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Liste À Publier 25 Janvier 2017.Pdf
_ ERP de Seine-Maritime qui se sont déclarés comme étant accessibles par leur gestionnaire/propriétaire aux règles d’accessibilité (attestation d’accessibilité ou cerfa 15247) – Mise à jour de la liste 31/12/2016 Adresse de l’ERP 1 SIRET Catégorie Numéro de 5 Nom de l’établissement Type d’ERP 2 Nom gestionnaire/propriétaire ou Date de dépôt d’ERP l’attestation 4 DATE DE NAISSANCE Rue Code postal COMMUNE 7 Auto école MACADAM CONDUITE 2 place du Tilleul 76190 ALLOUVILLE BELLEFOSSE 5 R AC-076-000700 CARLE Jérôme 53954774500023 09/06/2015 Le Pousserdas 2 rue Jacques Anquetil 76190 ALLOUVILLE BELLEFOSSE 5 M-N AC-076-003350 Non DEHAIS Dominique 80842135800017 29/01/2016 Pharmacie du Chêne 18 rue Jacques Anquetil 76190 ALLOUVILLE BELLEFOSSE 5 M AC-076-003717 Non PETIT Carine 50075159200012 06/03/2015 Eglise rue des Tilleuls 76640 ALVIMARE 5 V AC-076-002393 Non LEMERCIER Michel 21760002200016 28/09/2015 Garage Blondel 44 RD 6015 76640 ALVIMARE 5 M AC-076-003443 Non BLONDEL Léo 35076381900017 08/06/2016 Salle communale 3 route de la Chapelle 76640 ALVIMARE 5 L AC-076-002394 Non LEMERCIER Michel 21760002200016 28/09/2015 L’Ancienne Mare rue de l’Ancienne Mare 76550 AMBRUMESNIL 5 M AC-076-003145 Non PATE Philippe 45179779900017 30/06/2016 Bowling Billard Anfreville 177 route de Paris 76920 AMFREVILLE LA MIVOIE 4 P AC-076-004354 Oui SARL BBA – EL MNRRETAR Aicha 43176378800012 23/09/2015 Cabinet d’infirmières 59 rue F.Mitterand / Rés. Sente des près 76920 AMFREVILLE LA MIVOIE 5 U AC-076-001263 Non HOJNACKI-BUQUET 40856764200025 11/03/2015 Kinésithérapeute -
Allouville Bellefosse A.S
ALLOUVILLE BELLEFOSSE A.S. ALLOUVILLE BELLEFOSSE 521219 Couleurs : Vert Et Noir Siège social : mairie Email officiel : [email protected] 76190 ALLOUVILLE BELLEFOSSE President : M. TALBOT Sylvain Correspondant : Mme RICARD Clemence Terrain : STADE JEAN-PIERRE CORDERON 47-29 Rue De Liernu 76190 ALLOUVILLE BELLEFOSSE AMFREVILLE LA MI VOIE A.S.ML. D'AMFREVILLE LA MIVOIE 538786 Couleurs : Rose Noir Siège social : RUE FRANCOIS MITTERAND Site internet : asmla.footeo.com MAIRIE Email officiel : [email protected] 76920 AMFREVILLE LA MI VOIE President : M. D'ABREU Stephane Correspondant : M. ZAMMIT Romain Terrain : STADE ROBERT TALBOT 1 Terrain A Quai Lescure 76920 AMFREVILLE LA MI VOIE ANGERVILLE L ORCHER A.S. ANGERVILLE L'ORCHER 501611 Couleurs : Rouge Siège social : MAIRIE Email officiel : [email protected] 76280 ANGERVILLE L ORCHER Site internet : club.sportsregions.fr/asao-foot President : M. BAIET Benjamin Correspondant : M. GOUZIEN Donovan Mob. personnel : 0668172693 170 Rue Du Presbytère Email officiel : [email protected] 76110 ST SAUVEUR D EMALLEVILLE Email principal : [email protected] Terrain : STADE MUNICIPAL Rue Des Hellandes 76280 ANGERVILLE L ORCHER ANGERVILLE LA MARTEL AS COLLEVILLE ANGERVILLE 582389 Couleurs : Bleu Et Blanc Siège social : MAIRIE Email officiel : [email protected] 1 le BOURG Email autre : andre- 76540 ANGERVILLE LA MARTEL [email protected] Mob. personnel : 06 48 33 04 89 President : M. DESCHAMPS Regis Correspondant : M. VAUCHEL Johann ANNEVILLE AMBOURVILLE U.S. DE LA PRESQU ILE 546932 Couleurs : Rouge Siège social : MAIRIE Email officiel : [email protected] 76480 ANNEVILLE AMBOURVILLE Email principal : [email protected] Site internet : uspi.footeo.com President : M. MOTTIN PERROTTE Sebastien Correspondant : M. -
16 Exhibition on Screen
Exhibition on Screen - The Impressionists – And the Man Who Made Them 2015, Run Time 97 minutes An eagerly anticipated exhibition travelling from the Musee d'Orsay Paris to the National Gallery London and on to the Philadelphia Museum of Art is the focus of the most comprehensive film ever made about the Impressionists. The exhibition brings together Impressionist art accumulated by Paul Durand-Ruel, the 19th century Parisian art collector. Degas, Manet, Monet, Pissarro, Renoir, and Sisley, are among the artists that he helped to establish through his galleries in London, New York and Paris. The exhibition, bringing together Durand-Ruel's treasures, is the focus of the film, which also interweaves the story of Impressionism and a look at highlights from Impressionist collections in several prominent American galleries. Paintings: Rosa Bonheur: Ploughing in Nevers, 1849 Constant Troyon: Oxen Ploughing, Morning Effect, 1855 Théodore Rousseau: An Avenue in the Forest of L’Isle-Adam, 1849 (Barbizon School) Jean-François Millet: The Gleaners, 1857 (Barbizon School) Jean-François Millet: The Angelus, c. 1857-1859 (Barbizon School) Charles-François Daubigny: The Grape Harvest in Burgundy, 1863 (Barbizon School) Jean-François Millet: Spring, 1868-1873 (Barbizon School) Jean-Baptiste Camille Corot: Ruins of the Château of Pierrefonds, c. 1830-1835 Théodore Rousseau: View of Mont Blanc, Seen from La Faucille, c. 1863-1867 Eugène Delecroix: Interior of a Dominican Convent in Madrid, 1831 Édouard Manet: Olympia, 1863 Pierre Auguste Renoir: The Swing, 1876 16 Alfred Sisley: Gateway to Argenteuil, 1872 Édouard Manet: Luncheon on the Grass, 1863 Edgar Degas: Ballet Rehearsal on Stage, 1874 Pierre Auguste Renoir: Ball at the Moulin de la Galette, 1876 Pierre Auguste Renoir: Portrait of Mademoiselle Legrand, 1875 Alexandre Cabanel: The Birth of Venus, 1863 Édouard Manet: The Fife Player, 1866 Édouard Manet: The Tragic Actor (Rouvière as Hamlet), 1866 Henri Fantin-Latour: A Studio in the Batingnolles, 1870 Claude Monet: The Thames below Westminster, c. -
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. -
Monet and American Impressionism
Harn Museum of Art Educator Resource Monet & Impressionism About the Artist Claude Monet was born in Paris on November 14, 1840. He enjoyed drawing lessons in school and began making and selling caricatures at age seventeen. In 1858, he met landscape artist Eugène Boudin (1824-1898) who introduced him to plein-air (outdoor) painting. During the 1860s, only a few of Monet’s paintings were accepted for exhibition in the prestigious annual exhibitions known as the Salons. This rejection led him to join with other Claude Monet, 1899 artists to form an independent group, later known as the Impressionists. Photo by Nadar During the 1860s and 1870s, Monet developed his technique of using broken, rhythmic brushstrokes of pure color to represent atmosphere, light and visual effects while depicting his immediate surroundings in Paris and nearby villages. During the next decade, his fortune began to improve as a result of a growing base of support from art dealers and collectors, both in Europe and the United States. By the mid-1880s, his paintings began to receive critical “Everyone discusses my acclaim. art and pretends to understand, as if it were By 1890, Monet was financially secure enough to purchase a house in Giverny, a rural town in Normandy. During these later years, Monet began painting the same subject over and over necessary to understand, again at different times of the day or year. These series paintings became some of his most when it is simply famous works and include views of the Siene River, the Thames River in London, Rouen necessary to love.” Cathedral, oat fields, haystacks and water lilies. -
Baudelaire and the Rival of Nature: the Conflict Between Art and Nature in French Landscape Painting
BAUDELAIRE AND THE RIVAL OF NATURE: THE CONFLICT BETWEEN ART AND NATURE IN FRENCH LANDSCAPE PAINTING _______________________________________________________________ A Thesis Submitted to the Temple University Graduate Board _______________________________________________________________ In Partial Fulfillment Of the Requirements for the Degree MASTER OF ARTS _______________________________________________________________ By Juliette Pegram January 2012 _______________________ Dr. Therese Dolan, Thesis Advisor, Department of Art History Tyler School of Art, Temple University ABSTRACT The rise of landscape painting as a dominant genre in nineteenth century France was closely tied to the ongoing debate between Art and Nature. This conflict permeates the writings of poet and art critic Charles Baudelaire. While Baudelaire scholarship has maintained the idea of the poet as a strict anti-naturalist and proponent of the artificial, this paper offers a revision of Baudelaire‟s relation to nature through a close reading across his critical and poetic texts. The Salon reviews of 1845, 1846 and 1859, as well as Baudelaire‟s Journaux Intimes, Les Paradis Artificiels and two poems that deal directly with the subject of landscape, are examined. The aim of this essay is to provoke new insights into the poet‟s complex attitudes toward nature and the art of landscape painting in France during the middle years of the nineteenth century. i ACKNOWLEDGEMENTS I am indebted to Dr. Therese Dolan for guiding me back to the subject and writings of Charles Baudelaire. Her patience and words of encouragement about the writing process were invaluable, and I am fortunate to have had the opportunity for such a wonderful writer to edit and review my work. I would like to thank Dr. -
American Art New York | November 19, 2019
American Art New York | November 19, 2019 AMERICAN ART | 39 2 | BONHAMS AMERICAN ART | 3 American Art at Bonhams New York Jennifer Jacobsen Director Aaron Anderson Los Angeles Scot Levitt Vice President Kathy Wong Specialist San Francisco Aaron Bastian Director American Art New York | Tuesday November 19, 2019 at 4pm BONHAMS BIDS INQUIRIES ILLUSTRATIONS 580 Madison Avenue +1 (212) 644 9001 Jennifer Jacobsen Front Cover: Lot 15 New York, New York 10022 +1 (212) 644 9009 fax Director Inside Front Cover: Lots 47 and 48 bonhams.com [email protected] +1 (917) 206 1699 Inside Back Cover: Lot 91 [email protected] Back Cover: Lot 14 PREVIEW To bid via the internet please visit Friday, November 15, 10am - 5pm www.bonhams.com/25246 Aaron Anderson Saturday, November 16, 10am - 5pm +1 (917) 206 1616 Sunday, November 17, 12pm - 5pm Please note that bids should be [email protected] Monday, November 18, 10am - 5pm summited no later than 24hrs prior to the sale. New Bidders must REGISTRATION also provide proof of identity when IMPORTANT NOTICE SALE NUMBER: 25246 submitting bids. Failure to do this Please note that all customers, Lots 1 - 101 may result in your bid not being irrespective of any previous processed. activity with Bonhams, are CATALOG: $35 required to complete the Bidder LIVE ONLINE BIDDING IS Registration Form in advance of AUCTIONEER AVAILABLE FOR THIS SALE the sale. The form can be found Rupert Banner - 1325532-DCA Please email bids.us@bonhams. at the back of every catalogue com with “Live bidding” in the and on our website at www. -
Renoir, Impressionism, and Full-Length Painting
FIRST COMPREHENSIVE STUDY OF RENOIR’S FULL-LENGTH CANVASES BRINGS TOGETHER ICONIC WORKS FROM EUROPE AND THE U.S. FOR AN EXCLUSIVE NEW YORK CITY EXHIBITION RENOIR, IMPRESSIONISM, AND FULL-LENGTH PAINTING February 7 through May 13, 2012 This winter and spring The Frick Collection presents an exhibition of nine iconic Impressionist paintings by Pierre-Auguste Renoir, offering the first comprehensive study of the artist’s engagement with the full-length format. Its use was associated with the official Paris Salon from the mid-1870s to mid- 1880s, the decade that saw the emergence of a fully fledged Impressionist aesthetic. The project was inspired by Renoir’s La Promenade of 1875–76, the most significant Impressionist work in the Frick’s permanent collection. Intended for public display, the vertical grand-scale canvases in the exhibition are among the artist’s most daring and ambitious presentations of contemporary subjects and are today considered masterpieces of Impressionism. The show and accompanying catalogue draw on contemporary criticism, literature, and archival documents to explore the motivation behind Renoir’s full-length figure paintings as well as their reception by critics, peers, and the public. Recently-undertaken technical studies of the canvases will also shed new light on the artist’s working methods. Works on loan from international institutions are La Parisienne from Pierre-Auguste Renoir (1841–1919), Dance at Bougival, 1883, oil on canvas, 71 5/8 x 38 5/8 inches, Museum of Fine Arts, Boston, Picture Fund; photo: © 2012 Museum the National Museum Wales, Cardiff; The Umbrellas (Les Parapluies) from The of Fine Arts, Boston National Gallery, London (first time since 1886 on view in the United States); and Dance in the City and Dance in the Country from the Musée d’Orsay, Paris. -
Claude Monet : Seasons and Moments by William C
Claude Monet : seasons and moments By William C. Seitz Author Museum of Modern Art (New York, N.Y.) Date 1960 Publisher The Museum of Modern Art in collaboration with the Los Angeles County Museum: Distributed by Doubleday & Co. Exhibition URL www.moma.org/calendar/exhibitions/2842 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art The Museum of Modern Art, New York Seasons and Moments 64 pages, 50 illustrations (9 in color) $ 3.50 ''Mliili ^ 1* " CLAUDE MONET: Seasons and Moments LIBRARY by William C. Seitz Museumof MotfwnArt ARCHIVE Claude Monet was the purest and most characteristic master of Impressionism. The fundamental principle of his art was a new, wholly perceptual observation of the most fleeting aspects of nature — of moving clouds and water, sun and shadow, rain and snow, mist and fog, dawn and sunset. Over a period of almost seventy years, from the late 1850s to his death in 1926, Monet must have pro duced close to 3,000 paintings, the vast majority of which were landscapes, seascapes, and river scenes. As his involvement with nature became more com plete, he turned from general representations of season and light to paint more specific, momentary, and transitory effects of weather and atmosphere. Late in the seventies he began to repeat his subjects at different seasons of the year or moments of the day, and in the nineties this became a regular procedure that resulted in his well-known "series " — Haystacks, Poplars, Cathedrals, Views of the Thames, Water ERRATA Lilies, etc. -
Pierre DUMONT (JALLOT) Painting 20Th Seated Woman Oil Signed
anticSwiss 26/09/2021 02:53:37 http://www.anticswiss.com Pierre DUMONT (JALLOT) Painting 20th Seated Woman Oil signed FOR SALE ANTIQUE DEALER Period: 20° secolo - 1900 Violon d'Ingres Saint Ouen Style: Arte Moderna +33 06 20 61 75 97 330620617597 Height:46cm Width:65cm Price:2800€ DETAILED DESCRIPTION: Pierre DUMONT, pseudonym JALLOT, (1884/1936) Young woman sitting in a seaside landscape. Oil on canvas signed lower left. 46 x 65 cm DUMONT Pierre, Born March 29, 1884 in Paris / Died April 9, 1936 in Paris. Painter of landscapes, urban landscapes, seascapes, still lifes, flowers. Expressionist. Pierre DUMONT is one of the most original and most unknown painters of the Rouen school. Having come to Paris at a very young age, Pierre DUMONT lived there poorly in the La Ruche district, then returned to Rouen around 1905, he painted very colorful landscapes, in an oily and thick paste spread out on the canvas as if he was sculpting his vision. To contain his "Fauve" temperament, Pierre DUMONT entered the Rouennaise Academy of Joseph Delattre, then founded with friends artists and writers the group of XXX which became in 1909 the Norman Society of modern painting. His first paintings were marked by the influences of Van Gogh and Cézanne. From around 1910 Pierre DUMONT began to paint Rouen cathedral, from 1914 to 1919 he mainly painted the streets of Montmartre, Notre Dame cathedral, the bridges of Paris and the banks of the Seine. From 1911 to 1916, Pierre DUMONT lived at the Bateau-Lavoir where he became friends with Picasso who kept a workshop there. -
Mere Exposure, Reproduction, and the Impressionist Canon
1 To appear in Partisan Canons, Anna Brzyski (ed.), Duke University Press. Mere Exposure, Reproduction, and the Impressionist Canon James Cutting Every act of writing or curatorial practice, whenever it gets to the point of naming a name, is participating in a certain level of canon formation, no matter what the intent of its author, no matter whether it represents a challenge to the status quo or a confirmation of it. Russell Ferguson1 It has been said that canons are the “legitimating backbone of cultural and political identity.”2 They are also the bread and butter of what is taught in the humanities, and in art they are what the general public flocks to see. Art museums and art historians feature canonical images. They reproduce them in great quantity such that these images are now seen in greater numbers, and by greater proportions, of people than ever before. Blockbuster exhibits guarantee continuing links among particular images, publicity, and capital—both cultural and otherwise. But what exactly are the contents of a given canon? How do we determine which works are canonical? And how did they attain that status? In an attempt to answer these questions, I will focus on the canon of French Impressionism, and argue that canons are cultural constructs created, in part, through repeated reproduction and exposure. That is, following the epigraph of Russell Ferguson, curator at the Museum of Contemporary Art, Los Angeles, I claim that art historians have been complicitous in the formation and maintenance of the Impressionist canon, and that over decades their wares have fed a sustaining public whose opinions, along with those of art historians themselves, have crystallized and now drag heavily against systematic change.3 There are several reasons for choosing French Impressionism as a case study. -
Camille Pissarro's Jardinière (1884-1885) in the Context of His
INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again-beginning below the first row and continuing on until complete.