Mes Mémoires
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
La Estafa En La Obra De Arte
UNIVERSIDAD DE MURCIA DEPARTAMENTO DE HISTORIA JUR´IDICA Y CIENCIAS PENALES Y CRIMINOLOGICAS´ La Estafa en la Obra de Arte D~na.Mar´ıa Angeles´ Casab´oOrt´ı 2014 Dedicatorias En este trabajo de investigaci´onme parece obligado hacer un previo reconocimiento a todas aquellas personas que me han prestado su ayuda e inmejorables consejos. Al Profesor Jaime Peris por su apoyo, la paciente orientaci´one in- estimables sugerencias a trav´esde todas las etapas del proceso. Su supervisi´ony opiniones me recordaron que los conocimientos pluridis- ciplinares enriquecen cualquier investigaci´on. Al Profesor Amadeo Serra por su constante seguimiento y relevantes aportes, compartiendo su tiempo de manera generosa. Sus interesantes clases fueron un ejemplo de como realizar siempre un trabajo riguroso. A Ana Rosa G´omezCalvet por su colaboraci´onen la maquetaci´ony revisi´on. A mi madre y hermana Luc´ıa,con las que he podido compartir esta pasi´on. A la memoria de mi padre que me transmiti´oel amor por el derecho. A Roberto y mis hijas Bertha y Angela,´ que me han acompa~nadoen este viaje y que me hacen feliz. Resumen El prop´ositode la presente tesis es el an´alisisy estudio jur´ıdicopenal en torno a la estafa mediante obras de arte falsas. El objeto de la investigaci´on,pues, queda circunscrito a la figura b´asicadel delito de estafa y a los preceptos que la complementan recogidos en los art´ıculos 248.1, 249 y 623,4 del C´odigoPenal. El n´ucleode la tesis est´aformado por tres cap´ıtulos,en un primero, se realiza un estudio terminol´ogico,necesario para definir un marco introductorio donde se acota el tema: el mercado del arte y el concepto de obra de arte. -
La Estafa En La Obra De Arte
UNIVERSIDAD DE MURCIA DEPARTAMENTO DE HISTORIA JUR´IDICA Y CIENCIAS PENALES Y CRIMINOLOGICAS´ La Estafa en la Obra de Arte D~na.Mar´ıa Angeles´ Casab´oOrt´ı 2014 Dedicatorias En este trabajo de investigaci´onme parece obligado hacer un previo reconocimiento a todas aquellas personas que me han prestado su ayuda e inmejorables consejos. Al Profesor Jaime Peris por su apoyo, la paciente orientaci´one in- estimables sugerencias a trav´esde todas las etapas del proceso. Su supervisi´ony opiniones me recordaron que los conocimientos pluridis- ciplinares enriquecen cualquier investigaci´on. Al Profesor Amadeo Serra por su constante seguimiento y relevantes aportes, compartiendo su tiempo de manera generosa. Sus interesantes clases fueron un ejemplo de como realizar siempre un trabajo riguroso. A Ana Rosa G´omezCalvet por su colaboraci´onen la maquetaci´ony revisi´on. A mi madre y hermana Luc´ıa,con las que he podido compartir esta pasi´on. A la memoria de mi padre que me transmiti´oel amor por el derecho. A Roberto y mis hijas Bertha y Angela,´ que me han acompa~nadoen este viaje y que me hacen feliz. Resumen El prop´ositode la presente tesis es el an´alisisy estudio jur´ıdicopenal en torno a la estafa mediante obras de arte falsas. El objeto de la investigaci´on,pues, queda circunscrito a la figura b´asicadel delito de estafa y a los preceptos que la complementan recogidos en los art´ıculos 248.1, 249 y 623,4 del C´odigoPenal. El n´ucleode la tesis est´aformado por tres cap´ıtulos,en un primero, se realiza un estudio terminol´ogico,necesario para definir un marco introductorio donde se acota el tema: el mercado del arte y el concepto de obra de arte. -
THE ART MARKET in 2015 Nota Bene : • All the Fine Art Auction Prices Quoted in This Report Include Buyer Fees
THE ART MARKET IN 2015 Nota Bene : • All the Fine Art auction prices quoted in this report include buyer fees. • For the purposes of this report, Fine Art includes paintings, sculptures, installations, drawings, photographs, videos, tapestries and prints. It does not include antiques, anonymous cultural goods and furniture. • “Western Art Market” means all countries of the world, except China. • All $ symbols refer to the US dollars and all ¥ symbols refer to the Chinese yuan. The exchange rate used by AMMA for the Chinese market data is an average annual rate. • The two main categories of Chinese art are “Chinese Painting & Calligraphy” and “Oil Painting & Contemporary Art”. • “Chinese Painting & Calligraphy” refers to traditional Chinese art forms usually created with Indian ink (Chinese ink) on various substrates such as Xuan paper, silk or fans. These may take the form of calligraphy, with subjects like poems, words and wishes, or traditional Chinese painting, representing landscapes, people, birds and flowers. • The “Oil Painting & Contemporary Art” category refers to artworks created by Chinese artists who have adopted Western techniques and media (oil painting, photography, sculpture, installation, pencil drawing, gouache, watercolor, etc.) after the first canvas oil painting was shown in China in 1579. • Old Masters: works by artists born before 1760. • 19th Century Art: works by artists born between 1760 and 1860. • Post-War Art: works by artists born between 1920 and 1945. • Contemporary Art: works by artists born after 1945 Thierry Ehrmann, founder largely driven by globalisation of the mar- IN 2015 the WEStern ket, with strong economic growth and an and CEO of Artprice: intensification of demand at the high-end “Wan Jie, CEO of Artron group and founder of the Western market. -
Teachers' Resource
TEACHERS’ RESOURCE BECOMING PICASSO: PARIS 1901 CONTENTS 1: INTRODUCTION TO THE EXHIBITION 2: ‘I WAS A PAINTER AND I BECAME PICASSO’ 3:THE ARTIST AS OUTSIDER: THE HARLEQUIN IN PICASSO’S EARLY WORK 4: PAINTING LIFE AND DEATH: PICASSO’S SECULAR ALTARPIECE 5: THE SECRET LIFE OF A PAINTING 6: PAINTING THE FIGURE: A CONTEMPORARY PRACTICE PERSPECTIVE 7: PICASSO’S BELLE ÉPOQUE: A SUBVERSIVE APPROACH TO STYLE AND SUBJECT 8: GLOSSARY 9: TEACHING RESOURCE CD TEACHERS’ RESOURCE BECOMING PICASSO: PARIS 1901 Compiled and produced by Sarah Green Design by Joff Whitten SUGGESTED CURRICULUM LINKS FOR EACH ESSAY ARE MARKED IN ORANGE TERMS REFERRED TO IN THE GLOSSARY ARE MARKED IN PURPLE To book a visit to the gallery or to discuss any of the education projects at The Courtauld Gallery please contact: e: [email protected] t: 0207 848 1058 Cover image: Pablo Picasso Child with a Dove, 1901 Oil on canvas 73 x 54 cm Private collection © Succession Picasso/DACS, London 2013 This page: Pablo Picasso Dwarf-Dancer, 1901 Oil on board 105 x 60 cm Museu Picasso, Barcelona (gasull Fotografia) © Succession Picasso/DACS, London 2013 WELCOME The Courtauld is a vibrant international centre for the study of the history of art and conservation and is also home to one of the finest small art museums in the world. The Public Programmes department runs an exceptional programme of activities suitable for young people, school teachers and members of the public, whatever their age or background. We offer resources which contribute to the understanding, knowledge and enjoyment of art history based upon the world-renowned art collection and the expertise of our students and scholars. -
Toulouse-Lautrec, Paintings, Drawings, Posters
Lautrec Digitized by the Internet Archive in 2012 with funding from Metropolitan New York Library Council - METRO http://archive.org/details/toulouseOOmkno Toulouse-Lautrec PAINTINGS DRAWINGS • POSTERS LOAN EXHIBITION FOR THE BENEFIT OF THE MUSEE D'ALBI • FRANCE NOVEMBER 15 TO DECEMBER 11 • 1937 ! (Je,'j2a,^ 7 AT THE GALLERIES OF M. KNOEDLER AND COMPANY • INC. FOURTEEN EAST FIFTY-SEVENTH STREET • NEW YORK CITY 5 PAINTINGS 1 COUNT ALPHONSE DE TOULOUSE-LAUTREC CONDUISANT SON MAIL COACH A NICE 1 88 1 Musee du Petit Palais 2 LA COMTESSE NOIRE 1 8 8 1 M.Sere de Rivieres 3 PORTRAIT DE MADAME ALINE GIBERT 1887 4 PORTRAIT DU PEINTRE FRANCOIS GAUZY 5 MADEMOISELLE DIHAU AU PIANO 1890 Musee d'Albi 6 M. DESIRE DIHAU, BASSON DE l'oPERA 1891 Musee d'Albi 7 PORTRAIT DU PHOTOGRAPHE PAUL SESCAU 1891 Brooklyn Museum 8 LA FEMME AU CHIEN. ARCACHON 1891 9 PORTRAIT DE M. HENRI DIHAU DANS SON JARDIN 1891 Musee d'Albi IO LA FEMME AU BOA NOIR 1892 Musee National du Luxembourg I I AU MOULIN ROUGE 1892 Art Institute of Chicago I 2 PORTRAIT DE M. LOUIS PASCAL 1893 Musee d'Albi I Musee d'Albi 3 PORTRAIT DE JANE AVRIL 1893 14 MONSIEUR BOILEAU AU CAFE 1893 Cleveland Museum of Art 1 JANE AVRIL DANSANT 1893 16 MONSIEUR, MADAME ET LEUR PETIT CHIEN 1893 Musee d'Albi I 7 AU SALON 1894 Musee d'Albi 1 8 FEMME COUCHEE SUR LE DOS LES BRAS LEVES 1894 Musee d'Albi 19 LA CLOWNESSE CHA-U-KAO 1895 Lent anonymously 20 MISS MAY MILTON 1895 Mr. -
Mise En Page 1 12/01/09 3:39 Page 1
Cata26JanvPArt1:Mise en page 1 12/01/09 3:39 Page 1 MILLON & ASSOCIÉS LE LUNDI 26 JANVIER 2009 À 14 H PARIS DROUOT RICHELIEU. SALLE 7 Edmond HEUZE (Paris 1884 – 1967). (190 lots) . Jeanin KOSTIA BLANCHETEAU (Née en 1932). (7 lots) Pierre ROSSIGNOL (1910 - 1988). (97 lots) M. GUYMAR (1932 - 1998). (26 lots) Colette LAJONIE dite CEELLE (Née à Paris en 1929). (26 lots) p2 à p23 p24 à p25 p26 à p37 p38 à p41 p42 à p45 EXPOSITIONS PUBLIQUES DROUOT-RICHELIEU SAMEDI 24 JANVIER DE 11 HÀ18 H ET LE LUNDI 26 JANVIER DE 11 HÀ12 H CONTACT ÉTUDE ALIX PIGNON-HERIARD. François GARIDEL Tel 01 47 27 15 92. [email protected] xConditions de ventes : p46-47. Ordres d’achat : p48 Estimations sur feuillet à part 5, AVENUE D’EYLAU 75116 PARIS Tel 01 47 27 95 34 Fax 01 47 27 70 89 Intégralité des lots reproduits sur notre site www.millon-associes.com SVV. Agr. N°2002-379 Cata26JanvPArt1:Mise en page 1 12/01/09 1:22 Page 2 Edmond HEUZE (Paris 1884 – 1967) Edmond Heuzé s’impose comme l’un des peintres significatifs du début de ce siècle, comme l’un des maîtres les plus authen- tiques de Montmartre. Etre une physionomie mont- martroise l’a écarté du grand public mais il a été fort apprécié des autres peintres de sa génération, Rouault, Vlaminck, Derain, le reconnurent comme l’un des leurs. Son parcours atypique avait dérouté le public. Tout à tour fort des Halles, danseur professionnel, lutteur, coureur cycliste, il gardera de ses professions variées un sens avisé, critique et douloureux qu’il extériorisera sur la toile, conseillé par Georges Rouault. -
Packet 19. Jane Avril Poster and Coloring Page
Jane Avril By Toulouse-Lautrec [Cover this area before printing. Page is designed for creating a two-sided copy for the previous coloring page. Coloring pages are designed for kids to share the information at home that was discussed in the Art Discovery presentation, and are NOT FOR USE AS THE ART DISCOVERY PROJECT!] Jane Avril By Henri Toulouse Lautrec (tuh LOOZ luh TREK) 1893 In Paris during the 1880’s and 1890’s, long before rock concerts, CDs, I-pods, even radios or television, people went to music halls or cabarets (cab arrays) for entertainment. Most of these places used large, brightly colored posters to advertise the performers. The posters were hung on outside city walls all over Paris. They were called “the art of the streets”. More than a hundred years later, the shows these posters advertised have been forgotten, but some of the original posters still exist. The originals are very costly for modern poster collectors. These 19th century posters are still so popular that many copies are printed, framed and sold today. Henri Toulouse Lautrec loved the nightlife in Montmartre. This was an area located on a hill in the north of Paris, which at one time was just outside the city limits and dotted with grain mills. The area developed into a nightclub district and, because rent was cheap here, it was also an area where many struggling young artists of the 19th century could afford housing or art studios. Two of the best-known cabarets or music halls in Montmartre were “Le Chat Noir” (the Black Cat) and “Moulin Rouge” (the Red Mill). -
1895. Mille Huit Cent Quatre-Vingt-Quinze, 68
1895. Mille huit cent quatre-vingt-quinze Revue de l'association française de recherche sur l'histoire du cinéma 68 | 2012 Albert Capellani, de Vincennes à Fort Lee Jean A. Gili et Éric Le Roy (dir.) Édition électronique URL : http://journals.openedition.org/1895/4503 DOI : 10.4000/1895.4503 ISSN : 1960-6176 Éditeur Association française de recherche sur l’histoire du cinéma (AFRHC) Édition imprimée Date de publication : 1 décembre 2012 ISBN : 978-2-913758-63-6 ISSN : 0769-0959 Référence électronique Jean A. Gili et Éric Le Roy (dir.), 1895. Mille huit cent quatre-vingt-quinze, 68 | 2012, « Albert Capellani, de Vincennes à Fort Lee » [En ligne], mis en ligne le 01 décembre 2015, consulté le 22 septembre 2020. URL : http://journals.openedition.org/1895/4503 ; DOI : https://doi.org/10.4000/1895.4503 Ce document a été généré automatiquement le 22 septembre 2020. © AFRHC 1 SOMMAIRE Présentation Les deux carrières d’Albert Capellani Jean Antoine Gili et Éric Le Roy Première partie : la carrière française Capellani avant Griffith, 1906-1908 Richard Abel Notre-Dame de Paris Entre histoire locale et analyse des modes de représentation Pierre-Emmanuel Jaques Notre-Dame de Paris À propos de la copie de la Cinémathèque euro-régionale. Institut Jean-Vigo de Perpignan François Amy de la Bretèque De l’écrit à l’écran : Les Misérables Lucien Logette De la tradition littéraire à la modernité cinématographique Germinal Béatrice de Pastre Quatre-vingt-treize d’Albert Capellani et André Antoine (1914-1921) Michel Marie Albert Capellani directeur artistique de la SCAGL ou l’émergence de l’auteur Dominique Moustacchi et Stéphanie Salmon Des acteurs qui échappent au théâtre Les acteurs d’Albert Capellani Jacques Richard Décors et espace dans les films français de Capellani Jean-Pierre Berthomé Deuxième partie : la carrière américaine « Déjà perçu comme immortel » : Albert Capellani aux Etats-Unis Jay Weissberg Albert Capellani dans les studios américains Richard Koszarski Albert Capellani, allers et retours Hubert Niogret 1895. -
Toulouse-Lautrec and the Stars of Paris
TOULOUSE-LAUTREC AND THE STARS OF PARIS TOULOUSE-LAUTREC and the StarS of PariS | 1 | TOULOUSE-LAUTREC and the StarS of PariS HELEN BURNHAM with contributions by MARY WEAVER CHAPIN and JOANNA WENDEL MFA Publications | Museum of Fine Arts, Boston | 2 | | 3 | Contents directors’ foreword | 6 foreword Mary Weaver Chapin | 9 spectacular and subtle: the art of toulouse-lautrec Helen Burnham | 13 Yvette Guilbert | 23 Jane avril | 39 aristide bruant | 53 Marcelle lender | 65 MaY belfort | 77 loïe fuller | 89 notes | 99 list of illustrations | 103 further reading | 108 acknowledgments | 111 | 4 | toulouse-lautrec and the stars of paris Foreword MARY WEAVER CHAPIN henri de toulouse-lautrec was the right performers of all varieties could be seen in artist at the right time. The time was fin-de- shop windows, purchased by fans, and viewed siècle Paris, a moment when a vast array in three dimensions through stereoscopes. of entertainment options was springing up Collectors created albums focusing on particu- around the city, performers were attracting lar stars or private portfolios of erotic poses increasing attention and fame, and the color by cancan dancers and circus performers, poster and lithograph were reaching new bringing the public performer into the private artistic and commercial heights. The artist was domestic world. The development of large- Henri-Marie-Raymond de Toulouse-Lautrec- scale color lithography was another milestone; Montfa, the descendant of an old and distin- by the 1880s, bright posters dominated the guished aristocratic family from the south of streets of Paris, advertising everything from France. Blessed with a quick and witty graphic the most elevated opera to gritty cabarets talent, a keen understanding of performance, artistiques. -
Henri De Toulouse-Lautrec from Wikipedia, the Free Encyclopedia
Henri de Toulouse-Lautrec From Wikipedia, the free encyclopedia Henri Marie Raymond de Toulouse-Lautrec-Monfa or simply Henri de Toulouse-Lautrec (French: [ɑ̃ʁi də tuluz lo Henri de Toulouse-Lautrec ˈtʁɛk]; 24 November 1864 – 9 September 1901) was a French painter, printmaker, draughtsman and illustrator whose immersion in the colourful and theatrical life of Paris in the late 1800s yielded a collection of exciting, elegant and provocative images of the modern and sometimes decadent life of those times. Toulouse-Lautrec – along with Cézanne, Van Gogh and Gauguin – is among the most well-known painters of the Post-Impressionist period. In a 2005 auction at Christie's auction house, a new record was set when La blanchisseuse, an early painting of a young laundress, sold for US$22.4 million.[1] Contents 1 Early life 2 Disability and health problems 3 Paris 4 London Henri de Toulouse-Lautrec 5 Alcoholism Birth Henri Marie Raymond de Toulouse- 6 Death name Lautrec-Monfa 7 Art 8 Selected works Born 24 November 1864 8.1 Paintings Albi, Tarn, France 8.2 Posters Died 9 September 1901 (aged 36) 8.3 Photos Château Malromé, France 8.4 Signature Nationality French 9 In popular culture Field Painter, printmaker, draftsman, 10 References illustrator 11 Further reading 12 External links Movement Post-Impressionism, Art Nouveau Early life Henri Marie Raymond de Toulouse-Lautrec-Monfa was born at the chateau du Bosc in Albi, Tarn in the Midi- Pyrénées région of France, the firstborn child of Comte Alphonse de Toulouse-Lautrec-Monfa and Adèle Tapié de Celeyran. He was therefore a member of an aristocratic family (descendants of the Counts of Toulouse and Lautrec and the Viscounts of Montfa, a village and commune of the Tarn department of southern France). -
Gaston Couté, Le Dernier Des Poètes Maudits Elisabeth Pillet
Gaston Couté, le dernier des poètes maudits Elisabeth Pillet To cite this version: Elisabeth Pillet. Gaston Couté, le dernier des poètes maudits : Chanson, poésie et anarchisme à la Belle Époque. Presses universitaires de la Méditerranée, 356 p., 2011, 978-2-84269-942-0. hal- 03050209 HAL Id: hal-03050209 https://hal.archives-ouvertes.fr/hal-03050209 Submitted on 22 Jul 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. PĹrĂeŊsŇsĂeŊŽ ĹuŠnĹiŠvČeĽrŇsĹiĹtĄaĹiĹrĂeŊŽ ĂdĂe ĎlĄaĞ MĂéĄdĹiĹtĄeĽrĹrĂaŠnĂéĄe— UŢnĂe ĂqĹuĂeŊsĹtĽiĂoŤn? UŢnĞ ŇpĹrĂoĘbĘlĄèŞmĂe? TĂéĚlĄéŊpŘhĂoŤnĂeĽz ĂaĹuĞ 04 99 63 69 23 ĂoŁuĞ 27. PĹiĎlĚlĄeĽtGĄaŇsĹtĄoŤnCĂoŁuĹtĄeĚfĽiŠnĂaĎl — DĂéŊpĂaĹrĹt ĹiŠmŇpĹrĹiŠmĂeĽrĹiĂe — 2011-12-8 — 10 ŘhĞ 57 — ŇpĂaĂgĄe 1 (ŇpĂaĂgĽiŠnĂéĄe 1) ŇsĹuĹrĞ 356 PĹrĂeŊsŇsĂeŊŽ ĹuŠnĹiŠvČeĽrŇsĹiĹtĄaĹiĹrĂeŊŽ ĂdĂe ĎlĄaĞ MĂéĄdĹiĹtĄeĽrĹrĂaŠnĂéĄe— UŢnĂe ĂqĹuĂeŊsĹtĽiĂoŤn? UŢnĞ ŇpĹrĂoĘbĘlĄèŞmĂe? TĂéĚlĄéŊpŘhĂoŤnĂeĽz ĂaĹuĞ 04 99 63 69 23 ĂoŁuĞ 27. PĹiĎlĚlĄeĽtGĄaŇsĹtĄoŤnCĂoŁuĹtĄeĚfĽiŠnĂaĎl — DĂéŊpĂaĹrĹt ĹiŠmŇpĹrĹiŠmĂeĽrĹiĂe — 2011-12-8 — 10 ŘhĞ 57 — ŇpĂaĂgĄe 2 (ŇpĂaĂgĽiŠnĂéĄe 2) ŇsĹuĹrĞ -
Mamie Cox Depictions of Power: Henri De Toulouse Lautrec and The
Cox 1 Mamie Cox Depictions of Power: Henri de Toulouse Lautrec and the Montmartre Performer Independent Study: Henri de Toulouse Lautrec and Montmartre 10 May 2013 Cox 2 Renowned draftsman, printmaker, and painter Henri de Toulouse-Lautrec is made most famous by his depictions of performers. Female dancers, sex workers, and circus performers dominate many of his most well-known works. With their stereotypically low social class, sexualized performances, bare outfits, and attention gained from members of the opposite sex, it is sometimes easy to place female performers such these in the role of a powerless victim of commodification. Lautrec, however, through his dynamic depictions of these sexualized performances, subverts this notion and instead depicts these women as celebrities in power of their situation and surroundings. Throughout his tragically short but prolific artistic life, Henri de Toulouse-Lautrec was fascinated with the art of dance. Born with an unknown genetic defect traditionally attributed to inbreeding, Lautrec suffered from weak bone strength, stunted growth, and extreme difficult mobility his entire life. Despite this disability, Lautrec always found himself drawn to the art of movement. First, of the horses at his aristocratic family’s country estate and then of the performers that populated the Opera, café-concerts, dance halls, and circuses of Paris. 1 In early adulthood, Lautrec found himself drawn to the bohemian world of the emerging Montmartre, Paris. Set upon a hill, and removed from the city center, Montmartre had an identity separate from that of the more conservative central Paris.2 Montmartre’s dance halls, cabarets, café-concerts, brothels, and circuses created a racy, uncensored atmosphere that attracted working-class residents of the district, as well as thrill-seeking bourgeois patrons from central Paris and beyond.