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Year of Le Nôtre
ch VER ât Sail ecouverture conférence de presse version déf.indd 1 aules 18/01/2012 13:01:48 3 CONTENTS Press conference - 26 january 2012 Foreword 4 Versailles on the move 7 The exhibitions in versailles 8 Versailles to arras 12 Events 13 Shows 15 Versailles rediscovered 19 Refurnishing versailles 21 What the rooms were used for 26 Versailles and its research centre 28 Versailles for all 31 2011, Better knowledge of the visitors to versailles 32 A better welcome, more information 34 Winning the loyalty of visitors 40 Versailles under construction 42 The development plan 43 Safeguarding and developing our heritage 48 More on versailles 60 Budget 61 Developing and enhancing the brand 63 Sponsors of versailles 64 Versailles in figures 65 Appendices 67 Background of the palace of versailles 68 Versailles in brief 70 Sponsors of the palace of versailles 72 List of the acquisitions 74 Advice for visitors 78 Contacts 80 4 Foreword This is the first time since I was appointed the effects of the work programme of the first phase President of the Public Establishment of the Palace, of the “Grand Versailles” development plan will be Museum and National Estate of Versailles that I considerable. But the creation of this gallery which have had the pleasure of meeting the press. will present the transformations of the estate since Flanked by the team that marks the continuity Louis XIII built his hunting lodge here marks our and the solidity of this institution, I will review the determination to provide better reception facilities remarkable results of 2011 and, above all, the major for our constantly growing numbers of visitors by projects of the year ahead of us. -
Gods and Heroes: the Influence of the Classical World on Art in the 17Th & 18Th Centuries
12/09/2017 Cycladic Figure c 2500 BC Minoan Bull Leaper c 1500 BC Gods and Heroes: the Influence of the Classical World on Art in the 17th & 18th centuries Sophia Schliemann wearing “Helen’s Jewellery” Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk Heracles from the Parthenon Paris and Helen krater c 700 BC Roman copy of Hellenistic bust of Homer Small bronze statue of Alexander the Great c 100 BC Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk Judgement of Paris from Etruria c 550 BC Tiberius sword hilt showing Augustus as Jupiter Arrival of Aeneas in Italy Blacas Cameo showing Augustus with aegis breastplate Augustus of Prima Porta c 25 AD Dr William Sterling (discovered 1863) Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk 1 12/09/2017 Romulus and Remus on the Franks Casket c 700 AD Siege of Jerusalem from the Franks Casket Mantegna Triumph of Caesar Mantua c 1490 Très Riches Heures du Duc de Berry c 1410 – tapestry of Trojan War Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk The Colosseum Rome The Parthenon Athens The Pantheon Rome Artist’s Impression of the Mausoleum of Halicarnassus showing surviving sculpture Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk Hera and Zeus on the Parthenon Frieze in the British Museum Hermes, Dionysus, Demeter and Ares on the Parthenon Frieze Dr William Sterling Dr William Sterling www.williamsterling.co.uk -
Myth Homeric Hymn Assignment
Left: Artemision Bronze (Zeus or Poseidon). c. 460 BCE. National Archaeological Museum of Athens. Above: Hades and Persephone. Attic red figure kylix, attributed to the Codrus Painter. ca. 430 BCE. British Museum Project Assignment: Homeric Hymn For this project, you will write a “mini” Homeric Hymn (mini as opposed to the longer Homeric Hymns we have read) to the god of your choice. Your hymn should not exceed one page in length and should include the major formal elements of Hymns that we have discussed in class: 1) Address to/identification of the deity 2) Praise of the deity • Birth/parentage • Sedes (“abodes”): birthplace, major cult sites, favorite cities/areas • Timai: powers, responsibilities, spheres of influence • Attributes • Epithets 3) [Mythical narrative—optional] 4) Farewell/request You may want to look over the slides from 8.24.18 (specifically, the sections on attributes and epithets) and 9.21.18 (on elements of hymns) for more details. See also the examples of hymns on the following page. Lists of epithets and cult sites for the major deities are available on theoi.com but you should feel free to modify these and even invent your own! Projects will be graded on the following criteria: 1) Inclusion of the required formal elements (50%). You must include items 1, 2, and 4 from the list above and item 2 must include at least 3 of the possible elements bullet-pointed below. 2) Originality/creativity (50%). You will not receive full credit for simply re-writing a pre-existing hymn in more “contemporary” language! Below are some examples of “real” Homeric Hymns. -
Ancient Egyptian Chronology.Pdf
Ancient Egyptian Chronology HANDBOOK OF ORIENTAL STUDIES SECTION ONE THE NEAR AND MIDDLE EAST Ancient Near East Editor-in-Chief W. H. van Soldt Editors G. Beckman • C. Leitz • B. A. Levine P. Michalowski • P. Miglus Middle East R. S. O’Fahey • C. H. M. Versteegh VOLUME EIGHTY-THREE Ancient Egyptian Chronology Edited by Erik Hornung, Rolf Krauss, and David A. Warburton BRILL LEIDEN • BOSTON 2006 This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data Ancient Egyptian chronology / edited by Erik Hornung, Rolf Krauss, and David A. Warburton; with the assistance of Marianne Eaton-Krauss. p. cm. — (Handbook of Oriental studies. Section 1, The Near and Middle East ; v. 83) Includes bibliographical references and index. ISBN-13: 978-90-04-11385-5 ISBN-10: 90-04-11385-1 1. Egypt—History—To 332 B.C.—Chronology. 2. Chronology, Egyptian. 3. Egypt—Antiquities. I. Hornung, Erik. II. Krauss, Rolf. III. Warburton, David. IV. Eaton-Krauss, Marianne. DT83.A6564 2006 932.002'02—dc22 2006049915 ISSN 0169-9423 ISBN-10 90 04 11385 1 ISBN-13 978 90 04 11385 5 © Copyright 2006 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Hotei Publishing, IDC Publishers, Martinus Nijhoff Publishers, and VSP. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Brill provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. -
Pharaohs in Egypt Fathi Habashi
Laval University From the SelectedWorks of Fathi Habashi July, 2019 Pharaohs in Egypt Fathi Habashi Available at: https://works.bepress.com/fathi_habashi/416/ Pharaohs of Egypt Introduction Pharaohs were the mighty political and religious leaders who reigned over ancient Egypt for more than 3,000 years. Also known as the god-kings of ancient Egypt, made the laws, and owned all the land. Warfare was an important part of their rule. In accordance to their status as gods on earth, the Pharaohs built monuments and temples in honor of themselves and the gods of the land. Egypt was conquered by the Kingdom of Kush in 656 BC, whose rulers adopted the pharaonic titles. Following the Kushite conquest, Egypt would first see another period of independent native rule before being conquered by the Persian Empire, whose rulers also adopted the title of Pharaoh. Persian rule over Egypt came to an end through the conquests of Alexander the Great in 332 BC, after which it was ruled by the Hellenic Pharaohs of the Ptolemaic Dynasty. They also built temples such as the one at Edfu and Dendara. Their rule, and the independence of Egypt, came to an end when Egypt became a province of Rome in 30 BC. The Pharaohs who ruled Egypt are large in number - - here is a selection. Narmer King Narmer is believed to be the same person as Menes around 3100 BC. He unified Upper and Lower Egypt and combined the crown of Lower Egypt with that of Upper Egypt. Narmer or Mena with the crown of Lower Egypt The crown of Lower Egypt Narmer combined crown of Upper and Lower Egypt Djeser Djeser of the third dynasty around 2670 BC commissioned the first Step Pyramid in Saqqara created by chief architect and scribe Imhotep. -
Art Hand-Book, Sculpture, Architecture, Painting
:. •'t-o^ * ^^' v^^ ^ ^^^^\ ^^.m <. .*^ .. X 0° 0^ \D^ *'ir.s^ A < V ^^; .HO^ 4 o *^,'^:^'*.^*'^ "<v*-^-%o-' 'V^^''\/^ V*^^'%^ V\^ o '^^ o'/vT^^^ll^"" vy:. -rb^ ^oVv^'' '^J^M^^r^^ ^^jl.^0'rSi' ^oK °<<. ^""^^ • Sculpture » Architecture * Painting Official H^NDBOOKo/ARCHITECTVRE and SCULPTURE and ART CATALOGUE TO THE Pan-American Exposition With Maps and Illustrations by -permission of C. D. Arnold, Official Photographer BUFFALO, NEW YORK, U. S. A., MAT FIRST TO NOVEMBER FIRST, M. CM. & I. Published by DAVID GRAY, Buffalo, N. Y. Entered according to Act of Congress in the year 1901, by David Gray, in the Office of the Librarian of Congress, at Washington, D. C. • • • • • e • • •• V. • » » « » . f>t • •_••» »'t»» » » » * • • . CONGRESS, Two Copiea Received JUN. 17 1901 Copyright entry EXPOSITION, 1901. CLASS ^XXc N». PAN-AMERICAN Buffalo, N. Y. , U. S. A COPY 3, Office of Director-General. March 30, 1901. To whom it may concern: — Mr. David Gray of this City has "been granted hy the Exposition a concession to publish the Art Catalogue of the Exposition^ which will he a hook in reality a memorial of the ideals of the Exposition in Archi- tecture, Sculpture and Pine Arts. WILLIAM I. BUCHANAN, Director-General The articles, pictures and catalogue descriptions in the Pan-American Art Hand Book are copyrighted, and publication thereof without permission is forbidden. \ r..k^ ^'««- -^ -"^^ ^^ This Art Hand Book was made by the publishing and printing house of ISAAC H,. BLANCHARD CO,, in the city of New Torky at 268 and 270 Canal Street, * 200 feet, iij9 inches east of Broadway. -
A Statue of Aphrodite in the Royal Ontario Museum
The Art Bulletin ISSN: 0004-3079 (Print) 1559-6478 (Online) Journal homepage: http://www.tandfonline.com/loi/rcab20 A Statue of Aphrodite in the Royal Ontario Museum Cornelia G. Harcum To cite this article: Cornelia G. Harcum (1921) A Statue of Aphrodite in the Royal Ontario Museum, The Art Bulletin, 4:2, 45-58, DOI: 10.1080/00043079.1921.11409714 To link to this article: http://dx.doi.org/10.1080/00043079.1921.11409714 Published online: 22 Dec 2015. Submit your article to this journal View related articles Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rcab20 Download by: [Nanyang Technological University] Date: 09 May 2016, At: 01:43 Downloaded by [Nanyang Technological University] at 01:43 09 May 2016 '\'O HO S T O , \{ O YAI .OS T AH( O :'II u. ·n:u ~ ( 0'" ,\ 11 ( '11,1-:0 1.0 <:\': r .: s us TIn: :'\IOTIIEII A Statue of Aphrodite in the Royal On tario Museum By CORNELIA G. HARCUM IN 1909 the Royal Ontario Museum of Archreology acquired a Parian marble statue, which came originally from the mainland of Greece, and with its basis is just six feet high. It was presented to the museum by Sigmund Samuel, Esq. The woman, or goddess (PI. IX), stands majestically with weight resting on her right foot, her right hip projecting, her left knee bent and slightly advanced. She looks in the direction of the free foot. The position gives the impression of perfect repose yet of the possibility of perfect freedom and ease of motion. -
Gallery Spanish Art, 1600-1700
Gallery Spanish Art, 1600-1700 Spain was a part of the Hapsburg realm, which also included the Dutch provinces and the Holy Roman Empire in central Europe. In the late 16th century, King Philip II began an effort to lead Spain to the forefront of European culture. He imported the talent of the Venetian painter Titian, and during the reigns of Philip III and Philip IV, artists such as Velázquez and Murillo gained renown throughout the continent, trumpeting the refinement and position of the Spanish court. Philip IV rivaled his grandfather, Philip II, commissioning magnificent portraits and decorative cycles from Italian, French, Flemish, as well as Spanish artists of rising stature. Spanish painting was heavily influenced by northern European and Italian art, and native artists responded to the predilection for naturalistic detail and form while embracing the drama and emotion of the Italian Baroque. Bold contrasts between light and shadow – a technique known as tenebroso – created dramatic settings for religious scenes. Artists used strong diagonal compositions and pulled figures to the picture plane to create the illusion that the painted canvas extended into the viewer’s space, facilitating the mystical experience of personal interaction with the divine. The Docent Collections Handbook 2007 Edition Bartolomé Estabán Murillo Spanish, 1618-1682, active in Seville Saint Joseph with the Standing Infant Christ Child, c. 1670-75 Oil on canvas Bequest of John Ringling, 1936, SN 349 Though usually depicted with the Virgin Mary, in the 17th century the Christ child was often shown with his father, St. Joseph, who had become the focus of his own cult. -
To Theo Van Gogh. Arles, Tuesday, 18 September 1888
To Theo van Gogh. Arles, Tuesday, 18 September 1888. Tuesday, 18 September 1888 Metadata Source status: Original manuscript Location: Amsterdam, Van Gogh Museum, inv. nos. b583 a-b V/1962 Date: The letter was written the same day as the previous one to Theo (l. 1*), so we have dated it Tuesday, 18 September 1888. See further the notes to letter 682, Date. Additional: Original [1r:1] Mon cher Theo, ce matin de bonne heure je tai dej crit1 puis je suis all continuer un tableau de jardin ensoleill.2 Puis je lai rentr et suis ressorti avec une toile blanche et celle l aussi est faite.3 Et maintenant jai encore envie de tecrire encore une fois. Parceque jamais jai eu une telle chance, ici la nature est extraordinairement belle. Tout et partout. La coupole du ciel est dun bleu admirable, le soleil a un rayonnement de souffre ple et cest doux et charmant comme la combinaison des bleus celestes et des jaunes dans les Van der Meer de Delft. Je ne peux pas peindre aussi beau que cela mais cela mabsorbe tant, que je me laisse aller sans penser aucune rgle. 1 This was letter 682. 2 Path in the public garden (F 470 / JH 1582); see letter 682. 3 Path in the public garden (F 471 / JH 1613). Van Gogh describes this painting later in the letter. 1 2 To Theo van Gogh. Arles, Tuesday, 18 September 1888. Cela me fait 3 tableaux des jardins en face de ma maison.4 Puis les deux cafs. 5 Puis les tournesols. -
Senseable City Lab :.:: Massachusetts Institute of Technology
Senseable City Lab :.:: Massachusetts Institute of Technology This paper might be a pre-copy-editing or a post-print author-produced .pdf of an article accepted for publication. For the definitive publisher-authenticated version, please refer directly to publishing house’s archive system SENSEABLE CITY LAB SMART CITIES Noninvasive Bluetooth Monitoring of Visitors’ Length of Stay at the Louvre The ubiquity of digital technologies is revolutionizing how researchers collect data about human behaviors. Here, the authors use anonymized longitudinal datasets collected from noninvasive Bluetooth sensors to analyze visitor behavior at the Louvre Museum. ecent emerging technologies— behaviors have trouble distinguishing be- along with their subsequent rapid tween individuals when the density of visitors diffusion into our daily lives— is high,4 and such cameras can’t always track have caused a structural change visitors as they move beyond the area of a par- in human behavior analysis. In ticular exhibit.1 Rparticular, the ubiquitous presence of wired To address these issues, we employed a Blue- and wireless sensors in contemporary urban tooth detection technique,5,6 which has many environments is producing advantages over other technologies. First of Yuji Yoshimura a detailed empirical record all, depending on the specifcation, Bluetooth Senseable City Laboratory, MIT of individual activities. Fur- can have a more fnely grained detection scale thermore, in addition to the than passive mobile phone tracking.7 Second, Anne Krebs ubiquity of sensors, computa- Bluetooth detection successfully works inside Louvre Museum tionally advanced computer buildings, where GPS connectivity is often lim- 8 Carlo Ratti systems make it possible to ited. -
Guide for Educators
FRENCH ART at the SAINT LOUIS ART MUSEUM Guide for Educators © 2019 University of Missouri – St. Louis French Art at the Saint Louis Art Museum Guide for Educators Table of Contents Introduction to the Guide . ii Acknowledgments . iii The Middle Ages . 1 The Renaissance . 12 The Seventeenth Century . 25 The Eighteenth Century . 40 The Nineteenth Century . 80 The Twentieth Century . 156 The Twenty-First Century . 194 Suggested Activities . 197 © 2019 University of Missouri – St. Louis i French Art at the Saint Louis Art Museum Guide for Educators Introduction to the Guide for Educators French Art at the Saint Louis Art Museum is a learning resource developed by the University of Missouri-St. Louis, with assistance from the Saint Louis Art Museum and the Consulate of France in Chicago. This Guide is intended to assist the educator in a course of art history or French as a second language. It contains useful information for introducing students to French art, in a cultural and historical context. Each page of the Guide includes texts which are found on the website of the Learning Resource, https://frenchart.umsl.edu. In that site, you can hear the French texts by clicking on the audiophone icon: The texts give a short overview of each work, followed by a comment on The Historical Moment, The Artistic Genre, and The Artist (if he or she is known). In addition, the Guide offers several questions for the educator to ask students, in a verbal discussion or written composition. Below the small images in the Guide, you will find supplementary information that is not found in the website: the material of composition (for example, limestone or oil on canvas), the dimensions of the work, and the accession number (for example, 3:1935) in the Saint Louis Art Museum. -
American Paintings, 1900–1945
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 American Paintings, 1900–1945 Published September 29, 2016 Generated September 29, 2016 To cite: Nancy Anderson, Charles Brock, Sarah Cash, Harry Cooper, Ruth Fine, Adam Greenhalgh, Sarah Greenough, Franklin Kelly, Dorothy Moss, Robert Torchia, Jennifer Wingate, American Paintings, 1900–1945, NGA Online Editions, http://purl.org/nga/collection/catalogue/american-paintings-1900-1945/2016-09-29 (accessed September 29, 2016). American Paintings, 1900–1945 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 CONTENTS 01 American Modernism and the National Gallery of Art 40 Notes to the Reader 46 Credits and Acknowledgments 50 Bellows, George 53 Blue Morning 62 Both Members of This Club 76 Club Night 95 Forty-two Kids 114 Little Girl in White (Queenie Burnett) 121 The Lone Tenement 130 New York 141 Bluemner, Oscar F. 144 Imagination 152 Bruce, Patrick Henry 154 Peinture/Nature Morte 164 Davis, Stuart 167 Multiple Views 176 Study for "Swing Landscape" 186 Douglas, Aaron 190 Into Bondage 203 The Judgment Day 221 Dove, Arthur 224 Moon 235 Space Divided by Line Motive Contents © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 244 Hartley, Marsden 248 The Aero 259 Berlin Abstraction 270 Maine Woods 278 Mount Katahdin, Maine 287 Henri, Robert 290 Snow in New York 299 Hopper, Edward 303 Cape Cod Evening 319 Ground Swell 336 Kent, Rockwell 340 Citadel 349 Kuniyoshi, Yasuo 352 Cows in Pasture 363 Marin, John 367 Grey Sea 374 The Written Sea 383 O'Keeffe, Georgia 386 Jack-in-Pulpit - No.