DOCSLIB.ORG

Universidade De São Paulo Escola De Artes, Ciências E

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Universidade De São Paulo Escola De Artes, Ciências E UNIVERSIDADE DE SÃO PAULO ESCOLA DE ARTES, CIÊNCIAS E HUMANIDADES PROGRAMA DE PÓS-GRADUAÇÃO EM TÊXTIL E MODA ANDREIA SCHMIDT PASSOS Cristóbal Balenciaga: maestro do tempo, arquiteto da feminilidade São Paulo 2017 ANDREIA SCHMIDT PASSOS Cristóbal Balenciaga: maestro do tempo, arquiteto da feminilidade Versão original Dissertação apresentada à Escola de Artes, Ciências e Humanidades da Universidade de São Paulo para obtenção do título de Mestre em Ciências pelo Programa de Pós-graduação em Têxtil e Moda. Área de Concentração: Projeto de Têxtil e Moda Orientador: Prof. Dr. Waldenyr Caldas São Paulo 2017 Nome: PASSOS, Andreia Schmidt Título: Cristóbal Balenciaga: maestro do tempo, arquiteto da feminilidade Dissertação apresentada à Escola de Artes, Ciências e Humanidades da Universidade de São Paulo para obtenção do título de Mestre em Ciências do Programa de Pós-Graduação em Têxtil e Moda. Área de Concentração: Projeto de Têxtil e Moda Aprovado em: ___ / ___ / _____ Banca Examinadora Prof. Dr. ____________________ Instituição: __________________ Julgamento: ____________________ Assinatura: __________________ Prof. Dr. ____________________ Instituição: __________________ Julgamento: ____________________ Assinatura: __________________ Prof. Dr. ____________________ Instituição: __________________ Julgamento: ____________________ Assinatura: _________________ À minha avó Esther, sempre uma inspiração. Agradecimentos Agradeço a todos que me apoiaram e incentivaram de alguma maneira a concretizar esse trabalho. Ao meu orientador Prof. Dr. Waldenyr Caldas, que aceitou meu projeto e compartilhou com generosidade seu conhecimento na construção dessa pesquisa, por sua paciência em me guiar e mostrar caminhos e por sua gentileza em acreditar nas minhas ideias e em me dar autonomia na busca dos meus objetivos. Aos meus pais, Mauro e Sílvia, por sempre acreditarem em mim. Ao meu irmão Eduardo, por inspirar minha trajetória acadêmica. Ao Diogo por ter me despertado para a possibilidade de cursar esse mestrado, e por todo o seu apoio, amor e companheirismo ao longo da nossa trajetória. Aos meus saudosos amigos de mestrado pela convivência e troca de experiências. Em especial, a Gabriela Camargo, Julia Nunes, Andressa Nóbrega, pela amizade e momentos compartilhados. A Priscila Rezende, pelas conversas e caminhos apontados. A Israel Tannus, pela amizade e por estar comigo até o final. E a todos aqueles que não estão aqui citados mas que estiveram presentes nessa empreitada. As minhas professoras Prof. Dra. Cláudia Garcia, Profa. Dra. Silvia Held, Prof. Dra. Suzana Avelar, cujas disciplinas ampliaram meu conhecimento, despertaram meu interesse e curiosidade e contribuíram para a minha pesquisa. Aos professores Prof. Dr. Victor Aquino e Prof. Dra. Suzana Avelar pelos apontamentos preciosos na banca de qualificação. Aos meus amigos e familiares que entenderam minhas ausências, incentivaram minha dedicação e tiveram paciência com a minhas angústias. Todos fazem parte dessa conquista. “C’est la vie d’un chien.” Cristóbal Balenciaga RESUMO PASSOS, Andreia Schmidt. Cristóbal Balenciaga: maestro do tempo, arquiteto da feminilidade. 2017. 217 f. Dissertação (Mestrado em Têxtil e Moda) – Escola de Artes, Ciências e Humanidades, Universidade de São Paulo, São Paulo, 2017. Versão original. O presente trabalho aborda a trajetória do costureiro Cristóbal Balenciaga. Entendendo a relevância deste costureiro para a moda e os aspectos inovadores das suas criações, o objetivo desta pesquisa é investigar sua contribuição para a evolução da silhueta feminina na moda. Para isso, foi realizado um estudo sobre como as relações entre moda e modernidade criam aspectos imperativos que vão alçar a figura do costureiro ao topo da hierarquia da moda. Em seguida, também se discorre sobre as condições sociais e históricas que vão contribuir com a construção de uma feminilidade intimamente relacionada com a moda. Compreendendo como a trajetória e a obra de Cristóbal Balenciaga são articuladas com a teoria, estuda-se sua contribuição para a silhueta feminina por meio da análise de artigos de revista e jornal impressos do período entre os anos 1955 e 1967. Palavras-chave: Moda. Modernidade. Feminino. Alta-costura. Balenciaga. ABSTRACT PASSOS, Andreia Schmidt. Cristóbal Balenciaga: master of time, architect of femininity. 2017. 217 p. Dissertation (Master of Science) – School of Arts, Sciences and Humanities, University of São Paulo, São Paulo, 2017. Type version. The present work describes the trajectory of the couturier Cristóbal Balenciaga. Understanding this couturier’s relevance to fashion and the innovative aspects of his creations, this research aims to explore his contribution for the development of the feminine silhouette in fashion. This study recognizes the relationship between fashion and modernity as an imperative trigger to the rising of the couturier’s figure to the top of fashion’s hierarchy. In addition, this research discusses the social and cultural conditions that have contributed to the construction of a specific kind of femininity that relates to fashion intimately. Comprehending how Cristóbal Balenciaga’s work and legacy articulates with the theory, this study investigates his contribution the feminine silhouette through analysis of printed magazine and newspaper in a period between 1955 and 1967. Keywords: Fashion. Modernity. Feminine. Couture. Balenciaga. LISTA DE FIGURAS Figura 1 – Vestido Infanta. Ilustração de Carl Erickson para Vogue de 15 de setembro de 1939 (esquerda). Foto de George Hoyningen-Huene para Harper’s Bazaar de 15 de setembro de 1939 (direita). ..................................................................................... 78 Figura 2 – Cristóbal Balenciaga em anúncio do seu perfume Dix ........................................... 85 Figura 3 – Ilustração de Carl Erickson para Vogue Inglesa, de novembro de 1948 ................ 88 Figura 4 – Vestido Babydoll. Desfile coleção de verão 1958. Foto Tom Kublin .................... 96 Figura 5 – Vestido Double ballon. Fotografia de Irving Penn para a Vogue América de 01 de setembro de 1950. ................................................................................................... 98 LISTA DE TABELAS Tabela 1 – linha do tempo 1955-1956 .................................................................................... 153 Tabela 2– linha do tempo 1957-1958 ..................................................................................... 154 Tabela 3– linha do tempo 1959-1960 ..................................................................................... 155 Tabela 4– linha do tempo 1961-1962 ..................................................................................... 156 Tabela 5– linha do tempo 1963-1964 ..................................................................................... 157 Tabela 6– linha do tempo 1965-1966 ..................................................................................... 158 Tabela 7– linha do tempo 1967 .............................................................................................. 159 SUMÁRIO 1 INTRODUÇÃO ................................................................................................................... 13 2 MODA E MODERNIDADE ............................................................................................... 19 2.1 DIÁLOGOS POSSÍVEIS ................................................................................................... 19 2.2 A MODA MARCA O TEMPO MODERNO ..................................................................... 23 2.3 NOVOS ESPAÇOS URBANOS: A MODA E A CIDADE .............................................. 26 2.3.1 Paris, capital da moda ................................................................................................... 30 2.4 ORGANIZAÇÃO DO TEMPO MODA ............................................................................ 33 2.4.1 O maestro do tempo ...................................................................................................... 36 3 MODELANDO O FEMININO .......................................................................................... 41 3.1 O CORPO VESTIDO DE MODERNIDADE .................................................................... 42 3.2 O CONSUMO COMO FUNÇÃO SOCIAL FEMININA .................................................. 46 3.3 O CORPO LIBERTADO ................................................................................................... 54 4 O COSTUREIRO DOS COSTUREIROS ......................................................................... 62 4.1 OS ANOS DE FORMAÇÃO ............................................................................................. 63 4.1.1 Da vila de pescadores para o mundo da alta-costura ................................................. 64 4.1.2 Aprendizado e consumo de luxo em San Sebastián .................................................... 68 4.1.3 Um couturier para a elite espanhola ............................................................................ 72 4.1.4 A Influência Espanhola ................................................................................................. 75 4.2 TRINTA ANOS EM PARIS .............................................................................................. 79 4.2.1 Existe mesmo um Balenciaga?...................................................................................... 81 4.2.2 Cultura comercial na Casa Balenciaga .......................................................................
Load more

Recommended publications
  • Westfield Has Just Such an Architec- Ficer Stated That Fanwood Allows One Mare." Mr
    SCOTCH PLAIT'S PW.'.LIC UBRAHl 1927 B.I: s'iU AVENUE SCOTCH PLAj.r; PJ f :r?ll7P PCB PLAINSTHE- Serving Scotch PlainsTIME and Fanwood Since 1959 — S fANWOOD IISPS ttSKN Published OUR 36th YEAR SKimd CIM PnUft Paid M Scotdi ftaim, N J. Thursday, January 26,1995 Every Thuraday 232-4407 FORTY CENTS COUNTY REJECTS $400.000 REQUEST FOR HOUSING FUNDS Appraisal Expected This Month On Proposed Site in Township For Second Complex for Seniors Five New Police Officers Hired Out of Academy; Judge Allows Advanced Recycling to Continue Pickups By GLENN R. KAPLINSKY Specially Written for Vie Timn The appraisal is being done by lenged in the court, officials noted. Russell Sterling from the firm of A private firm hired by the town- The council has asked the Union Schwartz and Sterling Associates. ship is expected to complete its County Community Development Mr. Sterling said he visited the Sub-Committee to reconsider its appraisal of a site located at Broad- site off Broadway and Jerusalem decision to deny the request of the way and Jerusalem Road, which Road on January 12. He also met township and the Senior Citizen has been proposed by a private with Township Manager Thomas Housing Corporation for developer for a second seniorciti- E. Atkins. Mr. Sterling said he has $400,000 in additional funds to zens complex in Scotch Plains, given the matter top priority. assist with financing the public later this month. The township's first senior com- senior citizens housing complex, Broadway Associates has pro- plex is expected to be completed which is slated for completion in ALI, ABOUT THE LAW...The Honorable R.
    [Show full text]
  • Wall Street Funding of the Rise of Hitler
    WALL STREET FUNDING OF THE RISE OF HITLER Antony Suttons’ Investigation Of Wall Street Funding Of World War II FOR RESEARCH PURPOSES ONLY FROM THE LIBRARY OF DR. MICHAEL SUNSTAR 2007 SUNSTAR COMMENTARY ON THE WALL STREET FUNDING OF HITLER BY ANTONY SUTTON: A question that has been on the minds of lots of researchers on the rise of Hitler is: 1. How did Hitler obtain such advanced technology? 2. Although Hitler seized the German military system, who funded him and how did he come up with so many different types of armor, equipment and machinery? 3. Were there any American corporations involved with Nazi manufacturing and corporate financing and if so, which ones? 4. Was the devil truly in the details, and if so, which of his companies assisted Hitler? 5. From fighter planes in the air, to submarines under the ocean, to tanks, armory, weaponry, and sophisticated chemical warfare, just how did Hitler obtain so much access to so much technology in such a short period of time? 6. Why did the U.S. Government take so much time in responding to Hitler’s takeover of European nations? 7. Was there a Project Paperclip already in effect in Nazi Germany, before PROJECT PAPERCLIP was reported to be recruited in the United States after World War II? 8. Why was Hitler so angry against the Jewish people? Was it because of his discovery of the Protocols of the Learned Elders of Zion and was it because he found out about a plot among Masonic Jews to take over the world? Could he have been angry as he looked around Germany and saw the Jewish people prosperous & successful, while the German workers were suffering poverty? Was Hitler truly the bastard son of a Rothschild, as his mother worked for a Rothschild who fancied young women? 9.
    [Show full text]
  • Costume Institute Records, 1937-2011
    Costume Institute records, 1937-2011 Finding aid prepared by Arielle Dorlester, Celia Hartmann, and Julie Le, with additions by Celia Hartmann Processing of this collection was funded in part by a generous grant from the Leon Levy Foundation This finding aid was generated using Archivists' Toolkit on June 21, 2019 The Metropolitan Museum of Art Archives 1000 Fifth Avenue New York, NY, 10028-0198 212-570-3937 [email protected] Costume Institute records, 1937-2011 Table of Contents Summary Information .......................................................................................................3 Historical note..................................................................................................................... 4 Scope and Contents note.....................................................................................................6 Arrangement note................................................................................................................ 7 Administrative Information .............................................................................................. 7 Related Materials .............................................................................................................. 8 Controlled Access Headings............................................................................................... 8 Collection Inventory..........................................................................................................10 Series I. Collection Management................................................................................10
    [Show full text]
  • Costume Institute Records, 1937-2008
    Costume Institute Records, 1937-2008 Finding aid prepared by Arielle Dorlester, Celia Hartmann, and Julie Le Processing of this collection was funded by a generous grant from the Leon Levy Foundation This finding aid was generated using Archivists' Toolkit on August 02, 2017 The Metropolitan Museum of Art Archives 1000 Fifth Avenue New York, NY, 10028-0198 212-570-3937 [email protected] Costume Institute Records, 1937-2008 Table of Contents Summary Information .......................................................................................................3 Historical note..................................................................................................................... 4 Scope and Contents note.....................................................................................................6 Administrative Information .............................................................................................. 6 Related Materials .............................................................................................................. 7 Controlled Access Headings............................................................................................... 7 Collection Inventory............................................................................................................9 Series I. Collection Management..................................................................................9 Series II. Curators' and Administrators' Files............................................................
    [Show full text]
  • Rothschild Family - Wikipedia
    2/29/2020 Rothschild family - Wikipedia Rothschild family The Rothschild family (/ˈrɒθstʃaɪld/) is a wealthy Jewish Rothschild family originally from Frankfurt that rose to prominence with Mayer Amschel Rothschild (1744–1812), a court factor to the Jewish noble banking family German Landgraves of Hesse-Kassel in the Free City of Frankfurt, Holy Roman Empire, who established his banking business in the 1760s.[2] Unlike most previous court factors, Rothschild managed to bequeath his wealth and established an international banking family through his five sons,[3] who established themselves in London, Paris, Frankfurt, Vienna, and Naples. The family was elevated to noble rank in the Holy Roman Empire and the United Kingdom.[4][5] The family's documented history starts in 16th century Frankfurt; its name is derived from the family house, Coat of arms granted to the Barons Rothschild, built by Isaak Elchanan Bacharach in Frankfurt in Rothschild in 1822 by Emperor 1567. Francis I of Austria During the 19th century, the Rothschild family possessed the Current Western Europe largest private fortune in the world, as well as in modern world region (mainly United history.[6][7][8] The family's wealth declined over the 20th Kingdom, France, and century, and was divided among many various descendants.[9] Germany)[1] Today their interests cover a diverse range of fields, including Etymology Rothschild (German): financial services, real estate, mining, energy, mixed farming, "red shield" winemaking and nonprofits.[10][11] This article is illustrated Place of Frankfurter throughout with their buildings, which adorn landscapes across origin Judengasse, Frankfurt, northwestern Europe. Holy Roman Empire The Rothschild family has frequently been the subject of Founded 1760s (1577) [12] conspiracy theories, many of which have antisemitic origins.
    [Show full text]
  • The Research Library of Arlene Cooper Textiles, Costume & Fashion
    The Research Library of Arlene Cooper Senior Research Assistant, Department of European Sculpture and Decorative Arts at the Metropolitan Museum of Art, New York Textiles, Costume & Fashion with Important Groups of Books on Central Asian, Indian & Islamic Textile Traditions 1780 titles in circa 1900 volumes Arlene Cooper Arlene Cooper is President of Arlene C. Cooper Consulting and provides expertise to museums and private clients on the management, documentation, and exhibition of textile and costume collections. She holds a B.A. in design and textile history from SUNY Saratoga and an M.A. in Costume Studies from New York University. She is a frequent lecturer on these topics. Arlene has worked with The Metropolitan Museum of Art as a Senior Research Assistant in the European Sculpture and Decorative Arts Department and as a Consultant in the Costume Institute. A passion for dance has led her to conduct extensive research on 17 th and 18 th -century ballet costume. Her service as a member of the Board of Directors includes Youth America Grand Prix (2008-present), Morphoses: The Wheeldon Company (2009) and Ballet Tech (1999-2009). She has chaired New York City Ballet’s annual Dancers’ Choice benefit performance since its inception in 2008. In 2010 Arlene was co-Executive Producer of the heralded film New York Export: Opus Jazz . Arlene Cooper - from : Textile Museum Symposium, 1998 Arlene C. Cooper, a textile historian specializing in "Kashmir" and "Paisley" shawls, is the author of Infinite Variations: "Kashmir" and "Paisley" Shawls in North American Collections, to be published by E. J. Brill, Leiden, in 1999.
    [Show full text]
  • Exhibition Checklist the Metropolitan Museum Of
    Exhibition Checklist ufanee The Metropolitan Museum of Art ufanee This exhibition has been made possible by Shiseido Cosmetics A checklist for the exhibition at the Costume Institute December 17, 1986, through September 6, 1987 Copyright ' 1987 by The Metropolitan Museum ol Art Published b\ The Metropolitan Museum ol Art John P. O'Neill, Editoi in Chiel Barbara Burn. Project Superviso) Michael Shroyer, Designei J o' r rc <rJ C oil t wit s Introduction 5 Entrance Galler} 6 Spanish Callen 7 1910s, 20s, 30s Gallerj 8 Waltz Galler) 11 Mimici Callen 13 Debutante Callen 15 Masquerade Callen 17 Vitrine 20 1960s Gallery 24 Credits 26 Introduction ance, the 1986-87 exhibition in the Costume Throughout the history of social dance, the DInstitute, is the fifteenth project guided by the imaginative masquerade has given participants the opportunity to vision of Diana Vreeland, Spedai Consultant for the diop their true identities—il only for a moment—and to Costume Institute. It has been our goal to evoke those vanish under somt disguise. In the seventh gallery we feelings of excitement and romance, of elegance and have sought to illustrate the most popular themes and femininity, associated with the grand occasions for images loi fancy chess halls: the oriental, the characters of social dancing that have spanned the centuries. Each eia Italian commedia dell'aite, the folk dress of various represented in the exhibition was replete with its own cultures, the impersonation ol historic characters, the etiquette, standard of feminine beauty, and music loi purely fantastic. This gal 1er) also contains in the vitrine dancing.
    [Show full text]
  • The Truth About the Rothschilds
    Tragedy and Hope, Inc. / 22 Briarwood Lane, East Hartford, CT 06118 October 31, 2016; ver. 26 Unabridged & Unfinished Project Title: THE TRUTH ABOUT THE ROTHSCHILDS: A MANUAL OF RESOURCES AND REFERENCES PERTAINING TO THE ROTHSCHILD FAMILY INTERNATIONAL BANKING DYNASTY Created by: Richard Grove, Tragedy and Hope dot com (All Rights Reserved) Note: The cover which follows on the next page is a 1st draft, and the gent on the tortoise is the same Baron Walter Rothschild to whom the Balfour Declaration was addressed. Page 1 of 169 www.TragedyandHope.com / www.PeaceRevolution.org Tragedy and Hope, Inc. / 22 Briarwood Lane, East Hartford, CT 06118 Page 2 of 169 www.TragedyandHope.com / www.PeaceRevolution.org Tragedy and Hope, Inc. / 22 Briarwood Lane, East Hartford, CT 06118 Table of Contents: PREFACE: INCLUDES 44 SOURCE BOOKS ON THE ROTHSCHILDS IN THE WRITING OF THIS BOOK Chapter 1: A Brief Introduction to the Rothschild International Banking Dynasty Chapter 2: PRESENT DAY / Observations on the Rothschilds & their 2014 “Inclusive Capitalism Initiative” to “Quell Global Revolt” Chapter 3: The Rothschilds in Their Own Words (From Their Own Websites) Chapter 4: International Banking: The Entries for Rothschild in various Encyclopedias Chapter 5: Colonialism: The Rothschilds, the British Empire, & Freemasonry Chapter 6: The Rothschilds, Zionism, & the Creation of the State of Israel Chapter 7: The Rothschilds & the Robber Barons Chapter 8: The Rothschilds, Cecil Rhodes, & the Rhodes Scholarship Trust Chapter 9: The Rothschilds & the creation of
    [Show full text]
  • Rothschild Family
    Rothschild family From Wikipedia, the free encyclopedia Jump to: navigation, search "House of Rothschild" redirects here. For the film, see The House of Rothschild. For the German surname "Rothschild", see Rothschild (disambiguation). The Rothschild family Monaco, Luxembourg, France, Austria, Current Switzerland, Liechtenstein, United region Kingdom, United States, Cayman Islands Information Place of Frankfurt am Main origin A Rothschild house, Waddesdon Manor in Waddesdon, Buckinghamshire, donated to charity by the family in 1957. A house formerly belonging to the Viennese family (Schillersdorf Palace). Schloss Hinterleiten, one of the many palaces built by the Austrian Rothschild dynasty. Put into a trust fund charity by the family in 1905. Beatrice de Rothschild's villa on the Côte d'Azur, France Château de Montvillargenne. A Rothschild family house in Picardy, France. The Rothschild family (pron.: /ˈrɒθs.tʃaɪld/, German: [ˈʁoːt.ʃɪlt], French: [ʁɔt.ʃild], Italian: [ˈrɔtʃild]), or more simply as the Rothschilds, is a family that established a European banking dynasty starting in the late 18th century that even came to surpass leading contemporary banking families such as Baring and Berenberg. The family originates in Frankfurt. Five lines of the Austrian branch of the family have been elevated to Austrian nobility, being given hereditary titles of Barons of the Habsburg Empire by Emperor Francis II in 1816. Another line, of the British branch of the family, was elevated to British nobility at the request of Queen Victoria, being given
    [Show full text]
  • Number of Flea Markets at Southside Train Station Draws Resident Unit's
    -HOW TO GET THE LEADER=fl Just Fill in the Form On Page 10 And Return It to Us! — Serving the Town Since 1890 — USFS6W20 OUR 105th YEA Senxri Ctaa Pt«U«t TM •• MtetJMd, NJ. Thursday, January 26,1995 232-4407 FORTY CENTS RULES COMMITTEE TO LOOK INTO MATTER Number of Flea Markets At Southside Train Station Draws Resident Unit's Ire One Recommendation Would Limit Sales to Local Groups That Have Members in Town or Benefit Westfield By PAUL J. PEYTON Sprdatly Wwinrnfor TJr WtnfMUaJrt The Laws and Rules Committee of the Westfield Town Council is set to look into the town's policy regarding flea markets at the Southside Train Station sometime next month or in March. A represenlative of a neigh- borhood group asked the council Tuesday to reduce the numberof lle;i markets to where it was five years ago. Tocld Evans of 419 Boulevard, President of Ihe Boulevard Neigh- borhood Association, said the group recently held a meeting at which its FUTURE MUSEUM-.The Westfleld Historical Society announced plans last week lo (urn the Reeve House, bull! around 50 members unanimously approved 1872, Into B museum and new home Tor Ihe society. The house Is located at .114 Mountain Avenue and is slltl the home tha! a request be made to the council or Edgar Reeve whose father, William Edgar Reeve, was one of Hie founders of the Wcstfleld "V" and helped In the to act on the problem as soon as development ofMlndowaskln Park in 1906. possible. Officials have stated there are 18 flea markets held at the train station Former Mayor Chin Reappointed during the year.
    [Show full text]
  • Ch-Au-Clerc-Milon-525.Pdf
    VIGN C ER ET AR O TICLE E N L ST PARU E N°27 - DANS HIVER 2 016-2017 Château CLERC MILON « ET MAINTENANT, IL DANSE… » Le baron Philippe l’a aimé, sa fille Philippine lui a redonné chair et vie, Julien de Beaumarchais de Rothschild a aujourd’hui pour mission de le révéler au monde : le Château Clerc Milon est bel et bien de retour sur la scène de Pauillac. PAR SYLVIE BONIN PHOTOS MATHIEU GARÇON Julien de Beaumarchais de Rothschild HIVER 2016-2017 HIVER 2016-2017 102 Vigneron Vigneron 103 CHÂTEAU CLERC MILON adet Rousselle avait trois maisons, le baron Philippe de Rothschild avait trois châteaux : Mouton Rothschild, dont il prit les rênes en 1922, d’A rmailhac, qu’il acquit en 1933, et Clerc Milon, acheté en 1970. Trois grands crus classés en 1855 – un premier cru, Mouton, et deux C cinquièmes crus – situés à quelques encablures les uns des autres à Pauillac, auxquels il se consacra toute sa vie avec passion. Si Clerc Milon est le plus jeune, le dernier arrivé dans la fa - mille, son histoire remonte pourtant au XVIII e siècle. Il faisait alors partie des domaines de la seigneurie de Lafite, qui furent confisqués et vendus comme biens nationaux à la Révolution. M. Clerc, qui n’était pas notaire mais négociant à Bordeaux, l’ac - quit en 1789 et ajouta à son nom celui d’un hameau voisin : Mi - lon. Puis en 1877, acheté par la famille Mondon, il devint Châ - Julien est né juste après teau Clerc Milon-Mondon. En 1960, le nouveau propriétaire, maître Vialard, notaire lui, à Pauillac, ne jugea pas utile d’y ajou - l’arrivée de Clerc Milon ter lui aussi son nom… dans la famille.
    [Show full text]
  • The Library of R. Craig Miller
    The Library of R. Craig Miller 20 th and 21 st Century Design & Architecture 1864 titles in over 2150 volumes The R. Craig Miller Design Library This collection of 1864 items in circa 2150 volumes is focused on modern architecture, graphic design, furniture and decorative arts, and craft, with additional works on painting and sculpture, and pre-1850 architecture and design. It has particular strengths in modern architecture and design in Scandinavia, Italy and Japan. The library includes books, museum and gallery catalogues, manufacturers' catalogues, and periodicals. Many of these were acquired overseas, some of them directly from designers themselves; numerous publications are scarce or rare, or inscribed by the designers or authors. R. Craig Miller has been called "the dean of design curators" in America. Over the past thirty years, he has held a succession of important posts at leading museums, notably The Metropolitan Museum of Art (where he was Associate Curator of Twentieth-Century Architecture and Design in the 1980s), the Denver Art Museum (where he founded and for 17 years ran the Department of Architecture, Design and Graphics, creating one of the world's largest collections of twentieth- century design), and at the Indianapolis Museum of Art (where he was Senior Curator of Design Arts and Director of Design Initiatives). Between 1994 and 2010, at the Denver Art Museum and Indianapolis Museum of Art, Mr. Miller created a series of highly influential traveling exhibitions on modern design: "Masterworks: Italian Design 1960-1994" (1996), "USDesign 1975-2000" (2001) and "European Design Since 1985: Shaping the New Century" (2009), all accompanied by major catalogues by him.
    [Show full text]