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Les résistants sont dans la rue Fiches histoire Fiche du : 01/04/1999 Discrètes, mais durables, les petites plaques bleues perpétuent le souvenir d'événements et de personnages auxquels il est rendu hommage public. A Clermont-Ferrand, cent quatre rues, monuments, lieux publics et stèles portent le nom de résistants (*) : des hommes célèbres comme Charles de Gaulle ou André Malraux, mais aussi de très jeunes gens comme André Clermontel, André Malpeyre, Jocelyn Giraudon et Serge Brousse, fauchés à seize ans et auxquels est dédié le square de la jeune Résistance. Observez-les bien, car elles écrivent une page d'histoire. Chapelier le jour et guerillero la nuit, Nestor Perret. Emile Couladon, légendaire colonel Gaspard. Figure emblématique de la Résistance sous le nom de Max et de Mercier, Jean Moulin a donné son nom à un boulevard et une école. Préfet de l’Aveyron, puis de l’Eure-et-Loire, il fut révoqué par le gouvernement de Vichy en juillet 1940, rejoignit le général De Gaulle à Londres, fut parachuté dans les Alpilles, unifia les trois principaux mouvements de résistance sous le sigle MUR et créa le Conseil national de la Résistance. Arrêté le 21 juin 1943, torturé par Barbie, il mourut le 8 juillet au cours de son transfert en Allemagne. La rue Emile Coulaudon rend hommage au légendaire colonel Gaspard. Ce Clermontois exprima très tôt son complet désaccord avec la politique de Pétain, prit la tête du premier Corps franc, devint le chef régional de l’Armée secrète, puis chef régional des FFI et, à la Libération, commandant de la 13e région militaire. -
Impressionist Adventures
impressionist adventures THE NORMANDY & PARIS REGION GUIDE 2020 IMPRESSIONIST ADVENTURES, INSPIRING MOMENTS! elcome to Normandy and Paris Region! It is in these regions and nowhere else that you can admire marvellous Impressionist paintings W while also enjoying the instantaneous emotions that inspired their artists. It was here that the art movement that revolutionised the history of art came into being and blossomed. Enamoured of nature and the advances in modern life, the Impressionists set up their easels in forests and gardens along the rivers Seine and Oise, on the Norman coasts, and in the heart of Paris’s districts where modernity was at its height. These settings and landscapes, which for the most part remain unspoilt, still bear the stamp of the greatest Impressionist artists, their precursors and their heirs: Daubigny, Boudin, Monet, Renoir, Degas, Morisot, Pissarro, Caillebotte, Sisley, Van Gogh, Luce and many others. Today these regions invite you on a series of Impressionist journeys on which to experience many joyous moments. Admire the changing sky and light as you gaze out to sea and recharge your batteries in the cool of a garden. Relive the artistic excitement of Paris and Montmartre and the authenticity of the period’s bohemian culture. Enjoy a certain Impressionist joie de vivre in company: a “déjeuner sur l’herbe” with family, or a glass of wine with friends on the banks of the Oise or at an open-air café on the Seine. Be moved by the beauty of the paintings that fill the museums and enter the private lives of the artists, exploring their gardens and homes-cum-studios. -
Realism Impressionism Post Impressionism Week Five Background/Context the École Des Beaux-Arts
Realism Impressionism Post Impressionism week five Background/context The École des Beaux-Arts • The École des Beaux-Arts (est. 1648) was a government controlled art school originally meant to guarantee a pool of artists available to decorate the palaces of Louis XIV Artistic training at The École des Beaux-Arts • Students at the École des Beaux Arts were required to pass exams which proved they could imitate classical art. • An École education had three essential parts: learning to copy engravings of Classical art, drawing from casts of Classical statues and finally drawing from the nude model The Academy, Académie des Beaux-Arts • The École des Beaux-Arts was an adjunct to the French Académie des beaux-arts • The Academy held a virtual monopoly on artistic styles and tastes until the late 1800s • The Academy favored classical subjects painted in a highly polished classical style • Academic art was at its most influential phase during the periods of Neoclassicism and Romanticism • The Academy ranked subject matter in order of importance -History and classical subjects were the most important types of painting -Landscape was near the bottom -Still life and genre painting were unworthy subjects for art The Salons • The Salons were annual art shows sponsored by the Academy • If an artist was to have any success or recognition, it was essential achieve success in the Salons Realism What is Realism? Courbet rebelled against the strictures of the Academy, exhibiting in his own shows. Other groups of painters followed his example and began to rebel against the Academy as well. • Subjects attempt to make the ordinary into something beautiful • Subjects often include peasants and workers • Subjects attempt to show the undisguised truth of life • Realism deliberately violates the standards of the Academy. -
Extrait Du Catalogue
Extrait du catalogue Tarif Public 24/09/2021 www.revendeurs.rmngp.fr Document non contractuel Réunion des musées nationaux et du Grand Palais des Champs-Élysées 254-256, rue de Bercy - 75577 Paris cedex 12 - France Tel : +33 (0)1 40 13 48 00 - Fax : +33 (0)1 40 13 44 00 Etablissement public industriel et commercial - APE 9102Z - RCS Paris B692 041 585 - SIRET 69204158500583 - TVA FR11692041585 Sommaire Collections » Louvre, Gangzai Design ... 1 Collections » Louvre, Joconde Céladon ... 2 Collections » Louvre, Liberté guidant le peuple ... 3 Collections » Orsay, Le Parlement ... 6 Collections » Orsay, Les Nymphéas ... 7 Collections » Picasso, Dora Maar ... 7 Collections » Versailles, Dames de la Cour ... 8 Collections » Versailles, Gravure de mode ... 9 Collections » Versailles, Napoléon ... 9 Jeunesse » Arts Plastiques ... 11 Jeunesse » Planches de stickers ... 12 Jeunesse » Jeux & Puzzles ... 12 Jeunesse » Un moment de lecture... ... 12 Cadeaux » Alimentaire ... 15 Cadeaux » Plateaux & Dessous de verre ... 15 Textiles » Pochettes ... 15 Affiches » Affiche 50 x 70 cm ... 16 Affiches » Affiche hors format ... 17 Affiches » Image Luxe 30 x 40 cm ... 17 Affiches » Reproduction 24 x 30 cm à fond perdu ... 18 Carterie » Carte postale 10,5 x 15 cm ... 19 Carterie » Carte postale 10,5 x 15 cm sous Marie-Louise 20 x 25 cm ... 54 Carterie » Carte postale 10,5 x 15 cm sur papier de création arts graphiques (Inuit blanc glacier 400 g) ... 54 Carterie » Carte postale 13,5 x 13,5 cm ... 60 Carterie » Carte postale 13,5 x 13,5 cm sur papier de création arts graphiques (Inuit blanc glacier 400 g) ... 66 Carterie » Carte postale 14 x 20 cm sur papier de création arts graphiques (Inuit blanc glacier 400 g) .. -
Impressionist Still Life 2001
Impressionist Still Life 2001- 2002 Finding Aid The Phillips Collection Library and Archives 1600 21st Street NW Washington D.C. 20009 www.phillipscollection.org CURATORIAL RECORDS IN THE PHILLIPS COLLECTION ARCHIVES INTRODUCTORY INFORMATION Collection Title: Impressionist Still Life; exhibition records Author/Creator: The Phillips Collection Curatorial Department. Eliza E. Rathbone, Chief Curator Size: 8 linear feet; 19 document boxes Bulk Dates: 1950-2001 Inclusive Dates: 1888-2002 (portions are photocopies) Repository: The Phillips Collection Archives INFORMATION FOR USERS OF THE COLLECTION Restrictions: The collection contains restricted materials. Please contact Karen Schneider, Librarian, with any questions regarding access. Handling Requirements: Preferred Citation: The Phillips Collection Archives, Washington, D.C. Publication and Reproduction Rights: See Karen Schneider, Librarian, for further information and to obtain required forms. ABSTRACT Impressionist Still Life (2001 - 2002) exhibition records contain materials created and collected by the Curatorial Department, The Phillips Collection, during the course of organizing the exhibition. Included are research, catalogue, and exhibition planning files. HISTORICAL NOTE In May 1992, the Trustees of The Phillips Collection named noted curator and art historian Charles S. Moffett to the directorship of the museum. Moffett, a specialist in the field of painting of late-nineteenth-century France, was directly involved with the presentation of a series of exhibitions during his tenure as director (1992-98). Impressionist Still Life (2001-2002) became the third in an extraordinary series of Impressionist exhibitions organized by Moffett at The Phillips Collection, originating with Impressionists on the Seine: A Celebration of Renoir‟s Luncheon of the Boating Party in 1996, followed by the nationally touring Impressionists in Winter: Effets de Neige, on view at the Phillips in 1998. -
Extrait Du Catalogue
Extrait du catalogue Tarif Public 10/10/2021 www.revendeurs.rmngp.fr Document non contractuel Réunion des musées nationaux et du Grand Palais des Champs-Élysées 254-256, rue de Bercy - 75577 Paris cedex 12 - France Tel : +33 (0)1 40 13 48 00 - Fax : +33 (0)1 40 13 44 00 Etablissement public industriel et commercial - APE 9102Z - RCS Paris B692 041 585 - SIRET 69204158500583 - TVA FR11692041585 Sommaire Collections » Petit Palais, Rampe d'escalier ... 1 Collections » Louvre, Pyramide Pei ... 1 Collections » Orsay, Art floral ... 2 Collections » Orsay, Le Parlement ... 2 Collections » Orsay, Les Nymphéas ... 2 Collections » Picasso, Dora Maar ... 3 Collections » Picasso, Taureau ... 4 Collections » Jeunesse, Chauveau ... 4 Collections » Jeunesse, Pompon ... 5 Jeunesse » Arts Plastiques ... 6 Jeunesse » Jeux & Puzzles ... 6 Jeunesse » Un moment de lecture... ... 7 Cadeaux » Décoration Maison ... 9 Cadeaux » Art de la Table ... 9 Cadeaux » Plateaux & Dessous de verre ... 9 Cadeaux » Mugs & Bols ... 9 Cadeaux » Bureau ... 10 Textiles » Habillement ... 10 Textiles » Etoles & foulards ... 10 Textiles » Sacs & Tote Bags ... 11 Textiles » Pochettes ... 11 Textiles » Accessoires ... 11 Bijoux » Colliers ... 12 Bijoux » Broches ... 12 Moulages » Art français ... 12 Estampes » Estampes contemporaines ... 14 Estampes » Estampes modernes XXe ... 18 Estampes » Animaux ... 20 Estampes » Architecture & Ornements ... 21 Estampes » Mythologie ... 21 Estampes » Paris & Alentours ... 21 Estampes » Paysages & Marine ... 23 Estampes » Peinture ... 24 Estampes » Portraits ... 24 Estampes » Scènes de genre ... 25 Estampes » Villes & Monuments ... 25 Affiches » Affiche 50 x 70 cm ... 26 Affiches » Affiche 40 x 60 cm (exposition) ... 27 Affiches » Affiche hors format ... 27 Affiches » Image Luxe 30 x 40 cm ... 27 Affiches » Image Luxe 30 x 80 cm ... 28 Affiches » Reproduction 24 x 30 cm à fond perdu .. -
Impressionism and Post-Impressionism National Gallery of Art Teacher Institute 2014
Impressionism and Post-Impressionism National Gallery of Art Teacher Institute 2014 Painters of Modern Life in the City Of Light: Manet and the Impressionists Elizabeth Tebow Haussmann and the Second Empire’s New City Edouard Manet, Concert in the Tuilleries, 1862, oil on canvas, National Gallery, London Edouard Manet, The Railway, 1873, oil on canvas, National Gallery of Art Photographs of Baron Haussmann and Napoleon III a)Napoleon Receives Rulers and Illustrious Visitors To the Exposition Universelle, 1867, b)Poster for the Exposition Universelle Félix Thorigny, Paris Improvements (3 prints of drawings), ca. 1867 Place de l’Etoile and the Champs-Elysées Claude Monet, Boulevard des Capucines, Paris, 1873, oil on canvas, Nelson-Atkins Museum of Art, Kansas City, Mo. Pierre-Auguste Renoir, The Great Boulevards, 1875, oil on canvas, Philadelphia Museum of Art Pierre-Auguste Renoir, The Pont Neuf, 1872, National Gallery of Art, Ailsa Mellon Bruce Collection Hippolyte Jouvin, The Pont Neuf, Paris, 1860-65, albumen stereograph Gustave Caillebotte, a) Paris: A Rainy Day, 1877, oil on canvas, Art Institute of Chicago, b) Un Balcon, 1880, Musée D’Orsay, Paris Edouard Manet, Le Balcon, 1868-69, oil on canvas, Musée D’Orsay, Paris Edouard Manet, The World’s Fair of 1867, 1867, oil on canvas, Nasjonalgalleriet, Oslo (insert: Daumier, Nadar in a Hot Air Balloon, 1863, lithograph) Baudelaire, Zola, Manet and the Modern Outlook a) Nadar, Charles Baudelaire, 1855, b) Contantin Guys, Two Grisettes, pen and brown ink, graphite and watercolor, Metropolitan -
Albert Camus and the Clandestine Press
FROM RESISTANCE TO REVOLUTION: ALBERT CAMUS AND THE CLANDESTINE PRESS IN THE FRENCH RESISTANCE HONORS THESIS Presented to the Honors Committee of Texas State University-San Marcos in Partial Fulfillment of the Requirements for Graduation in the Honors College by Christian Penichet-Paul San Marcos, Texas May 2013 FROM RESISTANCE TO REVOLUTION: ALBERT CAMUS AND THE CLANDESTINE PRESS IN THE FRENCH RESISTANCE Thesis Supervisor: ________________________________ Kenneth H. Margerison, Ph.D. Department of History Approved: ____________________________________ Heather C. Galloway, Ph.D. Dean, Honors College COPYRIGHT by Christian Penichet-Paul May 2013 ACKNOWLEDGEMENTS In the process of writing this work, I benefited greatly from the encouragement and advice of my family, professors, and friends. I recognize that, without their support, I would not have succeeded in completing the task at hand. First, I must recognize and thank my parents, Alberto Penichet and Martha Paul, for the strong love and support they have always shown me. Their journey to provide me and my siblings with a better future and education is, in my opinion, the greatest testament to the tenacity of the human heart. I also thank Alan and Stephanie, my brother and sister, for their care and support. I know they have great futures with boundless opportunities ahead of them. I would like to thank my thesis advisor, Dr. Kenneth Margerison, for his superb advice and assistance in the writing of this piece. The task of supervising a thesis is not easy, and I truly appreciate the fact he gladly accepted this challenge from the beginning, during a very busy semester. I would also like to thank Dr. -
Gustave Caillebotte
2 TABLE OF CONTENTS Preparing students in advance p. 4 Pronunciation guide p. 5 About the exhibition pp. 6–12 Featured artworks pp. 13–28 The Floor Scrapers, 1875 Paris Street, Rainy Day, 1877 A Boating Party, 1877–78 The Rue Halévy, Seen from the Sixth Floor, 1878 At a Café, 1880 Interior, a Woman Reading, 1880 Fruit Displayed on a Stand, c. 1881–82 Sunflowers, Garden at Petit Gennevilliers, c. 1885 3 PREPARING STUDENTS IN ADVANCE We look forward to welcoming your school group to the Museum. Here are a few suggestions for teachers to help to ensure a successful, productive learning experience at the Museum. LOOK, DISCUSS, CREATE Use this resource to lead classroom discussions and related activities prior to the visit. (Suggested activities may also be used after the visit.) REVIEW MUSEUM GUIDELINES For students: • Touch the works of art only with your eyes, never with your hands. • Walk in the museum—do not run. • Use a quiet voice when sharing your ideas. • No photography is permitted in special exhibitions. • Write and draw only with pencils—no pens or markers, please. Additional information for teachers: • Backpacks, umbrellas, or other bulky items are not allowed in the galleries. Free parcel check is available. • Seeing-eye dogs and other service animals assisting people with disabilities are the only animals allowed in the Museum. • Unscheduled lecturing to groups is not permitted. • No food, drinks, or water bottles are allowed in any galleries. • Cell phones should be turned to silent mode while in the Museum. • Tobacco use, including cigarettes, cigars, pipes, electronic cigarettes, snuff, and chewing tobacco, is not permitted in the Museum or anywhere on the Museum's grounds. -
La France Libre Quelques Datespoursesouvenir Il Yasoixante-Dixans 10 Juin 1944 Bombardements Alliés
de la Fondation de la Résistance Reconnue d'utilité publique par décret du 5 mars 1993. Sous le Haut Patronage du Président de la République n° 77 – juin 2014 – 5,50 € Dossier thématique La France libre Mémoire et réflexions Il y a soixante-dix ans Quelques dates pour se souvenir e Dans cette rubrique, nous poursuivrons, pendant toute la durée du 70 anniversaire, Plan vert, calque du secteur l’évocation des grands événements ayant marqué la Résistance intérieure. de Monistrol dans la Drôme. Cette chronologie n’a bien sûr rien d’exhaustif et n’a pour seule ambition Le « plan vert » se compose que de rappeler quelques grandes dates jalonnant son histoire. concrètement de cartes et de croquis des points à attaquer. Ceux-ci sont Deuxième trimestre 1944 désignés par des indicatifs Coll. CHRD/ ville de Lyon-Fonds Jean Verlhac. Ar.682 formés de lettres et de 6 juin 1944 chiffres, destinés aux transmissions. Les équipes du NAP-Fer fournissent Le jour du débarquement en Normandie, la un degré supplémentaire par rapport à Tulle, la notamment des précisions Résistance, prévenue la veille par des messages veille, où elle a pendu 99 hommes. Cette escalade sur les caractéristiques personnels de la BBC, entre en action pour peut s’expliquer parce qu’elle veut marquer les techniques des objectifs. mettre en œuvre les quatre principaux plans de esprits avant de quitter la région, ayant reçu le Elles reproduisent aussi les sabotage : « vert » (voies ferrées), « Bibendum » 9 juin l’ordre de rejoindre le plus vite possible la croquis destinés aux équipes (autres voies de communication) « violet » Normandie. -
Foreword and Acknowledgements
Foreword and Acknowledgements Today Gustave Caillebotte is one of the least known of the decided in 1876 would go to the French State. The donation Impressionist painters, but Impressionism would not have came to consist of no fewer than 60 paintings by his friends: been the same without his works and without his great com - Claude Monet, Pierre-Auguste Renoir, Edgar Degas, Camille mitment to the movement. During the years when this Pissarro, and Paul Cézanne. These paintings were the first group of painters disregarded their differences in order to works by the Impressionists in a French museum. Today define a modern style of painting, Caillebotte was on the ab - they are among the most prized masterpieces in the Parisian solute front line. He contributed not only his art, but also Musée d’Orsay. his passionate efforts to promote the group. He was an im - However, there may be several reasons for the oblivion. portant force in the organization of the group’s exhibitions At the time Émile Zola defined Impressionist painting as and generously supported a number of its most significant “nature seen through a temperament.” But very different artists economically. Yet his works were later forgotten, re - temperaments met in the movement—and Caillebotte maining in private collections, and it was only in exhibitions made a great contribution to its breadth. In the catalogue he in our own time that he had his international break - is called an “irritating” and “difficult” painter because, even through—first in France, the USA, and England, and later in to the modern eye, he is not an artist who simply fits in. -
The Collections of the Nelson-Atkins Museum of Art
French Paintings and Pastels, 1600–1945 The Collections of The Nelson-Atkins Museum of Art Aimee Marcereau DeGalan, Editor 4525 Oak Street, Kansas City, Missouri 64111 | nelson-atkins.org Edouard Manet | The Croquet Party, 1871 The Nelson-Atkins Museum of Art | French Paintings and Pastels, 1600–1945 Edouard Manet, The Croquet Party, 1871 Artist Edouard Manet, French, 1832–1883 Title The Croquet Party Object Date 1871 Alternate and Variant The Croquet Party at Boulogne-sur-Mer; La partie de croquet Titles Medium Oil on canvas Dimensions 18 x 28 3/4 in. (45.7 x 73 cm) (Unframed) Signature Signed lower right: Manet Credit Line The Nelson-Atkins Museum of Art. Gift of Marion and Henry Bloch, 2015.13.11 doi: 10.37764/78973.5.522 the croquet lawn outside the casino at Boulogne-sur- Catalogue Entry Mer, in northern France. On the far left is Paul Roudier, the artist’s childhood friend and a central member of Manet’s social circle; he is the only figure in the scene to Citation address the spectator directly.1 Alongside him is Jeanne Gonzalès (1852–1924), a talented young painter who Chicago: would enjoy recognition at the Paris Salon from the late 1870s (Fig. 1).2 Jeanne was the younger sister of the Simon Kelly, “Edouard Manet, The Croquet Party, painter Eva (1849–1883), who was Manet’s favorite 1871,” catalogue entry in Aimee Marcereau DeGalan, female pupil. Jeanne, too, received artistic lessons from ed., French Paintings, 1600–1945: The Collections of the Manet and frequented his studio.3 She looks toward Nelson-Atkins Museum of Art (Kansas City: The Léon Leenhoff, Manet’s stepson (and, possibly, his Nelson-Atkins Museum of Art, 2021), biological son) and a favorite model for the artist.4 To the https://doi.org/10.37764/78973.5.522.5407 right is Léon’s mother—Manet’s wife, Suzanne Leenhoff MLA: —who raises her mallet to hit a croquet ball alongside an unknown partner.