Context_1 : Janes & Leo was the New York-based architectural firm of Elisha Harris Janes and Richard Leopold Leo (1871/72 — 26 September 1911). From 1898 to 1911, the firm designed and built numerous Beaux-Arts residential structures in New York City, both richly detailed row houses and luxury apartment blocks during the building boom that constructed Manhattan's Upper West Side. Though neither Elisha Harris Janes nor Richard Leopold Leo ever studied at the École des Beaux-Arts in Paris, they worked within its traditions. Their most prominent structure is the ebullient Dorilton (1902), at Broadway and 71st Street, bolder and more sculptural than any professor at the École des Beaux-Arts would have encouraged. Montgomery Schuyler, the critic for the "Architectural Record", disapproved of its flamboyant appeal: Context_2 : Alfred Swieykowski (1869–1953) was a French painter of Russo-Polish descent. He studied under Fernand Cormon and Paulin Bertrand at the École des Beaux-Arts in Paris. He exhibited at the Salon des Artistes Francais (1894–1921), receiving an award in 1896 and another for the Exposition Universelle in Paris in 1900. He became member of the Société Nationale des Beaux-Arts and exhibited at its Salon from 1926 to 1943. He sat in the jury of the Société Nationale des Beaux-Arts in 1927 and won a silver medal in 1937 at the Exposition Internationale. Context_3 : The German Bank Building, known also as Louisville Home Federal Building, is a historic building in Downtown Louisville, Kentucky, United States. It is located on the corner of Fifth and Market streets. The two-story structure was built in 1914 in a Beaux-Arts style with a limestone facade. In 1918, the name of the building was changed to Louisville National Bank. This was during World War I when many institutions changed names to avoid association with Germany. Context_4 : Dinah Lauterman (1899–1945), was a Canadian musician, artist and sculptor. She studied under Canadian Group of Painters founding member Randolph Hewton at the Art Association of Montreal and later under Edwin Holgate, Maurice Felix, Albert Laliberté, Charles Maillard, and Henri Charpentier at the École des beaux-arts de Montréal. Between 1922-1935, she actively exhibited her sculptures at the Art Association and Royal Canadian Academy of Arts annual exhibitions. Her work is included in the collections of the Montreal Museum of Fine Arts, the Musée national des beaux-arts du Québec and the École des beaux-arts de Montréal. Context_5 : Rachid Koraïchi is an Algerian artist. He was born into a Sufi family with long history, which has influenced much of his work. He studied first at the École des Beaux-Arts in Algeria before attending the École des Arts Décoratifs and the École des Beaux-Arts in Paris. He works in many media, including ceramics, textiles, installation art, metallurgy, painting, and printmaking, and often collaborates with local artisans in his work. Context_6 : Beaux-Arts architecture ( ; ] ) expresses the academic neoclassical architectural style taught at the "École des Beaux-Arts" in Paris. The "style" "Beaux Arts" is the cumulative product of two-and-a-half centuries of instruction under the authority, first, of the "Académie royale d'architecture" (1671–1793), then, following the French Revolution of the late 18th century, of the Architecture section of the "Académie des Beaux-Arts" (1795– ). The organization under the "Ancien Régime" of the competition for the "Grand Prix de Rome" in architecture, offering a chance to study in Rome, imprinted its codes and aesthetic on the course of instruction, which culminated during the Second Empire (1852–1870) and the Third Republic that followed. The style of instruction that produced Beaux-Arts architecture continued without major interruption until 1968. Context_7 : Louis-Ernest Barrias was born in Paris into a family of artists. His father was a porcelain-painter, and his brother Félix-Joseph Barrias (1822–1907) was a painter and illustrator. He started as a trainee painter working in the studio of Léon Cogniet but soon turned to sculpture and started to study under Pierre-Jules Cavelier. He entered the studio of François Jouffroy in 1858 as a student at the l'École des Beaux-arts and in 1861 he won second place in that year's Prix de Rome with the composition "Chryséis rendu à son père par Ulysse". In the same year he made his debut at the Paris Salon with his bust of the engraver Jazet. In 1865 he carried off first prize in the Prix de Rome with the work "Fondation de la ville de Marseille" which enabled him to study in Rome. He returned to France when the Franco-Prussian war broke out and enrolled in the Marne National Guard. He was to see active service in the siege of Paris. After the war and until his death, Barrias was in great demand. He received many honours, was made a member of the Institute, and was professor at the l'École des Beaux-arts from 1894 until his death. This listing covers some of his more important works. Context_8 : George Blum (1870–1928) born in France and raised in the United States returned with his brother to France and studied at the famed École des Beaux-Arts American architect, later, along with his brother Edward Blum, formed a successful architectural firm - George & Edward Blum - in New York City during the early 20th century designing some of New York City's most elegant and creative buildings. Blum studied with his brother at École des Beaux-Arts in Paris. Context_9 : René Baudichon (24 March 1878 – 1963) was a French sculptor and medallist. The artist was born in Tours, France, studied at the École des Beaux-Arts in his native town, and graduated from the École des Beaux-Arts in Paris. Context_10 : Following a short basic training, he obtained a grant to study art in Paris, from the autumn of 1902. He started as a student of Jean-Paul Laurens at the Académie Julian, as did numerous several modern-minded Hungarian painters after him, but a few months later, ostensibly for financial reasons, he transferred to the École des Beaux-Arts. There Fernand Cormon was his teacher. With classmates they often went to Ambroise Vollard’s art dealership together, where Márffy was most impressed by the pictures of Paul Cézanne, Henri Matisse, Pierre Bonnard, Georges Rouault and Georges Braque. He claims to have met Matisse in 1905, who had been sent down from the École des Beaux-Arts, but would return there from time to time, and to have visited him in his studio once. fact_1 : The German Bank Building, known also as Louisville Home Federal Building, is a historic building in Downtown Louisville, Kentucky, United States. fact_2 : Beaux-Arts architecture ( ; ] ) expresses the academic neoclassical architectural style taught at the "École des Beaux-Arts" in Paris. Question: What expresses the academic neoclassical architectural style taught at the "École des Beaux-Arts" in Paris, and was used in the building also know as Louisville Home Federal Building?
Output: BeauxArts architecture