Les Alyscamps D'arles
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France: Birds & Art in Provence May 20-28, 2019 © 2018
FRANCE: BIRDS & ART IN PROVENCE MAY 20-28, 2019 © 2018 Mediterranean France is famous for the diversity of its bird life and for the richness of its 2,000-year- old culture. This relaxed tour, based at a single hotel in Arles, gives us the opportunity to enjoy both, with a Mediterranean avifauna complementing artistic and architectural treasures from the Roman, medieval, and modern periods. We will be based for our entire trip in one comfortable hotel in the lovely Provençal town of Arles, founded by Julius Caesar as a gift to his legions after their conquest of Gaul—and as a way to keep those battle-hardened veterans from causing him trouble back home in Rome. In the early Christian period, Arles was a bustling center of commerce and spirituality, a status only heightened in the Middle Ages, when some of the finest sculpture in European history was produced to ornament the city’s churches and cemeteries. Today, Arles is an elegant, vaguely sleepy town, proud of its well- preserved past and its preeminent status among the cities of Provence. Arles is also the gateway to some of the best wildlife areas in France. On some days of our trip, birding will predominate, while others will be devoted primarily to historical sites, but most of our time will feature a balance between birds and culture. Late morning starts, leisurely meals, and plenty of time built in for shopping, strolling, or enjoying the sights ensures a relaxed pace, and the food, the wine, and the inviting landscapes of Provence combine to make this an especially appealing European sojourn for birders and non-birders alike. -
Cr(III) Cr(VI)
Synchrotron radiation-based µ-XANES and µ-XRD for the characterization and degradation of chrome yellow pigments: a focus on paintings by Vincent van Gogh Letizia Monico CNR-ISTM (Perugia, Italy) University of Antwerp (Belgium) Darkening of chrome yellows in late 19th C paintings* Van Gogh was already aware of the instability of the chrome yellow pigments “[…] You were right to tell Tasset that the geranium lake should be included after all, he sent it, I’ve just checked — all the colours that Impressionism has made fashionable are unstable, all the more reason boldly to use them too raw, time will only soften them too much. So the whole order I made up, in other words the 3 chromes (the orange, the yellow, the lemon) the Prussian blue, the emerald, the madder lakes, the Veronese green, the orange lead, all of that is hardly found in the Dutch palette, Maris, Mauve and Israëls. […]” (letter n. 595, To Theo. Arles, 11 April 1888) Bank of the Seine (1887 V. van Gogh; Van Gogh Museum, Amsterdam, NL) Falling leaves (Les Alyscamps) (1888, V. van Gogh; Kröller-Müller Museum, Otterlo, NL) What is changing? Sunflowers (1889, V. van Gogh; What can be done? Van Gogh Museum, Amsterdam) * L. Monico et al., Anal. Chem. 83 (2011) 1224-1231; L. Monico et al., Anal. Chem. 86 (2014) 10804-10811. Properties of lead chromate-based pigments 2- [SO4 ]>40% chrome orange chrome yellows (1-x)PbCrO4∙xPbO PbCrO4 PbCr1-xSxO4 solubility Sulfates [BaSO4, CaSO4∙2H2O, KAl(SO4)2∙12H2O, PbSO4] Extenders Talc, kaolin, calcite (commercial formulation) Other chromate-based yellow pigments (CaCrO4 /BaCrO4) Darkening of chromate-based pigments: interest in the painting conservation field Evolution of the synthesis procedure Lightfastness controlled experimental conditions [pH, improvement temperature, presence of specific reagents (e.g., Until 1950 NH4HF2)] Keen interest of the darkening Coating methods (Sb-based compounds, of the chrome yellow pigments Al/Ti/Ce hydrous oxides, amorphous silica) in the industrial field. -
Van Gogh Museum Journal 2002
Van Gogh Museum Journal 2002 bron Van Gogh Museum Journal 2002. Van Gogh Museum, Amsterdam 2002 Zie voor verantwoording: http://www.dbnl.org/tekst/_van012200201_01/colofon.php © 2012 dbnl / Rijksmuseum Vincent Van Gogh 7 Director's foreword In 2003 the Van Gogh Museum will have been in existence for 30 years. Our museum is thus still a relative newcomer on the international scene. Nonetheless, in this fairly short period, the Van Gogh Museum has established itself as one of the liveliest institutions of its kind, with a growing reputation for its collections, exhibitions and research programmes. The past year has been marked by particular success: the Van Gogh and Gauguin exhibition attracted record numbers of visitors to its Amsterdam venue. And in this Journal we publish our latest acquisitions, including Manet's The jetty at Boulogne-sur-mer, the first important work by this artist to enter any Dutch public collection. By a happy coincidence, our 30th anniversary coincides with the 150th of the birth of Vincent van Gogh. As we approach this milestone it seemed to us a good moment to reflect on the current state of Van Gogh studies. For this issue of the Journal we asked a number of experts to look back on the most significant developments in Van Gogh research since the last major anniversary in 1990, the centenary of the artist's death. Our authors were asked to filter a mass of published material in differing areas, from exhibition publications to writings about fakes and forgeries. To complement this, we also invited a number of specialists to write a short piece on one picture from our collection, an exercise that is intended to evoke the variety and resourcefulness of current writing on Van Gogh. -
I Feel a Power in Me Which I Must Develop, a Fire
vanGogh engl_001_035_rl:vanGogh engl_001_035 09.06.2009 11:19 Uhr Seite 1 ”I feel a power in me which I must develop, a fire that I may not quench, but must keep ablaze, though I do not know to what end it will lead me, and shouldn’t be surprised if it were a gloomy one.“ Vincent van Gogh to his brother Theo in November 1882 vanGogh engl_001_035_rl:vanGogh engl_001_035 09.06.2009 11:19 Uhr Seite 2 vanGogh engl_001_035_rl:vanGogh engl_001_035 09.06.2009 11:19 Uhr Seite 3 VINCENT VAN GOGH Isabel Kuhl PRESTEL MUNICH · BERLIN · LONDON · NEW YORK vanGogh engl_001_035_rl:vanGogh engl_001_035 09.06.2009 11:19 Uhr Seite 4 vanGogh engl_001_035_rl:vanGogh engl_001_035 09.06.2009 11:19 Uhr Seite 5 Contents 37 The Artist seen through his own Eyes 49 A Letter-Writer and his Brother 67 Painting in Black 91 Greyish Pink and Bright Yellow: The Art of Colour 117 Biography and Works 136 List of Illustrations 139 Selected Bibliography 140 Location of Key Works 142 Index vanGogh engl_001_035_rl:vanGogh engl_001_035 09.06.2009 11:19 Uhr Seite 6 “I mean painting is a home …” Vincent to Theo, June 1885 The Bridge at Langlois with Women Washing, March 1888 (detail; see page 131) vanGogh engl_001_035_rl:vanGogh engl_001_035 09.06.2009 11:19 Uhr Seite 7 vanGogh engl_001_035_rl:vanGogh engl_001_035 09.06.2009 11:20 Uhr Seite 8 “But I must continue on the path I have taken now. If I don’t do anything, if I don’t study, if I don’t go on seeking any longer, I am lost. -
Who Is Paule Maurice?? Her Relative Anonymity and Its Consequences
WHO IS PAULE MAURICE? HER RELATIVE ANONYMITY AND ITS CONSEQUENCES by Anthony Jon Moore A Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters in Partial Fulfillment of the Requirements for the Degree of Master of Arts Florida Atlantic University Boca Raton, FL December 2009 Copyright © Anthony Jon Moore 2009 ii ACKNOWLEDGEMENTS I would like to express my sincere and deep appreciation to the many people who fielded my incessant queries and one-track mind conversations for the last two years, especially Dr. Kenneth Keaton, Dr. Laura Joella, Dr. Stuart Glazer, and my translator, Elsa Cantor. The unbelievable support that materialized from individuals I never knew existed is testimony to the legacy left behind by the subject of this thesis. I want to extend my heartfelt appreciation to Jean-Marie Londeix for responding to my many emails; Sophie Levy, Archivist of the Conservatoire National Supérieur de Musique de Paris for providing me with invaluable information; Marshall Taylor for donating his letter from Paule Maurice and his experiences studying Tableaux de Provence with Marcel Mule; Claude Delangle for Under the Sign of the Sun; James Umble for his book, Jean-Marie Londeix: Master of the Modern Saxophone; and Theodore Kerkezos for his videos of Tableaux de Provence. I want to thank Dr. Eugene Rousseau, Professor Emeritus Jack Beeson, Sarah Field, the Clarinet and Saxophone Society of Great Britain, Dr. Julia Nolan, Dr. Pamela Youngdahl Dees, Dr. Carolyn Bryan, and Dr. William Street, for generously taking a call from a stranger in search of Paule Maurice. -
Vincent Van Gogh in Arles
VINCENT VAN GOGH IN ARLES “Van Gogh sur la route de Tarascon” Known also as “The painter on his way to work”, July 1888, 48 x 44 cm Formerly in the Kaiser-Friedrich-Museum, Magdeburg, Germany (Destroyed by fire in 1945) https://commons.wikimedia.org/wiki/File:Vincent_Van_Gogh_0013.jpg A Walk-Around of Selected Sites L. M. Boring Membre de l’Association des Artistes Alpicois, Le Pecq 28 February 2019 Vincent Van Gogh arrived in Arles by train on Monday, February 20, 1888, with an idea to found an artist colony in the south “Wishing to see a different light, thinking that looking at nature under a bright sky might give us a better idea of the Japanese way of feeling and drawing. Wishing also to see this stronger sun, because one could not understand Delacroix’s pictures from the point of view of execution and technique without knowing it, and because one feels that the colors of the prism are veiled in the mist of the North.” Oddly and by happenstance, when he arrived, he found the countryside covered in snow, and among his first paintings were soft landscapes of snow covered fields. He found lodging in the Hotel-Restaurant Carrel, but his stay ended badly over a billing dispute after only two months. Vincent signed a lease on May 1st for a small four-room two-story semi-detached house on the Place Lamartine, not far from the train station. Its stucco exterior was bright ochre, and it became known by Van Gogh’s paintings as La Maison Jaune, the Yellow House. -
Microspectroscopic Analysis of Traditional Oil Paint
Microspectroscopic Analysis of Traditional Oil Paint Jaap van der Weerd The work described in this thesis was performed at AMOLF (FOM Institute for Atomic and Molecular Physics), Kruislaan 407, 1098 SJ, Amsterdam, The Netherlands. It is part of the research program of Priority Program MOLART (Molecular aspects of Ageing in Painted Works of Art) of the NWO (Nederlandse Organisatie voor Wetenschappelijk Onderzoek) and of the research program nr. 28 (Mass Spectrometry of Macromolecular Systems) of the FOM (Stichting voor Fundamenteel Onderzoek der Materie). © Jaap van der Weerd ISBN 90-801704-8-8 cover: balancing on the Art-Science interface. Results from infrared analysis of a sample from Falling Leaves (Les Alyscamps) by Vincent van Gogh. A processed version of this figure is included in this Thesis as Fig. 8.5. Microspectroscopic Analysis of Traditional Oil Paint ACADEMISCH PROEFSCHRIFT Ter verkrijging van de graad van doctor aan de Universiteit van Amsterdam op gezag van de recor magnificus Prof. mr. P.F. van der Heijden Ten overstaan van een door het college voor promoties ingestelde Commissie, in het openbaar te verdedigen in de Aula der Universiteit Op vrijdag 6 december 2002, te 10.00 uur door Jaap van der Weerd geboren te IJsselmuiden Promotiecommissie Promotores: Prof. dr. J.J. Boon Prof. dr. R.M.A. Heeren Co-promotor: Prof. dr. J.R.J. van Asperen de Boer Overige commissieleden: Prof. Dr. H. Schenk Prof. Dr. J.W. Verhoeven Prof. Dr. H.J. Bakker Dr. A. Burnstock Dr. T. Visser Faculteit der Natuurwetenschappen, Wiskunde en Informatica MOLART Reports MOLART - Molecular Aspects of Ageing of Painted Art - is a 5-year cooperative project be- tween art historians, restorers, analytical chemists and technical physicists funded by the Dutch Organisation for Scientific Research (NWO). -
France: Birds & Art in Provence
FRANCE: BIRDS & ART IN PROVENCE APRIL 20-28, 2021 © 2020 Mediterranean France is famous for the diversity of its bird life and for the richness of its 2,000-year- old culture. This relaxed tour, based at a single hotel in Arles, gives us the opportunity to enjoy both, with a Mediterranean avifauna complementing artistic and architectural treasures from the Roman, medieval, and modern periods. We will be based for our entire trip in one comfortable hotel in the lovely Provençal town of Arles, founded by Julius Caesar as a gift to his legions after their conquest of Gaul—and as a way to keep those battle-hardened veterans from causing him trouble back home in Rome. In the early Christian period, Arles was a bustling center of commerce and spirituality, a status only heightened in the Middle Ages, when some of the finest sculpture in European history was produced to ornament the city’s churches and cemeteries. Today, Arles is an elegant, vaguely sleepy town, proud of its well- preserved past and its preeminent status among the cities of Provence. Arles is also the gateway to some of the best wildlife areas in France. On some days of our trip, birding will predominate, while others will be devoted primarily to historical sites, but most of our time will feature a balance between birds and culture. Late morning starts, leisurely meals, and plenty of time built in for shopping, strolling, or enjoying the sights ensures a relaxed pace, and the food, the wine, and the inviting landscapes of Provence combine to make this an especially appealing European sojourn for birders and non-birders alike. -
Francia – References for Each Section of the Journey Are From
In the Steps of Augustine of Canterbury A Pilgrim’s Guide in France In the Steps of Augustine of Canterbury A Pilgrim’s Guide in France For historical background on the sixth century and the implications of Augustine’s journey through France – ancient Francia – references for each section of the journey are from: Robin Mackintosh, Augustine of Canterbury: Leadership, Mission and Legacy, Canterbury Press, 2013 Rob Mackintosh & Peter Ingrams 1 Contents Chapter 3 Raging Waters Copyright - Arles to Lyon Dedication Chapter 4 Crucial Encounter - Lyon to Nevers Preface Chapter 5 Ready at Last Acknowledgements - Nevers to Paris Chapter 1 The Great Beginning Chapter 6 Taking Risks, Meeting Ancestors - Villefranche-sur-Mer to Aix-en-Provence - Paris to Laon Chapter 2 A Fresh Start Chapter 7 Imperium or Emporium? - Aix-en-Provence to Arles - Laon to Quentovic 2 b Copyright Dedication © Rob Mackintosh & Peter Ingrams 2016 This Pilgrim Guide is dedicated to the Companions of Augustine of Canterbury, and to everyone on a pilgrim First published in 2016 way in the hope that their lives will be enriched in many and unexpected ways. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, In the end, as in the beginning, pilgrimage is a response to in any from or by any means, electronic, mechanical, an impulse of Love. photocopying or otherwise, without the prior permission of the publishers. “The proof of love is in the works. Where love exists, it works great things. But when it ceases to act, it ceases to The Authors have asserted their rights under the exist” Copyright, Designs and Patents Act, 1988, to be identified – Pope St. -
Vincent Van Gogh Groot Zundert 30 Marzo 1853 Auvers-Sur-Oise 27 Luglio 1890
Vincent van Gogh Groot Zundert 30 marzo 1853 Auvers-sur-Oise 27 luglio 1890 “Con van Gogh comincia il dramma dell’artista che si sente escluso da una società che non utilizza il suo lavoro , e ne fa un disadatto, candidato alla follia e al suicidio. Non soltanto l’artista: una società pragmatistica che assegna al lavoro il solo fine del profitto non può che respingere chi, pensoso della condizione e del destino dell’umanità, smaschera la sua cattiva coscienza.” “Il posto di van Gogh è accanto a Kierkegaard, a Dostoevskij: come costoro si interroga, pieno di angoscia, sul significato dell’esistenza, del proprio essere-nel-mondo.” “… si pone dalla parte dei diseredati, delle vittime: i lavoratori sfruttati, i contadini a cui l’industria, … toglie il sentimento dell’eticità e della religiosità del lavoro. “Non è pittore per vocazione, ma per disperazione. Aveva tentato di inserirsi nell’ordine sociale, era stato respinto; si era dato all’apostolato religioso facendosi pastore e missionario tra i minatori del Borinage, la chiesa ufficiale, solidale con i padroni, l’aveva espulso.” “A trent’anni si rivolta, la sua rivolta è la pittura: la paga con il manicomio e il suicidio”. Giulio Carlo “Argan L’arte moderna” 1770/1970 Sansoni Ed. op.cit. pag.157 1853 Vincent Willem van Gogh nacque a Groot Zundert il 30 marzo. Figlio primogenito di Theodorus van Gogh (1822-1885) e di Anna Cornelia Carbentus (1819-1907). 1857 1 Maggio nasce il fratello Theo. 1876 - 1881 Dalla metà di aprile 1876 al luglio dello stesso anno Vincent lavora come insegnante nel collegio di Ramsgate. -
Presentazione Standard Di Powerpoint
Proposta del film: prof. D.E. Tortola Scheda a cura del prof. P. Milli IISS BAZOLI-POLO, Assemblea d’Istituto del 22.12.2018 IISS BAZOLI-POLO, Assemblea d’Istituto del 22.12.2018 Fonte: wikipedia.it è un film d'animazione britannico-polacco del 2017, diretto da Dorota Kobiela e Hugh Welchman. Lingua originale inglese Paese di produzione Regno Unito, Polonia Anno 2017 Durata 94 min Rapporto 1,33:1 Genere animazione, biografico, giallo, drammatico IISS BAZOLI-POLO, Assemblea d’Istituto del 22.12.2018 IISS BAZOLI-POLO, Assemblea d’Istituto del 22.12.2018 Regia Dorota Kobiela, Hugh Welchman Sceneggiatura Dorota Kobiela, Hugh Welchman, Jacek Dehnel Produttore Sean Bobbitt, Cleone Clarke, Tim Dennison, Jonathan Feroze, Richard Londesborough, Ivan Mactaggart, Hugh Welchman Produttore esecutivo Claudia Bluemhuber, Doppiatori italiani Gerd Schepers, Ian Hutchinson, • Gianfranco Miranda: Vincent van Gogh Charlotte Ubben, Laurie Ubben, • Flavio Aquilone: Armand Roulin Edward Noeltner, David Parfitt • Veronica Puccio: Adeline Ravoux Casa di produzione BreakThru Productions, Trademark • Gianni Giuliano: dott. Paul Gachet Films • Valentina Favazza: Marguerite Gachet Distribuzione(Italia) Adler Entertainment, Nexo Digital • Franco Zucca: Joseph Roulin FotografiaTristan Oliver, Łukasz Żal • Bruno Alessandro: père Tanguy Montaggio Dorota Kobiela, Justyna Wierszynska • Riccardo Scarafoni: barcaiolo Effetti speciali Scott McIntyre, Eddy Popplewell • Franca D'Amato: Louise Chevalier Musiche Clint Mansell • Dario Penne: dott. Mazery Costumi Dorota Roqueplo • Enzo Avolio: Rigaumon Trucco Sallie Jaye • Emilio Mauro Barchiesi: Paul Gauguin Art director Daniela Faggio • Oliviero Dinelli: anziano paesano IISS BAZOLI-POLO, Assemblea d’Istituto del 22.12.2018 IISS BAZOLI-POLO, Assemblea d’Istituto del 22.12.2018 Trama Nella Francia del 1891 il giovane Armand Roulin riceve dal padre postino l'incarico di recapitare una lettera a Theo van Gogh, fratello del pittore olandese Vincent van Goghche da poco si è tolto la vita. -
Van Gogh Lecture Jaap Van Duijn
Vincent and his changing image of God Lecture by Jaap van Duijn, 2019 We will look into the different phases in the life of Vincent van Gogh. His religious experience and his image of God in addition to the artistic development of Vincent van Gogh's work. Sometimes they go together with his change of residence. Emo Verkerk, Vincent and his mother • That Van Gogh still inspires people needs no explanation. For example, look at the painting that modern portrait painter Emo Verkerk made in honor of Van Gogh's 125th year of death. So 2015. The painting is part of a series of Van Gogh portraits and depicts the strictly Reformed mother Anna and Vincent as an art dealer in London (based on one of the few photos known by Vincent). It shows well the relationship between Vincent and his mother. • Vincent's enormous drive and passion for painting is known. Many people, including myself, have traveled all places where Vincent lived and worked out of fascination for the artist. The website vangoghroute.nl was created from this. All places of residence are described on this website. The development was done by Stichting Gifted Art By Judith de Bruijn, art historian. 1 2 Van Gogh family The family: father Theo van Gogh the pastor and mother Anna Carbentus. The children: Vincent, Anna, Theo, Lies, Wil and Cor Vincent's birth certificate First of all, a look at his childhood: • Vincent is born on March 30, 1853. • He lives with his family in the rectory on the Markt in Zundert.