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FFAMOUS FAMOUS AMOUS PPAINTINGS PAINTINGS AINTINGS

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Famous Paintings

© 2012 Infogrid Pacific Pte. Ltd. Some rights reserved. This is an IGP Fixed Layout (FLO) demonstration book for AZARDI.

Credits

Images and text in this book have been sourced fromWikipedia and interactive source references are included with the image of each painting. The text has been edited on an arbitrary basis for this demonstration book and it is not recommended this is used as a knowledge source. All Wikipedia text and images are available under the: Creative Commons Attribution-ShareAlike License

About this Demonstration

This is a valid IDPF ePub3 which uses features than can only be seen in AZARDI 17. It will load in all other Fixed Layout ePub3 readers but will not display in the same presentation manner as when viewedon AZARDI. This book has been FLO metadata configured for landscape orientation and no page spread.

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Whistler's Mother

The Night Watch

The Ambassadors Bedroom in Arles

Famous Paintings

USING THIS BOOK

1. Scroll the Explore panel on the le to find a painting that interests you.

2. Click on the picture icon to access the article

3. Read about the painting and the artist

4. Click on any painting in the information article to view

ABOUT THE CONTENT

The content for this book has been sourced from www.wikipedia.c om. The text and image links are available on each page. If you click the links the source webpage will open in a new Remote Resources window. This is an arbitrary collection of paintings to show how powerful and efficient navigation interactivity can be created in what is regarded as a linear

Colophon

PRODUCTIO

N TEAM

Editor: Raja

Hooka

Programming: Deepak

Chandran

Design and CSS: Milan

Bishwakarma

Installers and Testing: Manish

Jhanwar

PRODUCTIO N

ENVIRONME NT

IGP:Digital Publisher with Formats on Demand.

AZARDI 17

INFORMATI ON

AZARDI 17 is an ePub2, ePub3 and ePub Fixed Layout Reading system available for reading everywhere.

1. For the desktop (free) for Windows, Linux and MacIntosh

2. Online in Browsers

3. In Android devices (tablets and television)

4. In iPad tablets    AZARDI 17 redefines ePub3 fixed-layout.

ABOUT THIS BOOK

Famous Paintings is a standard, validated ePub3 book. It will open in any ePub3 reading system that supports fixed layout. However only

AZARDI will be able to display the layout as demonstrated in AZARDI 17 due to the interpretation of various combinations of spine properties used to create a unique and new e-book navigation strategy defined without programming. There is no Javascript used in this book. These combinations do not clash with other reading systems because

other systems treat fixed-layout primarily as a linear sequence of pages.

AZARDI 17 shows that the specification can be used in a much more exciting way.

Fixed Layout Features

Asymmetric Spreads.

AZARDI handles FLO page spreads with different sizes and orientations.

FLO + Reflow.

AZARDI handles fixed pages which have reflow properties attached if a fixed layout property is applied with the layoutreflowable property.

Spine linear.

AZARDI hides pages that are

p g specified as linear-no unless they are directly linked from a visible page.

Left-Right Positioning. A linear-no page that is positioned opposite the linking page will display next to that linking page. Vertical stacking. If pages are given leftright properties and the property no-spread, they will stack vertically if the metrics are created correctly.

Some Other Features

1. Full Javascript support

2. SMIL audio (note the desktop version only supports WebM and

OGG formats. It does not support MP3 or MP4).

3. Auto page advance

SMIL reading

4. Continuousl y resizable framework plus full screen mode

5. User configurable backgrounds and decoration.

Cafe Terrace at Night

Vincent Willem van Gogh

Source: http://commons.wiki media.org

Vincent van Gogh [Public domain], via Wikimedia Commons

er 1888. The pain ting is not sign ed, but desc ribe d and men tione d by the artist in his lette rs on vari ous occa sions . Visit ors of the site can still stan d at the

nort heas tern corn er of the Plac e du Foru m, whe re the artist set up his easel . He look ed sout h towa rds the artifi ciall y lit terra ce of the pop ular coffe e hous e, as well

as into the enfo rced dark ness of the rue du Palai s leadi ng up to the buil ding struc ture (to the left, not pictu red) and, beyo nd this struc ture, the towe r of a form

er chur ch (no w Mus ée Lapi dair e). Tow ards the right , Van Gog h indic ated a light ed shop as well, and som e bran ches of the trees surr oun ding the plac

e— but he omit ted the rema inde rs of the Rom an mon ume nts just besi de this little shop .

The pain ting is curr ently at the Kröll erMüll er Mus eum in Otte rlo, Neth erlan ds.

THE ARTIST

Vinc ent Will em van Gog h (Dut ch: 30 Mar

ch 1853 – 29 July 1890 ) was a Dutc h post-

Impr essio nist pain ter who se wor k, nota ble for its roug h beau ty, emot ional hone sty and bold color , had a farreac hing influ ence on 20thcent ury art. Afte

year s of pain ful anxi ety and freq uent bout s of men tal illne ss, he died aged 37 from a guns hot wou nd, gene rally acce pted to be selfinflic ted. His wor k was then kno

wn to only a han dful of peop le and appr eciat ed by fewe r still. He did not begi n pain ting until his late twen ties, com pleti ng man y of his bestkno wn

wor ks duri ng the last two year s of his life. His wor k inclu ded self portr aits, land scap es, still lifes, portr aits and pain tings of cypr esses , whe at field s and sunfl

ower s. The exte nt to whic h his men tal healt h affec ted his pain ting has been a subj ect of spec ulati on since his deat h. Des pite a wide spre ad tend

ency to rom antic ize his ill healt h, mod ern critic s see an artist deep ly frust rate d by the inact ivity and inco here nce brou ght abou t by his bout s of illne ss.

Henri Rousseau The Dream

THE PAINTING

The Drea m (Fre nch: La Rêv e, occa sion ally also kno wn as Le Song e or Rêve Exot ique) is a large oiloncanv as pain ting creat ed by Hen

ri Rous seau in 1910, one of mor e than 25 Rous seau pain tings with a jungl e the me. His last com plete d wor k, it was first exhi bited

Source:http://commo ns.wikimedia.org

Henri Rousseau [Public domain], via Wikimedia Commons

at the Salo n des Indé pen dant s from 18 Mar ch to 1 May 1910, a few mon ths befo re his deat h on 2 Sept emb er 1910.

Rous seau' s earli er wor ks had

recei ved a nega tive rece ptio n, but poet and critic Guill aum e Apol linai re rema rked on its debu

t: "The pictu re radi ates beau ty, that is indis puta ble. I belie ve nobo

dy will laug h this year. " The styli sed form s of the jungl e plan ts are base d on Rous seau' s obse rvati ons at the Paris Mus eum of Natu ral Hist ory and its

Jardi n des Plan tes. The nud e's left arm reac hes towa rds the lions and a blac k snak e char mer who faces the view er playi ng his flute , barel y visib le in the

gloo m of the jungl e und er the

THE ARTIST

in the Naïv e or Prim itive man ner. He was also kno wn as Le Dou anier (the cust oms offic er), a hum orou s desc ripti on of

dim light of the full moo n. Hen ri Julie n Félix Rou ssea u (Ma y 21, 1844 –Sept emb er 2, 1910 ) was a Fren ch PostImpr essio nist pain ter

his occu patio n as a toll colle ctor. Ridi cule d duri ng his life, he cam e to be reco gniz ed as a selftaug ht geni us who se wor ks are of high artist ic quali ty.

He was medi ocre in som e subj ects at the high scho ol but won prize s for dra wing and musi c. He wor ked for a lawy er and studi ed law, but "atte mpt ed a smal l perj

ury and soug ht refu ge in the arm y," servi ng for four year s, starti ng in 1863. He start ed pain ting serio usly in his early forti es, and by age 49 he retir ed from his

job to wor k on his art fulltime. Rous seau clai med he had "no teac her othe r than natu re", altho ugh he adm itted he had recei ved "som e advi ce" from two esta

blish ed Aca demi c pain ters, Félix Aug uste Clé men t and JeanLéon Gérô

me. Esse

ntial ly he was selftaug ht and is cons idere d to be a naïv e or prim itive pain ter.

Whistler's Mother

James McNeill Whistler

THE PAINTING

Source: http://commons.wiki media.org

James Abbott McNeill Whistler [Public domain], via Wikimedia Commons

in a fram e of Whi stler' s own desi gn in the Mus ée d'Or say in Paris , havi ng been boug ht by the Fren ch state in 1891. It is now one of the most famo us wor ks

by an Ame rican artist outsi de the Unit ed State s. It has been vari ousl y desc ribe d as an Ame rican icon and a Vict oria n Mon a Lisa. The sensi biliti es of a Vict

oria n era view ing audi ence wou ld not acce pt what was appa rentl y a portr ait bein g exhi bited as a mere "arra nge men t"; thus the expl anat ory title

"Port rait of the Artis

t's Mot her" was appe nde d. It was from this that the wor k acqu ired its pop ular nam e. Afte r Tho mas Carl yle view ed the pain ting, he agre ed to sit for a simil ar

com posit ion, this one bein g title d Arra nge men t in Grey and Blac k, No. 2. Thus the prev

p ious pain ting beca me Arra nge men t in Grey and Blac k, No. 1 mor e or less by defa ult.

THE ARTIST

Jam es Abb ott Mc Neil l Whi stler (July 11, 1834

–July 17, 1903 ) was an Ame ricanborn ,

Briti shbase d artist . Aver se to senti men talit y and mor al allus ion in pain ting, he was a leadi ng prop onen t of the cred o, "art for art's sake ". Find ing a para

llel betw een pain ting and musi c, Whi stler entit led man y of his pain tings "arra nge men ts", "har mon ies", and "noc turn es", emp hasi zing the prim acy of tonal har mon y.

Whi stler influ ence d the art worl d and the broa der cultu re of his time with his artist ic theo ries and his frien dshi ps with leadi ng artist s and writ ers. Duri ng his

life, he affec ted two gene ratio ns of artist s, in Euro pe and in the Unit ed State s. Whi stler had signi fican t cont act and exch ange d idea s and ideal s with Reali st,

Impr essio nist, and Sym bolis t pain ters. As Ame rican critic Char les Caffi n wrot e in 1907: "He did bette r than attra ct a few follo wers and imit ators ; he influ ence

d the whol e worl d of art. Cons ciou sly, or unco nsci ousl y, his pres ence is felt in coun tless studi os; his geni us per meat es mod ern artist ic thou ght."

The Night Watch

Rembrandt Harmenszoon van Rijn

THE PAINTING

The Nig ht Wat ch or The Sho otin g Com pan y of Fran s Ban ning Coc q (Dut ch: De Nac htwa cht) is the com mon

nam e of one of the most famo us wor ks by Dutc h pain ter Rem bran dt van Rijn. The pain ting may be mor e prop

Source: http://commons.wiki media.org

Rembrandt [Public domain], via Wikimedia Commons

erly title d The Com pany of capt ain Fran s Ban ning Cocq and lieut enan t Will em van Ruyt enbu rch prep arin g to marc h out. The Nigh t Wat ch is one of the most

famo us pain tings in the worl d. The pain ting is reno wne d for three elem ents: its colos sal size (363 x 437 cm ~ 11 ft 10in x 14 ft 4in), the effec tive use of light and shad

ow (chia rosc uro), and the perc eptio n of moti on in what wou ld have been , tradi tiona lly, a stati c milit ary portr ait. With effec tive use of sunli ght and shad e, Rem bran

dt lead s the eye to the three most imp orta nt char acter s amo ng the crow d, the two gentl eme n in the centr e (fro m who m the pain ting gets its origi nal title)

, and the smal l girl in the centr e left back grou nd. Behi nd the m the com pany

's colo urs are carri ed by the ensi gn, Jan Viss cher Corn eliss en.

THE ARTIST

Rem bran dt Har men szoo n van Rijn (Dut ch: 15 July 1606 [1] –4 Octo

ber 1669 ) was a Dutc h pain ter and etch er. He is gene rally cons

idere d one of the great est pain ters and print mak ers in Euro pean art histo ry and the most imp orta nt in Dutc h histo ry. His cont ribut ions to art cam e in a

peri od of great weal th and cultu ral achi eve men t that histo rians call the Dutc h Gold en Age whe n Dutc h Gold en Age pain ting was extre mely proli fic and inno

vativ e. Havi ng achi eved yout hful succ ess as a portr ait pain ter, Rem bran dt's later year s were mar ked by pers onal trage dy and fina ncial hard ship s. Yet his repu

tatio n as an artist rema ined high. Rem bran dt's great est creat ive triu mph s are exe mpli fied espe ciall y in his portr aits of his cont emp orari es, selfportr aits and illust ratio ns of

scen es from the Bible . In his pain tings and print s he exhi bited kno wled ge of class ical icon ogra phy.  Beca use

of his emp athy for the hum an cond ition , he has been calle d "one of the great prop hets of civili zatio n."

The Ambassadors

Hans Holbein

THE PAINTING

The Am bass ador s (153 3) is a pain ting by Han s Holb ein the You nger in the Nati onal Gall ery, Lon don. As well as bein g a dou

ble portr ait, the pain ting cont ains a still life of seve ral meti culo usly rend ered objec ts, the mea ning of whic h is the caus e of muc h

deba te. It is also a muc hcited exa mple of ana mor phos is in pain ting. Alth oug h a Ger manborn artist who spen t most of his time in Engl and, Holb ein displ

ayed the influ ence of Earl y Neth erlan dish pain ters in this wor k. This influ ence can be note d most out war dly in the use of oil pain t, the use of whic h for pane l

Source: http://commons.wiki media.org

Hans Holbein the Younger [Public domain], via Wikimedia Commons

Source: http://commons. wikimedia.org

A perspective manipulated image of the anamorphic skull which can only be seen when approaching the picture very closely from the right.

pain

tings had been deve lope d a cent ury befo re in Earl y Neth erlan dish pain ting. Wha t is most "Fle mish " of Holb ein's use of oils is his use of the medi um to rend er

meti culo us detai ls that are main ly sym bolic : as Jan van Eyck and the Mast er of Flem alle used exte nsiv e imag ery to link their subj ects to divi nity, Holb ein used sym

bols to link his figur es to sho w the

THE ARTIST

artist and print mak er who wor ked in a Nort hern Rena issan ce style . He is best kno wn as one of the great est

sam e thin gs on the table . Han s Hol bein the You nger (c. 1497 –betw een 7 Octo ber and 29 Nov emb er 1543 ) was a Ger man

portr aitist s of the 16th cent ury. He is calle d "the You nger " to disti ngui sh him from his fathe r, Han s Holb ein the Elde r, an acco mpli shed pain ter of the Late Goth

ic scho ol. Holb ein's art was prize d from early in his care er. Holb ein has also been desc ribe d as a great "one -off" of art histo ry, since he foun ded no scho ol.

Holb ein's art has som etim es been calle d reali st, since he dre w and pain ted with a rare preci sion.

Holb ein was neve r cont ent, how ever, with out war d appe

aran ce. He emb edde d layer s of sym bolis m, allus ion, and para dox in his art, to the lasti ng fasci natio n of scho lars. In the view of art histo rian Ellis Wat erho use,

his portr aitur e "rem ains unsu rpas sed for sure ness and econ omy of state men t,

pene trati on into char acter , and a com bine d rich ness and purit y of style ".

Vincent van Gogh Bedroom in Arles

THE PAIN TING

Source: http://commons.wiki media.org

Vincent van Gogh [Public domain], via Wikimedia Commons

l e s ) i s t h e t i t l e g i v e n t o e a c h o f t h r e e s i m i l a r

p a i n t i n g s b y 1 9 t hc e n t u r y D u t c h P o s tI m p r e s

s i o n i s t p a i n t e r V i n c e n t v a n G o g h . V a n G o g h ' s

o w n t i t l e f o r t h i s c o m p o s i t i o n w a s s i m p l y T h e B

e d r o o m ( F r e n c h : L a C h a m b r e à c o u c h e r ) . T h e r e a

r e t h r e e a u t h e n t i c v e r s i o n s d e s c r i b e d i n h i s l

e t t e r s , e a s i l y d i s c e r n i b l e f r o m o n e a n o t h e r b

y t h e p i c t u r e s o n t h e w a l l t o t h e r i g h t . T h e p a i

n t i n g d e p i c t s V a n G o g h ' s b e d r o o m a t 2 , P l a c e L a

m a r t i n e i n A r l e s , B o u c h e sd uR h ô n e , F r a n c e ,

k n o w n a s h i s Y e l l o w H o u s e . T h e d o o r t o t h e r i g h t

w a s o p e n i n g t o t h e u p p e r f l o o r a n d t h e s t a i r c a s

e , t h e d o o r t o t h e l e f t s e r v e d t h e g u e s t r o o m h e h

e l d p r e p a r e d f o r G a u g u i n . T h e w i n d o w i n t h e f r o

n t w a l l w a s l o o k i n g t o P l a c e L a m a r t i n e a n d i t s p

u b l i c g a r d e n s . T h i s r o o m w a s n o t r e c t a n g u l a r ,

b u t t r a p e z o i d . V a n G o g h e v i d e n t l y d i d n o t s p e n

d m u c h t i m e o n t h i s p r o b l e m , h e s i m p l y i n d i c a t e

d t h a t t h e r e w a s a c

o r n e r , s o m e h o w .

THE ARTIST

Vinc ent Will em van Gog h

(Dut ch: 30 Mar ch

1853 – 29 July 1890 ) was a Dutc

h postImpr essio nist pain ter who se wor k, nota ble for its roug h beau ty, emot

ional hone sty and bold color , had a farreac hing influ ence on 20thcent ury art. Afte r year s of pain ful anxi ety and freq uent bout s of men tal illne ss, he died aged

37 from a guns hot wou nd, gene rally acce pted to be selfinflic ted. His wor k was then kno wn to only a han dful of peop le and appr eciat ed by fewe r still.

He did not begi n pain ting until his late twen ties, com pleti ng man y of his bestkno wn wor ks duri ng the last two year s of his life. His wor k inclu ded self portr

aits, land scap es, still lifes, portr aits and pain tings of cypr esses , whe at field s and sunfl ower s. In Mar ch 1886, he mov ed to Paris and disc over ed the Fren ch

Impr essio nists . Late r, he mov ed to the sout h of Fran ce and was influ ence d by the stro ng sunli ght he foun d there . His wor k grew brig

g hter in color , and he deve lope d the uniq ue and high ly reco gniz able style that beca me fully reali zed duri ng his stay in Arle s in 1888.