L'illustration
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Paris of To-Day
UNIVERSITY OF CA RIVERSIDE. LIBRARY 3 1210 01981 1668 PARIS OF TO-DAY AN INTIMATE ACCOUNT OF ITS PEOPLE, ITS HOME LIFE, AND ITS PLACES OF INTEREST BY KATHARINE DE FOREST THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA RIVERSIDE Ex Libris Jf* Frederick & Emmanuelle D'Hauthuille-Schwartz ri$tma$ PARIS OF TO-DAY PARIS OF TO-DAY AN INTIMATE ACCOUNT OF ITS PEOPLE, ITS HOME LIFE, AND ITS PLACES OF INTEREST BY KATHARINE DE FOREST Sllustratefc LONDON GAY & BIRD 22, Bedford Street, Strand 1900 All righis reserved Preface, The writer of this book is an American who exiled herself from her country, not by in- tention; for chance sent her to Paris and fetters of business kept her there. Her ex- patriation found comfort, however, in an un- usual privilege of contact with many phases of French life; which, beholding with two pairs of eyes, she has sought to translate into philosophy. For, indeed, the Old World is in many respects terra incognita to the New. The tourist knits his brows in passing like a pilgrim under the dull eyes of the Sphinx. Here, for instance, is a country which for some hundreds of years has kept a certain number of its citizens set apart, starred, medalled and uniformed as immortals—how shall that be interpreted at the beginning of the twentieth century? Old art and literature, old temples and monuments, old customs and traditions, have these a message to neolog- ists? Do they rest on eternal principles and vi PREFACE. speak of unchanging truths? This book is perhaps less a guide-book than a dream- book. -
Fama E Afetação: As Passagens De Sarah Bernhardt Pelo Rio De Janeiro (1886-1905) Fame and Pretension: Sarah Bernhardt’S Tours in Rio De Janeiro (1886-1905)
Revista ISSN: 1415-0549 e-ISSN: 1980-3729 mídia, cultura e tecnologia DOI: http://dx.doi.org/10.15448/1980-3729.2017.3.26222 Cultura Fama e afetação: as passagens de Sarah Bernhardt pelo Rio de Janeiro (1886-1905) Fame and pretension: Sarah Bernhardt’s tours in Rio de Janeiro (1886-1905) Everardo Rocha Doutor em Antropologia, professor-associado do Programa de Pós-graduação em Comunicação da Pontifícia Universidade Católica do Rio de Janeiro (PUC-Rio). Bolsista de Produtividade em Pesquisa do CNPq e do Programa Cientista do Nosso Estado da FAPERJ. <[email protected]> Ligia Campos de Cerqueira Lana Pesquisadora de Pós-Doutorado (bolsa PAPDRJ/Capes-Faperj) no Programa de Pós-Graduação em Comunicação Social da PUC- Rio. Doutora (2012) e mestre (2007) em Comunicação Social pela Universidade Federal de Minas Gerais. <[email protected]> RESUMO ABSTRACT Neste artigo, analisamos as três turnês da atriz francesa In this article, we analyze three tours of the French Sarah Bernhardt no Rio de Janeiro, ocorridas em 1886, actress Sarah Bernhardt at Rio de Janeiro, in 1886, 1893 1893 e 1905. O objetivo é investigar como a presença and 1905. The aim is to investigate how the presence da atriz, intensamente noticiada, motivou a reflexão of the actress, highly reported, problematized modes sobre os modos de sociabilidade no Brasil daquele of sociability in Brazil of that period mentioned. período. Tema pouco estudado, as visitas de Sarah ao Sarah’s visits to Brazil, a neglected study subject, were Brasil foram registradas por jornais que exploravam reported by newspapers that discuss the carioca’s a percepção do carioca sobre sua cidade, o papel da perception about their city, the role of women in mulher na urbanização e o valor do lazer. -
International Art Works on Paper
International Art Works on Paper Josef Lebovic Gallery 34 Paddington Street (PO Box 453) Paddington (Sydney) NSW 2021 Australia Ph: (02) 9332 1840 Fax: (02) 9331 7431 Email: [email protected] www.joseflebovicgallery.com JOSEF LEBOVIC GALLERY Old Master to Nineteenth Century 34 Paddington Street (PO Box 453), Paddington, 1. Albrecht Dürer (German, 1471-1528). The Sydney, NSW 2021, Australia • Established 1977 Martyrdom Of St. Catherine, c1497-1498/later printing. Woodcut, monogrammed in block lower centre, 39.5 x Tel: (02) 9332 1840 • Fax: (02) 9331 7431 • Intl: (+61-2) 28.2cm. Minor wear to edges. $2,900 Email: [email protected] • Web: joseflebovicgallery.com Printed in the 18th century. Ref: Bartsch #120, Knapp #145. Open Tues to Fri by appointment, Sat 11-5pm • ABN 15 800 737 094 Member of • Association of International Photography Art Dealers Inc. International Fine Print Dealers Assoc. • Australian Art & Antique Dealers Assoc. COLLECTORS’ LIST No. 140, 2009 2. Albrecht Dürer (German, 1471-1528). Draftsman Drawing A Lute, 1525/1605. Woodcut, dated and Australian Art mono grammed in block upper centre, 12.8 x 17.9cm. Works on Paper $4,400 Illustration from the 1605 edition of Dürer’s 1525 publication in four volumes, Unterweysung der Messung (Instructions Compiled by Josef & Jeanne Lebovic, Lenka Miklos, Mariela Brozky on Measurement, also known as The Artist’s Manual). Ref: Bartsch #147, Knappe #371, On exhibition by appointment from Wednesday, 9 December 2009 to Kurth #338. Provenance: private collection, Saturday, 6 February 2010, and on our website purchased from Colnaghi’s, London, in 1971. Dürer, who was not formally educated, became an intellectual through friendships and correspondence with from Saturday, 12 December. -
Tenth Loan Exhibition Lautrec, Redon. February 1, 1931, March 2 ... New York
Tenth loan exhibition Lautrec, Redon. February 1, 1931, March 2 ... New York Author Museum of Modern Art (New York, N.Y.) Date 1931 Publisher Printed for the Trustees by the Plandome press Exhibition URL www.moma.org/calendar/exhibitions/1980 The Museum of Modern Art's exhibition history—from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art MUSEUM OF MODERN ART TOULOUSE LAUTREC ODILON REDON 730 FIFTH AVENUE, NEW YORK THE museum or ^odehnart Rccatvosi: MUSEUM OF MODERN ART TENTH LOAN EXHIBITION LAUTREC REDON FEBRUARY I 1931 MARCH 2 7JO FIFTH AVENUE NEW YORK THE EXHIBITION HAS BEEN SELECTEDFROM THE FOLLOWING COLLECTIONS: MR. JAMES W. BARNEY, NEW YORK MR. ALEXANDER M. BING, NEW YORK MRS. CORNELIUS N. BLISS,JR., NEW YORK MISS L. P. BLISS,NEW YORK F. H. BRESLER COMPANY, MILWAUKEE MR. WALTER S. BREWSTER, CHICAGO MR. GERALD BROOKS, NEW YORK MR. JOHN NICHOLAS BROWN, PROVIDENCE, RHODE ISLAND MRS. JOHN ALDEN CARPENTER, CHICAGO MR. THOMAS COCHRAN, NEW YORK MR. AND MRS. RALPH M. COE, CLEVELAND MR. AND MRS. CHESTER DALE, NEW YORK MESSRS. DURAND'RUEL, NEW YORK AND PARIS MR. FRANK H. GINN, CLEVELAND MR. A. CONGER GOODYEAR, NEW YORK MR. CARTER H. HARRISON, CHICAGO MR. WILLIAM PRESTON HARRISON, LOS ANGELES MR. PHILIP HOFER, NEW YORK MR. JOHN A. HOLABIRD, CHICAGO MESSRS. M. KNOEDLER AND COMPANY, NEW YORK, LONDON AND PARIS MR. PAUL LAMB, CLEVELAND MR. ADOLPH LEWISOHN, NEW YORK MR. AND MRS. SAMUEL A. LEWISOHN, NEW YORK MRS. -
La Vie Theatrale En France De 1900 a 1950 433
LA VIE THEATRALE EN FRANCE DE 1900 A 1950 LE PARIS THÉÂTRAL DE 1900 Quand, en avril 1900, sous une statue monumentale de la Parisienne, s'ouvrent, place de la Concorde, les guichets de l'Expo• sition, la Comédie-Française est administrée par Jules Claretie, et non sans peine, si nous en croyons les piquants souvenirs publiés par La Revue. Le directeur de l'Odéon est M. Paul Ginisty ; celui des Variétés est Fernand Louveau, qui a cru habile de prendre le pseudonyme de Samuel ; celui du Gymnase, M. Alphonse Franck. Au Vaudeville règne Porel, mari de la grande Réjane, tandis " que Sarah Bernhardt et André Antoine dirigent les théâtres qui portent leur nom. Le répertoire dans lequel ces directeurs peuvent puiser est riche et varié. C'est Augier, Dumas fus, Henri Becque, Henri Meilhac et Edouard Pailleron qui viennent de s'éteindre, c'est Victorien Sardou et Ludovic Halévy qui travaillent encore ; leurs œuvres à tous, souvent reprises, vont tenir encore longtemps l'affiche. Il y a ensuite les auteurs déjà notables et en pleine activité. C'est Maurice Donnay, dont le théâtre des Variétés crée Educa• tion de Prince, c'est Capus et c'est Lavedan, dont ce même théâtre reprend le Nouveau jeu, ces deux comédies interprétées par une troupe homogène et incomparable dont tous les artistes sont des favoris du public qu'ils se nomment Baron, Brasseur, Guy, Prince, ' ou qu'elles soient Mmes Jeanne Granier, Eve Lavallière, Diéterle ou Jeanne Saulier, troupe d'un exceptionnel brio qui va s'enrichir de l'étourdissant Max Dearly. -
A Literary and Psychological Portrait of the Belle Epoque James Difilippo University of Connecticut - Storrs, [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 5-26-2015 A Literary and Psychological Portrait of the Belle Epoque James DiFilippo University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation DiFilippo, James, "A Literary and Psychological Portrait of the Belle Epoque" (2015). Doctoral Dissertations. 904. https://opencommons.uconn.edu/dissertations/904 A Literary and Psychological Portrait of the Belle Epoque James Di Filippo, PhD University of Connecticut, 2015 This dissertation depicts the Belle Epoque (1870-1914) whose Zeitgeist was epitomized by the motto, «fluctuat, nec mergitur» (Willms 339). The transformation in the spirit of Europe revealed the emergence of the conscious, the influence of the unconscious and the discovery of psychoanalysis. Although the fin de siècle was a period of degeneration, the epoch also represented hope for a new beginning. The Belle Epoque in Paris displayed a coat of arms that represented a metaphorical emblem of a tumultuous, sailing ship having an unattainable destination. The national self-awareness engendered a collective pathology, self-confidence and pride that characterized the consciousness of an age. In order to appreciate Nana (1880), the ninth volume in the Rougon-Macquart series by Emile Zola (1840-1902), and Divinas palabras: tragicomedia de aldea (1920), heralding from the trilogy, Comedias bárbaras (Aguila de blazón, 1907; Romance -
Cléo De Mérode's Postcard Stardom
Michael Garval Cléo de Mérode's Postcard Stardom Nineteenth-Century Art Worldwide 7, no. 1 (Spring 2008) Citation: Michael Garval, “Cléo de Mérode's Postcard Stardom,” Nineteenth-Century Art Worldwide 7, no. 1 (Spring 2008), http://www.19thc-artworldwide.org/spring08/112-cleo-de- merodes-postcard-stardom. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2008 Nineteenth-Century Art Worldwide Garval: Cléo de Mérode‘s Postcard Stardom Nineteenth-Century Art Worldwide 7, no. 1 (Spring 2008) Cléo de Mérode's Postcard Stardom by Michael Garval I. At 1 o'clock Cléo was ready for her 9 o'clock engagement. She went to the photographer's, where she imposed her ideas of how she should sit, declining all the suggestions that were made to her, refuting all the objections which were made to her, exacting that she should be pictured as she desired. "Her Hair, Her Fingernails and Her Pictures Take Them All. They Delay Everything." —September 1897 newspaper article (New York Public Library clippings file) II. As soon as critics started to heap praise on me, and columnists began to talk about me almost daily, I was invited to pose for the top photographers: Benque, Auguet, Reutlinger, Manuel. When I began to frequent their studios, it was as if, like a sorcerer's apprentice, I had opened floodgates that were impossible to shut. Unscrupulous people copied the best photos, and used them to make an infinite number of postcards. -
Du Film D'art. Un Document Retrouvé En Italie
1895. Mille huit cent quatre-vingt-quinze Revue de l'association française de recherche sur l'histoire du cinéma 56 | 2008 Le film d'Art & les films d'art en Europe (1908-1911) La « révolution » du Film d’Art. Un document retrouvé en Italie The “revolution” of Le Film d’Art. On a document discovered in Italy Giovanni Lasi Édition électronique URL : http://journals.openedition.org/1895/4062 DOI : 10.4000/1895.4062 ISBN : 978-2-8218-0990-1 ISSN : 1960-6176 Éditeur Association française de recherche sur l’histoire du cinéma (AFRHC) Édition imprimée Date de publication : 1 décembre 2008 Pagination : 85-93 ISBN : 978-2-913758-57-5 ISSN : 0769-0959 Référence électronique Giovanni Lasi, « La « révolution » du Film d’Art. Un document retrouvé en Italie », 1895. Mille huit cent quatre-vingt-quinze [En ligne], 56 | 2008, mis en ligne le 01 décembre 2011, consulté le 23 septembre 2019. URL : http://journals.openedition.org/1895/4062 ; DOI : 10.4000/1895.4062 © AFRHC La « révolution » du Film d’Art Un document retrouvé en Italie par Giovanni Lasi 1895 / n° 56 décembre 2008 L‘exemplaire de la brochure officielle du Film d’Art1 présentée en suivant, a été retrouvé dans les papiers du Comte Giovanni Visconti de Modrone, industriel et financier descendant de l’une des plus importantes familles de la noblesse italienne, qui dès 1908 s’engagea acti- 85 vement dans la fondation d’une nouvelle maison cinématographique à Milan, recherchant des accords avec Théophile Pathé d’abord, puis avec le Film d’Art2. Le document, publié dans le but d’attirer des investisseurs, est remis au Comte Giovanni avec une élégante brochure de la salle Charras, datant très probablement de janvier 1909.