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Portrait D'artiste
<--------------------------------------------------------------------------------------------------------------- 210 mm ---------------------------------------------------------------------------------------------------------------><- 15 mm -><--------------------------------------------------------------------------------------------------------------- 210 mm ---------------------------------------------------------------------------------------------------------------> 2020 PORTRAIT D’ARTISTE PORTRAIT D’ARTISTE 74, rue de Seine — 75006 Paris Tél. — + 33 (0)1 43 26 89 80 e-mail — [email protected] www.galeriepaulproute.com PAUL PROUTÉ GPP_Portaits_oct2020_CV.indd 1 30/10/2020 16:15:36 GPP_Portaits_oct2020_CV.indd 2 30/10/2020 16:15:37 1920 2020 GPP_Portaits_oct2020_CV.indd 2 30/10/2020 16:15:37 PORTRAIT D’ARTISTE 500 ESTAMPES 2020 SOMMAIRE AVANT-PROPOS .................................................................... 7 PRÉFACE ................................................................................ 9 ESTAMPES DES XVIe ET XVIIe SIÈCLES ............................. 15 ESTAMPES DU XVIIIe SIÈCLE ............................................. 61 ESTAMPES DU XIXe SIÈCLE ................................................ 105 ESTAMPES DU XXe SIÈCLE ................................................. 171 INDEX .................................................................................... 202 AVANT-PROPOS près avoir quitté la maison familiale du 12 de la rue de Seine, Paul Prouté s’instal- Alait au 74 de cette même rue le 15 janvier -
Germany from Luther to Bismarck
University of California at San Diego HIEU 132 GERMANY FROM LUTHER TO BISMARCK Fall quarter 2009 #658659 Class meets Tuesdays and Thursdays from 2 until 3:20 in Warren Lecture Hall 2111 Professor Deborah Hertz Humanities and Social Science Building 6024 534 5501 Readers of the papers and examinations: Ms Monique Wiesmueller, [email protected]. Office Hours: Wednesdays 1:30 to 3 and by appointment CONTACTING THE PROFESSOR Please do not contact me by e-mail, but instead speak to me before or after class or on the phone during my office hour. I check the mailbox inside of our web site regularly. In an emergency you may contact the assistant to the Judaic Studies Program, Ms. Dorothy Wagoner at [email protected]; 534 4551. CLASSROOM ETIQUETTE. Please do not eat in class, drinks are acceptable. Please note that you should have your laptops, cell phones, and any other devices turned off during class. Students do too much multi-tasking for 1 the instructor to monitor. Try the simple beauty of a notebook and a pen. If so many students did not shop during class, you could enjoy the privilege of taking notes on your laptops. Power point presentations in class are a gift to those who attend and will not be available on the class web site. Attendance is not taken in class. Come to learn and to discuss. Class texts: All of the texts have been ordered with Groundworks Books in the Old Student Center and have been placed on Library Reserve. We have a systematic problem that Triton Link does not list the Groundworks booklists, but privileges the Price Center Bookstore. -
Frederick the Great: King of Prussia Free Ebook
FREEFREDERICK THE GREAT: KING OF PRUSSIA EBOOK Tim Blanning | 672 pages | 01 Oct 2015 | Penguin Books Ltd | 9781846141829 | English | London, United Kingdom Biography of Frederick the Great, King of Prussia Frederick I(German: Friedrich I.; 11 July – 25 February ), of the Hohenzollerndynasty, was (as Frederick III) Electorof Brandenburg(–) and Duke of Prussiain personal union(Brandenburg-Prussia). The latter function he upgraded to royalty, becoming the first King in Prussia(–). Frederick the Great of Prussia examines the potato harvest () On 24, March, , Prussian king Frederick the Great passed the circular order that should ensure the cultivation and deployment of potatoes in his country. Actually, citizens received this only rather refusing, because this subterranean vegetable seemed rather suspicious to them. Frederick II, byname Frederick the Great, German Friedrich der Grosse, (born January 24, , Berlin, Prussia [Germany]—died August 17, , Potsdam, near Berlin), king of Prussia (–86), a brilliant military campaigner who, in a series of diplomatic stratagems and wars against Austria and other powers, greatly enlarged Prussia’s territories and made Prussia the foremost military power in Europe. Frederick the Great’s Cunning Plan to Introduce the Potato Few figures loom as large in European history as Frederick the Great. When he inherited the Prussian crown in , he ruled over a kingdom of scattered territories, a minor Germanic backwater. By the end of his reign, the much larger and consolidated Prussia ranked among the continent’s great powers. Frederick II, byname Frederick the Great, German Friedrich der Grosse, (born January 24, , Berlin, Prussia [Germany]—died August 17, , Potsdam, near Berlin), king of Prussia (–86), a brilliant military campaigner who, in a series of diplomatic stratagems and wars against Austria and other powers, greatly enlarged Prussia’s territories and made Prussia the foremost military power in Europe. -
Prints and Books
Aus dem Kunstantiquariat: prints and books c.g. boerner in collaboration with harris schrank fine prints Martin Schongauer ca. 1450 Colmar – Breisach 1491 1. Querfüllung auf hellem Grund – Horizontal Ornament mid-1470s engraving; 57 x 73 mm (2 ¼ x 2 ⅞ inches) Bartsch 116; Lehrs and Hollstein 107 provenance Jean Masson, Amiens and Paris (not stamped, cf. Lugt 1494a); his sale Gilhofer & Ranschburg, Lucerne (in collaboration with L. Godefroy and L. Huteau, Paris), November 16–17, 1926 Carl and Rose Hirschler, née Dreyfus, Haarlem (Lugt 633a), acquired from Gilhofer & Ranschburg in May 1928; thence by descent exhibition B.L.D. Ihle and J.C. Ebbinge Wubben, Prentkunst van Martin Schongauer, Albrecht Dürer, Israhel van Meckenem. Uit eene particuliere verzameling, exhibition catalogue, Museum Boijmans, Rotterdam, 1955, p. 10, no. 8 literature Harmut Krohm and Jan Nicolaisen, Martin Schongauer. Druckgraphik im Berliner Kupferstichkabi- nett, exhibition catalogue, Berlin 1991, no. 32 Tilman Falk and Thomas Hirthe, Martin Schongauer. Das Kupferstichwerk, exhibition catalogue, Staatliche Graphische Sammlung München, 1991, no. 107 Lehrs lists six impressions and Hollstein no more than eight, to which this one has to be added. Richard Field’s Census for the American collections lists only one impression in the Cooper- Hewitt Museum in New York. This is the smallest of Schongauer’s ornament prints. While the background remains white, the sophisticated shading makes the leaf appear to move back and forth within a shallow relief. Schongauer’s ornament prints can be divided into Blattornamente (leaf ornaments that show a large single leaf against a plain background, Lehrs 111–114) and Querfüllungen (oblong panel ornaments, Lehrs 107–110). -
King in Prussia
King in Prussia By Rafael Sabatini King In Prussia BOOK 1—THE PRINCE Chapter 1. Domestic Scene Charles Stuart-Dene, Marquess of Alverley, looked at humanity, and wondered why it was. You conceive the pessimism prompting this spirit of philosophic inquiry. How far it was justified you may gather from the Memoirs of the Margravine of Bayreuth, a lady who was no more curbed by discretion in the glimpses she affords us of her family, and particularly of her abominable sire, than in other matters that are commonly accounted intimate. Through the bright, prominent eyes that stared out of her young face, which would have been winsome had it not been pockmarked, you may view the scene that is to be regarded as the prelude to all this mischief. It was set in the Porcelain Gallery of the Palace of Monbijou. Music was being made by the flute of the Crown Prince of Prussia, to an accompaniment by his sister Wilhelmina, the future Margravine, on the lute, and the young Rittmeister von Katte on the clavichord. The three were rendering a sugary composition which the Prince claimed for his own, but which Katte believed would never have been written but for the previous existence of a melody of Scarlatti's. Monbijou with all its choice contents had been a gift to Queen Sophia Dorothea from her father-in-law, Frederick, the first King in Prussia; and this spacious Porcelain Gallery, so called because of the immensely tall and valuable Chinese vases that were the most conspicuous objects in its subdued and impeccable appointments, was one of the pleasantest of the palace's chambers. -
Carl Friedrich Zelter's Kantate Auf Den Tod Friedrichs
University of South Carolina Scholar Commons Theses and Dissertations 2015 Carl Friedrich Zelter’s Kantate Auf Den Tod Friedrichs: An Historical Overview, Conductor’s Guide, And Modern Edition Dustin C. Ousley University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Commons Recommended Citation Ousley, D. C.(2015). Carl Friedrich Zelter’s Kantate Auf Den Tod Friedrichs: An Historical Overview, Conductor’s Guide, And Modern Edition. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3714 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. CARL FRIEDRICH ZELTER’S KANTATE AUF DEN TOD FRIEDRICHS: AN HISTORICAL OVERVIEW, CONDUCTOR’S GUIDE, AND MODERN EDITION by Dustin C. Ousley Bachelor of Arts Furman University, 2003 Master of Music University of North Carolina at Greensboro, 2005 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Conducting School of Music University of South Carolina 2015 Accepted by: Ellen Exner, Major Professor Larry Wyatt, Committee Member Alicia Walker, Committee Member Andrew Gowan, Committee Member Lacy Ford, Senior Vice Provost and Dean of Graduate Studies © Copyright by Dustin C. Ousley, 2015 All Rights Reserved. ii ACKNOWLEDGEMENTS The inspiration for this document grew out of a conversation with Dr. Ellen Exner, Assistant Professor of Music History at the University of South Carolina. She presented this composition and challenged me to take the project. -
Die Kaiserliche Gemäldegalerie in Wien Und Die Anfänge Des Öffentlichen Kunstmuseums
GUDRUN SWOBODA (HG.) Die kaiserliche Gemäldegalerie in Wien und die Anfänge des öffentlichen Kunstmuseums BAND II EUROPÄISChe MUSEUMSKULTUREN UM 1800 Die kaiserliche Gemäldegalerie in Wien und die Anfänge des öffentlichen Kunstmuseums 2013 BÖHLAU VERLAG WIEN KÖLN WEIMAR GUDRUN SWOBODA (HG.) Die kaiserliche Gemäldegalerie in Wien und die Anfänge des öffentlichen Kunstmuseums BAND 2 EUROPÄISCHE MUSEUMSKULTUREN UM 1800 2013 BÖHLAU VERLAG WIEN KÖLN WEIMAR IMPRESSUM Gudrun Swoboda (Hg.) Die kaiserliche Gemäldegalerie in Wien und die Anfänge des öffentlichen Kunstmuseums Band 1 Die kaiserliche Galerie im Wiener Belvedere (1776–1837) Band 2 Europäische Museumskulturen um 1800 Kunsthistorisches Museum Wien, Wien 2013 Redaktion Gudrun Swoboda, Kristine Patz, Nora Fischer Lektorat Karin Zeleny Art-Direktion Stefan Zeisler Graphische Gestaltung Johanna Kopp, Maria Theurl Covergestaltung Brigitte Simma Bildbearbeitung Tom Ritter, Michael Eder, Sanela Antic Hervorgegangen aus einem Projekt des Förderprogramms forMuse, gefördert vom Bundesministerium für Wissenschaft und Forschung Veröffentlicht mit Unterstützung des Austrian Science Fund (FWF): PUB 121-V21/PUB 122-V21 Bibliografische Information der Deutschen Nationalbibliothek: Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://portal.dnb.de abrufbar. Abbildungen auf der Eingangsseite Bernardo Bellotto, Wien, vom Belvedere aus gesehen. Öl auf Leinwand, um 1758/61. Wien, Kunsthistorisches Museum, Gemäldegalerie Inv.-Nr. 1669, Detail Druck und Bindung: Holzhausen Druck Gmbh, Wien Gedruckt auf chlor- und säurefreiem Papier Printed in Austria ISBN 978-3-205-79534-6 Alle Rechte vorbehalten. Dieses Werk ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist unzulässig. © 2013 Kunsthistorisches Museum Wien – www.khm.at © 2013 by Böhlau Verlag Ges.m.b.H. -
Yale University Art Gallery Bulletin 2011 Online Supplement
Yale University Art Gallery Bulletin 2011 online supplement 1 african art Within these lists, objects in the depart- media in order of prevalence. Dimen- Acquisitions ments of American Paintings and Sculp- sions are given in inches followed by July 1, 2010– ture, American Decorative Arts, Asian centimeters in parentheses; height pre- Art, European Art, Modern and Con- cedes width. For three-dimensional June 30, 2011 temporary Art, and Prints, Drawings, sculpture and most decorative objects, and Photographs are alphabetized by such as furniture, height precedes width artist, then ordered by date, then alpha- precedes depth. For drawings, dimen- betized by title, then ordered by acces- sions are of the sheet; for relief and inta- sion number. Objects in the departments glio prints, the matrix; for planographic of African Art, Ancient Art, Art of the prints, the sheet; and for photographs, Ancient Americas, Coins and Medals, the image, unless otherwise noted. For and Indo-Pacific Art are ordered chrono- medals, weight is given in grams, axis in logically, then alphabetized by title, then clock hours, and diameter in millimeters. ordered by accession number. If an object is shaped irregularly, maxi- Circa (ca.) is used to denote that mum measurements are given. a work was executed sometime around Illustrated works are titled in bold. the date given. For all objects, principal medium is given first, followed by other 2 African Art Head Katsina Nigeria, 200 b.c.e.–100 c.e. Terracotta, 7 ½ x 5 ¼ x 5 ¾ in. (19.1 x 13.3 x 14.6 cm) Gift of Charles D. Miller III, b.a. -
Open Sjhornbergerrevised.Pdf
The Pennsylvania State University The Graduate School IN THE SHADOW OF GREATNESS: WOMEN COMPOSERS AND THEIR FLUTE SONATAS AT THE PRUSSIAN COURT, 1730-1771 A Thesis in Music by Sheila Joy Hornberger © 2020 Sheila Joy Hornberger Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts May 2020 ii The thesis of Sheila Joy Hornberger was reviewed and approved* by the following: Marica S. Tacconi Professor of Musicology Thesis Advisor Mark C. Ferraguto Associate Professor of Musicology R J David Frego Director of the School of Music iii ABSTRACT The Prussian Court at Berlin during the reign of Frederick the Great (1740-1786) was well known as an epicenter of musical activity during the Enlightenment; it attracted many famed composers such as Johann Sebastian Bach, Carl Philipp Emanuel Bach, and Johann Hasse. Composers Johann Joachim Quantz, CPE Bach, Johann Kirnberger, and Friedrich Wilhelm Marpurg wrote their famous treatises while working at this court, which helped to further knowledge of music and music theory. Frederick the Great was also widely known for his musicality, and he left over one hundred compositions for posterity. While historians have credited the flute-playing king for creating this musical renaissance in Prussia after the death of his philistinian father, the contributions of his musical sisters, Wilhelmine von Bayreuth and Anna Amalia of Prussia have been largely ignored. The presence of a third woman composer, Anna Bon di Venezia, also remains largely unrecognized in musicological circles. It should be of little surprise, however, that this newly enlightened Prussian court enabled the musical advancement of these talented women. -
Engraving and Etching; a Handbook for The
CORNELL UNIVERSITY LIBRARY GIFT OF Geoffrey Steele FINE ARTS Cornell University Library NE 430.L76 1907 Engraving and etching; a handbook for the 3 1924 020 520 668 Cornell University Library The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924020520668 ENGRAVING AND ETCHING ENGRAVING AND ETCHING A HANDBOOK FOR THE USE OF STUDENTS AND PRINT COLLECTORS BY DR. FR. LIPPMANN LATE KEEPER OF THE PRINT ROOM IN THE ROYAL MUSEUM, BERLIN TRANSLATED FROM THE THIRD GERMAN EDITION REVISED BY DR. MAX LEHRS BY MARTIN HARDIE NATIONAL ART LIBRARY, VICTORIA AND ALBERT MUSEUM WITH 131 ILLUSTRATIONS ^ „ ' Us NEW YORK: CHARLES SCRIBNER'S SONS^;.,j^, 153—157 FIFTH AVENUE 1907 S|0 PRINTED BY HAZELL, WATSON AND VINEY, LD. LONDON AND AYLESBURY, ENGLAND. PREFACE TO THE FIRST EDITION '' I ^HE following history of the art of engraving closes -*• approximately with the beginning of the nine- teenth century. The more recent developments of the art have not been included, for the advent of steel- engraving, of lithography, and of modern mechanical processes has caused so wide a revolution in the repro- ductive arts that nineteenth-century engraving appears to require a separate history of its own and an entirely different treatment. The illustrations are all made to the exact size of the originals, though in some cases a detail only of the original is reproduced. PREFACE TO THE THIRD EDITION FRIEDRICH LIPPMANN died on October 2nd, to 1903, and it fell to me, as his successor in office, undertake a fresh revision of the handbook in preparation for a third edition. -
ANU Historical Journal II: Number 1
In loving memory of Anne Kingston (1942–68) ANU HISTORICAL JOURNAL II NUMBER 1 Contents Editorial: A history . .. v Emily Gallagher Acknowledgements . xiii Emily Gallagher, Jessica Urwin and Madalyn Grant Memoirs Special: Remembering the ANU Historical Journal (1964–87) Beginnings—Some reflections on the ANU Historical Journal, 1964–70 . 3 Ron Fraser Old and new Australia . 15 Alastair Davidson Memories of the ANU Historical Journal . 25 Caroline Turner My brilliant apprenticeship . 31 Ian Britain The past is another truth . 35 Rosemary Auchmuty An old and agreeable companion, 1972–74 . 39 Doug Munro The wider significance of the ANU Historical Journal . 47 Jill Waterhouse Articles ‘Ours will be a tent’: The meaning and symbolism of the early Aboriginal Tent Embassy . .. 57 Tobias Campbell A new dawn: Rights for women in Louisa Lawson’s The Dawn . 73 Ingrid Mahony Cultural responses to the migration of the barn swallow in Europe . 87 Ashleigh Green Kingship, sexuality and courtly masculinity: Frederick the Great and Prussia on the cusp of modernity . 109 Bodie A Ashton Lebanon’s ‘age of apology’ for Civil War atrocities: A look at Assad Shaftari and Samir Geagea . 137 Nayree Mardirian ‘O Sin, Sin, what hast thou done!’: Aboriginal people and convicts in evangelical humanitarian discourse in the Australian colonies, 1830–50 . 157 Tandee Wang Object study—The Tombstone of Anne: A case study on multilingualism in twelfth‑century Sicily . 179 Sarah MacAllan Lectures Inaugural Professorial Lecture—Is Australian history still possible? Australia and the global eighties . 193 Frank Bongiorno Geoffrey Bolton Lecture—From bolshevism to populism: Australia in a century of global transformation . -
Prints and Books
Aus dem Kunstantiquariat: prints and books c.g. boerner in collaboration with harris schrank fine prints Martin Schongauer ca. 1450 Colmar – Breisach 1491 1. Querfüllung auf hellem Grund – Horizontal Ornament mid-1470s engraving; 57 x 73 mm (2 ¼ x 2 ⅞ inches) Bartsch 116; Lehrs and Hollstein 107 provenance Jean Masson, Amiens and Paris (not stamped, cf. Lugt 1494a); his sale Gilhofer & Ranschburg, Lucerne (in collaboration with L. Godefroy and L. Huteau, Paris), November 16–17, 1926 Carl and Rose Hirschler, née Dreyfus, Haarlem (Lugt 633a), acquired from Gilhofer & Ranschburg in May 1928; thence by descent exhibition B.L.D. Ihle and J.C. Ebbinge Wubben, Prentkunst van Martin Schongauer, Albrecht Dürer, Israhel van Meckenem. Uit eene particuliere verzameling, exhibition catalogue, Museum Boijmans, Rotterdam, 1955, p. 10, no. 8 literature Harmut Krohm and Jan Nicolaisen, Martin Schongauer. Druckgraphik im Berliner Kupferstichkabi- nett, exhibition catalogue, Berlin 1991, no. 32 Tilman Falk and Thomas Hirthe, Martin Schongauer. Das Kupferstichwerk, exhibition catalogue, Staatliche Graphische Sammlung München, 1991, no. 107 Lehrs lists six impressions and Hollstein no more than eight, to which this one has to be added. Richard Field’s Census for the American collections lists only one impression in the Cooper- Hewitt Museum in New York. This is the smallest of Schongauer’s ornament prints. While the background remains white, the sophisticated shading makes the leaf appear to move back and forth within a shallow relief. Schongauer’s ornament prints can be divided into Blattornamente (leaf ornaments that show a large single leaf against a plain background, Lehrs 111–114) and Querfüllungen (oblong panel ornaments, Lehrs 107–110).