Historical Timeline
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Painting of Modern Life: Paris in the Art of Maner and His Followers / T
THE PAINTING of Copyright © 1984 by T. f. Clark All rights reserved under International and Pan-American Copyright Conventions. Published by Princeton University.Press, 41 William Street, Princeton, New Jersey 08540. Reprinted by arrangement with Alfred A. Knopf, Inc. MODERN LIFE Grateful acknowledgment is made to the following for permission to reprint previously pub- lished material: Excerpt from "Marie Lloyd" in Selected Essays by T. S. Eliot, copyright 1950 by Harcourt Brace [ovanovich, Inc.; renewed ]978 by Esme Valerie Eliot. Reprinted by permission PARISIN THE ART OF MANET AND HIS FOLLOWERS of the publisher. LIBRARY OF CONGRESS CATALOGING IN PUnUCATION DATA Revised Edition Clark, T. J. (Timothy J.) The painting of modern life: Paris in the art of Maner and his followers / T. 1- Clark. - Rev. ed. P: em. Includes bibliographica! references and index. T.1.CLARK ISBN 0-69!-00903-1 (pbk. : alk. paper) 1. Impressionism (Art)-France-Paris. 2. Painting, French- France-Paris. 3. Painting, Modern-19th century+=France-c-Paris. 4. Paris (Francej-c-In art. 5. Maner, Edouard, l832-1883--Inftuencc, I. Title. ND550.C55 1999 758'.9944361-dc21 99-29643 FIRST PRINTING OF THE REVISED EDITION, 1999 MANUFACTURED IN THE UNITED STATES OF AMERICA FIRST PRINCETON PAPERBACK PRINTING, 1986 THIRD PRINCETON PAPERBACK PRINTING, 1989 9 8 7 CHAPTER TWO OLYMPIA'S CHOICE "We shall define as prostitute only that woman who, publicly and without love, gives herself to the first comer for a pecuniary remuneration; to which formula we shall add: and has no other means of existence besides the temporary relations she entertains with a more or less large number of individuals." From which itfollows--and it seems to me the truth--that prostitute implies first venality and second absence of choice. -
THE PARIS OPERA (L'opéra) a Documentary by Jean-Stéphane Bron
Presents THE PARIS OPERA (L'OPÉRA) A Documentary by Jean-Stéphane Bron France, Switzerland / 2016 / Documentary / French with English Subtitles 111 min / DCP 5.1 / 1.85 / Color Opens October 18th in New York City & October 20th in Los Angeles Film Movement Contacts: Genevieve Villaflor | Press & Publicity | (212) 941-7744 x215 | [email protected] Clemence Taillandier | Theatrical | (212) 941-7715 | [email protected] Maxwell Wolkin | Non-Theatrical & Festivals | (212) 941-7744 x211 | [email protected] Assets: Official US Trailer: TBD Downloadable hi-res images: TBD SYNOPSIS Autumn 2015. At the Paris Opera, Stéphane Lissner is putting the finishing touches to his first press conference as director. Backstage, artists and crew prepare to raise the curtain on a new season with Schönberg’s Moses and Aaron. But the announcement of a strike and arrival of a bull in a supporting role complicate matters. At the same time, a promising young Russian singer begins at the Opera’s Academy. In the hallways of Opera Bastille, his destiny will cross paths with that of Bryn Terfel, one of the greatest voices of his time. As the season progresses, more and more characters appear, playing out the human comedy in the manner of a documentary Opera. But this comedy is set against a tragic backdrop when terrorist attacks plunge Paris into mourning. Even though the show must go on at all costs, there is no end of trouble for the new director. Star choreographer Benjamin Millepied jumps ship soon after taking over as director of ballet at Palais Garnier. Preparations for Richard Wagner’s six-hour opera Die Meistersinger reunite the company. -
Berthe Morisot
Calgary Sketch Club April and May 2021 Message from the President “It is important to express oneself ... provided the feelings are real and are taken from your own experience.” ~ Berthe Morisot And now warmer weather invites us outside, into the fields and gardens to experience nature, gain an impression, paint a record of our sensations. Welcome to a summer of painting. Whether you take your photos and paint in the studio or make the time to sit amidst the dynamic landscape, get out and experience the real colours, shapes, and shifting light. Your paintings will be the better for having authentic emotional content. This spring we were able to enjoy a club meeting dedicated to Plein Aire painting, a technical painting method that supported the development of the Impressionism move- ment. While some people may be familiar with the men who worked in impressionism, Monet, Manet, Gaugin, and so on, few dwell on the contribution of women painters to the development and furthering of painting your sensations, impressions, and expe- riences. After viewing work by Berthe Morisot, Mary Cassatt, Eva Gonzales, Marie Bracquemond and Lilly Cabot Perry, we see a sizable contribution to the oevre from the depths of meaning and exciting brushwork of these pioneering artists. The social cultural milleau of 1874 Paris, it was difficult for women to find equal footing or even acceptance as artists. And no matter that the art could stand beside that of any con- temporary man or woman, it was sometimes not enough. However, time has allowed a fuller examination of their work and its place in the impressionist canon. -
Denver Art Museum to Premiere Landmark Monet Exhibition Claude Monet: the Truth of Nature Features More Than 100 Works Spanning the Artist’S Entire Career
Images available upon request. Denver Art Museum to Premiere Landmark Monet Exhibition Claude Monet: The Truth of Nature features more than 100 works spanning the artist’s entire career DENVER—July 23, 2018—The Denver Art Museum (DAM) will be home to the most comprehensive U.S. exhibition of Monet paintings in more than two decades when it presents Claude Monet: The Truth of Nature, in the fall of 2019. The exhibition will feature more than 100 paintings spanning Monet’s entire career and will focus on the celebrated French impressionist artist’s enduring relationship with nature and his response to the varied and distinct places in which he worked. Co-organized by the DAM and the Museum Barberini in Potsdam, Germany, Denver will be the sole U.S. venue for this presentation from Oct. 20, 2019 through Feb. 2, 2020. The exhibition will travel to the Museum Barberini in the spring of 2020. artworks that will be featured in the presentation. The exhibition will uncover Monet’s continuous Monet traveled more extensively than any other dialogue with nature and its places through a impressionist artist in search of new motifs. His thematic and chronological arrangement, from journeys to varied places including the rugged the first examples of artworks still indebted to the Normandy coast, the sunny Mediterranean, landscape tradition to the revolutionary London, the Netherlands and Norway inspired compositions and series of his late years. Princeton University Art Museum. The exhibition also will include six Monet paintings from the DAM collection; four of them were part of the Frederic C. -
Queerness in French Baroque Opera: the Relationship Between Achilles and Patroclus in Jean Baptiste Lully’S Achille Et Polyxène
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Master's Theses Student Research 5-7-2021 Queerness in French Baroque Opera: The Relationship Between Achilles and Patroclus in Jean Baptiste Lully’s Achille et Polyxène Jason Thompson [email protected] Follow this and additional works at: https://digscholarship.unco.edu/theses Recommended Citation Thompson, Jason, "Queerness in French Baroque Opera: The Relationship Between Achilles and Patroclus in Jean Baptiste Lully’s Achille et Polyxène" (2021). Master's Theses. 210. https://digscholarship.unco.edu/theses/210 This Dissertation/Thesis is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Master's Theses by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2021 JASON TRAVIS THOMPSON ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School QUEERNESS IN FRENCH BAROQUE OPERA: THE RELATIONSHIP BETWEEN ACHILLES AND PATROCLUS IN JEAN-BAPTISTE LULLY’S ACHILLE ET POLYXÈNE A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music Jason Travis Thompson College of Performing and Visual Arts School of Music Music History and Literature May 2021 This Thesis by: Jason Travis Thompson Entitled: Queerness in French Baroque Opera: The Relationship Between Achilles and Patroclus in Jean Baptiste Lully’s Achille et Polyxène has been approved as meeting the requirement for the Degree of Master of Music in the College of Performing and Visual Arts in the School of Music, Program of Music History and Literature. -
Allusions and Historical Models in Gaston Leroux's the Phantom of the Opera
Ouachita Baptist University Scholarly Commons @ Ouachita Honors Theses Carl Goodson Honors Program 2004 Allusions and Historical Models in Gaston Leroux's The Phantom of the Opera Joy A. Mills Ouachita Baptist University Follow this and additional works at: https://scholarlycommons.obu.edu/honors_theses Part of the French and Francophone Literature Commons, Other Theatre and Performance Studies Commons, and the Translation Studies Commons Recommended Citation Mills, Joy A., "Allusions and Historical Models in Gaston Leroux's The Phantom of the Opera" (2004). Honors Theses. 83. https://scholarlycommons.obu.edu/honors_theses/83 This Thesis is brought to you for free and open access by the Carl Goodson Honors Program at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. Gaston Leroux's 1911 novel, The Phantom of the Opera, has a considerable number of allusions, some of which are accessible to modern American audiences, like references to Romeo and Juilet. Many of the references, however, are very specific to the operatic world or to other somewhat obscure fields. Knowledge of these allusions would greatly enhance the experience of readers of the novel, and would also contribute to their ability to interpret it. Thus my thesis aims to be helpful to those who read The Phantom of the Opera by providing a set of notes, as it were, to explain the allusions, with an emphasis on the extended allusion of the Palais Garnier and the historical models for the heroine, Christine Daae. Notes on Translations At the time of this writing, three English translations are commercially available of The Phantom of the Opera. -
Lorna Luft Next to Take the Stage at Live at the Orinda Theatre, Oct. 4
LAMORINDA WEEKLY | Lorna Luft next to take the stage at Live at the Orinda Theatre, Oct. 4 Published Octobwer 3rd, 2018 Lorna Luft next to take the stage at Live at the Orinda Theatre, Oct. 4 By Derek Zemrak Lorna Luft was born into Hollywood royalty, the daughter of Judy Garland and film producer Sidney Luft ("A Star is Born"). She will be bringing her musical talent to the Orinda Theatre at 7:30 p.m. Oct. 4 as part of the fall concert series, Live at the Orinda, where she will be singing the songs her mother taught her. Luft's acclaimed career has encompassed virtually every arena of entertainment. A celebrated live performer, stage, film and television actress, bestselling author, recording artist, Emmy-nominated producer, and humanitarian, she continues to triumph in every medium with critics labeling her one of the most versatile and exciting artists on the stage today. The daughter of legendary entertainer Garland and producer Luft, music and entertainment have always been integral parts of her life. Luft is a gifted live performer, frequently featured on the Lorna Luft Photos provided world's most prestigious stages, including The Hollywood Bowl, Madison Square Garden, Carnegie Hall, The London Palladium, and L'Olympia in Paris. She proves again and again that she's a stellar entertainer, proudly carrying the torch of her family's legendary show business legacy. "An Evening with Lorna Luft: Featuring the Songbook of Judy Garland" is a theatrical extravaganza that melds one of the world's most familiar songbooks with personal memories of a loving daughter. -
The Plagued History of Judy Garland and Liza Minnelli “Live” at the London Palladium, 1965-2009 LAWRENCE SCHULMAN
ARSC JOURNAL VOL. 40, NO. 2 $56&-RXUQDO VOLUME 40, NO. 2 • FALL 2009 )UDQN0DQFLQLDQG0RGHVWR+LJK6FKRRO%DQG·V &RQWULEXWLRQWRWKH1DWLRQDO5HFRUGLQJ5HJLVWU\ 67(9(13(&6(. 7KH3ODJXHG+LVWRU\RI-XG\*DUODQGDQG/L]D0LQQHOOL ´/LYHµDWWKH/RQGRQ3DOODGLXP /$:5(1&(6&+8/0$1 'DYLG/HPLHX[DQGWKH*UDWHIXO'HDG$UFKLYHV -$621.8))/(5 7KH0HWURSROLWDQ2SHUD+LVWRULF%URDGFDVW5HFRUGLQJV FALL 2009 FALL *$5<$*$/2 &23<5,*+7 )$,586( %22.5(9,(:6 6281'5(&25',1*5(9,(:6 &855(17%,%/,2*5$3+< $56&-2851$/+,*+/,*+76 Volume 40, No. 2 ARSC Journal Fall, 2009 EDITOR Barry R. Ashpole ORIGINAL ARTICLES 159 Frank Mancini and Modesto High School Band’s Contribution to the 2005 National Recording Registry STEVEN PECSEK 174 The Plagued History of Judy Garland and Liza Minnelli “Live” at the London Palladium, 1965-2009 LAWRENCE SCHULMAN ARCHIVES 189 David Lemieux and the Grateful Dead Archives JASON KUFFLER DISCOGRAPHY 195 The Metropolitan Opera Historic Broadcast Recordings GARY A. GALO 225 COPYRIGHT & FAIR USE 239 BOOK REVIEWS 281 SOUND RECORDING REVIEWS 317 CURRENT BIBLIOGRAPHY 341 ARSC JOURNAL HIGHLIGHTS 1968-2009 ORIGINAL ARTICLE | LAWRENCE SCHULMAN 7KH3ODJXHG+LVWRU\RIJudy Garland and Liza Minnelli “Live” at the London Palladium, In overviewing the ill-fated history of Judy Garland’s last Capitol Records album, Judy Garland and Liza Minnelli “Live” at the London Palladium, recorded on 8 and 15 November WKHDXWKRUHQGHDYRUVWRFKURQLFOHWKHORQJDQGZLQGLQJHYHQWVVXUURXQGLQJLWVÀUVW release on LP in 1965, its subsequent truncated reissues over the years, its aborted release RQ&DSLWROLQLQLWVFRPSOHWHIRUPDQGÀQDOO\LWVDERUWHGUHOHDVHRQ&ROOHFWRU·V&KRLFH -
How the Royal Paris Opera Survived the End of the Old Regime
Review of Backstage at the Revolution: How the Royal Paris Opera Survived the End of the Old Regime The MIT Faculty has made this article openly available. Please share how this access benefits you. Your story matters. Citation Johnson, Victoria. "Backstage at the Revolution: How the Royal Paris Opera Survived the End of the Old Regime." Review by: By Jeffrey S. Ravel, The Journal of Modern History, Vol. 82, No. 4, Science and the Making of Modern Culture (December 2010), pp. 950-952. As Published http://dx.doi.org/10.1086/656104 Publisher University of Chicago Press Version Author's final manuscript Citable link http://hdl.handle.net/1721.1/72388 Terms of Use Creative Commons Attribution-Noncommercial-Share Alike 3.0 Detailed Terms http://creativecommons.org/licenses/by-nc-sa/3.0/ Backstage at the Revolution: How the Royal Paris Opera Survived the End of the Old Regime. By Victoria Johnson. Chicago and London: The University of Chicago Press, 2008. Pp. xv + 281. $45.00. The question at the heart of Victoria Johnson’s book is an intriguing one: how did the Paris Opera, or the Académie royale de musique as it was known during the Old Regime, avoid disbandment during the French Revolution? If any pre-revolutionary institution exemplified the luxurious consumption and aristocratic privilege decried by the revolutionaries, the Opera was it. Yet the Paris Commune, which took over governance of the Opera from the Maison du roi in February 1790, worked hard to re-organize the institution for the glory of the new regime, and Maximilien Robespierre and the Committee of Public Safety, in the midst of the Terror in the spring of 1794, approved the troupe’s relocation from a venue on the outskirts of town to a more commercially viable site in the heart of the city. -
David Bowie's Urban Landscapes and Nightscapes
Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 17 | 2018 Paysages et héritages de David Bowie David Bowie’s urban landscapes and nightscapes: A reading of the Bowiean text Jean Du Verger Electronic version URL: http://journals.openedition.org/miranda/13401 DOI: 10.4000/miranda.13401 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Jean Du Verger, “David Bowie’s urban landscapes and nightscapes: A reading of the Bowiean text”, Miranda [Online], 17 | 2018, Online since 20 September 2018, connection on 16 February 2021. URL: http://journals.openedition.org/miranda/13401 ; DOI: https://doi.org/10.4000/miranda.13401 This text was automatically generated on 16 February 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. David Bowie’s urban landscapes and nightscapes: A reading of the Bowiean text 1 David Bowie’s urban landscapes and nightscapes: A reading of the Bowiean text Jean Du Verger “The Word is devided into units which be all in one piece and should be so taken, but the pieces can be had in any order being tied up back and forth, in and out fore and aft like an innaresting sex arrangement. This book spill off the page in all directions, kaleidoscope of vistas, medley of tunes and street noises […]” William Burroughs, The Naked Lunch, 1959. Introduction 1 The urban landscape occupies a specific position in Bowie’s works. His lyrics are fraught with references to “city landscape[s]”5 and urban nightscapes. The metropolis provides not only the object of a diegetic and spectatorial gaze but it also enables the author to further a discourse on his own inner fragmented self as the nexus, lyrics— music—city, offers an extremely rich avenue for investigating and addressing key issues such as alienation, loneliness, nostalgia and death in a postmodern cultural context. -
The Paris Opera Ballet and the 2019 Pensions Dispute
Notes from the Field: Work | Strike | Dance Notes from the Field Work | Strike | Dance: The Paris Opera Ballet and the 2019 Pensions Dispute By Martin Young Fig. 1: Paris Opera dancers perform in front of the Palais Garnier against the French government’s plan to overhaul the country’s retirement system, in Paris, on December 24, 2019. (Photo by Ludovic Marin/AFP via Getty Images). The day before Christmas Eve 2019, 27 of the Paris Opera’s ballet dancers, alongside a large contingent of the orchestra, staged a 15 minute excerpt of Swan Lake on the front steps of the Palais Garnier. This performance was part of a wave of strike action by French workers against major proposed pension reforms which had, since the start of December, already seen the closure of schools, rail networks, and attractions like the Eiffel Tower, and drawn hundreds of thousands of people into taking part in protests in the streets. As reports of the labour dispute, which would become the longest running strike in France’s history, spread around the world, footage of the Swan Lake performance gained a disproportionate prominence, circulating virally as one of the 131 Platform, Vol. 14, No. 1 & 2, Theatres of Labour, Autumn 2020 key emblematic images of the action. That ballet dancers might become the avatars of struggling workers, and that workers’ struggle might become the perspective through which to view a ballet performance, is an unexpected situation to say the least. As Lester Tomé writes, ballet is ‘a high-art tradition commonly characterized as elitist and escapist, seemingly antipodal to Marxist principles’ (6). -
Fashion in Paris; the Various Phases of Feminine Taste and Aesthetics from 1797 to 1897
EX LIBRIS Cooper Union Museum for the Arts of Decoration GIVEN BY The Hospital Book and News Socle IN 1900 FASHION IN PARIS THE VARIOUS PHASES OF FEMININE TASTE AND ESTHETICS FROM 1797 TO 1897=^ By OCTAVE UZANNE ^ from the French by LADY MARY LOYD ^ WITH ONE HUNDRED HAND- COLOURED PLATES fc? TWO HUNDRED AND FIFTY TEXT ILLUSTRATIONS BY FRANCOIS COURBOIN LONDON : WILLIAM HEINEMANN NEW YORK: CHARLES SCRIBNER'S SONS MDCCCXCVIII (pr V All rights reserved CHAP. PAGE I. The Close of the Eighteenth Century ... i Licentiousness of Dress and Habits under the Directory of the Nineteenth II. The Dawn Century . 23 The Fair Sex in the Tear VIII First Empire III. Under the ...... +5 Feminine Splendour in Court and City IV. Dress, Drawing - rooms, and Society under the Restoration ....... 65 1815-1825 V. The Fair Parisian in 1830 ..... 85 Manners, Customs, and Refme?nent of the Belles of the Romantic Period VI. Fashion and Fashion's Votaries, from 1840 to 1850 103 VII. Fashion's Panorama in 1850 . 115 The Tapageuses and the Myst'erieuses in under VIII. Life Paris the Second Empire . .127 Leaders of the Gay World, and Cocodettes IX. The Fair Sex and Fashions in General from 1870 till 1880 ....... 147 X. The Parisian, as She is . .165 Her Psychology, Her Tastes, Her Dress MM. kmmi X<3 INTRODUCTION he compilation of a complete bibliography, even the most concise, of the works devoted to the subject of Costume, T and to the incessant changes of Fashion at every period, and in every country, in the world, would be a considerable undertaking—a work worthy of such learning as dwelt in the monasteries of the sixteenth century.