Promenade Dans Le Jardin Du Luxembourg
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Fine Arts Paris Wednesday 7 November - Sunday 11 November 2018 Carrousel Du Louvre / Paris
Fine Arts Paris WednesdAy 7 november - sundAy 11 november 2018 CArrousel du louvre / PAris press kit n o s s e t n o m e d y u g n a t www.finearts-paris.com t i d e r c Fine Arts Paris From 7 to 11 november 2018 CArrousel du louvre / PAris Fine Arts Paris From 7 to 11 november 2018 CArrousel du louvre / PAris Hours Tuesday, 6 November 2018 / Preview 3 pm - 10 pm Wednesday, 7 November 2018 / 2 pm - 8 pm Thursday 8 November 2018 / noon - 10 pm Friday 9 November 2018 / noon - 8 pm Saturday 10 November 2018 / noon - 8 pm Sunday 11 November 2018 / noon - 7 pm admission: €15 (catalogue included, as long as stocks last) Half price: students under the age of 26 FINE ARTS PARIS Press oPening Main office tuesdAy 6 november 68, Bd malesherbes, 75008 paris 2 Pm Hélène mouradian: + 33 (0)1 45 22 08 77 Social media claire Dubois and manon Girard: Art Content + 33 (0)1 45 22 61 06 Denise Hermanns contact@finearts-paris.com & Jeanette Gerritsma +31 30 2819 654 Press contacts [email protected] Agence Art & Communication 29, rue de ponthieu, 75008 paris sylvie robaglia: + 33 (0)6 72 59 57 34 [email protected] samantha Bergognon: + 33 (0)6 25 04 62 29 [email protected] charlotte corre: + 33 (0)6 36 66 06 77 [email protected] n o s s e t n o m e d y u g n a t t i d e r c Fine Arts Paris From 7 to 11 november 2018 CArrousel du louvre / PAris "We have chosen the Carrousel du Louvre as the venue for FINE ARTS PARIS because we want the fair to be a major event for both the fine arts and for Paris, and an important date on every collector’s calendar. -
Rapport D'activité 2015
rapport d’activité 2015 Rapport d’activité 2015 Académie de France à Rome – Villa Médicis 5 Avant-propos du président du conseil d’administration 8 Chiffres-clés Une institution qui abrite la création et la recherche 13 Les pensionnaires 17 Le Nouveau Prix de Rome 17 Les lauréats 21 Les hôtes en résidence 23 Les activités liées aux pensionnaires, lauréats et hôtes en résidence Une programmation culturelle diversifiée 29 Les arts visuels 39 Le cinéma 43 La musique 46 La littérature Des activités scientifiques et éditoriales 51 Colloques, journées d’étude et présentations d’ouvrages 51 Les activités éditoriales 53 La bibliothèque Un patrimoine entretenu et valorisé 59 Étude et restauration des collections 63 Valorisation des collections 69 Les travaux 74 Les études 75 La politique d’archivage La Villa Médicis, de plus en plus ouverte à tous les publics 79 Les visites guidées de la Villa Médicis 81 Les activités pédagogiques 83 La communication et l’information 84 Les relations publiques avec les institutions 85 Accueil de personnalités Un réseau de mécènes et de partenaires 89 Les partenaires de mécénat et sponsoring 93 La location des espaces de la Villa Médicis Une gestion responsable et modernisée 96 Le pilotage, la modernisation de l’établissement et la gestion des ressources humaines 100 L’évolution des ressources financières Avant-propos du président du conseil d’administration L’année 2015 a été pour l’Académie de France à Rome une année importante, à la fois de transition et de consolidation. La transition a tout d’abord concerné les cinq nouvelles personnalités qualifiées, membres du conseil d’administration depuis le 19 mai 2015. -
Nineteenth Century
1804 Napoleon crowns himself Emperor. 1838 Le Bon Marché, the first department store in Paris, opens. Department stores originated in Britain, arguably as early as 1734. With economies of scale, new 1815 Napoleon abdicates. The Bourbon monarchy is restored patterns of production and consumption emerge. ILLUSTRATED TIMELINE under the reign of Louis XVIII. The Catholic Church in TH France regains some of its power and influence. Lenoir 1841 France passes its first child labor laws, setting the minimum age for employment at THE LONG 19 CENTURY returns much of the “national” collection to the Catholic eight years and prohibiting children under twelve from working more than eight Church and other private owners. hours per day. Children were also prohibited from working at night, on Sundays, or The collection at the Snite Museum is especially strong in French art of the nineteenth legal holidays. In the 1840s, French factories employed about 150,000 children or July Revolution and Monarchy. Louis-Philippe becomes century, compelling us to focus on historical events in that country in order to provide some 1830 about twelve percent of the workforce. Bouguereau’s Portrait of a Young Girl reveals the “citizen-king” with plans to convert the Palace of an emerging sympathy for children of the working classes. context for the art on view here. In addition to political and military events, several social Versailles into a public museum dedicated to the history themes are highlighted, including the relationship of the Catholic Church to the French of France. 1842 Father Sorin, a priest of the Congregation of Holy Cross, and his colleagues take state; the educational system in a democracy; and economic issues, such as labor, commerce, possession of 524 acres in Indiana given to them by the Bishop of Vincennes. -
Jules Dalou 1838-1902
Jules Dalou 1838-1902 32 avenue Marceau 75008 Paris | +33 (0)1 42 61 42 10 | +33 (0)6 07 88 75 84 | [email protected] | galeriearyjan.com Jules Dalou 1838-1902 Biography Born on the 31st December 1838, Aimé-Jules Dalouwas the son of a glove-maker worker. He showed very young a gift for modelling that caught Jean-Baptiste Carpeaux's attention. At the age of 15, he joined the Fine Art School in Paris and became friend with Rodin. Dalou distinguished himself by his talent and his tenacious character. As he wanted to finish his apprenticeship in Italy, he tried in vain to win the prestigious prize of Rome between 1861 and 1865. In order to earn his living and to have a new experience, he get employed on the great construction sites in the capital then under reorganization with the works of Baron Haussmann. That is how he participated in the sophisticated decoration of the Païva Hotel on the Champs-Élysées. He perfected his artistic education with the Fannière's brothers, brilliant goldsmiths and jewelers from the Second Empire and the 3rd Republic. Dalou's first public recognition occurred in 1870, during the Salon when the state bought him The embroiderer. But unfortunately, the Franco-German war began in July 1870. Dalou was very attached to the Republic and enrolled immediately to defend his motherland. During the Paris Commune, Dalou was named by Gustave Courbet to be the curator of the Louvre Museum and protected its collections. He finally left Paris and found refuge in the sculptor Alexis André's home in Montrouge before joining London with his wife and only daughter. -
SCULPTURE in FRANCE RODIN the Large Dancer (A) (40) SCULPTURE in FRANCE
SCULPTURE IN FRANCE RODIN The Large Dancer (A) (40) SCULPTURE IN FRANCE RODIN RENOIR MATISSE MEUNIER ARCHIPENKO BOURDELLE MANOLO LAURENS MAILLOL DESPIAU DA LOU DEGAS Auckland Wellington Christchurch September to December 1963 FOREWORD This exhibition is long overdue, for the public in New Zealand has had little opportunity to familiarise itself with the work of the sculptors represented here. We must be grateful to the Arts Advisory Council of New Zealand for bearing the major financial burden of this undertaking and so making it possible for the exhibition to be seen in Auckland, Wellington and Christchurch. No exhibition would be possible, however, without the ready generosity of private and public lenders whose response has been sympathetic and practical. A considerable debt of thanks is due to them. For their interest and assistance we must thank His Excellency The Ambassador of France to New Zealand and His Excellency The Ambassador of New Zealand to France. P. A. TOMORY, Director, Auckland City Art Gallery i INTRODUCTION The aim in arranging this exhibition was to show the New Zealand public the found dation on which the sculpture of this century is based, and to indicate the move away from wholly naturalistic forms, heralding the abstracted forms with which the sculp ture of today is largely concerned. As in all exhibitions it is seldom possible to secure all the works which would lend weight to the central idea. It is so with this exhibition for the important work of Duchamp Villon and Brancusi is not represented, as it should be, to illustrate the revolutionary changes which occurred prior to 1914. -
SORBONNE Les Envois De Rome Des Pensionnaires Peintres De
UNIVERSITÉ PARIS IV - SORBONNE ÉCOLE DOCTORALE VI HISTOIRE DE L’ART ET ARCHÉOLOGIE THÈSE pour obtenir le grade de DOCTEUR DE L’UNIVERSITÉ PARIS IV Discipline : Histoire de l’art et archéologie présentée et soutenue publiquement par France Lechleiter Le 4 décembre 2008 Les envois de Rome des pensionnaires peintres de l’Académie de France à Rome de 1863 à 1914 Directeur de thèse : M. Bruno Foucart ————————— Jury M. Eric DARRAGON M. Dominique DUSSOL M. Barthélémy JOBERT 1 Remerciements Mes remerciements s’adressent en tout premier lieu à mon directeur de thèse M. Bruno Foucart. Je tiens ensuite tout particulièrement à remercier M. Rémy Douarre et Mme Marina Charrin de m’avoir accueilli chez eux et ouvert les archives de leurs ancêtres grands prix de Rome de peinture. Merci à Gregor Wedekind pour son aide précieuse et à Hervé Stenger pour avoir consacré ses soirées à mon catalogue. Mes remerciements les plus vifs et les plus chaleureux vont à mes amis, Anne-Blanche Stévenin et Pierre Sérié pour le temps qu’ils m’ont consacré, leur soutien de tous les instants et leurs précieux conseils. Pour m’avoir soutenue sans discontinuer durant l’ensemble de ma thèse et m’avoir rassurée dans les moments de doutes et d’inquiétude, j’exprime à Nicolas toute ma reconnaissance et bien plus encore. Merci à ma mère. Je dédie ce travail à mon père. 2 Tables des matières Introduction p. 6 Première partie : l’Académie des beaux-arts et l’Académie de France à Rome (1863-1914) p. 11 Chapitre I…………………………………………………………………………………………p. 11 Histoire d’une tutelle artistique : l’Académie des beaux-arts et l’Académie de France à Rome I. -
Sélection De Dessins Et D'aquarelles
GALERIE LA NOUVELLE ATHÈNES Raphaël Aracil de Dauksza & Damien Dumarquez Sélection de dessins et d’aquarelles Exposition du 13 mars au 3 avril 2020 GALERIE LA NOUVELLE ATHÈNES 22 rue Chaptal - 75009 Paris 01.75.57.11.42 - 06.23.14.97.85 [email protected] - www.lanouvelleathenes.fr 1. Jean FEUCHÈRE Probablement Jean-Pierre FEUCHÈRE (actif entre 1767 et 1800) Adonis, vers 1780 Encre et gouache blanche sur papier bleu 18 x 16 cm Signé en bas à gauche Feuchere Jean Provenance : vente G. Rapilly du 27 janvier 1907 ; collection Albert Finot, son cachet en bas à droite (L.3627) Pierre-François ou Jean-Pierre Feuchère, paire de bras de lumière avec carquois et tourterelles, 1788, Paris, musée du Louvre Les Feuchère forment une véritable dynastie d’artistes présentés comme de la main du sculpteur Jean-Jacques. L’un aux XVIIIe et XIXe siècles. Le plus célèbre d’entre eux, Jean- d’eux montre Adonis dans un paysage : le jeune dieu accou- Jacques, fut l’un des meilleurs sculpteurs de l’époque ro- dé à un rocher porte sa lance sous le bras et caresse son mantique. Ses cousins Léon et Lucien furent respectivement chien. Une biche, récompense d’une chasse fructueuse, est architecte et bronzier pendant la Restauration. Au siècle pré- percée d’une flèche. Le motif qui se détache de la feuille cédent, la génération de leurs pères était composée d’artistes tel un bas-relief est d’une technique et d’un style qui ne dont les activités étaient toutes liées au métier du bronze. peuvent correspondre à la période d’activité de Jean-Jacques Pierre-François, Jacques-François, Lucien-François et Jean- Feuchère. -
AIMÉ-JULES DALOU (French, 1838-1902)
AIMÉ-JULES DALOU (French, 1838-1902) Aimé-Jules Dalou was born in Paris in 1838. He began his artistic career as a student of Carpeaux and Duret at the École des Beaux Arts, where he met Auguste Rodin. He debuted at the Paris Salon in 1861, exhibiting the piece Dame romaine jouant aux osselets (‘A Roman Lady Playing Jacks’). He then developed a highly personalised sculptural style, focusing on the depiction of female figures in day-to-day tasks. The success of such models was crowned when Dalou received critical acclaim and a third-class medal for the sculpture Brodeuse (‘The Embroiderer’), at the Paris Salon of 1870. The artist was a left-wing Republican, a political conviction that led him to flee Paris for London in the aftermath of the Franco-Prussian War (1870-1871) and of the subsequent political instability in France. During his time in London, Dalou was appointed as a tutor at the Lambeth Art School. Dalou’s presence on British soil from 1871 represents a key moment for the development of sculpture in the country – his student cohort included important English artists such as William Goscombe-John, George Frampton and Harry Bates. As the recent TATE Britain exhibition, Impressionists in London (2017-2018) highlighted, Dalou’s contribution to the development of sculpture in Britain can be easily paralleled to the influence exercised by Monet, Tissot, Pissarro, Sisley and Derain on British painting in the late 19th Century. Although the artist returned to France in 1880, his artistic output outlived his stay in the country, occupying prominent spaces in the city and becoming a source of inspiration for the future generation of British sculptors, contributing to the foundations of the New Sculpture movement. -
Paris and Post-Commune Angst
Andrew Eschelbacher Environment of Memory: Paris and Post-Commune Angst Nineteenth-Century Art Worldwide 8, no. 2 (Autumn 2009) Citation: Andrew Eschelbacher, “Environment of Memory: Paris and Post-Commune Angst,” Nineteenth-Century Art Worldwide 8, no. 2 (Autumn 2009), http://www.19thc- artworldwide.org/autumn09/environment-of-memory. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Eschelbacher: Environment of Memory: Paris and Post-Commune Angst Nineteenth-Century Art Worldwide 8, no. 2 (Autumn 2009) Environment of Memory: Paris and Post-Commune Angst by Andrew Eschelbacher In 1871, Karl Marx asked, "What is the Commune, that sphinx so tantalizing to the bourgeois mind?"[1] Straightforward as the question may have seemed, there was no satisfactory answer.[2] The three-month spring uprising following the Prussian siege of Paris had emanated from a series of political tensions that included an evolving national identity, religious turmoil, bourgeois excess, proletarian unrest, and shifting gender roles. Though the revolt was primarily carried out by the working classes, the Commune's ramifications threatened all strata of Parisian society and permeated the entirety of the fin-de-siècle memorial landscape. The government tried to hide obvious physical markers of the revolt beneath an intensive program of Republican monument building. However, the new monuments provided only a façade of a city untroubled by its recent past. Beneath the official rhetoric, vestiges of the Commune manifested themselves acutely in the city's memorial spaces, and filled the urban sphere with competing understandings of the revolt. -
Political Demonstrations at the Place De La Nation, Paris Ian Germani
Document generated on 10/01/2021 11:41 a.m. Journal of the Canadian Historical Association Revue de la Société historique du Canada Revolutionary Rites: Political Demonstrations at the Place de la Nation, Paris Ian Germani Volume 22, Number 2, 2011 Article abstract Historians who study sites of memory emphasize the fluidity in meaning URI: https://id.erudit.org/iderudit/1008978ar attached to those sites. The meaning of monuments is dependent upon changes DOI: https://doi.org/10.7202/1008978ar in political context, which affect both how they are perceived and the uses to which they are put. With specific attention to the Place de la Nation in Paris See table of contents and to Dalou’s monument, Le Triomphe de la République, this article argues that street demonstrations have played an important role in creating meaning for Parisian sites of memory. It focuses on four events in the history of the Publisher(s) Place/monument: the inauguration of the bronze statue on 19 November, 1899; the demonstration marking the formation of the Popular Front on 12 February, The Canadian Historical Association / La Société historique du Canada 1934; the “bloody” 14 July demonstration of 1953; and the demonstration against Jean-Marie Le Pen and the National Front on 1 May, 2002. While the ISSN specific political context of these demonstrations varied, as did the character and purpose of the actors composing them, they all provided an occasion for 0847-4478 (print) the rehearsal of France’s revolutionary traditions, with particular reference to 1712-6274 (digital) the Paris Commune. The transitory nature and specific purposes of particular demonstrations, however, restricted their ability to alter the monument’s Explore this journal significance. -
Dalou in England: Portraits of Womanhood, 1871–1879
Caterina Y. Pierre exhibition review of Dalou in England: Portraits of Womanhood, 1871–1879 Nineteenth-Century Art Worldwide 9, no. 1 (Spring 2010) Citation: Caterina Y. Pierre, exhibition review of “Dalou in England: Portraits of Womanhood, 1871–1879,” Nineteenth-Century Art Worldwide 9, no. 1 (Spring 2010), http://www.19thc- artworldwide.org/spring10/dalou-in-england. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Pierre: Dalou in England: Portraits of Womanhood, 1871–1879 Nineteenth-Century Art Worldwide 9, no. 1 (Spring 2010) Dalou in England: Portraits of Womanhood, 1871–1879 Yale Center for British Art, New Haven, Connecticut 11 June – 23 August 2009 Dalou in England: Portraits of Womanhood, 1871–1879 Contributions from Cassandra Albinson and Jo Briggs. New Haven: Yale Center for British Art Brochure, 19 pp. with B&W illustrations Cost: Free This past summer I did not want to miss the rare opportunity of seeing an exhibition focused on a group of small sculptures by Aimé-Jules Dalou (1838–1902) in the United States. Presented at the Yale Center for British Art, the exhibition Dalou in England: Portraits of Womanhood, 1871–1879 focused on five small sculptures by the artist, and was curated by Cassandra Albinson, Associate Curator of Paintings and Sculpture at the Center (fig. 1). A related display of works on paper was curated by Jo Briggs, Postdoctoral Research Associate at the Center. The sculpture exhibition originated at the Henry Moore Institute in Leeds where Albinson curated a similar show (entitled Dalou in Britain) of four artworks. -
Dalou (1838-1902), Le Sculpteur De La République » (Petit Palais, 18 Avril-13 Juillet 2013)
Histoire@Politique. Politique, culture, société – Rubrique « Comptes rendus – expositions ». Mis en ligne le 28 juillet 2013, www.histoire-politique.fr « Dalou (1838-1902), le sculpteur de la République » (Petit Palais, 18 avril-13 juillet 2013) Anne-Laure Anizan Le Petit Palais - Musée des Beaux-Arts de la Ville de Paris a proposé, d’avril à juillet 2013, la première exposition monographique sur Jules Dalou. Cette rétrospective a été montée à partir de l’impressionnante collection de 360 sculptures acquise par la ville de Paris, en 1905, trois ans après le décès de Dalou1. À cette manne, les commissaires ont ajouté différentes œuvres ou documents permettant d’éclairer le travail de l’artiste. Issus notamment du musée d’Orsay, du musée Rodin, ou de collections privées, ils montrent Dalou en famille, évoluant dans un milieu intellectuel, artistique et amical, d’une grande diversité, travaillant pour de riches commanditaires privés, pour la famille royale d’Angleterre, pour des municipalités puissantes (Londres ou Paris) ou encore pour l’État (la Chambre des députés ou le Sénat). Des documents puisés dans le fonds recueilli à la mort de Dalou par Auguste Becker, son praticien et ami, offrent une autre porte d’entrée pour comprendre ce que furent les conditions de production de l’artiste. L’exposition, très réussie, construite suivant un parcours tout à la fois thématique et chronologique d’une grande clarté, proposant aux visiteurs des panneaux explicatifs fort riches, adoptant une muséographie mettant en valeur les œuvres présentées, permet d’aller plus loin dans la connaissance d’un sculpteur dont la majeure partie de l’œuvre était finalement oubliée.