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<i>In the Conservatory</i> is an 1879 oil painting by Edouard Manet held by the Alte Nationalgalerie, Berlin. The painting was exhibited in the 1879 Paris Salon.<br/><br/> In 1896 <i>In the Conservatory</i> was bought by the Deutsche Nationalgalerie in Berlin.
Jean-Jacques Rousseau (28 June 1712 – 2 July 1778) was a Genevan philosopher, writer, and composer of the 18th century.<br/><br/> His political philosophy influenced The Enlightenment in France and across Europe, as well as aspects of the French Revolution and the overall development of modern political and educational thought.
Edouard Manet (23 January 1832 – 30 April 1883) was a French painter. He was one of the first 19th-century artists to paint modern life, and a pivotal figure in the transition from Realism to Impressionism.
The Munich Agreement was a settlement permitting Nazi Germany's annexation of portions of Czechoslovakia along the country's borders mainly inhabited by German speakers, for which a new territorial designation 'Sudetenland' was coined.<br/><br/> The agreement was negotiated at a conference held in Munich, Germany, among the major powers of Europe, excluding the Soviet Union and Czechoslovakia. Today, it is widely regarded as a failed act of appeasement towards Nazi Germany.
<i>In the Conservatory</i> (French: 'Dans la serre') is an 1879 oil painting by Edouard Manet (1832-1883) in the Alte Nationalgalerie, Berlin. The setting is a conservatory at 70 Rue d'Amsterdam in Paris, then owned by painter Otto Rosen and which Manet used as a studio for nine months in 1878 and 1879.<br/><br/> The painting was exhibited in the 1879 Paris Salon and was regarded as surprisingly conservative for Manet. Jules-Antoine Castagnary said it portrayed 'the elegance of fashionable life.'<br/><br/> This photograph shows soldiers in the Merkers salt mine posing with <i>In the Conservatory</i>, after it was brought there to protect it during the war.
The Aceh War, also known as the Dutch War or the Infidel War (1873–1914), was an armed military conflict between the Sultanate of Aceh and the Netherlands which was triggered by discussions between representatives of Aceh and the United Kingdom in Singapore during early 1873.<br/><br/> The war was part of a series of conflicts in the late 19th century that consolidated Dutch rule over modern-day Indonesia.
Edouard Manet (23 January 1832 – 30 April 1883) was a French painter. He was one of the first 19th-century artists to paint modern life, and a pivotal figure in the transition from Realism to Impressionism.
The painting exemplifies Manet's commitment to Realism in its detailed representation of a contemporary scene. Many features have puzzled critics but almost all of them have been shown to have a rationale, and the painting has been the subject of numerous popular and scholarly articles.<br/><br/> The central figure stands before a mirror, although critics—accusing Manet of ignorance of perspective and alleging various impossibilities in the painting—have debated this point since the earliest reviews were published. In 2000, however, a photograph taken from a suitable point of view of a staged reconstruction was shown to reproduce the scene as painted by Manet.
Manet's paintings of cafe scenes are observations of social life in 19th-century Paris. People are depicted drinking beer, listening to music, flirting, reading, or waiting. Many of these paintings were based on sketches executed on the spot. He often visited the Brasserie Reichshoffen on boulevard de Rochechourt, upon which he based At the Cafe in 1878.<br/><br/> Several people are at the bar, and one woman confronts the viewer while others wait to be served. Such depictions represent the painted journal of a flâneur. These are painted in a style which is loose, referencing Hals and Velázquez, yet they capture the mood and feeling of Parisian night life. They are painted snapshots of bohemianism, urban working people, as well as some of the bourgeoisie.
Impressionist painter, Édouard Manet often captured café scenes depicting social life at the end of the nineteenth century as depicted in this painting, The Café-Concert.<br/><br/> The setting has been identified as the Brasserie Reichshoffen on the Boulevard Rochechouart. Manet shows us men and women in the new brasseries and cafes of Paris, which presents the viewer with an alternate view of new Parisian life. Manet claimed he was painting 'des oeuvres sinceres' or 'sincere works'. The women depicted in these scenes were courting certain risks with regards to perception and morality.<br/><br/> In, <i>The Café-Concert</i>, Manet presents a café-concert in which three central figures form a triangle but are all engaged in opposite directions. The scene of a café-concert should be casual but Manet hints at separation. The waitress enjoys a beer, the woman at the bar smokes a cigarette and appears subdued, the man appears at his ease and watches the performance (the singer known as 'La Belle Polonaise' is reflected in the mirror in the background of the painting).
The Tonkin Campaign (French: Campagne du Tonkin) was an armed conflict fought between June 1883 and April 1886 by the French against, variously, the Vietnamese, Liu Yongfu's Black Flag Army and the Chinese Guangxi and Yunnan armies to occupy Tonkin (northern Vietnam) and entrench a French protectorate there.<br/><br/> The campaign, complicated in August 1884 by the outbreak of the Sino-French War and in July 1885 by the Can Vuong nationalist uprising in Annam, which required the diversion of large numbers of French troops, was conducted by the Tonkin Expeditionary Corps, supported by the gunboats of the Tonkin Flotilla. The campaign officially ended in April 1886, when the expeditionary corps was reduced in size to a division of occupation, but Tonkin was not effectively pacified until 1896.
A ‘harem’ is not a bordello, seraglio or brothel, but refers to the women’s quarters, usually in a polygynous household, which are forbidden to men. It originated in the Near East and is typically associated in the Western world with the Ottoman Empire.<br/><br/> Female seclusion in Islam is emphasized to the extent that any unlawful breaking into that privacy is ḥarām ie, 'forbidden'. A Muslim harem does not necessarily consist solely of women with whom the head of the household has sexual relations (wives and concubines), but also their young offspring, other female relatives or odalisques, which are the concubines’ servants. The harem may either be a palatial complex, as in Romantic tales, in which case it includes staff (women and eunuchs), or simply their quarters, in the Ottoman tradition separated from the men's selamlık.<br/><br/> A hammam is a common bath house.
Manet's paintings of cafe scenes are observations of social life in 19th-century Paris. People are depicted drinking beer, listening to music, flirting, reading, or waiting. Many of these paintings were based on sketches executed on the spot. He often visited the Brasserie Reichshoffen on boulevard de Rochechourt, upon which he based At the Cafe in 1878.<br/><br/> Several people are at the bar, and one woman confronts the viewer while others wait to be served. Such depictions represent the painted journal of a flâneur. These are painted in a style which is loose, referencing Hals and Velázquez, yet they capture the mood and feeling of Parisian night life. They are painted snapshots of bohemianism, urban working people, as well as some of the bourgeoisie.
A ‘harem’ is not a bordello, seraglio or brothel, but refers to the women’s quarters, usually in a polygynous household, which are forbidden to men. It originated in the Near East and is typically associated in the Western world with the Ottoman Empire.<br/><br/> Female seclusion in Islam is emphasized to the extent that any unlawful breaking into that privacy is ḥarām ie, 'forbidden'. A Muslim harem does not necessarily consist solely of women with whom the head of the household has sexual relations (wives and concubines), but also their young offspring, other female relatives or odalisques, which are the concubines’ servants. The harem may either be a palatial complex, as in Romantic tales, in which case it includes staff (women and eunuchs), or simply their quarters, in the Ottoman tradition separated from the men's selamlık.<br/><br/> A hammam is a common bath house.
<i>The Plum</i> (French: La Prune) - also known as Plum Brandy - is an oil-on-canvas painting by Édouard Manet. It is undated but thought to have been painted about 1877.<br/><br/> The painting is a study in loneliness, depicting a quiet, almost melancholy, scene of a young working girl seated in a café. The subject is viewed from nearby, perhaps by another seated customer. She may be a prostitute waiting for a client, or possibly a shop worker hoping for some conversation. On the table is a plum soaked in brandy, a speciality of Parisian cafés at the time.<br/><br/> Manet may have based the painting on observations at the Café de la Nouvelle Athènes on the Place Pigalle in Paris. However, the background - the decorative grille and its gold frame - does not match other depictions of the café, and suggests the painting was made in Manet’s studio.<br/><br/> The model is the actress Ellen Andrée, who was also depicted with Marcellin Desboutin in the similar 1876 painting <i>L'Absinthe</i> (or In a Café) by Edgar Degas. The similarities between the two paintings suggest that Manet's <i>The Plum</i> may be a response to Degas's <i>L'Absinthe</i>. Degas's painting shows a bleak scene of despair blunted by absinthe; Manet's is a more hopeful scene, where there is the chance that the sitter's loneliness may be broken.