DOCSLIB.ORG

PDF: V105-N46.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
PDF: V105-N46.Pdf I Continuous. _ MIT News Service, am Cambridge Massachusetts Volume 10)5, Number 46- - Friday, November 1, 1985 Cambridge...to electI ofiocial s By Katile xNlairz ctiosen invienniait-at-large elec- should be strengthened, weak- tions--by 'a' system of proportional ened or left alone. AnalCysis', representation. Under this sys- Control of commercial and in- ~~~~~~~~~tem, voters rank candidates pref- dustrial development is also at is- Twenity-two cndiditosw'.ifty-1 -.-, Crrenially on their ball ts. ........sue: many candidates support f fo ninesCambridge~s 00 CQuini , Housingpolicy has been the one form or another of'exclu- s seats in elections, ¢t c xl usu nthscmpin sionary zoning" or "linkage" i All nine incumbent t4 W ii ever-oth~er, city elec- plans requiring developers to pMayor Fra ncis ','.p pat. wo decades. build low- and, moderate-inlcome r running for re-eledi PR?-Mb tS-iaroehether housing on a portion of, their Al]nine c o n Vt~h¢srent- -control laws sites -but others oppose it. Ad ,~~~~> _^ -- ax s ~~~~~The elections could,-affect Stu- CC^. AX, ~~~~~~~~~~~~~~dept kidirectly~through-city paobli- ^|sSS!~~~~~~~~~~~~~~~~~~~~t~P-__-.............................. ~~swg, an* sy -ampgls By Kim i>^ .w.sdsmnt OtX bateQPer thedevlop06et-tof the- The Cambrii >8 I fMtract liberal .MjTzwned- SimplexsWire, and ationls.-rtf (CCA), a e s~~~n Trouighly Cable, Co. sitb~mi CAOidgeport. politialfoc los St/-th ~ oae~ Lev.: Thist yearl electia--may,. re- dorsed six Cit C 4J >e ape the decades-old-bialance on dates on a ge _eralt',ihousing wi the- opuncil betwfn --the estab- form supportin qoWjligctiensq As-the lisied, libera,- CAmbr'idje Civic of rnt> S ?cntro. * ~ ASH;YS\^t ; AMpolicift, Assc~iation (CCA) and the blue- - ~~~~~~~~~~~~Techfile photo CCA candidatesliltihe~szaio ' plto olar orientd, -generally more :ambsridqe City Hlal. tionally run on i R * . spports controls onifdus-' Cosrive indcje~dents. In such as equal OPPOnrttU X14t*-y tii- eopnt- if it 'threatens past elections,, CCA-endorsed than mphaszingeine o Ad tor erode neighborhood character candidates and independents have New p",rogressive party ticular neighborhood'S in coo- and narrow the range of housing divided the council seats about trast to the more neighborhoods-, options, "the platform continues. equally; the council now includes to vie fhor council seat's oriented independents. Tenants and property owners fourCCA seats and five indepen- }ly Charles R. Jankcowski plex to further its own mission in Outgoing CCA president Fred- must-be protected from specula- dents. Coalitionl85, a new, self-de- life," Russell said, "and that erick Levy described the organic tive piressuire on housing prices, But a slate of three newcomers, scribed " progressive" political should be allowed. But they zation as"4generally liberal;good which dvives up rents and taxes, calling themselves Coalition85, is party,.will be fighting for three of should develop a bit more hous- governmnent oriented" with aphi-' 'it asserts. trying to draw support from vot- nine seats on the Cambridge City ing than MIT currently plans.' losophy of "fairness, openness, CCA sees a threat ~totenants ers it claims are disenchanted Council in Tuesday's elections. The Institute should develop decency and professionalismtl iln (Please turn to page1 9) with the CCA, calling forloosell- The coalition's three candidates part of the Simplex land to pro- (Please turn to page 18) - Hugh A. Russel, Geneva Ma- vide student and faculty housing, lenfant and Karen Swaim -will he said. "If MIT gets the oppor- Indep-endents seek oficeL run against 19 other candidates tunity, they have an obligation to for spots on the Council on such provide that kind of housing." By Michael J. Garrson - fers to candidates who conduct generally more conservative and issues as housing in Cambridge, Russell comnmented on Cam- Mostof te cadidates running -separate campaigns without a pro-business than the Cambridge Morsetsof the can ~ y mnn ltoms h.-R Civic,Association (CC-A), al- regulation of development in the bridge City Councilmian David city and long.-range- planning. Sullivan's "linkage'" proposal, Council are not members of ei- teen council hopefuls have. _V1pA0F Hews are not-,wi Coalition85 was formed last which would tie all new develop- ther of two local coalitions. But the word is also used local- form- summer by a group of 200 Cam- ment in Cambridge to housing by These 13 candidates -- incluading ly to describe a group of estab- Traditional Independents bridge, residents. "An emerging forcing developers to include a five incumbents -represent the lished politicians with blue-collar Thirteen-term incumbent Wal- sense among Cambridge voters certain amount of low- or moder- entire local political spectrum. roots, who'run on their tradition ter J.' Sullivan is one of three that new faces are need on the ate-income housing in their The use of the term "indepen- of service to neighborhoods rath- councillors who voted against last Cambridge City Council" plans. dent" in Cambridge politics can er than more abstract issues. year's linkage proposal. Linkage prompted the creation of the co- Linkage is a "good concept," b cofsn=Tcncly tr-.Teeidpnetcniae r is a plan which would require de- alition, according to its campaign Russell said, but it would "stifle veors^ ^E o puu l incuiu mp- allu literature. development" in Cambridge. low-income housing as part of Russell, a Cambridge architect, "David Sullivan doesn't under- each new construction project. addressed low- and moderate-inl- stanld development well enough. Sullivan also said that downzon- come housing and MIT's Simplex "Linkage is essentially a tax on ing -rezoning of an area to pro- site, which is yet to be developed. new construction," Russell said, hibit large-scale development - 'IMIT wants to develop Sim- entease turn to page 19) {Please turn to page 2) MI t g Ft new AT Tsyse I Bay Andy Fish munications Morton Berlan. Bond issues are used for N41T has approved American The new system will resolve "funding projects that are diffi- I cult to obtain gifts for," said Cur- Telephone & Telegraph (AT&T) two problems: the need to re- rie. "No one wants their name on Co. Informatioan System's #5 Iplace Dormline and the insuffi- a phone duct. Electronic Switching System cient capability for data commu- (5ESS) as the new telephone sys- nications in the Centrex system, "The bond issue looks like a tem for the Institute. according to Director of Finance good deal, " he continued. "I John A. Cuffie '57. to Tech photo by Ronald E. Becker MIT plans to install the system don't think it will be a burden by June 1988 -a more reason- The replacement will be about students." Businessmen visiting MIT last week got swept up in able target date than earlier dead- the spirit of Homecoming. $9,1 million cheaper than making NA lines -said.-Director of Telecom- the same changes to Centrex, The status of separate residen- tial trunk lines, which connect Curre said. MIT's switching system with ouit- lonson coun ers D I isputes A $22.4 million bond issue will side lines, is stil undetermined, missile's vulnerability by decreas- decoy boosters might also be det- fund the installation of the sys- said Berlan. "They [New England By Steve Pao ing its time of exposure to de- rimental to a "Star Wars' de- tem, Currie said*. This is "the Telephone Company] have con- Second in a series on thefense systems. But missiles with fense system, he said. Decoys, sixth bond issue of its kind in the tinued to say no.' New England Strategic21Oct. Defens~e Snitiasolid boosters would carry fewer however, could be easily distin- Forum.tive warheads, he said. last15yeats~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~n {Please turn to page 18)~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ guished from real missiles, he ar- an DrrJme Jamesondirndieor of Mfissiles with thicker shells are gued. science and technology for theanother potential SDI counter- Missiles that spin or that have StrategicDefensentaie JSDOties(SImeasure. But lonson claimed shiny surfaces could reduce the ~~~Office argued against the effec-that such missiles would be more effectiveness of the lasers. lonson ~~~tiveness of measures that otherexpensive and massive than nor- countered that lasers could also natins nainmight useUndimine to' -mal missiles. Each missile, again, destroy missiles by "impact.' ~~~SDI systems. would carry fewer warheads. Ionson's final argument against ~~lonson said that using solid An increase in the number of SD>I countermeasures lay in sub- ~~~rocket boosters could redua ce 10marine launches. In the case of submarine launch, the missile trajectory would differ from the managbyy anage land-launched missiles, reducing cdvtdoertdoe 3 SDI's effectiveness. -Submarines, e~gc DefenseIiX ihowever can carry only a limited ingover ~ fiscal"iin number of warheads, he ex- a~~~Of reseams list plained. Tech photo by Kyle G. Peltonen Pileileby Thei "We're not here to recruit sup- Members of the MAIT Concert Band perform ine their er~~e Education port for SDI, but the viability of seventh annual Halloween concert. Soloists played Nearlya the concept. is evenly split 50/ from the balconies to take full advantage of the acous- ,WejttnLinrn to 50," he said. tics of Lobby 7 - (SPlease turn to page 17) *Cr~Wareerhi I , , I. · I-~ - ·. -. 1...- . i· · _ji~i PAGE 2 The Tech FRIDAY, NOVEMBER 1, 1985 1. I - - - , x 9i s: : Independents discuss. issues |I ti P, plan, which includes substantial I I (Continuedfrom page 1) created by local residents,.and is lowers propetpy values. concerned about a lack of open amounts of low-income housing, Incumbent Alfred Vellucci, space in the city. He has some for the development of MIT's seeking his 16th term, supports doubts about rent control, pre- Simplex property. rent control in its-current form. ferring to encourage homeowner- Candidate George Spartichino He also supports linkage.
Load more

Recommended publications
  • 16 Exhibition on Screen
    Exhibition on Screen - The Impressionists – And the Man Who Made Them 2015, Run Time 97 minutes An eagerly anticipated exhibition travelling from the Musee d'Orsay Paris to the National Gallery London and on to the Philadelphia Museum of Art is the focus of the most comprehensive film ever made about the Impressionists. The exhibition brings together Impressionist art accumulated by Paul Durand-Ruel, the 19th century Parisian art collector. Degas, Manet, Monet, Pissarro, Renoir, and Sisley, are among the artists that he helped to establish through his galleries in London, New York and Paris. The exhibition, bringing together Durand-Ruel's treasures, is the focus of the film, which also interweaves the story of Impressionism and a look at highlights from Impressionist collections in several prominent American galleries. Paintings: Rosa Bonheur: Ploughing in Nevers, 1849 Constant Troyon: Oxen Ploughing, Morning Effect, 1855 Théodore Rousseau: An Avenue in the Forest of L’Isle-Adam, 1849 (Barbizon School) Jean-François Millet: The Gleaners, 1857 (Barbizon School) Jean-François Millet: The Angelus, c. 1857-1859 (Barbizon School) Charles-François Daubigny: The Grape Harvest in Burgundy, 1863 (Barbizon School) Jean-François Millet: Spring, 1868-1873 (Barbizon School) Jean-Baptiste Camille Corot: Ruins of the Château of Pierrefonds, c. 1830-1835 Théodore Rousseau: View of Mont Blanc, Seen from La Faucille, c. 1863-1867 Eugène Delecroix: Interior of a Dominican Convent in Madrid, 1831 Édouard Manet: Olympia, 1863 Pierre Auguste Renoir: The Swing, 1876 16 Alfred Sisley: Gateway to Argenteuil, 1872 Édouard Manet: Luncheon on the Grass, 1863 Edgar Degas: Ballet Rehearsal on Stage, 1874 Pierre Auguste Renoir: Ball at the Moulin de la Galette, 1876 Pierre Auguste Renoir: Portrait of Mademoiselle Legrand, 1875 Alexandre Cabanel: The Birth of Venus, 1863 Édouard Manet: The Fife Player, 1866 Édouard Manet: The Tragic Actor (Rouvière as Hamlet), 1866 Henri Fantin-Latour: A Studio in the Batingnolles, 1870 Claude Monet: The Thames below Westminster, c.
    [Show full text]
  • Renoir, Impressionism, and Full-Length Painting
    FIRST COMPREHENSIVE STUDY OF RENOIR’S FULL-LENGTH CANVASES BRINGS TOGETHER ICONIC WORKS FROM EUROPE AND THE U.S. FOR AN EXCLUSIVE NEW YORK CITY EXHIBITION RENOIR, IMPRESSIONISM, AND FULL-LENGTH PAINTING February 7 through May 13, 2012 This winter and spring The Frick Collection presents an exhibition of nine iconic Impressionist paintings by Pierre-Auguste Renoir, offering the first comprehensive study of the artist’s engagement with the full-length format. Its use was associated with the official Paris Salon from the mid-1870s to mid- 1880s, the decade that saw the emergence of a fully fledged Impressionist aesthetic. The project was inspired by Renoir’s La Promenade of 1875–76, the most significant Impressionist work in the Frick’s permanent collection. Intended for public display, the vertical grand-scale canvases in the exhibition are among the artist’s most daring and ambitious presentations of contemporary subjects and are today considered masterpieces of Impressionism. The show and accompanying catalogue draw on contemporary criticism, literature, and archival documents to explore the motivation behind Renoir’s full-length figure paintings as well as their reception by critics, peers, and the public. Recently-undertaken technical studies of the canvases will also shed new light on the artist’s working methods. Works on loan from international institutions are La Parisienne from Pierre-Auguste Renoir (1841–1919), Dance at Bougival, 1883, oil on canvas, 71 5/8 x 38 5/8 inches, Museum of Fine Arts, Boston, Picture Fund; photo: © 2012 Museum the National Museum Wales, Cardiff; The Umbrellas (Les Parapluies) from The of Fine Arts, Boston National Gallery, London (first time since 1886 on view in the United States); and Dance in the City and Dance in the Country from the Musée d’Orsay, Paris.
    [Show full text]
  • The Art of Happy with Pierre Auguste Renoir
    July 2019 The Studiowith ART HIST RY KIDS The Art of Happy with Pierre Auguste Renoir Observe | Discuss | Discover | Create | Connect The Art of Happy The Studiowith with Pierre-Auguste Renoir ART HIST RY KIDS OVERVIEW What we’ll be learning this month This month’s art is full of delightful moments! We’ll be whisked through a series of lovely environments courtesy of Renoir. From carefree boat parties to evenings filled with music and Impressionism in art dance – Renoir has the ability to instantly Impressionism in music transport us back to a place where carefree Color Theory happiness is the norm. Gesture Here’s an overview of the elements and Light and shadow principles of art, art Capturing feelings in art movement, and other concepts we’ll learn The Salon art exhibition about as well as some of the connections we’ll How to draw a face make to other subjects. July 2019 1 The Art of Happy The Studiowith with Pierre-Auguste Renoir ART HIST RY KIDS Your July Scheduling Planner You can use this lesson plan in a number of different ways! Read the ‘Scheduling Guide’ on the Foundations Page to get examples of some popular scheduling options, but feel free to mix things up and find your own routine. There is a lot of information in this guide, and you don’t need to do everything to feel like you’ve successfully Pierre-Auguste Renoir, Dance at Le Moulin de la Galette, 1876 completed the unit. Some months your kids may want to make art every week.
    [Show full text]
  • Historians of Nineteenth-Century Art Newsletter
    SPRING 2012 Volume 19, No. 1 Historians of Nineteenth-Century Art Newsletter LES GRANDES VERTICALES: RENOIR AT THE FRICK COLLECTION By Caterina Y. Pierre This spring, visitors to the Frick Collection have the opportu- nity to view a small but splendid exhibition entitled “Renoir, Impressionism, and Full-Length Painting,” organized by Colin B. Bailey, the Frick’s Deputy Director and the Peter Jay Sharp Chief Curator. The exhibition, which runs through May 13, 2012, is accompanied by a sumptuous catalogue authored by Bailey and co-published by the Frick and Yale University Press (ISBN 978-0-300-18108-1, US $60.00). The exhibition takes an in-depth look at nine of Renoir’s large- scale, mostly vertical, canvases created over the nine-year pe- riod between 1874 and 1883. The catalogue includes a tenth painting, Jeanne Samary, a full-length portrait that was un- available for the exhibition. The inspiration for the exhibition seems to have stemmed from a recent reevaluation of the Frick’s own vertical for- mat canvas by Renoir, La Promenade (1875-76), acquired by Henry Clay Frick for $35,000 in 1914 from Knoedler and Company. Recent infrared reflectography studies completed at the Metropolitan Museum of Art have revealed two addi- tional figures at the top left of La Promenade, suggesting that the principle large female figure in the center of the painting, usually referred to as the “mother” figure, might now be seen as an older sister to the two foreground children. Similar re- search, particularly of the technological kind, was offered for many of the paintings on view through the catalogue and a small media room outside of the exhibition.
    [Show full text]
  • View and Download La Belle Époque Art Timeline
    Timeline of the History of La Belle Époque: The Arts 1870 The Musikverein, home to the Vienna Philharmonic, is inaugurated in Vienna on January 6. The Metropolitan Museum of Art in New York is established on April 13, without a single work of art in its collection, without any staff, and without a gallery space. The museum would open to the public two years later, on February 20, 1872. Richard Wagner premieres his opera Die Walküre in Munich on June 26. Opening reception in the picture gallery at the Metropolitan Museum of Art, 681 Fifth Avenue; February 20, 1872. Wood engraving published in Frank Leslie’s Weekly, March 9, 1872. 1871 Giuseppe Verdi’s opera Aida premieres in Cairo, Egypt on December 24. Lewis Carroll publishes Through the Looking Glass, a sequel to his book Alice’s Adventures in Wonderland (1865). James McNeill Whistler paints Arrangement in Grey and Black No. 1, commonly known as “Whistler’s Mother”. John Tenniel – Tweedledee and Tweedledum, illustration in Chapter 4 of Lewis Carroll’s Through the Looking Glass and What Alice Found There, 1871. Source: Modern Library Classics 1872 Claude Monet paints Impression, Sunrise, credited with inspiring the name of the Impressionist movement. Jules Verne publishes Around the World in Eighty Days. Claude Monet – Impression, Sunrise (Impression, soleil levant), 1872. Oil on canvas. Musée Marmottan Monet, Paris. 1873 Société Anonyme Coopérative des Artistes Peintres, Sculpteurs, Graveurs (Co-operative and Anonymous Association of Painters, Sculptors, and Engravers) (subsequently the Impressionists) is organized by Monet, Camille Pissarro, Pierre-Auguste Renoir, and Alfred Sisley in response to frustration over the Paris Salon.
    [Show full text]
  • City of Darkness, City of Light: Emigré Filmmakers in Paris 1929-1939 2004
    Repositorium für die Medienwissenschaft Alastair Phillips City of Darkness, City of Light: Emigré Filmmakers in Paris 1929-1939 2004 https://doi.org/10.25969/mediarep/4113 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Phillips, Alastair: City of Darkness, City of Light: Emigré Filmmakers in Paris 1929-1939. Amsterdam: Amsterdam University Press 2004 (Film Culture in Transition). DOI: https://doi.org/10.25969/mediarep/4113. Erstmalig hier erschienen / Initial publication here: https://doi.org/10.5117/9789053566336 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell 3.0/ Lizenz zur Verfügung Attribution - Non Commercial 3.0/ License. For more information gestellt. Nähere Auskünfte zu dieser Lizenz finden Sie hier: see: https://creativecommons.org/licenses/by-nc/3.0/ https://creativecommons.org/licenses/by-nc/3.0/ City of Darkness, City of Light is the first ever book-length study of the cinematic represen- tation of Paris in the films of the émigré film- PHILLIPS CITY OF LIGHT ALASTAIR CITY OF DARKNESS, makers, who found the capital a first refuge from FILM FILMFILM Hitler. In coming to Paris – a privileged site in terms of production, exhibition and the cine- CULTURE CULTURE matic imaginary of French film culture – these IN TRANSITION IN TRANSITION experienced film professionals also encounter- ed a darker side: hostility towards Germans, anti-Semitism and boycotts from French indus- try personnel, afraid of losing their jobs to for- eigners. The book juxtaposes the cinematic por- trayal of Paris in the films of Robert Siodmak, Billy Wilder, Fritz Lang, Anatole Litvak and others with wider social and cultural debates about the city in cinema.
    [Show full text]
  • Piano Catalog
    WILLIS MUSIC PIANO CATALOG THE WILLIS MUSIC COMPANY WILLIS MUSIC COMPANY PIANO CATALOG Table of Contents Featured Publications .................................................................................................. 2 Composer Index ........................................................................................................ 10 Composer Publications ............................................................................................ 12 Piano Solo Sheet Music ............................................................................................ 59 Piano Duets and Ensembles .................................................................................... 79 Teacher Resource Materials ................................................................................... 85 Statuettes ..................................................................................................................... 87 Guitar and Instrumental Publications .................................................................... 87 All prices listed in US funds. Prices, contents and availability subject to change without notice. Disney characters and artwork © Disney Enterprises, Inc. Grade Level Key Grade levels are intended to provide teachers and students with a general indication of the level of difficulty. The grading system is as follows: Early Elementary Mid-Intermediate • Basic five-finger positions with minimal movement over the • Increased technical difficulty (i.e. consecutive octaves, thirds, keyboard. running sixteenths,
    [Show full text]
  • Ideologies of Femininity, Ballet, and Dancing Schools
    UNIVERSITY COLLEGE CHICHESTER an accredited college of the UNIVERSITY OF SOUTHAMPTON BALLERINAS IN THE CHURCH HALL: IDEOLOGIES OF FEMININITY, BALLET, AND DANCING SCHOOLS Virginia Christine Taylor MA (Cantab) MA (Staffordshire) Doctor of Philosophy DANCE IN THE SCHOOL OF VISUAL AND PERFORMING ARTS September 2003 This thesis has been completed as a requirement for a higher degree of the University of Southampton WS 2235610 X TN€ ?~3. 1111111111111111111111111111111111111111111 3~ 0) '''Y UNIVERSITY COLLEGE CHICHESTER an accredited college of the UNIVERSITY OF SOUTHAMPTON ABSTRACT The 'Church Hall' is a metonym for the Private Dancing School, ubiquitous in the UK, whose principal clients are young girls. The thesis interrogates the notion that taking part in ballet is a capitulation to the 'stereotypically feminine', by analysing the testimony of girls aged between 8 and II who attend local dancing schools. It presents their comparative assessment of the pedagogies in their primary schools and dancing classes. The thesis interrogates the stability of the idea of 'feminine' and its relationship with the political position of women, employing the theoretical, conceptual foundation for the obverse of a phallogocentric value system developed by psychiatrist Ian D.Suttie (1935), and the possibilities of loosening binary oppositions offered by the semiotic (Greimas') square. The thesis also proposes that the 'symbolic spread' (Frye, 1976: 59) of ballet, and hostility to it, are cognate with the concerns, dynamics, and reception of literary romance, and that both are perceived by the 'guardians oftaste and learning' (Northrop Frye's phrase, 1976:23) in terms which demonstrate Suttie's 'taboo on tenderness'. The thesis brings into representation the history and relationship to the state of British dance culture's 'Private Sector', in dialectical relationship to the largely negative terms in which it is cast by the academic dance community and the maintained education sector.
    [Show full text]
  • IMPRESSIONISM Claude Monet
    IMPRESSIONISM Impressionism The impressionist style of painting is characterized chiefly by concentration on the general impression produced by a scene or object and the use of unmixed primary colors and small strokes to simulate actual reflected light. Occurred primarily in France between 1867-1886 IMPRESSIONISM Characteristics include: Scenes of daily leisurely activities Loose brushstrokes Pastel colors (with blues and violets replacing blacks and browns) Lack of a structured composition (as compared to a triangular Renaissance layout) Natural lighting IMPRESSIONISM Jean-Francois Millet, The Gleaners, 1857. BARBIZON SCHOOL IMPRESSIONISM Know Your Artists… Edouard Manet Father of Impressionism – joined the group in 1873, but never stopped using black Claude Monet ‘Impression: Sunrise”, most committed Impressionist painter, repeatedly painted objects over and over to observe how light affects color Pierre-Auguste Renoir Rosy-cheeked people in social settings Mary Cassatt America-born, known for women & children in natural domestic settings, eventually influenced by Ukiyo-e Japanese prints Berthe Morisot Sister-in-Law of Manet, painted posed women in interior and outdoor settings Edgar Degas Diagonal compositons, skilled at drawing, pastel, sculpture & painting, Teacher of Cassatt, Racehorses, Bathers & Ballerinas IMPRESSIONISM Edouard Manet, Luncheon on the Grass, 1862-63. In 1863, the jury rejected The Luncheon on the Grass by Édouard Manet primarily because it depicted a nude woman with two clothed men at a picnic. The unusually large number of rejected works that year, set off a firestorm among French artists. The Paris Salon rejected it for exhibition in 1863, but he exhibited it at the Salon des Refusés (Salon of the rejected) later in the year.
    [Show full text]
  • Price List of LIBERIA 01 02 2021 Code
    LIBERIA 01 02 2021 Code: LIB210117a-LIB210133b Newsletter No. 1396 / Issues date: 01.02.2021 Printed: 27.09.2021 / 01:44 Code Country / Name Type EUR/1 Qty TOTAL Stamperija: LIB210117a LIBERIA 2021 Perforated €5.80 - - Scott: 3500 Clark Gable (120th anniversary of Clark Gable (Clark FDC €8.30 - - Gable 1901–1960) [4v 1200$]) Imperforated €15.00 - - FDC imperf. €17.50 - - Stamperija: LIB210117b LIBERIA 2021 Perforated €5.80 - - Scott: 3506 Clark Gable (120th anniversary of Clark Gable (Clark FDC €8.30 - - Gable 1901–1960) Background info: Oscar for “It Imperforated €15.00 - - Happened One Night”, 1934 [s/s 1200$]) FDC imperf. €17.50 - - Stamperija: LIB210118a LIBERIA 2021 Perforated €5.80 - - Scott: 3510 Cuckoos (Cuckoos (Cacomantis pallidus; Carpococcyx FDC €8.30 - - renauldi; Guira guira; Cuculus satratus) [4v 1200$]) Imperforated €15.00 - - FDC imperf. €17.50 - - Stamperija: LIB210118b LIBERIA 2021 Perforated €5.80 - - Scott: 3520 Cuckoos (Cuckoos (Clamator jacobinus) Background FDC €8.30 - - info: Cuculus canorus [s/s 1200$]) Imperforated €15.00 - - FDC imperf. €17.50 - - Stamperija: LIB210119a LIBERIA 2021 Perforated €5.80 - - Scott: 3511 Warblers (Warblers (Setophaga ruticilla; Protonotaria FDC €8.30 - - citrea; Cardellina pusilla; Setophaga pensylvanica) [4v Imperforated €15.00 - - 1200$]) FDC imperf. €17.50 - - Stamperija: LIB210119b LIBERIA 2021 Perforated €5.80 - - Scott: 3521 Warblers (Warblers (Phylloscopus sibilatrix) FDC €8.30 - - Background info: Protonotaria citrea [s/s 1200$]) Imperforated €15.00 - - FDC imperf. €17.50 - - Stamperija: LIB210120a LIBERIA 2021 Perforated €5.80 - - Scott: 3502 Chinese speed trains (Chinese speed trains FDC €8.30 - - (CRH380A; China Star DJJ2; CRH3; CRH2B) [4v 1200$]) Imperforated €15.00 - - FDC imperf. €17.50 - - Stamperija: LIB210120b LIBERIA 2021 Perforated €5.80 - - Scott: 3508 Chinese speed trains (Chinese speed trains (CRH2A- FDC €8.30 - - 2260) [s/s 1200$]) Imperforated €15.00 - - FDC imperf.
    [Show full text]
  • 07 Dance in Impressionism.Pdf Kolkata, India
    An Online Open Access Journal ISSN 0975-2935 www.rupkatha.com Volume V, Number 2, 2013 Special Issue on Performance Studies Chief Editor Tirtha Prasad mukhopadhyay Editor Tarun Tapas Mukherjee Indexing and abstracting Rupkatha Journal is an international journal recognized by a number of organizations and institutions. It is archived permanently by www.archive-it.org and indexed by EBSCO, Elsevier, MLA International Directory, Ulrichs Web, DOAJ, Google Scholar and other organisations and included in many university libraries Additional services and information can be found at: About Us: www.rupkatha.com/about.php Editorial Board: www.rupkatha.com/editorialboard.php Archive: www.rupkatha.com/archive.php Submission Guidelines: www.rupkatha.com/submissionguidelines.php Call for Papers: www.rupkatha.com/callforpapers.php Email Alerts: www.rupkatha.com/freesubscription.php Contact Us: www.rupkatha.com/contactus.php © Rupkatha Journal on Interdisciplinary Studies in Humanities Performing “Fine Arts”: Dance as a Source of Inspiration in Impressionism Johannis Tsoumas Hellenic Open University, Athens Abstract The proposed article aims to highlight the importance of the most significant performing art which, according to the author’s opinion, is dance, in influencing one of the most magnificent movements in world art history: Impressionism. Through an diachronic and deep cut in time, namely, the last decades of the nineteenth century France, a period commonly known as fin de siècle, this article attempts to illuminate the unseen sides of this magical "physical ceremony" which was meant to affect dramatically not only art, but also the social status of the country. The process of human movements, especially female ones, through the interaction of body and music was ultimately the cornerstone of the configuration of not only the aesthetics, but the overall ideology of some of the most prominent representatives of Impressionism, but also Post-Impressionism, as in many cases it determined their own lives.
    [Show full text]
  • Renoir, Impressionism, and Full-Length Painting
    MEDIA ALERT Renoir, Impressionism, and Full-Length Painting February 7, 2012, through May 13, 2012 In early 2012, The Frick Collection will present an exhibition of nine iconic Impressionist paintings by Pierre-Auguste Renoir, offering the first comprehensive study of the artist’s engagement with the full-length format, which was associated with the official Paris Salon in the decade that saw the emergence of a fully fledged Impressionist aesthetic. The project was inspired by La Promenade of 1875–76, the most significant Impressionist work in the Frick’s permanent collection. It explores Renoir’s portraits and subject pictures of this type from the mid-1870s to mid-1880s. Intended for public display, these vertical grand-scale canvases are among the artist’s most daring and ambitious presentations of contemporary subjects and are today considered masterpieces of Impressionism. On view only at the Frick, Renoir, Impressionism, and Full-Length Painting is a landmark Pierre-Auguste Renoir (1841–1919), La Promenade, exhibition, bringing together, with the Frick 1875–76, oil on canvas, 67 x 42 5/8 inches, The Frick Collection, New York; photo: Michael Bodycomb painting, several beloved masterpieces from around the world. Works on loan from international institutions are Parisienne (1874) from the National Museum Wales, Cardiff; The Umbrellas (Les Parapluies) (c. 1881–85) from The National Gallery, London (first time since 1886 on view in the United States); and Dance in the City and Dance in the Country (1883) from the Musée d’Orsay, Paris. Works on loan from American institutions are The Dancer (1874) from the National Gallery of Art, Washington, D.C.; Madame Henriot “en travesti”(The Page) (1875–76) from the Columbus Museum of Art; Acrobats at the Cirque Fernando (Francisca and Angelina Wartenberg) (1879) from the Art Institute of Chicago; and Dance at Bougival (1883) from the Museum of Fine Arts, Boston.
    [Show full text]