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A Stylistic and Contextual Analysis of Juan Gris' Cityscape Imagery, 1911-1912 Geoffrey David Schwartz University of Wisconsin-Milwaukee
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations December 2014 The ubiC st's View of Montmartre: A Stylistic and Contextual Analysis of Juan Gris' Cityscape Imagery, 1911-1912 Geoffrey David Schwartz University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Schwartz, Geoffrey David, "The ubC ist's View of Montmartre: A Stylistic and Contextual Analysis of Juan Gris' Cityscape Imagery, 1911-1912" (2014). Theses and Dissertations. 584. https://dc.uwm.edu/etd/584 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. THE CUBIST’S VIEW OF MONTMARTRE: A STYISTIC AND CONTEXTUAL ANALYSIS OF JUAN GRIS’ CITYSCAPE IMAGERY, 1911-1912. by Geoffrey David Schwartz A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Art History at The University of Wisconsin-Milwaukee December 2014 ABSTRACT THE CUBIST’S VIEW OF MONTMARTE: A STYLISTIC AND CONTEXTUAL ANALYSIS OF JUAN GRIS’ CITYSCAPE IMAGERY, 1911-1912 by Geoffrey David Schwartz The University of Wisconsin-Milwaukee, 2014 Under the Supervision of Professor Kenneth Bendiner This thesis examines the stylistic and contextual significance of five Cubist cityscape pictures by Juan Gris from 1911 to 1912. These drawn and painted cityscapes depict specific views near Gris’ Bateau-Lavoir residence in Place Ravignan. Place Ravignan was a small square located off of rue Ravignan that became a central gathering space for local artists and laborers living in neighboring tenements. -
France in Ruins: Paintings by Hubert Robert C.1786-1788
FRANCE IN RUINS: PAINTINGS BY HUBERT ROBERT C.1786 – 1788 by LAUREN LOUISE DUDLEY A thesis submitted to the University of Birmingham for the degree of MASTER OF PHILOSOPHY Department of Art History, Film and Visual Culture School of Languages, Culture, Art History and Music The University of Birmingham November 2013 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis considers French artist Hubert Robert’s (1733-1808) paintings from 1786-1788, including his contributions to the 1787 Salon exhibition. This study examines the artist’s major commission for King Louis XVI, the Monuments de France series (1787), which depicts antique ruins in the south of France. The series is compared to Robert’s images of urban demolition projects in eighteenth-century Paris, which are discussed in relation to contemporary discourses relating to architecture, politics, history, hygiene, morality and social changes. The focus paintings of contemporary Paris include L’intérieur de l’Eglise des SS. Innocents, dans le commencement de sa destruction (c.1786-87), La démolition des maisons du Pont Notre-Dame (c.1786) and La démolition des maisons du Pont-au-Change (c.1788). -
France in Ruins: Paintings by Hubert Robert C.1786-1788
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Birmingham Research Archive, E-theses Repository FRANCE IN RUINS: PAINTINGS BY HUBERT ROBERT C.1786 – 1788 by LAUREN LOUISE DUDLEY A thesis submitted to the University of Birmingham for the degree of MASTER OF PHILOSOPHY Department of Art History, Film and Visual Culture School of Languages, Culture, Art History and Music The University of Birmingham November 2013 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis considers French artist Hubert Robert’s (1733-1808) paintings from 1786-1788, including his contributions to the 1787 Salon exhibition. This study examines the artist’s major commission for King Louis XVI, the Monuments de France series (1787), which depicts antique ruins in the south of France. The series is compared to Robert’s images of urban demolition projects in eighteenth-century Paris, which are discussed in relation to contemporary discourses relating to architecture, politics, history, hygiene, morality and social changes. The focus paintings of contemporary Paris include L’intérieur de l’Eglise des SS. -
Gazette Drouot INTERNATIONAL
Gazette Drouot INTERNATIONAL NUMBER 21 UPDATE CLICK HERE TO FIND THE LATEST NEWS W Gaspar van Wittel, Veduta di Roma (detail), gouache on vellum, 1683. Estimate $30,000 to $50,000. Old Master Drawings JANUARY 29 Specialist: Todd Weyman • [email protected] Visit our website for catalogues, previews and auction times 104 East 25th St, New York, NY 10010 • tel 212 254 4710 SWANNGALLERIES.COM BID AT WWW.DROUOTLIVE.COM FREE SERVICE AND WITHOUT EXTRA FEES BID AT DROUOT ANYWHERE ! JUDICIAL AUCTIONEERS MONDAY 28TH - TUESDAY 29TH - WEDNESDAY 30TH JANUARY 2013 DROUOT - ROOMS 5 & 6 - 1.30 P.M. PUBLIC AUCTION OF AROUND 1000 WORKS BY ORDER OF THE PARIS COURT OF COMMERCE JUDICIAL LIQUIDATION OF MARBLE ART INVEST ARTISTS : ACROYHEEZ • AGRINIER • AGU • AMBERT • AMM • WATLING • ANGHELESCU • AVIAS • BAHANAG • BALDOCCHI • BARTOLOMEO • BISSINGER • BOLDY • BOSCARDIN • BURHAN • BURLACU • CANDON • CANTO • CEZ • ART • CHEVREAU • CIOBANU • CLANETTI • SANTAROSSA • CLERC • CLOUIN • COEUR • CORNEE • COSTA • COUGNY • CRISTINA • CROQ • DE • GROOF • DORSELAER • DUFOUR • DULHAN • DUVAL • FASO • FEUGEAS • FLAMME • FLORIN • FREDERICK • GAGNE • GAISS • GAZIO • GOR • HEAVEZ • IKI • JACQUEMIN • KLOSKA • LE • FOU • LEJEUNE • LEMOINE • LENARD • LEPAGE • LESAGES • LEYSIN • LOUIS • LUDOVIC • BYL • LUPSE • LUPU • MARAXIA • MERGOT • MESSOUBEUR • MISS • MIRZA • MONTIER • NECTARIA • NUPERT • PAGES • PANS • PATRONI • PERRON • PERROTTE • PISSACO • POPA • CORNELIA • VASILICA • PRIELS • RADU • RALEANU • RIVIERE • ROS • SAIDI • SAINT • MARC • SENECAL • SERVANTIE • SIMON • SISSE • DE • VAUBLANC • SOLALELA • SORANA • TARUS • SOXNA • STAN • STEPHANE • STEPK • STEVENS • STF • TANNET • TARKOWSKA • TESSIER • TUFIS • UNBUREANU • VAN • MULLEN • VERNER • WOZNIAK • ZERBIB • ZOITA Fees: 14.352 % - For all information: + 33 (0)1 48 24 43 43 Bid live with DrouotLive PUBLIC EXHIBITIONS CATALOGUE ONLINE Saturday 26th January 2013 www.cpjudiciaire.com from 11 a.m. -
The Wellington Arch and the Western Entrance to London’, the Georgian Group Journal, Vol
Steven Brindle, ‘The Wellington Arch and the western entrance to London’, The Georgian Group Journal, Vol. XI, 2001, pp. 47–92 TEXT © THE AUTHORS 2001 THE WELLINGTON ARCH AND THE WESTERN ENTRANCE TO LONDON STEVEN BRINDLE ondon possesses two free-standing triumphal defensive in purpose, but by the eighteenth century Larches, the Wellington Arch and the Marble its primary significance was fiscal. Towns and cities Arch. Their histories are closely connected: they are were under different jurisdictions and tax regimes, of similar date ( c. –) and were both planned in goods taken into them were subject to customs, and relation to Buckingham Palace. Neither was town gates represented a crucial element in the tax- completed to its original design, both have been gathering systems. Ledoux’s spectacular barrières moved and altered, and both stand in isolation, giving around Paris, erected by the corporation of Farmers little hint of their original settings. As a result, today General c. –, were the most spectacular instance both arches seem more like park ornaments than the of this. grand urban entrances they were intended to be. The City gates were also of obvious ceremonial and Marble Arch was the subject of a recent article in this symbolic importance, an architectural tradition going journal by Andrew Saint; the present article aims to back to ancient times which remained vigorous consider the history of the Wellington Arch, and also throughout the th century. In addition to Ledoux’s the complex prehistory of schemes for a grand work in Paris one could cite the Puerta de Alcalá in western entrance to London. -
The Amazing CONNECTINGTOINDUSTRY Vanishing Act
16 Nikola Tesla 20 Paris 26 A Great Sea Change 34 Darling Dimples Father of the Modern Age City of Light is a The construction of the The beginning of the golf ball walker’s delight Suez Canal The Amazing CONNECTINGTOINDUSTRY Vanishing Act Controlled implosion reduces a building to less than the sum of its parts FALL 2009/WINTER 2010 asia/pacific – spring 2009/summer 2010 “ L OTSOFSUPPLIERSSAYTHEY’RERELIABLE. B UTONECOMPANY PROVES ITTOMEEVERYDAY:DIXON.” dixonvalve.com features FALL 2009/WINTER 2010 ASIA/PACIFIC – SPRING 2009/SUMMER 2010 departments 5 BUILDING CHARACTER A tribute to Lincoln 6 PROFILE OF COURAGE Former prisoner of war Capt. Gerald Coffee 15 FACTS & FIGURES Building implosion records 26 MILESTONES IN HISTORY The construction of the Suez Canal 30 KEEPING IT SAFE It’s not my problem 32 HEALTH & FITNESS Running for your life 8THE AMAZING VANISHING ACT 34 INVENTIONS Controlled implosion manipulates the laws of physics to reduce How the dimpled golf ball a building to less than the sum of its parts got its start 16 FATHER OF 20 PARIS THE MODERN AGE City of Light is a walker’s delight filled with art, Prolific inventor magnificent architecture and delectable treats Nikola Tesla’s influence on the world is incalculable, yet often overlooked FALL 2009/WINTER 2010 In my opinion ... ASIA/PACIFIC – SPRING 2009/SUMMER 2010 Publisher Dixon Valve & Coupling Company Editor IF HISTORY REPEATS as it has a tendency to do, the Yvonne Lyons difficult economic times we find ourselves in will pass. The question is, however, will our companies Editorial Board and the business environment that they operate in Richard L. -
The Sites of Paris - Yesterday and Today
The Sites of Paris - Yesterday and Today A history of select monuments in Paris Text by Amy S. Rehs Contemporary photographs supplied by Lynsi Spaulding All paintings illustrated in this article are by EDOUARD-LÉON CORTÈS and courtesy of Rehs Galleries, Inc., New York City. Copyright: Rehs Galleries, Inc., New York City, 2008 The Sites of Paris - Yesterday and Today Featuring Paintings by EDOUARD LÉON CORTÈS (1882-1969) Paris has been a cultural center for hundreds of years, as well as a world capital for fashion, food, art, and literature. The many monuments built throughout the centuries have documented its illustrious history. Countless artists have celebrated Paris by illustrating its history through their paintings; one such artist was EDOUARD-LÉON CORTÈS (1882-1969). It was at the turn of the century, c.1900, that he began painting scenes that he would become most famous for – Paris’ streets and monuments. One of the more prolific artists of his time, Cortès found his niche and stayed with it. His views of Paris are among the most telling and beautiful of this genre; capturing the city during all its seasons for almost 70 years. The attention and great interest surrounding Cortès’ paintings and the city of Paris, has inspired us to create an ‘historical’ virtual tour and exhibition of the streets and monuments once painted by him. Included are paintings by Cortès that depict the Paris of old and photographs taken by Lynsi Spaulding* during the summer of 2005. We trust you find this exhibition not only enjoyable, but educational. *Lynsi Spaulding completed her MA degree in art history in 2006. -
Crystal Fountains in Paris Readied for the Champs-Élysées - the New York Times 15/04/2019 18:35
Crystal Fountains in Paris Readied for the Champs-Élysées - The New York Times 15/04/2019 18:35 Crystal Fountains in Paris Readied for the Champs-Élysées The installations, scheduled this month, are set for the famed avenue that has been the site of weekly “Yellow Vest” economic-inequality protests. By Daphné Anglès March 3, 2019 FASHION Erwan, left, and Ronan Bouroullec, with a model of the fountains they have designed for the traffic circle on the Champs-Élysées in Paris. Julien Mignot for The New York Times PARIS — When the colorful, fantastical fountains by Jean Tinguely and Niki de Saint Phalle were unveiled in 1983 beside the Georges Pompidou Center, many Parisians complained, saying the structures were gaudy, provocative and clashed with the adjacent gothic St. Merri Church. Now, more than 35 years later, six new crystal-laden fountains are being readied for even more prominent placement, on the Champs-Élysées, the famed avenue that has seen months of sometimes violent “Yellow Vest” protests over economic divisions and simmering class inequities. Designed by Ronan and Erwan Bouroullec, brothers renowned for creating strikingly imaginative high-end objects, the fountains are scheduled to spring to life late this month around the Rond-Point des Champs-Élysées, the busy traffic circle halfway between the Place de la Concorde and the Arc de Triomphe. The water is to gush downward from delicate Swarovski crystal branches atop tall, slender towers that rotate — so slowly as to be almost imperceptible. And at night, with the crystal lit from the inside, the branches and the water streams are expected to sparkle like diamonds. -
028 034 040 012 016 022 010 044 050 054 060 064 068 074 078
012 028 044 060 074 Chapitre 01 Parc André Citroën Place du Vigan et Place Sainte Cécile The Mall - Cribbs Causeway Place de la Résistance L’éveil des sens Paris, France Albi, France Bristol, Royaume-Uni Le Plessis-Robinson, France Chapter 01 André Citroën Park Place du Vigan and Place Sainte Cécile The Mall - Cribbs Causeway Place de la Résistance Awakening the senses Paris, France Albi, France Bristol, United-Kindom Le Plessis-Robinson, France 016 034 050 064 078 Canyoneaustrate Parc Diderot Rond-point de l’Europe Freeport Marta Pan Paris, France Courbevoie, France La Garenne-Colombes, France Lisbonne, Portugal Place des Fêtes, Paris / Rue de Siam, Brest, France Canyoneaustrate Diderot Park Europe Roundabout Freeport Marta Pan Paris, France Courbevoie, France La Garenne-Colombes, France Lisbon, Portugal Place des Fêtes, Paris / Rue de Siam, Brest, France 022 040 054 068 084 sommaire Place François Mitterrand Parc Théodore Monod Palais des Expositions Fira Barcelona Place de Verdun Place des Nations Le Creusot, France Le Mans, France Barcelone, Espagne Tarbes, France Genève, Suisse Place François Mitterrand Théodore Monod Park Fira Barcelona Exhibition Palace Place de Verdun Nations Square contents Le Creusot, France Le Mans, France Barcelona, Spain Tarbes, France Geneva, Switzerland 010 Introduction Introduction 01 088 102 118 134 152 168 Chapitre 02 Parc Gerland Place Rapp Rueil 2000 Centre Commercial de l’Algarve Chapitre 03 La complexité d’un simple élément Lyon, France Colmar, France Rueil-Malmaison, France Guia, Portugal L’évolution -
River Ganges
RIVER SEINE River of Life Source to Mouth The Seine, at 780 km (485 miles) long, is France's second longest river. The longest is the Loire. The Seine rises in the region of Burgundy and then flows through Troyes and Melun to Paris. Beyond the capital, the river meanders in large loops through Normandy and Rouen, entering the English Channel in an estuary between Le Havre and Honfleur. Its name has Celtic roots and means “sacred source” or “sacred river”. The Seine is dredged to allow ocean-going vessels to dock at Rouen, 120 km (75 miles) from the sea. Commercial riverboats can use the river from Bar- sur-Seine, 560 km (350 miles) from its mouth. At Paris, the river is only 24 metres (80 feet) above sea level and 445 km (277 miles) from its mouth. The river is slow flowing here and easily navigable by shallow draught vessels. The water of the Seine is an important resource. Power stations, both thermal and nuclear, pull cooling water from the river. Half the water used in the Paris region, both for industry and for consumption, and three quarters of the water used in the area between Rouen and Le Havre, is taken from the river. Intensive farming has developed over 60% of the Seine basin, which produces about 80% of French sugar and 75% of the country's rapeseed and vegetable oil crops. A direct result of this is that a high level of agricultural wastewater leaches into the river. In Paris, worse things end up in the Seine. -
Part II : Chapter 5
Cover Page The handle http://hdl.handle.net/1887/82074 holds various files of this Leiden University dissertation. Author: Knegtel, F.J.L.C. Title: Constructing the Sublime: The Discourse on Architecture and Louis XIV's Sublimity in Seventeenth-Century Paris Issue Date: 2019-12-17 CHAPTER 5 149 The sublime as a critical notion: reflections on architecture, rhetoric and the king’s virtue (1670-1687) The case of the Tapisseries du Roy demonstrated that even though ideas such as the ineffable and superhuman might seem as powerful rhetorical instruments at first, they are ultimately unstable, and virtually unrepresentable and uncontrollable. Trying to instrumentalise a quality that was deemed elevated beyond all human control, meant trying to wield something that cannot be grasped. And Félibien’s attempt to dismiss the less powerful means of language in this venture, ultimately confronted him with the problem that he still depended on it. This mysterious and unquantifiable character of sublimity became a topic of studies and regular debates during this period. The domain of poetic and artistic creation has always been subjected to the reflections of the world of criticism; and indeed, opposite the claim of royal sublimity in French poetry and the visual arts, such as the example of the Tapisseries du Roy, we are able to find a community of philosophers and theoreticians that reflected on these ideas. From 1667 onwards, during the same period in which Félibien worked on the Tapisseries du Roy, a lit- erary circle called the Académie Lamoignon was formed, at the home of Premier Président Guillaume de Lamoignon. -
Irresistibly French: Female Stardom and Frenchness
IRRESISTIBLY FRENCH: FEMALE STARDOM AND FRENCHNESS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Nicoleta Bazgan, M.A. ***** The Ohio State University 2008 Dissertation Committee: Approved by Professor JUDITH MAYNE, Advisor Professor EUGENE HOLLAND _________________________________ Professor KARLIS RACEVSKIS Advisor Graduate Program in French and Italian Copyright by Nicoleta Bazgan 2008 ABSTRACT French actresses have exerted an endless fascination on film audiences worldwide. Brigitte Bardot, Catherine Deneuve, Juliette Binoche, and, more recently, Amelie’s star Audrey Tautou epitomize the lasting appeal of the glamorous French star system, inviting a critical exploration of their prominent star images and of the bridges of desire that connect them to national and global audiences. French female stars cross the boundaries of popular and auteur cinema, and their mythical star text is refracted across both material and discursive practices, pointing to their status as French cinema icons, national treasures, and objects of consumption. On the one hand, French female stardom is represented as an elusive essence, a self-made myth inspired by a reputable tradition of cinematic and artistic excellence, its allure residing in the infamous je ne sais quoi that refuses easy consumption. On the other hand, stars as icons of femininity are the objects of an intense scrutiny that invites consumption through various practices, as the glamorous French actresses are exclusively faithful to the national industries of tourism, perfume, cosmetics, and fashion. My research also reveals that the various cultural products related to French female stars initiate a dynamic and visionary mode of transnational cultural exchanges.