Franz Liszt | La Campanella

"La campanella" (Italian for "The little bell") is the subtitle given to the third of Franz Liszt's six Grandes études de Paganini, S. 141 (1851). It is in the key of G-sharp minor.

"La campanella" is a revision of an earlier version from 1838, the Études d'exécution transcendante d'après Paganini, S. 140.

Its melody comes from the final movement of Niccolò Paganini's Violin Concerto No. 2 in B minor, where the tune was reinforced by a "little handbell".

Václav Brožík | Academic painter

Václav Brožík (1851-1901) was a Czech painter who worked in the academic style.

Brožík was born on 6 March 1851 in Třemošná, Bohemia, Austrian Empire (now the Czech Republic).

He came from a poor family, studying lithography and porcelain painting through apprenticeships.

Louis-Ernest Barrias | Romantic / Art Nouveau sculptor

Louis-Ernest Barrias (1841-1905) was a French sculptor of the Beaux-Arts school.

In 1865 Barrias won the Prix de Rome for study at the French Academy in Rome.

Barrias was involved in the decoration of the Paris Opéra and the Hôtel de la Païva in the Champs-Élysées.

His work was mostly in marble, in a Romantic realist style indebted to Jean-Baptiste Carpeaux.

Mozart | Concerto for Flute and Harp | 1 - Allegro

Mozart wrote the "Concerto for Flute, Harp, and Orchestra in C major" in April 1778, during his seven-month sojourn in Paris.

It was commissioned by Adrien-Louis de Bonnières, duc de Guînes (1735-1806), a flutist, for his use and for that of his eldest daughter, Marie-Louise-Philippine (1759-1796), a harpist, who was taking composition lessons from the composer, at the duke's home, the Hôtel de Castries.

Mozart stated in a letter to his father that he thought the duke played the flute "extremely well" and that Marie's playing of the harp was "magnifique".

Louis-Ernest Barrias (1841-1905) | Mozart child with a violin, 1887 | Musée Fabre

Nikolay Bogdanov-Belsky | At School Doors, 1897

Descending from peasant class, Nikolai Bogdanov-Belsky dedicated a significant portion of his work to rural schoolchildren.

His heroes hover indecisively at the classroom door, solve problems at the blackboard, read books or converse with the teacher.

The master's idealistic paintings upheld the notion that education was capable of improving public morality and overcoming the backwardness of the Russian countryside.

This lovingly painted and slightly sentimental canvas was possibly inspired by the personal memories of the artist, who attended Sergei Rachinsky's village school in Tatevo, Smolensk Province.