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HARPIGNIES, HENRI (1819– )

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Originally appearing in Volume V13, Page 15 of the 1911 Encyclopedia Britannica.
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HARPIGNIES, See also:HENRI (1819– ) , See also:French landscape painter, See also:born at See also:Valenciennes in 1819, was intended by his parents for a business career, but his determination to become an artist was so strong that it conquered all obstacles, and he was allowed at the See also:age of twenty-seven to enter See also:Achard's atelier in See also:Paris. From this painter he acquired a groundwork of See also:sound constructive draughtsmanship, which is so marked a feature of his landscape See also:painting. After two years under this exacting teacher he went to See also:Italy, whence he returned in I85o. During the next few years he devoted himself to the painting of See also:children in landscape setting, and See also:fell in with See also:Corot and the other See also:Barbizon masters, whose principles and methods are to a certain extent reflected in his own See also:personal See also:art. To Corot he was See also:united by a See also:bond of warm friendship, and the two artists went together to Italy in 186o. On his return, he scored his first See also:great success at the See also:Salon, in 1861, with his " Lisiere de bois sur See also:les bords de 1'See also:Allier." After that See also:year he was a See also:regular exhibitor at the old Salon; in 1886 he received his first See also:medal for " Le Soir dans la campagne de See also:Rome," which was acquired for the Luxembourg See also:Gallery. Many of his best See also:works were painted at Herisson in the Bourbonnais, as well as in the See also:Nivernais and the See also:Auvergne. Among his See also:chief pictures are " Soir sur les bords de la See also:Loire " (1861), " Les Corbeaux " (1865), " Le Soir " (1866), " Le Saut-du-Loup " (1873), " La Loire " (1882), and " Vue de See also:Saint-Prive " (1883). He also did some decorative See also:work for the Paris See also:Opera—the " Vallee d'Egerie " See also:panel, which he Showed at the Salon of 187o. See also:HARP-See also:LUTE, or DITAL HARP, one of the many attempts to revive the popularity of the See also:guitar and to increase its See also:compass, invented in 1798 by See also:Edward See also:Light. The harp-lute owes the first See also:part of its name to the characteristic mechanism for shortening the effective length of the strings; its second name—dital harp—emphasizes the nature of the stops, which are worked by the thumb in contradistinction to the pedals of the harp workedby the feet. It consists of a See also:pear-shaped See also:body, to which is added a curved See also:neck supported on a front See also:pillar or See also:arm springing from the body, and therefore reminiscent of the harp.

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catgut strings. The curved fingerboard, almost parallel with the neck, is provided with frets, and has in addition a thumb-See also:key for each See also:string, by means of which the accordance of the string is mechanically raised a semitone at will. The dital or key, on being depressed, acts upon a stop-See also:ring or See also:eye, which draws the string down against the See also:fret, and thus shortens its effective length. The fingers then stop the strings as usual over the remaining frets. A further improvement was patented in 1816 as the See also:British harp-lute. Other attempts possessing less See also:practical merit than the dital harp were the See also:lyra-guitarre, which appeared in See also:Germany at the beginning of the 19th See also:century; the See also:accord-guitarre, towards the See also:middle of the same century; and the keyed guitar. (K.

End of Article: HARPIGNIES, HENRI (1819– )

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