Gerda Maria Tirén , née Rydberg (11 January 1858, Stockholm - 9 October 1928, Länna Parish, Uppland ) was a Swedish painter and illustrator. She did landscapes from France and Sweden, children's portraits, and genre scenes. Her illustrations were often featured in the magazine Jultomten [ sv ] (Santa Claus).
17-806: Rydberg may refer to: People [ edit ] Gerda Rydberg (1858–1928), Swedish artist better known as Gerda Tirén Jan Rydberg , (1923-2015), Swedish chemist who worked on nuclear chemistry and recycling at Chalmers University of Technology Johannes Rydberg (1854–1919), Swedish physicist and deviser of the Rydberg formula Kaisu-Mirjami Rydberg (1905–1959), Finnish journalist and politician Per Axel Rydberg (1860–1931), Swedish-American botanist Sam Rydberg (1885–1956), Swedish composer Viktor Rydberg (1828–1895), Swedish author, poet, and mythographer Viktor Crus Rydberg (1995—), Swedish ice hockey player Physics [ edit ] Rydberg constant ,
34-448: A constant related to atomic spectra Rydberg formula , a formula describing wavelengths Rydberg atom , an excited atomic state Rydberg molecule , an electronically excited chemical substance Rydberg unit of energy (symbol Ry), derived from the Rydberg constant Places [ edit ] Rydberg (crater) , a lunar crater named after Johannes Rydberg Topics referred to by
51-509: A scholarship, she was able to study in Paris and at the artists' colony in Grez-sur-Loing . In 1884, she married the painter, Johan Tirén , who she had met in Paris; most likely at a private art academy operated by Edvard Perséus . They had four children: Nils and Stina , who also became artists, Karin (1887-1951) and Elisabet (1890-1937). Johan's younger brother Karl [ sv ]
68-770: A series of children's books called the Barnbiblioteket Saga [ sv ] . She illustrated several other books in that series, including Life in the Country by Fritz Reuter , as well as drawing designs for Christmas and Easter cards. She was buried next to her husband at the Länna kyrkogård [ sv ] and was later joined there by her children.. [REDACTED] Media related to Gerda Tirén at Wikimedia Commons Salon (Paris) The Salon ( French : Salon ), or rarely Paris Salon (French: Salon de Paris [salɔ̃ də paʁi] ), beginning in 1667
85-592: Is different from Wikidata All article disambiguation pages All disambiguation pages Gerda Tir%C3%A9n Her father, Carl Henrik Rydberg (1820-1902) was a writer and journalist. Her mother, Emma (1820-1899), was the granddaughter of portrait painter and sculptor Jonas Forsslund . She studied at the Technical School in Stockholm and at the Royal Swedish Academy of Fine Arts . Thanks to
102-695: The Académie royale de peinture et de sculpture (a division of the Académie des beaux-arts ), held its first semi-public art exhibit at the Salon Carré . The Salon's original focus was the display of the work of recent graduates of the École des Beaux-Arts , which was created by Cardinal Mazarin , chief minister of France, in 1648. Exhibition at the Salon de Paris was essential for any artist to achieve success in France for at least
119-623: The Salon jury turned away an unusually high number of the submitted paintings. An uproar resulted, particularly from regular exhibitors who had been rejected. In order to prove that the Salons were democratic, Napoleon III instituted the Salon des Refusés , containing a selection of the works that the Salon had rejected that year. It opened on 17 May 1863, marking the birth of the avant-garde . The Impressionists held their own independent exhibitions in 1874, 1876, 1877, 1879, 1880, 1881, 1882 and 1886. In 1881
136-491: The Salons are primary documents for art historians. Critical descriptions of the exhibitions published in the gazettes mark the beginning of the modern occupation of art critic . The French salon, a product of the Enlightenment in the early 18th century, was a key institution in which women played a central role. Salons provided a place for women and men to congregate for intellectual discourse. The French Revolution opened
153-573: The Salons. After the French Revolution of 1848 liberalized the Salon, far fewer works were refused. Medals were introduced in 1849. The increasingly conservative and academic juries were not receptive to the Impressionist painters, whose works were usually rejected, or poorly placed if accepted. The Salon opposed the Impressionists' shift away from traditional painting styles. In 1863
170-484: The exhibition to foreign artists. In the 19th century the idea of a public Salon extended to an annual government-sponsored juried exhibition of new painting and sculpture, held in large commercial halls, to which the ticket-bearing public was invited. The vernissage (varnishing) of opening night was a grand social occasion, and a crush that gave subject matter to newspaper caricaturists like Honoré Daumier . Charles Baudelaire , Denis Diderot and others wrote reviews of
187-494: The feast day of St. Louis (25 August) and run for some weeks. Once made regular and public, the Salon's status was "never seriously in doubt". In 1748 a jury of awarded artists was introduced. From this time forward, the influence of the Salon was undisputed. The Salon exhibited paintings floor-to-ceiling and on every available inch of space. The jostling of artwork became the subject of many other paintings, including Pietro Antonio Martini 's Salon of 1785 . Printed catalogues of
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#1732844140153204-486: The government withdrew official sponsorship from the annual Salon, and a group of artists organized the Société des Artistes Français to take responsibility for the show. In December 1890, the leader of the Société des Artistes Français , William-Adolphe Bouguereau , proposed that the Salon should be an exhibition of young, not-yet-awarded, artists. Ernest Meissonier , Puvis de Chavannes , Auguste Rodin and others rejected
221-609: The next 200 years. Exhibition in the Salon marked a sign of royal favor. In 1725, the Salon was held in the Palace of the Louvre , when it became known as Salon or Salon de Paris . In 1737, the exhibitions, held from 18 August 1737 to 5 September 1737 at the Grand Salon of the Louvre , became public. They were held, at first, annually, and then biennially, in odd-numbered years. They would start on
238-597: The proposal and broke way to create the Société Nationale des Beaux-Arts , with its own exhibition, immediately referred to in the press as the Salon du Champ de Mars or the Salon de la Société Nationale des Beaux–Arts . Soon, it was also widely known as the Nationale . In 1903, in response to what many artists at the time felt was a bureaucratic and conservative organization, a group of painters and sculptors, led by Pierre-Auguste Renoir and Auguste Rodin , organized
255-464: The same term [REDACTED] This disambiguation page lists articles associated with the title Rydberg . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Rydberg&oldid=946708368 " Categories : Disambiguation pages Disambiguation pages with surname-holder lists Hidden categories: Short description
272-728: Was also a painter, in addition to being an ethnographer and folklorist. She held numerous exhibitions, including ones at the Paris Salon (1885), the Norrköping Exhibition of Art and Industry (1906) and the Liljevalchs konsthall (1917). Together with her children, Nils and Stina, she created an exhibition at the Konstnärshuset in 1918. Today, she is probably best remembered for 116 black and white illustrations she created in 1899 for an edition of Robinson Crusoe , published in
289-468: Was the official art exhibition of the Académie des Beaux-Arts in Paris. Between 1748 and 1890 it was arguably the greatest annual or biennial art event in the Western world. At the 1761 Salon, thirty-three painters, nine sculptors, and eleven engravers contributed. From 1881 onward, it was managed by the Société des Artistes Français . In 1667, the royally sanctioned French institution of art patronage,
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