809 with Nikolaus Kraft. She and her husband moved to Milan in 1820, where she was visited by Felix Mendelssohn, but after her husband's death in 1835 she returned to Vienna where she died.Ertmann gave a number of public concerts and was most noted for her performance of Beethoven's compositions: Alexander Thayer said that "all contemporary authorities agree, [she was] if not the greatest player of these works at least the greatest of her sex". Anton Schindler suggested that "she grasped intuitively even the most hidden subtleties of Beethoven's works with as much certainty as if they had been written out before her eyes". He also said that "without Frau von Ertmann, Beethoven's music would have disappeared even sooner from the repertory" because she created a musical salon dedicated to preserving his style against the rise of newer, more "fashionable" composers.The German opera singer and teacher Mathilde Marchesi, née Graumann, was her niece.
| 10 |
[
"Karl Richard Lepsius",
"instance of",
"human"
] |
Karl Richard Lepsius (Latin: Carolus Richardius Lepsius) (23 December 1810 – 10 July 1884) was a pioneering Prussian Egyptologist, linguist and modern archaeologist.He is widely known for his magnum opus Denkmäler aus Ägypten und Äthiopien.Early life
Karl Richard Lepsius was the son of Karl Peter Lepsius, a classical scholar from Naumburg, and his wife Friederike (née Gläser), who was the daughter of composer Carl Ludwig Traugott Gläser. The family name was originally "Leps" and had been Latinized to "Lepsius" by Karl's paternal great-grandfather Peter Christoph Lepsius. He was born in Naumburg on the Saale, Saxony.He studied Greek and Roman archaeology at the University of Leipzig (1829–1830), the University of Göttingen (1830–1832), and the Frederick William University of Berlin (1832–1833). After receiving his doctorate following his dissertation De tabulis Eugubinis in 1833, he travelled to Paris, where he attended lectures by the French classicist Jean Letronne, an early disciple of Jean-François Champollion and his work on the decipherment of the Egyptian language, visited Egyptian collections all over Europe and studied lithography and engraving.
| 0 |
[
"Karl Richard Lepsius",
"place of death",
"Berlin"
] |
Later career
Upon his return to Europe in 1845, he married Elisabeth Klein in 1846 and was appointed as a professor of Egyptology at Berlin University in the same year, and the co-director of the Ägyptisches Museum in 1855; after the death of Giuseppe Passalacqua in 1865, he was director of the museum. In 1866 Lepsius returned to Egypt, where he discovered the Decree of Canopus at Tanis, an inscription closely related to the Rosetta Stone, which was likewise written in Egyptian (hieroglyphic and demotic) and Greek.
Lepsius was president of the German Archaeological Institute in Rome from 1867 to 1880, and from 1873 until his death in 1884, the head of the Royal Library at Berlin. He was the editor of the Zeitschrift für ägyptische Sprache und Altertumskunde, a fundamental scientific journal for the new field of Egyptology, which remains in print to this day. While at the editorial helm, Lepsius commissioned typographer Ferdinand Theinhardt (on behalf of the Prussian Academy of Sciences) to cut the first hieroglyphic typeface, the so-called Theinhardt font, which is in use today.
Lepsius published widely in the field of Egyptology, and is considered the father of this modern scientific discipline, assuming a role that Champollion might have achieved, had he not died so young. Much of his work is fundamental to the field. Indeed, Lepsius even coined the phrase Totenbuch ("Book of the Dead"). He was also a pioneer in the field of African linguistics, though his ideas are now mainly considered to be outdated. Based on his work in the ancient Egyptian language, and his field work in the Sudan, Lepsius developed a Standard Alphabet for transliterating African Languages; it was published 1855 and revised in 1863. His 1880 Nubische Grammatik mit einer Einleitung über die Völker und Sprachen Afrika's contains a sketch of African peoples and a classification of African languages, as well as a grammar of the Nubian languages.
| 3 |
[
"Karl Richard Lepsius",
"student of",
"Jean-François Champollion"
] |
Early life
Karl Richard Lepsius was the son of Karl Peter Lepsius, a classical scholar from Naumburg, and his wife Friederike (née Gläser), who was the daughter of composer Carl Ludwig Traugott Gläser. The family name was originally "Leps" and had been Latinized to "Lepsius" by Karl's paternal great-grandfather Peter Christoph Lepsius. He was born in Naumburg on the Saale, Saxony.He studied Greek and Roman archaeology at the University of Leipzig (1829–1830), the University of Göttingen (1830–1832), and the Frederick William University of Berlin (1832–1833). After receiving his doctorate following his dissertation De tabulis Eugubinis in 1833, he travelled to Paris, where he attended lectures by the French classicist Jean Letronne, an early disciple of Jean-François Champollion and his work on the decipherment of the Egyptian language, visited Egyptian collections all over Europe and studied lithography and engraving.Work
After the death of Champollion, Lepsius made a systematic study of the French scholar's Grammaire égyptienne, which had been published posthumously in 1836 but had yet to be widely accepted. In that year, Lepsius travelled to Tuscany to meet with Ippolito Rosellini, who had led a joint expedition to Egypt with Champollion in 1828–1829. In a series of letters to Rosellini, Lepsius expanded on Champollion's explanation of the use of phonetic signs in hieroglyphic writing, emphasizing (contra Champollion) that vowels were not written.
| 5 |
[
"Karl Richard Lepsius",
"place of birth",
"Naumburg (Saale)"
] |
Early life
Karl Richard Lepsius was the son of Karl Peter Lepsius, a classical scholar from Naumburg, and his wife Friederike (née Gläser), who was the daughter of composer Carl Ludwig Traugott Gläser. The family name was originally "Leps" and had been Latinized to "Lepsius" by Karl's paternal great-grandfather Peter Christoph Lepsius. He was born in Naumburg on the Saale, Saxony.He studied Greek and Roman archaeology at the University of Leipzig (1829–1830), the University of Göttingen (1830–1832), and the Frederick William University of Berlin (1832–1833). After receiving his doctorate following his dissertation De tabulis Eugubinis in 1833, he travelled to Paris, where he attended lectures by the French classicist Jean Letronne, an early disciple of Jean-François Champollion and his work on the decipherment of the Egyptian language, visited Egyptian collections all over Europe and studied lithography and engraving.
| 14 |
[
"Karl Richard Lepsius",
"child",
"Johannes Lepsius"
] |
Family
On 5 July 1846, he married Elisabeth Klein, (1828–1899), daughter of the composer Bernhard Klein and great-granddaughter of Friedrich Nicolai. They had six children, including the geologist and Rector of the Darmstadt University of Technology G. Richard Lepsius (1851–1915), the chemist and director of the Chemical Factory Griesheim Bernhard Lepsius (1854–1934), the portrait painter and member of the Prussian Academy of Arts (as of 1916) Reinhold Lepsius (1857–1929) and the youngest son Johannes Lepsius, Protestant theologian, humanist and Orientalist.
| 16 |
[
"Karl Richard Lepsius",
"child",
"Reinhold Lepsius"
] |
Family
On 5 July 1846, he married Elisabeth Klein, (1828–1899), daughter of the composer Bernhard Klein and great-granddaughter of Friedrich Nicolai. They had six children, including the geologist and Rector of the Darmstadt University of Technology G. Richard Lepsius (1851–1915), the chemist and director of the Chemical Factory Griesheim Bernhard Lepsius (1854–1934), the portrait painter and member of the Prussian Academy of Arts (as of 1916) Reinhold Lepsius (1857–1929) and the youngest son Johannes Lepsius, Protestant theologian, humanist and Orientalist.
| 26 |
[
"Karl Richard Lepsius",
"father",
"Carl Peter Lepsius"
] |
Early life
Karl Richard Lepsius was the son of Karl Peter Lepsius, a classical scholar from Naumburg, and his wife Friederike (née Gläser), who was the daughter of composer Carl Ludwig Traugott Gläser. The family name was originally "Leps" and had been Latinized to "Lepsius" by Karl's paternal great-grandfather Peter Christoph Lepsius. He was born in Naumburg on the Saale, Saxony.He studied Greek and Roman archaeology at the University of Leipzig (1829–1830), the University of Göttingen (1830–1832), and the Frederick William University of Berlin (1832–1833). After receiving his doctorate following his dissertation De tabulis Eugubinis in 1833, he travelled to Paris, where he attended lectures by the French classicist Jean Letronne, an early disciple of Jean-François Champollion and his work on the decipherment of the Egyptian language, visited Egyptian collections all over Europe and studied lithography and engraving.
| 32 |
[
"Karl Richard Lepsius",
"occupation",
"egyptologist"
] |
Karl Richard Lepsius (Latin: Carolus Richardius Lepsius) (23 December 1810 – 10 July 1884) was a pioneering Prussian Egyptologist, linguist and modern archaeologist.He is widely known for his magnum opus Denkmäler aus Ägypten und Äthiopien.
| 34 |
[
"Karl Richard Lepsius",
"occupation",
"archaeologist"
] |
Karl Richard Lepsius (Latin: Carolus Richardius Lepsius) (23 December 1810 – 10 July 1884) was a pioneering Prussian Egyptologist, linguist and modern archaeologist.He is widely known for his magnum opus Denkmäler aus Ägypten und Äthiopien.Early life
Karl Richard Lepsius was the son of Karl Peter Lepsius, a classical scholar from Naumburg, and his wife Friederike (née Gläser), who was the daughter of composer Carl Ludwig Traugott Gläser. The family name was originally "Leps" and had been Latinized to "Lepsius" by Karl's paternal great-grandfather Peter Christoph Lepsius. He was born in Naumburg on the Saale, Saxony.He studied Greek and Roman archaeology at the University of Leipzig (1829–1830), the University of Göttingen (1830–1832), and the Frederick William University of Berlin (1832–1833). After receiving his doctorate following his dissertation De tabulis Eugubinis in 1833, he travelled to Paris, where he attended lectures by the French classicist Jean Letronne, an early disciple of Jean-François Champollion and his work on the decipherment of the Egyptian language, visited Egyptian collections all over Europe and studied lithography and engraving.Later career
Upon his return to Europe in 1845, he married Elisabeth Klein in 1846 and was appointed as a professor of Egyptology at Berlin University in the same year, and the co-director of the Ägyptisches Museum in 1855; after the death of Giuseppe Passalacqua in 1865, he was director of the museum. In 1866 Lepsius returned to Egypt, where he discovered the Decree of Canopus at Tanis, an inscription closely related to the Rosetta Stone, which was likewise written in Egyptian (hieroglyphic and demotic) and Greek.
Lepsius was president of the German Archaeological Institute in Rome from 1867 to 1880, and from 1873 until his death in 1884, the head of the Royal Library at Berlin. He was the editor of the Zeitschrift für ägyptische Sprache und Altertumskunde, a fundamental scientific journal for the new field of Egyptology, which remains in print to this day. While at the editorial helm, Lepsius commissioned typographer Ferdinand Theinhardt (on behalf of the Prussian Academy of Sciences) to cut the first hieroglyphic typeface, the so-called Theinhardt font, which is in use today.
Lepsius published widely in the field of Egyptology, and is considered the father of this modern scientific discipline, assuming a role that Champollion might have achieved, had he not died so young. Much of his work is fundamental to the field. Indeed, Lepsius even coined the phrase Totenbuch ("Book of the Dead"). He was also a pioneer in the field of African linguistics, though his ideas are now mainly considered to be outdated. Based on his work in the ancient Egyptian language, and his field work in the Sudan, Lepsius developed a Standard Alphabet for transliterating African Languages; it was published 1855 and revised in 1863. His 1880 Nubische Grammatik mit einer Einleitung über die Völker und Sprachen Afrika's contains a sketch of African peoples and a classification of African languages, as well as a grammar of the Nubian languages.
| 36 |
[
"Karl Richard Lepsius",
"child",
"Richard Lepsius"
] |
Family
On 5 July 1846, he married Elisabeth Klein, (1828–1899), daughter of the composer Bernhard Klein and great-granddaughter of Friedrich Nicolai. They had six children, including the geologist and Rector of the Darmstadt University of Technology G. Richard Lepsius (1851–1915), the chemist and director of the Chemical Factory Griesheim Bernhard Lepsius (1854–1934), the portrait painter and member of the Prussian Academy of Arts (as of 1916) Reinhold Lepsius (1857–1929) and the youngest son Johannes Lepsius, Protestant theologian, humanist and Orientalist.
| 39 |
[
"Karl Richard Lepsius",
"given name",
"Karl"
] |
Karl Richard Lepsius (Latin: Carolus Richardius Lepsius) (23 December 1810 – 10 July 1884) was a pioneering Prussian Egyptologist, linguist and modern archaeologist.He is widely known for his magnum opus Denkmäler aus Ägypten und Äthiopien.Early life
Karl Richard Lepsius was the son of Karl Peter Lepsius, a classical scholar from Naumburg, and his wife Friederike (née Gläser), who was the daughter of composer Carl Ludwig Traugott Gläser. The family name was originally "Leps" and had been Latinized to "Lepsius" by Karl's paternal great-grandfather Peter Christoph Lepsius. He was born in Naumburg on the Saale, Saxony.He studied Greek and Roman archaeology at the University of Leipzig (1829–1830), the University of Göttingen (1830–1832), and the Frederick William University of Berlin (1832–1833). After receiving his doctorate following his dissertation De tabulis Eugubinis in 1833, he travelled to Paris, where he attended lectures by the French classicist Jean Letronne, an early disciple of Jean-François Champollion and his work on the decipherment of the Egyptian language, visited Egyptian collections all over Europe and studied lithography and engraving.
| 42 |
[
"Karl Richard Lepsius",
"occupation",
"linguist"
] |
Karl Richard Lepsius (Latin: Carolus Richardius Lepsius) (23 December 1810 – 10 July 1884) was a pioneering Prussian Egyptologist, linguist and modern archaeologist.He is widely known for his magnum opus Denkmäler aus Ägypten und Äthiopien.
| 45 |
[
"Karl Richard Lepsius",
"family name",
"Lepsius"
] |
Karl Richard Lepsius (Latin: Carolus Richardius Lepsius) (23 December 1810 – 10 July 1884) was a pioneering Prussian Egyptologist, linguist and modern archaeologist.He is widely known for his magnum opus Denkmäler aus Ägypten und Äthiopien.Early life
Karl Richard Lepsius was the son of Karl Peter Lepsius, a classical scholar from Naumburg, and his wife Friederike (née Gläser), who was the daughter of composer Carl Ludwig Traugott Gläser. The family name was originally "Leps" and had been Latinized to "Lepsius" by Karl's paternal great-grandfather Peter Christoph Lepsius. He was born in Naumburg on the Saale, Saxony.He studied Greek and Roman archaeology at the University of Leipzig (1829–1830), the University of Göttingen (1830–1832), and the Frederick William University of Berlin (1832–1833). After receiving his doctorate following his dissertation De tabulis Eugubinis in 1833, he travelled to Paris, where he attended lectures by the French classicist Jean Letronne, an early disciple of Jean-François Champollion and his work on the decipherment of the Egyptian language, visited Egyptian collections all over Europe and studied lithography and engraving.Family
On 5 July 1846, he married Elisabeth Klein, (1828–1899), daughter of the composer Bernhard Klein and great-granddaughter of Friedrich Nicolai. They had six children, including the geologist and Rector of the Darmstadt University of Technology G. Richard Lepsius (1851–1915), the chemist and director of the Chemical Factory Griesheim Bernhard Lepsius (1854–1934), the portrait painter and member of the Prussian Academy of Arts (as of 1916) Reinhold Lepsius (1857–1929) and the youngest son Johannes Lepsius, Protestant theologian, humanist and Orientalist.
| 46 |
[
"Francesco Salvolini",
"instance of",
"human"
] |
Francesco Salvolini (Faenza 1810 – February 1838) (also known as François Salvolini) was a scholar of Ancient Egyptian hieroglyphs who worked with Jean-François Champollion on deciphering hieroglyphs near the end of the latter's life. He is known to have been in possession of some of Champollion's manuscripts and to have used them as a basis for his own subsequent publications on the subject, claiming the work as his own.
Salvolini became a student of Champollion in 1831, at the recommendation of Constanzo Gazzera; after having graduated in Oriental languages from the University of Bologna. During Champollion's final illness in 1832, Salvolini was given full access to the materials in his mentor's office. Shortly after Champollion died, his older brother Jacques Joseph collected together all of his younger brother's manuscripts, and realized that significant portions were missing. Suspicion immediately fell on Salvolini, who denied the charges leveled against him. Salvolini subsequently started to publish groundbreaking works on hieroglyphs that were met with acclaim.By the time Jacques Joseph Champollion-Figeac started publishing the first volume of his late brother's Grammaire égyptienne in 1836, Salvolini was increasingly held in contempt by the academic community as it became clear that not all of the work was his own.Salvolini died in February 1838, and the missing manuscripts of Champollion were discovered among his papers.
| 0 |
[
"Francesco Salvolini",
"given name",
"Francesco"
] |
Francesco Salvolini (Faenza 1810 – February 1838) (also known as François Salvolini) was a scholar of Ancient Egyptian hieroglyphs who worked with Jean-François Champollion on deciphering hieroglyphs near the end of the latter's life. He is known to have been in possession of some of Champollion's manuscripts and to have used them as a basis for his own subsequent publications on the subject, claiming the work as his own.
Salvolini became a student of Champollion in 1831, at the recommendation of Constanzo Gazzera; after having graduated in Oriental languages from the University of Bologna. During Champollion's final illness in 1832, Salvolini was given full access to the materials in his mentor's office. Shortly after Champollion died, his older brother Jacques Joseph collected together all of his younger brother's manuscripts, and realized that significant portions were missing. Suspicion immediately fell on Salvolini, who denied the charges leveled against him. Salvolini subsequently started to publish groundbreaking works on hieroglyphs that were met with acclaim.By the time Jacques Joseph Champollion-Figeac started publishing the first volume of his late brother's Grammaire égyptienne in 1836, Salvolini was increasingly held in contempt by the academic community as it became clear that not all of the work was his own.Salvolini died in February 1838, and the missing manuscripts of Champollion were discovered among his papers.
| 6 |
[
"Francesco Salvolini",
"student of",
"Jean-François Champollion"
] |
Francesco Salvolini (Faenza 1810 – February 1838) (also known as François Salvolini) was a scholar of Ancient Egyptian hieroglyphs who worked with Jean-François Champollion on deciphering hieroglyphs near the end of the latter's life. He is known to have been in possession of some of Champollion's manuscripts and to have used them as a basis for his own subsequent publications on the subject, claiming the work as his own.
Salvolini became a student of Champollion in 1831, at the recommendation of Constanzo Gazzera; after having graduated in Oriental languages from the University of Bologna. During Champollion's final illness in 1832, Salvolini was given full access to the materials in his mentor's office. Shortly after Champollion died, his older brother Jacques Joseph collected together all of his younger brother's manuscripts, and realized that significant portions were missing. Suspicion immediately fell on Salvolini, who denied the charges leveled against him. Salvolini subsequently started to publish groundbreaking works on hieroglyphs that were met with acclaim.By the time Jacques Joseph Champollion-Figeac started publishing the first volume of his late brother's Grammaire égyptienne in 1836, Salvolini was increasingly held in contempt by the academic community as it became clear that not all of the work was his own.Salvolini died in February 1838, and the missing manuscripts of Champollion were discovered among his papers.
| 7 |
[
"Francesco Salvolini",
"sex or gender",
"male"
] |
Francesco Salvolini (Faenza 1810 – February 1838) (also known as François Salvolini) was a scholar of Ancient Egyptian hieroglyphs who worked with Jean-François Champollion on deciphering hieroglyphs near the end of the latter's life. He is known to have been in possession of some of Champollion's manuscripts and to have used them as a basis for his own subsequent publications on the subject, claiming the work as his own.
Salvolini became a student of Champollion in 1831, at the recommendation of Constanzo Gazzera; after having graduated in Oriental languages from the University of Bologna. During Champollion's final illness in 1832, Salvolini was given full access to the materials in his mentor's office. Shortly after Champollion died, his older brother Jacques Joseph collected together all of his younger brother's manuscripts, and realized that significant portions were missing. Suspicion immediately fell on Salvolini, who denied the charges leveled against him. Salvolini subsequently started to publish groundbreaking works on hieroglyphs that were met with acclaim.By the time Jacques Joseph Champollion-Figeac started publishing the first volume of his late brother's Grammaire égyptienne in 1836, Salvolini was increasingly held in contempt by the academic community as it became clear that not all of the work was his own.Salvolini died in February 1838, and the missing manuscripts of Champollion were discovered among his papers.
| 10 |
[
"Francesco Salvolini",
"occupation",
"linguist"
] |
Francesco Salvolini (Faenza 1810 – February 1838) (also known as François Salvolini) was a scholar of Ancient Egyptian hieroglyphs who worked with Jean-François Champollion on deciphering hieroglyphs near the end of the latter's life. He is known to have been in possession of some of Champollion's manuscripts and to have used them as a basis for his own subsequent publications on the subject, claiming the work as his own.
Salvolini became a student of Champollion in 1831, at the recommendation of Constanzo Gazzera; after having graduated in Oriental languages from the University of Bologna. During Champollion's final illness in 1832, Salvolini was given full access to the materials in his mentor's office. Shortly after Champollion died, his older brother Jacques Joseph collected together all of his younger brother's manuscripts, and realized that significant portions were missing. Suspicion immediately fell on Salvolini, who denied the charges leveled against him. Salvolini subsequently started to publish groundbreaking works on hieroglyphs that were met with acclaim.By the time Jacques Joseph Champollion-Figeac started publishing the first volume of his late brother's Grammaire égyptienne in 1836, Salvolini was increasingly held in contempt by the academic community as it became clear that not all of the work was his own.Salvolini died in February 1838, and the missing manuscripts of Champollion were discovered among his papers.
| 11 |
[
"Francesco Salvolini",
"family name",
"Salvolini"
] |
Francesco Salvolini (Faenza 1810 – February 1838) (also known as François Salvolini) was a scholar of Ancient Egyptian hieroglyphs who worked with Jean-François Champollion on deciphering hieroglyphs near the end of the latter's life. He is known to have been in possession of some of Champollion's manuscripts and to have used them as a basis for his own subsequent publications on the subject, claiming the work as his own.
Salvolini became a student of Champollion in 1831, at the recommendation of Constanzo Gazzera; after having graduated in Oriental languages from the University of Bologna. During Champollion's final illness in 1832, Salvolini was given full access to the materials in his mentor's office. Shortly after Champollion died, his older brother Jacques Joseph collected together all of his younger brother's manuscripts, and realized that significant portions were missing. Suspicion immediately fell on Salvolini, who denied the charges leveled against him. Salvolini subsequently started to publish groundbreaking works on hieroglyphs that were met with acclaim.By the time Jacques Joseph Champollion-Figeac started publishing the first volume of his late brother's Grammaire égyptienne in 1836, Salvolini was increasingly held in contempt by the academic community as it became clear that not all of the work was his own.Salvolini died in February 1838, and the missing manuscripts of Champollion were discovered among his papers.
| 12 |
[
"Paul-Émile Pissarro",
"instance of",
"human"
] |
Paul-Émile Pissarro, also Paulémile Pissarro or Paul Émile Pissarro (22 August 1884 in Éragny-sur-Epte, France – 20 January 1972 in Clécy in the department of Calvados, France) was a French impressionist and neo-impressionist painter. He came from the Pissarro family of artists.Life
Paul-Émile Pissarro was the fifth and youngest son of the impressionist painter Camille Pissarro and his wife Julia (née Vellay). His siblings were Lucien, Jeanne, Félix, Georges Henri Manzana, Ludovic Rodolphe and Jeanne (Cocotte).He grew up in the artistic surroundings of the family household in Paris.
Encouraged by his father, he began to draw at an early age. The White Horse, which he drew at five years of age, was praised by the art critic Octave Mirbeau. Camille was also impressed and kept the drawing for his private collection.
At fifteen Paul-Émile went to the Academy in Gisors, but left again after a few months to accompany his father on a painting tour of Le Havre, Dieppe and Rouen.
On his return to Paris he went to a private art academy, unlike his siblings, who were mainly taught by their father.On his father's death in 1903, Paul-Émile returned to his mother in Éragny.
The painter Claude Monet, who lived in the nearby Giverny, had been one of Camille's closest friends and was Paul-Émiles godfather;
after Camille's death he became a teacher and close friend to Paul-Émile.
Paul-Émile frequently visited Giverny, where Monet taught him painting and gardening, encouraging him to follow in his father's footsteps: "Work! Study! Do as your father did".Along with his brother Ludovic Rodolphe, Pissarro exhibited for the first time in 1905, showing his impressionist landscape Bords de l'Epte à Éragny in the Salon des Indépendants of the Société des Artistes Indépendants.
While his father had encourage Paul-Émile's artistic efforts, his mother urged him to take up a conventional career.
From 1908 on Pissarro worked first as a car mechanic and then as a designer or laces and cloths.
In his spare time he continued to paint.
His brother Lucien, who lived in London, asked Paul-Émile to send him some watercolours for sale.
Encouraged by British interest and the sale of his works, he left his position in the lace factory with the intention of devoting himself to painting.With his wife Berthe (née Bennaiché) he moved to Burgundy.
By the outbreak of the First World War he had just seriously started working as an artist.
On account of his health he was freed from military service, which left him free to travel and to paint during the war.
His brother arranged exhibitions for him in the New English Art Club (NEAC), the Baillie Gallery and at the Allied Artists Association in London.Paul-Émile's work was heavily influenced by the painter Paul Cézanne, whose style his father had urged upon him. Paul-Émile met Cézanne several times in Paris,
and his influence became evident in Pissarro's green-gold classical compositions from around 1918 onward.
Cézanne also inspired his later use of palette knives rather than brushes.
He also experimented with etching and printing, and made various woodcuts, some of which were first displayed in 1919 by Malcolm C. Salaman.By the 1920s Paul-Émile Pissarro was established as a neo-impressionist painter.
In this period he shared a studio in Paris with the artist Kees van Dongen.
With him and the painters Maurice de Vlaminck, André Dunoyer de Segonzac and Raoul Dufy he travelled and painted in summer, spending winter in Paris.
In 1924 he bought a house in Lyons-la-Forêt, a small village near Éragny, whose garden (designed by Monet) and surroundings offered him subjects for paintings,
in particular the pastures, meadows and hills through which the river Epte peacefully flows.
In the late 1920s and early 1930s Paul-Émile finally found his person style and reached the summit of his artistic development.
In 1930, on the recommendation of Raoul Dufy, he travelled for the first time in the Suisse Normande where the river Orne,
runs through the valley between Clécy and Le Vey.
The blue hills, green meadows and peaceful waters of the river provided Pissarro with a new environment for his artistic work.
He set up a studio in a houseboat – a converted rowing boat in his garden on the banks for the Orne – in which he could concentrate on his favourite subject, reflections in still waters.
In this period he abandoned unmixed colours and deployed a palette with many mixed colours until finally he used brushes less and less and palette knives more and more.
| 0 |
[
"Paul-Émile Pissarro",
"student of",
"Claude Monet"
] |
Life
Paul-Émile Pissarro was the fifth and youngest son of the impressionist painter Camille Pissarro and his wife Julia (née Vellay). His siblings were Lucien, Jeanne, Félix, Georges Henri Manzana, Ludovic Rodolphe and Jeanne (Cocotte).He grew up in the artistic surroundings of the family household in Paris.
Encouraged by his father, he began to draw at an early age. The White Horse, which he drew at five years of age, was praised by the art critic Octave Mirbeau. Camille was also impressed and kept the drawing for his private collection.
At fifteen Paul-Émile went to the Academy in Gisors, but left again after a few months to accompany his father on a painting tour of Le Havre, Dieppe and Rouen.
On his return to Paris he went to a private art academy, unlike his siblings, who were mainly taught by their father.On his father's death in 1903, Paul-Émile returned to his mother in Éragny.
The painter Claude Monet, who lived in the nearby Giverny, had been one of Camille's closest friends and was Paul-Émiles godfather;
after Camille's death he became a teacher and close friend to Paul-Émile.
Paul-Émile frequently visited Giverny, where Monet taught him painting and gardening, encouraging him to follow in his father's footsteps: "Work! Study! Do as your father did".Along with his brother Ludovic Rodolphe, Pissarro exhibited for the first time in 1905, showing his impressionist landscape Bords de l'Epte à Éragny in the Salon des Indépendants of the Société des Artistes Indépendants.
While his father had encourage Paul-Émile's artistic efforts, his mother urged him to take up a conventional career.
From 1908 on Pissarro worked first as a car mechanic and then as a designer or laces and cloths.
In his spare time he continued to paint.
His brother Lucien, who lived in London, asked Paul-Émile to send him some watercolours for sale.
Encouraged by British interest and the sale of his works, he left his position in the lace factory with the intention of devoting himself to painting.With his wife Berthe (née Bennaiché) he moved to Burgundy.
By the outbreak of the First World War he had just seriously started working as an artist.
On account of his health he was freed from military service, which left him free to travel and to paint during the war.
His brother arranged exhibitions for him in the New English Art Club (NEAC), the Baillie Gallery and at the Allied Artists Association in London.Paul-Émile's work was heavily influenced by the painter Paul Cézanne, whose style his father had urged upon him. Paul-Émile met Cézanne several times in Paris,
and his influence became evident in Pissarro's green-gold classical compositions from around 1918 onward.
Cézanne also inspired his later use of palette knives rather than brushes.
He also experimented with etching and printing, and made various woodcuts, some of which were first displayed in 1919 by Malcolm C. Salaman.By the 1920s Paul-Émile Pissarro was established as a neo-impressionist painter.
In this period he shared a studio in Paris with the artist Kees van Dongen.
With him and the painters Maurice de Vlaminck, André Dunoyer de Segonzac and Raoul Dufy he travelled and painted in summer, spending winter in Paris.
In 1924 he bought a house in Lyons-la-Forêt, a small village near Éragny, whose garden (designed by Monet) and surroundings offered him subjects for paintings,
in particular the pastures, meadows and hills through which the river Epte peacefully flows.
In the late 1920s and early 1930s Paul-Émile finally found his person style and reached the summit of his artistic development.
In 1930, on the recommendation of Raoul Dufy, he travelled for the first time in the Suisse Normande where the river Orne,
runs through the valley between Clécy and Le Vey.
The blue hills, green meadows and peaceful waters of the river provided Pissarro with a new environment for his artistic work.
He set up a studio in a houseboat – a converted rowing boat in his garden on the banks for the Orne – in which he could concentrate on his favourite subject, reflections in still waters.
In this period he abandoned unmixed colours and deployed a palette with many mixed colours until finally he used brushes less and less and palette knives more and more.
| 3 |
[
"Paul-Émile Pissarro",
"place of birth",
"Éragny-sur-Epte"
] |
Paul-Émile Pissarro, also Paulémile Pissarro or Paul Émile Pissarro (22 August 1884 in Éragny-sur-Epte, France – 20 January 1972 in Clécy in the department of Calvados, France) was a French impressionist and neo-impressionist painter. He came from the Pissarro family of artists.Life
Paul-Émile Pissarro was the fifth and youngest son of the impressionist painter Camille Pissarro and his wife Julia (née Vellay). His siblings were Lucien, Jeanne, Félix, Georges Henri Manzana, Ludovic Rodolphe and Jeanne (Cocotte).He grew up in the artistic surroundings of the family household in Paris.
Encouraged by his father, he began to draw at an early age. The White Horse, which he drew at five years of age, was praised by the art critic Octave Mirbeau. Camille was also impressed and kept the drawing for his private collection.
At fifteen Paul-Émile went to the Academy in Gisors, but left again after a few months to accompany his father on a painting tour of Le Havre, Dieppe and Rouen.
On his return to Paris he went to a private art academy, unlike his siblings, who were mainly taught by their father.On his father's death in 1903, Paul-Émile returned to his mother in Éragny.
The painter Claude Monet, who lived in the nearby Giverny, had been one of Camille's closest friends and was Paul-Émiles godfather;
after Camille's death he became a teacher and close friend to Paul-Émile.
Paul-Émile frequently visited Giverny, where Monet taught him painting and gardening, encouraging him to follow in his father's footsteps: "Work! Study! Do as your father did".Along with his brother Ludovic Rodolphe, Pissarro exhibited for the first time in 1905, showing his impressionist landscape Bords de l'Epte à Éragny in the Salon des Indépendants of the Société des Artistes Indépendants.
While his father had encourage Paul-Émile's artistic efforts, his mother urged him to take up a conventional career.
From 1908 on Pissarro worked first as a car mechanic and then as a designer or laces and cloths.
In his spare time he continued to paint.
His brother Lucien, who lived in London, asked Paul-Émile to send him some watercolours for sale.
Encouraged by British interest and the sale of his works, he left his position in the lace factory with the intention of devoting himself to painting.With his wife Berthe (née Bennaiché) he moved to Burgundy.
By the outbreak of the First World War he had just seriously started working as an artist.
On account of his health he was freed from military service, which left him free to travel and to paint during the war.
His brother arranged exhibitions for him in the New English Art Club (NEAC), the Baillie Gallery and at the Allied Artists Association in London.Paul-Émile's work was heavily influenced by the painter Paul Cézanne, whose style his father had urged upon him. Paul-Émile met Cézanne several times in Paris,
and his influence became evident in Pissarro's green-gold classical compositions from around 1918 onward.
Cézanne also inspired his later use of palette knives rather than brushes.
He also experimented with etching and printing, and made various woodcuts, some of which were first displayed in 1919 by Malcolm C. Salaman.By the 1920s Paul-Émile Pissarro was established as a neo-impressionist painter.
In this period he shared a studio in Paris with the artist Kees van Dongen.
With him and the painters Maurice de Vlaminck, André Dunoyer de Segonzac and Raoul Dufy he travelled and painted in summer, spending winter in Paris.
In 1924 he bought a house in Lyons-la-Forêt, a small village near Éragny, whose garden (designed by Monet) and surroundings offered him subjects for paintings,
in particular the pastures, meadows and hills through which the river Epte peacefully flows.
In the late 1920s and early 1930s Paul-Émile finally found his person style and reached the summit of his artistic development.
In 1930, on the recommendation of Raoul Dufy, he travelled for the first time in the Suisse Normande where the river Orne,
runs through the valley between Clécy and Le Vey.
The blue hills, green meadows and peaceful waters of the river provided Pissarro with a new environment for his artistic work.
He set up a studio in a houseboat – a converted rowing boat in his garden on the banks for the Orne – in which he could concentrate on his favourite subject, reflections in still waters.
In this period he abandoned unmixed colours and deployed a palette with many mixed colours until finally he used brushes less and less and palette knives more and more.
| 7 |
[
"Paul-Émile Pissarro",
"sibling",
"Lucien Pissarro"
] |
Life
Paul-Émile Pissarro was the fifth and youngest son of the impressionist painter Camille Pissarro and his wife Julia (née Vellay). His siblings were Lucien, Jeanne, Félix, Georges Henri Manzana, Ludovic Rodolphe and Jeanne (Cocotte).He grew up in the artistic surroundings of the family household in Paris.
Encouraged by his father, he began to draw at an early age. The White Horse, which he drew at five years of age, was praised by the art critic Octave Mirbeau. Camille was also impressed and kept the drawing for his private collection.
At fifteen Paul-Émile went to the Academy in Gisors, but left again after a few months to accompany his father on a painting tour of Le Havre, Dieppe and Rouen.
On his return to Paris he went to a private art academy, unlike his siblings, who were mainly taught by their father.On his father's death in 1903, Paul-Émile returned to his mother in Éragny.
The painter Claude Monet, who lived in the nearby Giverny, had been one of Camille's closest friends and was Paul-Émiles godfather;
after Camille's death he became a teacher and close friend to Paul-Émile.
Paul-Émile frequently visited Giverny, where Monet taught him painting and gardening, encouraging him to follow in his father's footsteps: "Work! Study! Do as your father did".Along with his brother Ludovic Rodolphe, Pissarro exhibited for the first time in 1905, showing his impressionist landscape Bords de l'Epte à Éragny in the Salon des Indépendants of the Société des Artistes Indépendants.
While his father had encourage Paul-Émile's artistic efforts, his mother urged him to take up a conventional career.
From 1908 on Pissarro worked first as a car mechanic and then as a designer or laces and cloths.
In his spare time he continued to paint.
His brother Lucien, who lived in London, asked Paul-Émile to send him some watercolours for sale.
Encouraged by British interest and the sale of his works, he left his position in the lace factory with the intention of devoting himself to painting.With his wife Berthe (née Bennaiché) he moved to Burgundy.
By the outbreak of the First World War he had just seriously started working as an artist.
On account of his health he was freed from military service, which left him free to travel and to paint during the war.
His brother arranged exhibitions for him in the New English Art Club (NEAC), the Baillie Gallery and at the Allied Artists Association in London.Paul-Émile's work was heavily influenced by the painter Paul Cézanne, whose style his father had urged upon him. Paul-Émile met Cézanne several times in Paris,
and his influence became evident in Pissarro's green-gold classical compositions from around 1918 onward.
Cézanne also inspired his later use of palette knives rather than brushes.
He also experimented with etching and printing, and made various woodcuts, some of which were first displayed in 1919 by Malcolm C. Salaman.By the 1920s Paul-Émile Pissarro was established as a neo-impressionist painter.
In this period he shared a studio in Paris with the artist Kees van Dongen.
With him and the painters Maurice de Vlaminck, André Dunoyer de Segonzac and Raoul Dufy he travelled and painted in summer, spending winter in Paris.
In 1924 he bought a house in Lyons-la-Forêt, a small village near Éragny, whose garden (designed by Monet) and surroundings offered him subjects for paintings,
in particular the pastures, meadows and hills through which the river Epte peacefully flows.
In the late 1920s and early 1930s Paul-Émile finally found his person style and reached the summit of his artistic development.
In 1930, on the recommendation of Raoul Dufy, he travelled for the first time in the Suisse Normande where the river Orne,
runs through the valley between Clécy and Le Vey.
The blue hills, green meadows and peaceful waters of the river provided Pissarro with a new environment for his artistic work.
He set up a studio in a houseboat – a converted rowing boat in his garden on the banks for the Orne – in which he could concentrate on his favourite subject, reflections in still waters.
In this period he abandoned unmixed colours and deployed a palette with many mixed colours until finally he used brushes less and less and palette knives more and more.
| 11 |
[
"Paul-Émile Pissarro",
"sibling",
"Georges Henri Manzana Pissarro"
] |
Life
Paul-Émile Pissarro was the fifth and youngest son of the impressionist painter Camille Pissarro and his wife Julia (née Vellay). His siblings were Lucien, Jeanne, Félix, Georges Henri Manzana, Ludovic Rodolphe and Jeanne (Cocotte).He grew up in the artistic surroundings of the family household in Paris.
Encouraged by his father, he began to draw at an early age. The White Horse, which he drew at five years of age, was praised by the art critic Octave Mirbeau. Camille was also impressed and kept the drawing for his private collection.
At fifteen Paul-Émile went to the Academy in Gisors, but left again after a few months to accompany his father on a painting tour of Le Havre, Dieppe and Rouen.
On his return to Paris he went to a private art academy, unlike his siblings, who were mainly taught by their father.On his father's death in 1903, Paul-Émile returned to his mother in Éragny.
The painter Claude Monet, who lived in the nearby Giverny, had been one of Camille's closest friends and was Paul-Émiles godfather;
after Camille's death he became a teacher and close friend to Paul-Émile.
Paul-Émile frequently visited Giverny, where Monet taught him painting and gardening, encouraging him to follow in his father's footsteps: "Work! Study! Do as your father did".Along with his brother Ludovic Rodolphe, Pissarro exhibited for the first time in 1905, showing his impressionist landscape Bords de l'Epte à Éragny in the Salon des Indépendants of the Société des Artistes Indépendants.
While his father had encourage Paul-Émile's artistic efforts, his mother urged him to take up a conventional career.
From 1908 on Pissarro worked first as a car mechanic and then as a designer or laces and cloths.
In his spare time he continued to paint.
His brother Lucien, who lived in London, asked Paul-Émile to send him some watercolours for sale.
Encouraged by British interest and the sale of his works, he left his position in the lace factory with the intention of devoting himself to painting.With his wife Berthe (née Bennaiché) he moved to Burgundy.
By the outbreak of the First World War he had just seriously started working as an artist.
On account of his health he was freed from military service, which left him free to travel and to paint during the war.
His brother arranged exhibitions for him in the New English Art Club (NEAC), the Baillie Gallery and at the Allied Artists Association in London.Paul-Émile's work was heavily influenced by the painter Paul Cézanne, whose style his father had urged upon him. Paul-Émile met Cézanne several times in Paris,
and his influence became evident in Pissarro's green-gold classical compositions from around 1918 onward.
Cézanne also inspired his later use of palette knives rather than brushes.
He also experimented with etching and printing, and made various woodcuts, some of which were first displayed in 1919 by Malcolm C. Salaman.By the 1920s Paul-Émile Pissarro was established as a neo-impressionist painter.
In this period he shared a studio in Paris with the artist Kees van Dongen.
With him and the painters Maurice de Vlaminck, André Dunoyer de Segonzac and Raoul Dufy he travelled and painted in summer, spending winter in Paris.
In 1924 he bought a house in Lyons-la-Forêt, a small village near Éragny, whose garden (designed by Monet) and surroundings offered him subjects for paintings,
in particular the pastures, meadows and hills through which the river Epte peacefully flows.
In the late 1920s and early 1930s Paul-Émile finally found his person style and reached the summit of his artistic development.
In 1930, on the recommendation of Raoul Dufy, he travelled for the first time in the Suisse Normande where the river Orne,
runs through the valley between Clécy and Le Vey.
The blue hills, green meadows and peaceful waters of the river provided Pissarro with a new environment for his artistic work.
He set up a studio in a houseboat – a converted rowing boat in his garden on the banks for the Orne – in which he could concentrate on his favourite subject, reflections in still waters.
In this period he abandoned unmixed colours and deployed a palette with many mixed colours until finally he used brushes less and less and palette knives more and more.
| 12 |
[
"Paul-Émile Pissarro",
"family name",
"Pissarro"
] |
Paul-Émile Pissarro, also Paulémile Pissarro or Paul Émile Pissarro (22 August 1884 in Éragny-sur-Epte, France – 20 January 1972 in Clécy in the department of Calvados, France) was a French impressionist and neo-impressionist painter. He came from the Pissarro family of artists.Life
Paul-Émile Pissarro was the fifth and youngest son of the impressionist painter Camille Pissarro and his wife Julia (née Vellay). His siblings were Lucien, Jeanne, Félix, Georges Henri Manzana, Ludovic Rodolphe and Jeanne (Cocotte).He grew up in the artistic surroundings of the family household in Paris.
Encouraged by his father, he began to draw at an early age. The White Horse, which he drew at five years of age, was praised by the art critic Octave Mirbeau. Camille was also impressed and kept the drawing for his private collection.
At fifteen Paul-Émile went to the Academy in Gisors, but left again after a few months to accompany his father on a painting tour of Le Havre, Dieppe and Rouen.
On his return to Paris he went to a private art academy, unlike his siblings, who were mainly taught by their father.On his father's death in 1903, Paul-Émile returned to his mother in Éragny.
The painter Claude Monet, who lived in the nearby Giverny, had been one of Camille's closest friends and was Paul-Émiles godfather;
after Camille's death he became a teacher and close friend to Paul-Émile.
Paul-Émile frequently visited Giverny, where Monet taught him painting and gardening, encouraging him to follow in his father's footsteps: "Work! Study! Do as your father did".Along with his brother Ludovic Rodolphe, Pissarro exhibited for the first time in 1905, showing his impressionist landscape Bords de l'Epte à Éragny in the Salon des Indépendants of the Société des Artistes Indépendants.
While his father had encourage Paul-Émile's artistic efforts, his mother urged him to take up a conventional career.
From 1908 on Pissarro worked first as a car mechanic and then as a designer or laces and cloths.
In his spare time he continued to paint.
His brother Lucien, who lived in London, asked Paul-Émile to send him some watercolours for sale.
Encouraged by British interest and the sale of his works, he left his position in the lace factory with the intention of devoting himself to painting.With his wife Berthe (née Bennaiché) he moved to Burgundy.
By the outbreak of the First World War he had just seriously started working as an artist.
On account of his health he was freed from military service, which left him free to travel and to paint during the war.
His brother arranged exhibitions for him in the New English Art Club (NEAC), the Baillie Gallery and at the Allied Artists Association in London.Paul-Émile's work was heavily influenced by the painter Paul Cézanne, whose style his father had urged upon him. Paul-Émile met Cézanne several times in Paris,
and his influence became evident in Pissarro's green-gold classical compositions from around 1918 onward.
Cézanne also inspired his later use of palette knives rather than brushes.
He also experimented with etching and printing, and made various woodcuts, some of which were first displayed in 1919 by Malcolm C. Salaman.By the 1920s Paul-Émile Pissarro was established as a neo-impressionist painter.
In this period he shared a studio in Paris with the artist Kees van Dongen.
With him and the painters Maurice de Vlaminck, André Dunoyer de Segonzac and Raoul Dufy he travelled and painted in summer, spending winter in Paris.
In 1924 he bought a house in Lyons-la-Forêt, a small village near Éragny, whose garden (designed by Monet) and surroundings offered him subjects for paintings,
in particular the pastures, meadows and hills through which the river Epte peacefully flows.
In the late 1920s and early 1930s Paul-Émile finally found his person style and reached the summit of his artistic development.
In 1930, on the recommendation of Raoul Dufy, he travelled for the first time in the Suisse Normande where the river Orne,
runs through the valley between Clécy and Le Vey.
The blue hills, green meadows and peaceful waters of the river provided Pissarro with a new environment for his artistic work.
He set up a studio in a houseboat – a converted rowing boat in his garden on the banks for the Orne – in which he could concentrate on his favourite subject, reflections in still waters.
In this period he abandoned unmixed colours and deployed a palette with many mixed colours until finally he used brushes less and less and palette knives more and more.
| 17 |
[
"Paul-Émile Pissarro",
"sibling",
"Félix Pissarro"
] |
Life
Paul-Émile Pissarro was the fifth and youngest son of the impressionist painter Camille Pissarro and his wife Julia (née Vellay). His siblings were Lucien, Jeanne, Félix, Georges Henri Manzana, Ludovic Rodolphe and Jeanne (Cocotte).He grew up in the artistic surroundings of the family household in Paris.
Encouraged by his father, he began to draw at an early age. The White Horse, which he drew at five years of age, was praised by the art critic Octave Mirbeau. Camille was also impressed and kept the drawing for his private collection.
At fifteen Paul-Émile went to the Academy in Gisors, but left again after a few months to accompany his father on a painting tour of Le Havre, Dieppe and Rouen.
On his return to Paris he went to a private art academy, unlike his siblings, who were mainly taught by their father.On his father's death in 1903, Paul-Émile returned to his mother in Éragny.
The painter Claude Monet, who lived in the nearby Giverny, had been one of Camille's closest friends and was Paul-Émiles godfather;
after Camille's death he became a teacher and close friend to Paul-Émile.
Paul-Émile frequently visited Giverny, where Monet taught him painting and gardening, encouraging him to follow in his father's footsteps: "Work! Study! Do as your father did".Along with his brother Ludovic Rodolphe, Pissarro exhibited for the first time in 1905, showing his impressionist landscape Bords de l'Epte à Éragny in the Salon des Indépendants of the Société des Artistes Indépendants.
While his father had encourage Paul-Émile's artistic efforts, his mother urged him to take up a conventional career.
From 1908 on Pissarro worked first as a car mechanic and then as a designer or laces and cloths.
In his spare time he continued to paint.
His brother Lucien, who lived in London, asked Paul-Émile to send him some watercolours for sale.
Encouraged by British interest and the sale of his works, he left his position in the lace factory with the intention of devoting himself to painting.With his wife Berthe (née Bennaiché) he moved to Burgundy.
By the outbreak of the First World War he had just seriously started working as an artist.
On account of his health he was freed from military service, which left him free to travel and to paint during the war.
His brother arranged exhibitions for him in the New English Art Club (NEAC), the Baillie Gallery and at the Allied Artists Association in London.Paul-Émile's work was heavily influenced by the painter Paul Cézanne, whose style his father had urged upon him. Paul-Émile met Cézanne several times in Paris,
and his influence became evident in Pissarro's green-gold classical compositions from around 1918 onward.
Cézanne also inspired his later use of palette knives rather than brushes.
He also experimented with etching and printing, and made various woodcuts, some of which were first displayed in 1919 by Malcolm C. Salaman.By the 1920s Paul-Émile Pissarro was established as a neo-impressionist painter.
In this period he shared a studio in Paris with the artist Kees van Dongen.
With him and the painters Maurice de Vlaminck, André Dunoyer de Segonzac and Raoul Dufy he travelled and painted in summer, spending winter in Paris.
In 1924 he bought a house in Lyons-la-Forêt, a small village near Éragny, whose garden (designed by Monet) and surroundings offered him subjects for paintings,
in particular the pastures, meadows and hills through which the river Epte peacefully flows.
In the late 1920s and early 1930s Paul-Émile finally found his person style and reached the summit of his artistic development.
In 1930, on the recommendation of Raoul Dufy, he travelled for the first time in the Suisse Normande where the river Orne,
runs through the valley between Clécy and Le Vey.
The blue hills, green meadows and peaceful waters of the river provided Pissarro with a new environment for his artistic work.
He set up a studio in a houseboat – a converted rowing boat in his garden on the banks for the Orne – in which he could concentrate on his favourite subject, reflections in still waters.
In this period he abandoned unmixed colours and deployed a palette with many mixed colours until finally he used brushes less and less and palette knives more and more.
| 21 |
[
"Paul-Émile Pissarro",
"sibling",
"Ludovic Rodo Pissarro"
] |
Life
Paul-Émile Pissarro was the fifth and youngest son of the impressionist painter Camille Pissarro and his wife Julia (née Vellay). His siblings were Lucien, Jeanne, Félix, Georges Henri Manzana, Ludovic Rodolphe and Jeanne (Cocotte).He grew up in the artistic surroundings of the family household in Paris.
Encouraged by his father, he began to draw at an early age. The White Horse, which he drew at five years of age, was praised by the art critic Octave Mirbeau. Camille was also impressed and kept the drawing for his private collection.
At fifteen Paul-Émile went to the Academy in Gisors, but left again after a few months to accompany his father on a painting tour of Le Havre, Dieppe and Rouen.
On his return to Paris he went to a private art academy, unlike his siblings, who were mainly taught by their father.On his father's death in 1903, Paul-Émile returned to his mother in Éragny.
The painter Claude Monet, who lived in the nearby Giverny, had been one of Camille's closest friends and was Paul-Émiles godfather;
after Camille's death he became a teacher and close friend to Paul-Émile.
Paul-Émile frequently visited Giverny, where Monet taught him painting and gardening, encouraging him to follow in his father's footsteps: "Work! Study! Do as your father did".Along with his brother Ludovic Rodolphe, Pissarro exhibited for the first time in 1905, showing his impressionist landscape Bords de l'Epte à Éragny in the Salon des Indépendants of the Société des Artistes Indépendants.
While his father had encourage Paul-Émile's artistic efforts, his mother urged him to take up a conventional career.
From 1908 on Pissarro worked first as a car mechanic and then as a designer or laces and cloths.
In his spare time he continued to paint.
His brother Lucien, who lived in London, asked Paul-Émile to send him some watercolours for sale.
Encouraged by British interest and the sale of his works, he left his position in the lace factory with the intention of devoting himself to painting.With his wife Berthe (née Bennaiché) he moved to Burgundy.
By the outbreak of the First World War he had just seriously started working as an artist.
On account of his health he was freed from military service, which left him free to travel and to paint during the war.
His brother arranged exhibitions for him in the New English Art Club (NEAC), the Baillie Gallery and at the Allied Artists Association in London.Paul-Émile's work was heavily influenced by the painter Paul Cézanne, whose style his father had urged upon him. Paul-Émile met Cézanne several times in Paris,
and his influence became evident in Pissarro's green-gold classical compositions from around 1918 onward.
Cézanne also inspired his later use of palette knives rather than brushes.
He also experimented with etching and printing, and made various woodcuts, some of which were first displayed in 1919 by Malcolm C. Salaman.By the 1920s Paul-Émile Pissarro was established as a neo-impressionist painter.
In this period he shared a studio in Paris with the artist Kees van Dongen.
With him and the painters Maurice de Vlaminck, André Dunoyer de Segonzac and Raoul Dufy he travelled and painted in summer, spending winter in Paris.
In 1924 he bought a house in Lyons-la-Forêt, a small village near Éragny, whose garden (designed by Monet) and surroundings offered him subjects for paintings,
in particular the pastures, meadows and hills through which the river Epte peacefully flows.
In the late 1920s and early 1930s Paul-Émile finally found his person style and reached the summit of his artistic development.
In 1930, on the recommendation of Raoul Dufy, he travelled for the first time in the Suisse Normande where the river Orne,
runs through the valley between Clécy and Le Vey.
The blue hills, green meadows and peaceful waters of the river provided Pissarro with a new environment for his artistic work.
He set up a studio in a houseboat – a converted rowing boat in his garden on the banks for the Orne – in which he could concentrate on his favourite subject, reflections in still waters.
In this period he abandoned unmixed colours and deployed a palette with many mixed colours until finally he used brushes less and less and palette knives more and more.
| 22 |
[
"Robert Antoine Pinchon",
"instance of",
"human"
] |
Early life
Robert Antoine Pinchon was born into an artistic and literary environment. His father, Robert Pinchon, a librarian, journalist, playwright and drama critic, was an intimate friend of Guy de Maupassant and also became a close protege of Gustave Flaubert. Maupassant and Robert Pinchon (La Tôque, as they called him) co-wrote in 1875 a script for a play entitled A la Feuille de Rose, Maison Turque, on the subject of eroticism and prostitution. The piece was presented officially on 15 May 1877 at the studio of Maurice Leloir, in front of Gustave Flaubert, Émile Zola, Ivan Turgenev and eight elegantly dressed masked women.Since his son showed early signs of interest and aptitude in the arts, Robert Antoine's father purchased a box of oil paints and accompanied him on long Sunday painting walks. An 1898 photograph shows him painting at the age of twelve. He exhibited some of his first paintings in 1900 at fourteen years of age.In 1900 Robert Antoine exhibited a painting in the storefront of a camera supply store owned by Dejonghe and Dumont in the rue de la République, one of the principle arteries of central Rouen. Though not a typical showspace, it was nonetheless visible to the public and located only a few meters from l'Hôtel du Dauphin et d'Espagne, known for its exhibitions of artists such as Gauguin, Monet, Pissarro, Degas, Renoir, Cézanne, Guillaumin and Sisley. The art critic Georges Dubosc wrote an article about Pinchon's painting in Le Journal de Rouen (16 March 1900).
| 0 |
[
"Robert Antoine Pinchon",
"genre",
"landscape art"
] |
Robert Antoine Pinchon (French pronunciation: [ʁɔbɛʁ ɑ̃twan pɛ̃ʃɔ̃], 1 July 1886 in Rouen – 9 January 1943 in Bois-Guillaume) was a French Post-Impressionist landscape painter of the Rouen School (l'École de Rouen) who was born and spent most of his life in France. He was consistent throughout his career in his dedication to painting landscapes en plein air (i.e., outdoors). From the age of nineteen (1905 to 1907) he worked in a Fauve style but never deviated into Cubism, and, unlike others, never found that Post-Impressionism did not fulfill his artistic needs. Claude Monet referred to him as "a surprising touch in the service of a surprising eye".
Among his important works are a series of paintings of the River Seine, mostly around Rouen, and landscapes depicting places in or near Upper Normandy.
| 7 |
[
"Robert Antoine Pinchon",
"has works in the collection",
"Musée des Beaux-Arts de Rouen"
] |
World War I
The declaration of war in 1914 signaled a major break in European cultural history, and a major break in the life and career of Robert Antoine Pinchon, who was mobilised on 5 August 1914 at Bernay. Pinchon was wounded in his right leg by a German mortar discharge during the First Battle of the Marne and was repatriated to a hospital in Saint-Céré. Once recovered, he was sent back to the front lines, but during fierce fighting in the village of Tahure on October 6, Pinchon was wounded, this time by shrapnel to the right arm.Early in 1916, Pinchon was sent back to the front for the second time. After several unsuccessful offensive assaults, the Germans were able to gain control of the French coast near Damloup. Robert Antoine Pinchon became a prisoner of war and was evacuated to Gerichshain, Germany (east of Leipzig). His father arranged for a painting of his to be shown at the 9th Salon des artistes rouennais (April–May 1917). Pinchon remained a prisoner in Germany from autumn 1916 until autumn 1918, but was able to create several pastels while in captivity. Meanwhile, works by Pinchon were shown again at the Galerie Legrip in Rouen.
During this difficult period, one of Pinchon's paintings (Le coteau d'Amfreville, près Rouen) was exhibited at the Musée du Jeu de Paume in Paris, in a 1917 show dedicated to artists who had lost their lives in the war, prisoners of war, and those still in combat: Exposition des peintres aux Armées.On a date that remains unknown, Pinchon was able to escape captivity. After passing through Switzerland, Italy, and a large section of France, he was able to reach his hometown of Rouen on 20 December 1918. At the same time, an exhibit was underway at the Musée des Beaux-Arts de Rouen. Pinchon was represented with four paintings, along with Bonnard, Boudin, Camoin, Cross, Guillaumin, Lebourg, Luce, Matisse, Monet, Signac and Vuillard. Pinchon was listed as a prisoner of war in the catalogue.Like many of those who survived the Great War, Pinchon was shocked, disillusioned and embittered by his experiences. He expressed the view that his four years of military service and captivity had "shattered" his career. For four years in a row, he had been accepted at the Salon d'Automne but been unable to fulfill his entries. Pinchon faced difficult challenges, but returned to painting what he loved most: the great outdoors.
| 11 |
[
"Robert Antoine Pinchon",
"student of",
"Philippe Zacharie"
] |
Education
Robert Antoine Pinchon studied at Lycée Pierre-Corneille in Rouen at the turn of the century. Two other students in his class also became well-known artists and lasting friends: Marcel Duchamp and Pierre Dumont. Drawing classes at the Lycée were given by the stern and rigorous Philippe Zacharie (1849–1915), who became assistant professor of the school in 1874. In 1879, Zacharie was named professor at the Académie de Peinture et de Dessin, which would later become the École Régionale des Beaux-Arts de Rouen.In addition to the academic training of the Beaux-Arts, Pinchon frequented the Académie libre that had been founded in 1895-96 by Joseph Delattre (1858-1912) in the rue des Charrettes, a rallying point for independent artists of the new generation of l'École de Rouen.
| 13 |
[
"Robert Antoine Pinchon",
"notable work",
"Le Pont aux Anglais, soleil couchant"
] |
Robert Antoine Pinchon (French pronunciation: [ʁɔbɛʁ ɑ̃twan pɛ̃ʃɔ̃], 1 July 1886 in Rouen – 9 January 1943 in Bois-Guillaume) was a French Post-Impressionist landscape painter of the Rouen School (l'École de Rouen) who was born and spent most of his life in France. He was consistent throughout his career in his dedication to painting landscapes en plein air (i.e., outdoors). From the age of nineteen (1905 to 1907) he worked in a Fauve style but never deviated into Cubism, and, unlike others, never found that Post-Impressionism did not fulfill his artistic needs. Claude Monet referred to him as "a surprising touch in the service of a surprising eye".
Among his important works are a series of paintings of the River Seine, mostly around Rouen, and landscapes depicting places in or near Upper Normandy.
| 22 |
[
"Caroline Coventry Haynes",
"instance of",
"human"
] |
Caroline Coventry Haynes (13 April 1858 – 4 September 1951) was an American bryologist and painter, known for her study of liverworts and other hepatics.Early life and artistic career
Haynes was born on the 13th of April 1858 in New York to Caroline DeForest and her husband Frederick William Haynes. She completed her formal education at schools in New York and then travelled to Paris where she studied painting with William-Adolphe Bouguereau and Claude Monet. During the 1890s Haynes was a member of the New York Water Color Club and exhibited at several annual exhibitions. She also exhibited a work at the National Academy of Design Annual Exhibit in 1897. She was a member and served as president of the Woman's Art Club of New York in 1899. In the early 1900s she was appointed a member of the jury of selection for the New York Water Color Club annual exhibition and also served on the hanging committee. A painting by Haynes is held at the New-York Historical Society.
| 0 |
[
"Caroline Coventry Haynes",
"place of birth",
"New York City"
] |
Early life and artistic career
Haynes was born on the 13th of April 1858 in New York to Caroline DeForest and her husband Frederick William Haynes. She completed her formal education at schools in New York and then travelled to Paris where she studied painting with William-Adolphe Bouguereau and Claude Monet. During the 1890s Haynes was a member of the New York Water Color Club and exhibited at several annual exhibitions. She also exhibited a work at the National Academy of Design Annual Exhibit in 1897. She was a member and served as president of the Woman's Art Club of New York in 1899. In the early 1900s she was appointed a member of the jury of selection for the New York Water Color Club annual exhibition and also served on the hanging committee. A painting by Haynes is held at the New-York Historical Society.
| 2 |
[
"Caroline Coventry Haynes",
"student of",
"Claude Monet"
] |
Early life and artistic career
Haynes was born on the 13th of April 1858 in New York to Caroline DeForest and her husband Frederick William Haynes. She completed her formal education at schools in New York and then travelled to Paris where she studied painting with William-Adolphe Bouguereau and Claude Monet. During the 1890s Haynes was a member of the New York Water Color Club and exhibited at several annual exhibitions. She also exhibited a work at the National Academy of Design Annual Exhibit in 1897. She was a member and served as president of the Woman's Art Club of New York in 1899. In the early 1900s she was appointed a member of the jury of selection for the New York Water Color Club annual exhibition and also served on the hanging committee. A painting by Haynes is held at the New-York Historical Society.
| 3 |
[
"Caroline Coventry Haynes",
"has works in the collection",
"New-York Historical Society"
] |
Early life and artistic career
Haynes was born on the 13th of April 1858 in New York to Caroline DeForest and her husband Frederick William Haynes. She completed her formal education at schools in New York and then travelled to Paris where she studied painting with William-Adolphe Bouguereau and Claude Monet. During the 1890s Haynes was a member of the New York Water Color Club and exhibited at several annual exhibitions. She also exhibited a work at the National Academy of Design Annual Exhibit in 1897. She was a member and served as president of the Woman's Art Club of New York in 1899. In the early 1900s she was appointed a member of the jury of selection for the New York Water Color Club annual exhibition and also served on the hanging committee. A painting by Haynes is held at the New-York Historical Society.
| 6 |
[
"Caroline Coventry Haynes",
"student of",
"William-Adolphe Bouguereau"
] |
Early life and artistic career
Haynes was born on the 13th of April 1858 in New York to Caroline DeForest and her husband Frederick William Haynes. She completed her formal education at schools in New York and then travelled to Paris where she studied painting with William-Adolphe Bouguereau and Claude Monet. During the 1890s Haynes was a member of the New York Water Color Club and exhibited at several annual exhibitions. She also exhibited a work at the National Academy of Design Annual Exhibit in 1897. She was a member and served as president of the Woman's Art Club of New York in 1899. In the early 1900s she was appointed a member of the jury of selection for the New York Water Color Club annual exhibition and also served on the hanging committee. A painting by Haynes is held at the New-York Historical Society.
| 7 |
[
"Caroline Coventry Haynes",
"sex or gender",
"female"
] |
Caroline Coventry Haynes (13 April 1858 – 4 September 1951) was an American bryologist and painter, known for her study of liverworts and other hepatics.Early life and artistic career
Haynes was born on the 13th of April 1858 in New York to Caroline DeForest and her husband Frederick William Haynes. She completed her formal education at schools in New York and then travelled to Paris where she studied painting with William-Adolphe Bouguereau and Claude Monet. During the 1890s Haynes was a member of the New York Water Color Club and exhibited at several annual exhibitions. She also exhibited a work at the National Academy of Design Annual Exhibit in 1897. She was a member and served as president of the Woman's Art Club of New York in 1899. In the early 1900s she was appointed a member of the jury of selection for the New York Water Color Club annual exhibition and also served on the hanging committee. A painting by Haynes is held at the New-York Historical Society.
| 10 |
[
"Caroline Coventry Haynes",
"occupation",
"botanist"
] |
Caroline Coventry Haynes (13 April 1858 – 4 September 1951) was an American bryologist and painter, known for her study of liverworts and other hepatics.
| 12 |
[
"Caroline Coventry Haynes",
"student of",
"Marshall Avery Howe"
] |
Botanical career
Haynes returned to New York from Paris in 1902 and studied botany with Marshall A. Howe at the New York Botanic Garden.The standard author abbreviation Haynes is used to indicate this person as the author when citing a botanical name.== References ==
| 15 |
[
"Caroline Coventry Haynes",
"given name",
"Caroline"
] |
Caroline Coventry Haynes (13 April 1858 – 4 September 1951) was an American bryologist and painter, known for her study of liverworts and other hepatics.Early life and artistic career
Haynes was born on the 13th of April 1858 in New York to Caroline DeForest and her husband Frederick William Haynes. She completed her formal education at schools in New York and then travelled to Paris where she studied painting with William-Adolphe Bouguereau and Claude Monet. During the 1890s Haynes was a member of the New York Water Color Club and exhibited at several annual exhibitions. She also exhibited a work at the National Academy of Design Annual Exhibit in 1897. She was a member and served as president of the Woman's Art Club of New York in 1899. In the early 1900s she was appointed a member of the jury of selection for the New York Water Color Club annual exhibition and also served on the hanging committee. A painting by Haynes is held at the New-York Historical Society.
| 19 |
[
"Caroline Coventry Haynes",
"occupation",
"bryologist"
] |
Caroline Coventry Haynes (13 April 1858 – 4 September 1951) was an American bryologist and painter, known for her study of liverworts and other hepatics.
| 20 |
[
"Caroline Coventry Haynes",
"family name",
"Haynes"
] |
Caroline Coventry Haynes (13 April 1858 – 4 September 1951) was an American bryologist and painter, known for her study of liverworts and other hepatics.Early life and artistic career
Haynes was born on the 13th of April 1858 in New York to Caroline DeForest and her husband Frederick William Haynes. She completed her formal education at schools in New York and then travelled to Paris where she studied painting with William-Adolphe Bouguereau and Claude Monet. During the 1890s Haynes was a member of the New York Water Color Club and exhibited at several annual exhibitions. She also exhibited a work at the National Academy of Design Annual Exhibit in 1897. She was a member and served as president of the Woman's Art Club of New York in 1899. In the early 1900s she was appointed a member of the jury of selection for the New York Water Color Club annual exhibition and also served on the hanging committee. A painting by Haynes is held at the New-York Historical Society.
| 21 |
[
"Juan Bautista Martínez del Mazo",
"instance of",
"human"
] |
Juan Bautista Martínez del Mazo (c.1612 – February 10, 1667)
was a Spanish Baroque portrait and landscape painter, the most distinguished of the followers of his father-in-law Velázquez, whose style he imitated more closely than did any other artist. A fine painter himself, Mazo was a master of landscape, as proven by his most celebrated work View of Saragossa.
| 0 |
[
"Juan Bautista Martínez del Mazo",
"place of birth",
"Cuenca"
] |
Life
Little is really known about del Mazo's early life. The date and place of his birth are uncertain. Apparently, he was born in Cuenca, as his parents, Hernando Martínez and Lucia Bueno del Mazo, were from that province. However, some sources consider Madrid as his native city. The date of his birth has been estimated around 1612 since it is known that his mother was born in 1596 and he married in 1633 when he probably was in his early twenties.The whereabouts of his training remain a mystery. He must have been in Velázquez's workshop sometimes before his marriage, so it is quite possible that he had been his future father-in-law's apprentice. Del Mazo married the famous painter's only surviving daughter, Francisca de Silva Velázquez y Pacheco, on August 21, 1633, at the Church of Santiago in Madrid. Philip IV and the Prime Minister, the Count-Duke of Olivares, served as the couple's sponsors. The marriage was the event that guaranteed Mazo's future success at Court. Velázquez immediately arranged a royal appointment and on February 23, 1634, he transferred to del Mazo his position of Usher of the King's Chamber, with the permission of the King. From this it can be assumed that del Mazo was then already a disciple of the famous painter, and from that date he was closely associated with his father-in-law with whom he lived and collaborated. Velázquez furthered del Mazo's career with a steady hand and secured palace appointments for him and later for del Mazo's children.
| 5 |
[
"Juan Bautista Martínez del Mazo",
"movement",
"Baroque"
] |
Juan Bautista Martínez del Mazo (c.1612 – February 10, 1667)
was a Spanish Baroque portrait and landscape painter, the most distinguished of the followers of his father-in-law Velázquez, whose style he imitated more closely than did any other artist. A fine painter himself, Mazo was a master of landscape, as proven by his most celebrated work View of Saragossa.
| 8 |
[
"Juan Bautista Martínez del Mazo",
"position held",
"court painter"
] |
Juan Bautista Martínez del Mazo (c.1612 – February 10, 1667)
was a Spanish Baroque portrait and landscape painter, the most distinguished of the followers of his father-in-law Velázquez, whose style he imitated more closely than did any other artist. A fine painter himself, Mazo was a master of landscape, as proven by his most celebrated work View of Saragossa.Life
Little is really known about del Mazo's early life. The date and place of his birth are uncertain. Apparently, he was born in Cuenca, as his parents, Hernando Martínez and Lucia Bueno del Mazo, were from that province. However, some sources consider Madrid as his native city. The date of his birth has been estimated around 1612 since it is known that his mother was born in 1596 and he married in 1633 when he probably was in his early twenties.The whereabouts of his training remain a mystery. He must have been in Velázquez's workshop sometimes before his marriage, so it is quite possible that he had been his future father-in-law's apprentice. Del Mazo married the famous painter's only surviving daughter, Francisca de Silva Velázquez y Pacheco, on August 21, 1633, at the Church of Santiago in Madrid. Philip IV and the Prime Minister, the Count-Duke of Olivares, served as the couple's sponsors. The marriage was the event that guaranteed Mazo's future success at Court. Velázquez immediately arranged a royal appointment and on February 23, 1634, he transferred to del Mazo his position of Usher of the King's Chamber, with the permission of the King. From this it can be assumed that del Mazo was then already a disciple of the famous painter, and from that date he was closely associated with his father-in-law with whom he lived and collaborated. Velázquez furthered del Mazo's career with a steady hand and secured palace appointments for him and later for del Mazo's children.Early career
In 1643, Mazo became Master of Drawing and personal painter of the heir to the Spanish Crown, Baltasar Carlos, Prince of Asturias, who in 1645 became godfather of his fifth child. Prince Baltasar Carlos commissioned him to copy hunt scenes by Paul de Vos, Rubens, Jordaens and other Flemish painters. Mazo accompanied the prince to Aragón in 1646. During this trip, he painted the famous View of Saragossa and a last portrait of the young prince who died unexpectedly at the age of sixteen. After the death of the prince, Philip IV decreed that the perquisites that Mazo had been receiving be continued, and kept him employed as a painter.
Mazo first expressed his talent copying works of Venetian masters in the royal collections, such as Tintoretto, Titian, and Paul Veronese, a task that he performed with assiduity and success. His colorful work as a copyist opened his way to the secrets of the great masters of his time, especially Rubens and Jordaens. Such copies must have considerably cut down the time available for his original work, as did the production of replicas of Velázquez's royal portraits that he painted; an example would be his portrait of Infanta Margaret Theresa that today is exhibited next to the Velázquez original in a Viennese museum. Nevertheless, Mazo still felt free to follow his own bent for brilliancy of execution and true-to-life naturalism.
Mazo rarely signed his works, which furthered the confusion with the work of Velázquez, making it difficult to separate the authorship of their paintings. In fact, there are few extant paintings that scholars agree are his; these include View of Saragossa (1646, Prado); Portrait of Queen Mariana in Mourning Dress (1666, National Gallery, London); and The Family of the Painter (c. 1660–1665, Kunsthistorisches Museum, Vienna). He has some of his works in the Prado, near those of his mentor.
Although Mazo acquired great skills as a portrait painter, some of his most interesting works are hunting pieces and landscapes in which he developed a more personal style with a respect for reality. They are animated with a multitude of figures treated with extreme detail. His landscapes are works of great observation as exemplified by his paintings View of Saragossa and Stag Hunt at Aranjuez – both were commissioned by Philip IV. He also painted some still lifes. In 1657 Mazo traveled to Italy trying to recover the dowry of his eldest daughter Ines who had become a widow in Naples. During this trip, Mazo painted The Arch of Tito that shows the influence of Roman landscapes.Official Court Painter
As long as Velázquez lived, Mazo wrought all of his art in his father-in-law's studio. After Velázquez's death in 1660, Philip IV appointed him as the official Court painter on April 19, 1661, while his son Gaspar took his former position as Usher to the Chamber. At the death of Philip IV in 1665, Mazo kept his position at Court under the regency of Queen Mariana, whose portrait in mourning dress (National Gallery, London, 1666) is one of his few signed works. In this period, he painted a portrait of Infanta Margarita Teresa, also in mourning dress, before she left Spain to marry the Austrian Emperor. Mazo held his position as official Court painter until his death in Madrid on February 9, 1667.
| 10 |
[
"Juan Bautista Martínez del Mazo",
"occupation",
"painter"
] |
Juan Bautista Martínez del Mazo (c.1612 – February 10, 1667)
was a Spanish Baroque portrait and landscape painter, the most distinguished of the followers of his father-in-law Velázquez, whose style he imitated more closely than did any other artist. A fine painter himself, Mazo was a master of landscape, as proven by his most celebrated work View of Saragossa.Early career
In 1643, Mazo became Master of Drawing and personal painter of the heir to the Spanish Crown, Baltasar Carlos, Prince of Asturias, who in 1645 became godfather of his fifth child. Prince Baltasar Carlos commissioned him to copy hunt scenes by Paul de Vos, Rubens, Jordaens and other Flemish painters. Mazo accompanied the prince to Aragón in 1646. During this trip, he painted the famous View of Saragossa and a last portrait of the young prince who died unexpectedly at the age of sixteen. After the death of the prince, Philip IV decreed that the perquisites that Mazo had been receiving be continued, and kept him employed as a painter.
Mazo first expressed his talent copying works of Venetian masters in the royal collections, such as Tintoretto, Titian, and Paul Veronese, a task that he performed with assiduity and success. His colorful work as a copyist opened his way to the secrets of the great masters of his time, especially Rubens and Jordaens. Such copies must have considerably cut down the time available for his original work, as did the production of replicas of Velázquez's royal portraits that he painted; an example would be his portrait of Infanta Margaret Theresa that today is exhibited next to the Velázquez original in a Viennese museum. Nevertheless, Mazo still felt free to follow his own bent for brilliancy of execution and true-to-life naturalism.
Mazo rarely signed his works, which furthered the confusion with the work of Velázquez, making it difficult to separate the authorship of their paintings. In fact, there are few extant paintings that scholars agree are his; these include View of Saragossa (1646, Prado); Portrait of Queen Mariana in Mourning Dress (1666, National Gallery, London); and The Family of the Painter (c. 1660–1665, Kunsthistorisches Museum, Vienna). He has some of his works in the Prado, near those of his mentor.
Although Mazo acquired great skills as a portrait painter, some of his most interesting works are hunting pieces and landscapes in which he developed a more personal style with a respect for reality. They are animated with a multitude of figures treated with extreme detail. His landscapes are works of great observation as exemplified by his paintings View of Saragossa and Stag Hunt at Aranjuez – both were commissioned by Philip IV. He also painted some still lifes. In 1657 Mazo traveled to Italy trying to recover the dowry of his eldest daughter Ines who had become a widow in Naples. During this trip, Mazo painted The Arch of Tito that shows the influence of Roman landscapes.
| 12 |
[
"Juan Bautista Martínez del Mazo",
"spouse",
"Francisca de Silva Velázquez y Pacheco"
] |
Life
Little is really known about del Mazo's early life. The date and place of his birth are uncertain. Apparently, he was born in Cuenca, as his parents, Hernando Martínez and Lucia Bueno del Mazo, were from that province. However, some sources consider Madrid as his native city. The date of his birth has been estimated around 1612 since it is known that his mother was born in 1596 and he married in 1633 when he probably was in his early twenties.The whereabouts of his training remain a mystery. He must have been in Velázquez's workshop sometimes before his marriage, so it is quite possible that he had been his future father-in-law's apprentice. Del Mazo married the famous painter's only surviving daughter, Francisca de Silva Velázquez y Pacheco, on August 21, 1633, at the Church of Santiago in Madrid. Philip IV and the Prime Minister, the Count-Duke of Olivares, served as the couple's sponsors. The marriage was the event that guaranteed Mazo's future success at Court. Velázquez immediately arranged a royal appointment and on February 23, 1634, he transferred to del Mazo his position of Usher of the King's Chamber, with the permission of the King. From this it can be assumed that del Mazo was then already a disciple of the famous painter, and from that date he was closely associated with his father-in-law with whom he lived and collaborated. Velázquez furthered del Mazo's career with a steady hand and secured palace appointments for him and later for del Mazo's children.
| 18 |
[
"Juan Bautista Martínez del Mazo",
"given name",
"Juan Bautista"
] |
Juan Bautista Martínez del Mazo (c.1612 – February 10, 1667)
was a Spanish Baroque portrait and landscape painter, the most distinguished of the followers of his father-in-law Velázquez, whose style he imitated more closely than did any other artist. A fine painter himself, Mazo was a master of landscape, as proven by his most celebrated work View of Saragossa.
| 31 |
[
"Juan Bautista Martínez del Mazo",
"genre",
"landscape art"
] |
Juan Bautista Martínez del Mazo (c.1612 – February 10, 1667)
was a Spanish Baroque portrait and landscape painter, the most distinguished of the followers of his father-in-law Velázquez, whose style he imitated more closely than did any other artist. A fine painter himself, Mazo was a master of landscape, as proven by his most celebrated work View of Saragossa.
| 32 |
[
"Juan de Pareja",
"country of citizenship",
"Spain"
] |
Juan de Pareja (c. 1606 in Antequera – 1670 in Madrid) was a Spanish painter born in Antequera, near Málaga, Spain. He is known primarily as a member of the household and workshop of painter Diego Velázquez, who freed him from slavery in 1650. His 1661 work The Calling of Saint Matthew (sometimes also referred to as The Vocation of Saint Matthew) is on display at the Museo del Prado in Madrid, Spain.
| 1 |
[
"Juan de Pareja",
"work location",
"Spain"
] |
Biography
Juan de Pareja was a Spaniard born into slavery in Southern Spain, probably in Antequera in Malaga province around 1610. Little is known on his background although Antonio Palomino describes him as a morisco (convert from Islam), being "of mixed parentage and unusual color."The first known reference to Juan Pareja as a painter is in a letter addressed to Pedro Galindo, attorney of the city of Seville, written on 12 May 1630, in which Juan de Pareja requests permission to move to Madrid in order to continue his studies together with his brother Jusepe. The authenticity of this document is questioned since within it he claims to be a free man and does not once mention Velázquez.It is unknown at what time he began serving Diego Velázquez. In 1642 he signed as a witness in a power of attorney for Velázquez in a lawsuit against scribes in the criminal court. He was also a witness in October and December 1647, for two other powers of attorney to manage his assets in Seville granted by Velázquez and his wife Juana Pacheco. He would again sign a similar document in 1653 for Francisca Velázquez, daughter of the painter.In 1649 he accompanied Velázquez on his second trip to Italy. This is where Velázquez painted his famous painting Portrait of Juan de Pareja, currently in the Metropolitan Museum of Art of New York. The painting was exhibited in the Pantheon of Rome in March 1650 during the festivities in honor of the Patron of the Virtuosos of the Pantheon, which Velázquez had recently joined. On 23 November, while still in Rome, Velázquez granted him a letter of freedom, which would come into effect after four years on the condition that he did not escape or commit any criminal act in that period. The document of his manumission, discovered by Jennifer Montagu, is held in the Archivio di Stato in Rome.From then on until his death in Madrid he worked as an independent painter, demonstrating knowledge acquired in Velazquez's workshop, where he likely had wider responsibilities than Palomino suggests, as well as his knowledge of various other Spanish and Italian painters.
| 2 |
[
"Juan de Pareja",
"employer",
"Diego Velázquez"
] |
Juan de Pareja (c. 1606 in Antequera – 1670 in Madrid) was a Spanish painter born in Antequera, near Málaga, Spain. He is known primarily as a member of the household and workshop of painter Diego Velázquez, who freed him from slavery in 1650. His 1661 work The Calling of Saint Matthew (sometimes also referred to as The Vocation of Saint Matthew) is on display at the Museo del Prado in Madrid, Spain.
| 3 |
[
"Juan de Pareja",
"country of citizenship",
"Spanish Empire"
] |
Juan de Pareja (c. 1606 in Antequera – 1670 in Madrid) was a Spanish painter born in Antequera, near Málaga, Spain. He is known primarily as a member of the household and workshop of painter Diego Velázquez, who freed him from slavery in 1650. His 1661 work The Calling of Saint Matthew (sometimes also referred to as The Vocation of Saint Matthew) is on display at the Museo del Prado in Madrid, Spain.
| 7 |
[
"Juan de Pareja",
"occupation",
"painter"
] |
Juan de Pareja (c. 1606 in Antequera – 1670 in Madrid) was a Spanish painter born in Antequera, near Málaga, Spain. He is known primarily as a member of the household and workshop of painter Diego Velázquez, who freed him from slavery in 1650. His 1661 work The Calling of Saint Matthew (sometimes also referred to as The Vocation of Saint Matthew) is on display at the Museo del Prado in Madrid, Spain.Biography
Juan de Pareja was a Spaniard born into slavery in Southern Spain, probably in Antequera in Malaga province around 1610. Little is known on his background although Antonio Palomino describes him as a morisco (convert from Islam), being "of mixed parentage and unusual color."The first known reference to Juan Pareja as a painter is in a letter addressed to Pedro Galindo, attorney of the city of Seville, written on 12 May 1630, in which Juan de Pareja requests permission to move to Madrid in order to continue his studies together with his brother Jusepe. The authenticity of this document is questioned since within it he claims to be a free man and does not once mention Velázquez.It is unknown at what time he began serving Diego Velázquez. In 1642 he signed as a witness in a power of attorney for Velázquez in a lawsuit against scribes in the criminal court. He was also a witness in October and December 1647, for two other powers of attorney to manage his assets in Seville granted by Velázquez and his wife Juana Pacheco. He would again sign a similar document in 1653 for Francisca Velázquez, daughter of the painter.In 1649 he accompanied Velázquez on his second trip to Italy. This is where Velázquez painted his famous painting Portrait of Juan de Pareja, currently in the Metropolitan Museum of Art of New York. The painting was exhibited in the Pantheon of Rome in March 1650 during the festivities in honor of the Patron of the Virtuosos of the Pantheon, which Velázquez had recently joined. On 23 November, while still in Rome, Velázquez granted him a letter of freedom, which would come into effect after four years on the condition that he did not escape or commit any criminal act in that period. The document of his manumission, discovered by Jennifer Montagu, is held in the Archivio di Stato in Rome.From then on until his death in Madrid he worked as an independent painter, demonstrating knowledge acquired in Velazquez's workshop, where he likely had wider responsibilities than Palomino suggests, as well as his knowledge of various other Spanish and Italian painters.
| 11 |
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