ACICS Other Report RNU Draft Exhibits Part 34 (PDF)
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City of Darkness, City of Light: Emigré Filmmakers in Paris 1929-1939 2004
Repositorium für die Medienwissenschaft Alastair Phillips City of Darkness, City of Light: Emigré Filmmakers in Paris 1929-1939 2004 https://doi.org/10.25969/mediarep/4113 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Phillips, Alastair: City of Darkness, City of Light: Emigré Filmmakers in Paris 1929-1939. Amsterdam: Amsterdam University Press 2004 (Film Culture in Transition). DOI: https://doi.org/10.25969/mediarep/4113. Erstmalig hier erschienen / Initial publication here: https://doi.org/10.5117/9789053566336 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell 3.0/ Lizenz zur Verfügung Attribution - Non Commercial 3.0/ License. For more information gestellt. Nähere Auskünfte zu dieser Lizenz finden Sie hier: see: https://creativecommons.org/licenses/by-nc/3.0/ https://creativecommons.org/licenses/by-nc/3.0/ City of Darkness, City of Light is the first ever book-length study of the cinematic represen- tation of Paris in the films of the émigré film- PHILLIPS CITY OF LIGHT ALASTAIR CITY OF DARKNESS, makers, who found the capital a first refuge from FILM FILMFILM Hitler. In coming to Paris – a privileged site in terms of production, exhibition and the cine- CULTURE CULTURE matic imaginary of French film culture – these IN TRANSITION IN TRANSITION experienced film professionals also encounter- ed a darker side: hostility towards Germans, anti-Semitism and boycotts from French indus- try personnel, afraid of losing their jobs to for- eigners. The book juxtaposes the cinematic por- trayal of Paris in the films of Robert Siodmak, Billy Wilder, Fritz Lang, Anatole Litvak and others with wider social and cultural debates about the city in cinema. -
Prehistory to the Renaissance
1 HUMS 2102 Modern European Art c.1400-present Paterson 303, Tuesday and Thursday, 11:35-12:55 Prof. Randi Klebanoff Office: 437 St. Patrick’s Building (613) 520 2600 ext. 2352 Office Hours: Thursday 1:30-3:30 [email protected] or by appointment “Looking isn’t as easy as it looks.” Ad Reinhardt (1913-1967), artist. A survey of this breadth is naturally selective. Works and monuments will be chosen as representative of currents in art production in a particular period and place. Their inclusion will be based on their visual eloquence, their importance in a historical narrative and for the fruitfulness of the discussion and questions they elicit. Studying art and architecture requires its own set of skills and aptitudes, which you will begin to acquire in this course. The rewards are many. Art history opens ones eyes to the ways that inventive visual and material manipulations of the world negotiate and express the human condition. Art history teaches you to think about experiences of visuality: manifestations, that is to say, that exist beyond words. Course Objectives: On completing this course you should have a knowledge of major monuments of art and architecture from the Renaissance to the present. have acquired art historical skills of visual analysis and interpretation of art works within their historical contexts be able to recognize and use various methodologies in art history have established the foundation for a lifelong appreciation of the visual, material, and spatial eloquence of works of art and architecture Readings/viewings There will be no printed textbook for this class. -
Picturing France 1830-1900
Picturing France 1830 –1900 Picturing France 1830 – 1900 NATIONAL GALLERY OF ART, WASHIngTON CONTENTS 1 INTRODUCTION 5 SECTION 1 Paris and the Painters of Modern Life 11 A modern city 13 A most modern old bridge 14 Department stores 18 The Louvre and Tuileries 20 Montmartre 31 SECTION 2 Encounters with Nature in the Forest of Fontainebleau 37 The Barbizon school 39 A feel for light 41 The academic tradition and Salon painting 42 Photography and painting 43 Oaks, artists, and nature preserves 45 Monet in Fontainebleau 81 Courbet on realism 51 SECTION 3 Life and Leisure along the Rivers of the Île-de-France 83 SECTION 5 Painters and Tourists in Normandy 57 “Impressionism” 87 Plein-air painting 58 Monet’s dahlias 92 Channel resorts 61 River sports 93 Monet and the paintings of Rouen cathedral 65 Peasants 98 Neo-impressionism 98 Color and light 73 SECTION 4 Rugged Landscapes in Auvergne and Franche-Comté 103 SECTION 6 Seeking the “Primitive” in Brittany 106 Celtic culture: language, music, and religion 110 Synthétisme 121 SECTION 7 Effects of the Sun in Provence 124 Occitan and Languedoc 124 Pétanque 124 The mistral 127 Cézanne and modern art 132 The influence of Japanese art RESOURCES 138 Glossary 142 Notes 143 Bibliography 145 List of Images page 4 2 PARIS 1 3 4 5 6 1 BRITTANY 2 NORMANDY 3 ÎLE-DE-FRANCE 4 FRANCHE-COMTÉ 5 AUVERGNE 6 PROVENCE INTRODUCTION Picturing France From about 1830 to the end of the nineteenth century, a period of enormous political and social change, French landscape painting was transformed. -
FEMALE PUBLIC NUDITY in BELLE ÉPOQUE PARIS by LELA LOVETT FELTER-KERLEY a DISSERTATION PRESENTED to the GRADUATE SCHOOL OF
FEMALE PUBLIC NUDITY IN BELLE ÉPOQUE PARIS By LELA LOVETT FELTER-KERLEY A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2006 Copyright 2006 by Lela Lovett Felter-Kerley This life-long dream would not have been possible without the vision and encouragement of my parents and the numerous sacrifices of my husband John and daughter Adyla. ACKNOWLEDGMENTS Let me begin by saying that nothing could be more foreign, more out-of-character, for me than to write a dissertation on nudity. Raised in a puritanical, middle-class military household during the conservative years of the Reagan administration (lest we forget Edwin Meese?), the closest I came to naked bodies was seeing my baby sister race around the house after having her nightly baths. For years I have thought very little of those first visions and memories of my childhood until now. However the context for my thinking about nudity some twenty odd years later is radically different. Through a series of chance happenings and unforeseen events, I am now confronting my innermost feelings, frustrations, and fascinations with the naked body. It has been as much a taboo for me to think, speak, and write about as it has been for many of closest friends and family members to hear. The University of Florida, its College of Liberal Arts and Sciences, and its Department of History granted me the academic freedom and financial wherewithal to explore this subject. The Council for European Studies’ generous pre-dissertation fellowship afforded me the opportunity to conduct preliminary research abroad. -
Impressionism and Post-Impressionism Free
FREE IMPRESSIONISM AND POST-IMPRESSIONISM PDF Nathalia Brodskaia | 512 pages | 28 Jan 2017 | Parkstone Press Ltd | 9781783101443 | English | London, United Kingdom What Is Post-Impressionist Art? — Google Arts & Culture Slideshare uses cookies Impressionism and Post-impressionism improve functionality and performance, and to provide you with relevant advertising. If you continue browsing the site, you agree to the use of cookies on this website. See our User Agreement and Privacy Policy. See our Privacy Policy and User Agreement for details. If Impressionism and Post-impressionism wish to opt out, please close your Impressionism and Post-impressionism account. Learn more. Published on Apr 29, SlideShare Explore Search You. Submit Search. Home Explore. Successfully reported this slideshow. We use your LinkedIn profile Impressionism and Post-impressionism activity data to personalize ads and to show you more relevant ads. You can change your ad preferences anytime. Impressionism and Post-impressionism. Upcoming SlideShare. Like this presentation? Why not share! Embed Size px. Start on. Show related SlideShares at end. WordPress Shortcode. Full Name Comment goes here. Are you sure you want to Yes No. Freda Clapton Hello! I do no use writing service very often, only when I really have problems. But this one, I like best of all. The team of writers operates very quickly. Scott Filostin You might get some help from HelpWriting. Mandy Colman. Royce Aure. No Downloads. Views Impressionism and Post-impressionism views. Actions Shares. Embeds 0 No embeds. No notes for slide. Impressionism and Post-impressionism 1. Impressionism and Post-impressionism 2. What is Impressionism? Impressionism started way back in the 19th century in Paris, France. -
Paul Durand-Ruel and the Market for Early Modernism Marci Regan Louisiana State University and Agricultural and Mechanical College
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2004 Paul Durand-Ruel and the market for early modernism Marci Regan Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Regan, Marci, "Paul Durand-Ruel and the market for early modernism" (2004). LSU Master's Theses. 123. https://digitalcommons.lsu.edu/gradschool_theses/123 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. PAUL DURAND-RUEL AND THE MARKET FOR EARLY MODERNISM A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Art by Marci Regan B.A., Louisiana State University, 1997 May 2004 TABLE OF CONTENTS Abstract………………………………………………….……………………..………..…iii Chapter 1: The Historical and Social Background…………………...……….………...…..1 A. Introduction……………………………………………………….……………..1 B. The Academy…………………………..……...……….....…...….…………..…2 C. Art and the Social History of Impressionism…….…….………….……..…...…5 D. Installation Practices…...………………………..……………….………..….…8 Chapter 2: Dealers and Collectors……………………………………………….……….…15 A. Durand-Ruel………………………………………………….…………………15 -
PDF HUMS 2102A Modern European Art 1527-2000
1 HUMS 2102 Modern European Art c.1400-present Paterson 303, Tuesday and Thursday, 11:35-12:55 Prof. Randi Klebanoff Office: 437 St. Patrick’s Building (613) 520 2600 ext. 2352 Office Hours: Tues. 1:30-2:30 [email protected] Wed. 2:30-3:30, or by appointment “Looking isn’t as easy as it looks.” Ad Reinhardt (1913-1967), artist. A survey of this breadth is naturally selective. Works and monuments will be chosen as representative of currents in art production in a particular period and place. Their inclusion will be based on their visual eloquence, their importance in a historical narrative and for the fruitfulness of the discussion and questions they elicit. Studying art and architecture requires its own set of skills and aptitudes, which you will begin to acquire in this course. The rewards are many. Art history opens ones eyes to the ways that inventive visual and material manipulations of the world negotiate and express the human condition. Art history teaches you to think about experiences of visuality: manifestations, that is to say, that exist beyond words. Course Objectives: On completing this course you should • have a knowledge of major monuments of art and architecture from the Renaissance to the present. • have acquired art historical skills of visual analysis and interpretation of art works within their historical contexts • be able to recognize and use various methodologies in art history • have established the foundation for a lifelong appreciation of the visual, material, and spatial eloquence of works of art and architecture Readings/viewings There will be no printed textbook for this class. -
Annie Fee Complete Dissertation
Gender, Class and Cinephilia: Parisian Cinema Cultures, 1918-1925 Annie Fee A dissertation submitted in partial fulfilment of the requirements of the degree of Doctor in Philosophy University of Washington 2015 Reading Committee: Jennifer M. Bean, Chair Sudhir Mahadevan James Tweedie Program authorized to offer degree: Department of Comparative Literature, Cinema and Media © Copyright 2015 Annie Fee University of Washington Abstract Gender, Class and Cinephilia: Parisian Cinema Cultures, 1918-1925 Annie Fee Chair of the Supervisory Committee: Jennifer M. Bean, Associate Professor of Comparative Literature, Cinema and Media Department of Comparative Literature, Cinema and Media This dissertation examines the discursive strategies through which French intellectual critics exploited gender, nationalism and class as tools in the production of French highbrow and avant- garde film culture. To date, scholars have largely studied French cinema of the inter-war period through the now canonical lens of this reflexive, self-critical community of cinephiles concerned with the state of French cinema. By contrast, I draw on alternative archival sources—including letter columns in popular film weeklies, fan letters, police reports, taxation policies, municipal memos and notices in the leftist press—to reveal the socially engaged and even revolutionary film communities that formed what I call a “counterpublic.” All the dissertation chapters thus deal with key moments and sites of negotiation between, on the one hand, elitist, intellectualising and national bourgeois cinephile critics and filmmakers, and on the other hand, a heterogeneous public of ordinary filmgoers. In some of these moments the negotiation was gradual, discursive and developed through columns in newspapers and film weeklies, while in other moments it took the form of violent clashes. -
Paris, Bordeaux and More
LA VERSION COMPLETE DE VOTRE GUIDE BEST OF FRANCE 2014 en numérique ou en papier en 3 clics à partir de 13.99€ Disponible sur PUBLISHING Welcome Collection Directors And Authors: Dominique AUZIAS and Jean Paul LABOURDETTE Authors: Céline PIETERS, Hélène MURRAY, Stéphanie BEE, Jean-Paul LABOURDETTE, Dominique AUZIAS and alter to France ! Publishing Director: Stéphan SZEREMETA Publishing Team: François TOURNIE, Jeff BUCHE, Grégoire DECONIHOUT, Perrine GALAZKA, Patrick MARINGE, Caroline MICHELOT, Morgane VESLIN, Julien BERNARD and Pierre-Yves SOUCHET STUDIO Studio Manager: Sophie LECHERTIER assisted by Romain AUDREN Layout: Julie BORDES, Élodie CLAVIER, Sandrine MECKING, Delphine PAGANO, Laurie PILLOIS, Hugues RENAULT esigned for English-speaking people looking Pictures Management And Mapping: Robin BEDDAR for good tips and good addresses in France, WEB “Best OF France” by Petit Futé is an essential Web Technical Director: D Lionel CAZAUMAYOU Web Management And Development: how-to guide to find an accommodation, a restau- Jean-Marc REYMUND assisted by Florian FAZER, rant, to organize your visits and outings to be Anthony GUYOT, Cédric MAILLOUX, Christophe PERREAU sure you will not get lost in the largest country in PUBLICITY TEAM Western Europe and the European Union. Web And Sales Director: Olivier AZPIROZ Local Publicity Responsible: Michel GRANSEIGNE Assistant: Victor CORREIA Indeed France is huge and full of charm: Customer Relationship Management: Metropolitan France extends from the Nathalie GONCALVES and Vimla MEETTOO Mediterranean Sea to the English Channel and NATIONAL PUBLICITY TEAM the North Sea, and from the Rhine to the Atlantic National Publicity Responsible: Aurélien MILTENBERGER assisted by Sandra RUFFIEUX Ocean. France has many sites inscribed in UNESCO’s Advertising Managers: Caroline AUBRY, Perrine DE CARNE MARCEIN, Caroline GENTELET, World Heritage List and features cities of high Sacha GOURAND, Alexandra GUILLAUME, cultural interest, like Paris, Bordeaux and more. -
Oct | Nov | Dec 2021
SEPT | OCT | NOV | DEC 2021 CROCKER ART MUSEUM MEMBERS MAGAZINE Explore creative learning with the Crocker! Dive deep into art techniques during in-person studio classes or enjoy the convenience and comfort of learning from home with virtual classes and programs. Featured Upcoming Classes Artist You Should Know: Jaune Quick- Encaustic Painting for Beginners to-See Smith [in-person] Saturday, October 9, [virtual] Sunday, September 19, 1– 3:30 PM 10:30 AM – 4 PM Beginning Drawing and Composition Floral Paintings from Braque to Chagall [virtual] September 28, 30, October 5, 12, [in-person] Mondays and Wednesdays, 14, 10 – 11:30 AM November 8 – 17, 1 – 3:30 PM [in-person] Thursday, October 7, Watercolor Holiday Cards 10 – 11:30 AM [virtual] Saturday, December 4, 10:30 AM – 12:30 PM Visit crockerart.org/calendar for a complete schedule of upcoming learning experiences. / TABLE OF CONTENTS / 9 18 43 5 20 Members DIRECTOR’S LETTER TOWNS, TRAINS, AND TERRAIN & Patrons This exhibition examines the history of California from maps and depictions of 30 On View Gold Rush towns to the influx of train travel and urban scenes of San Francisco. MEMBER BENEFITS 6 24 32 COLLECTION NEWS Clark Hobart / Toshio Aoki / Carlos STEPHEN DE STAEBLER MUSEUM SUPPORT Almaraz This exhibition presents clay and bronze masks dating from the 1960s to the 1990s 37 12 and a selection of monumental bronzes completed between the 1990s and 2010. NEW & OUTGOING MONET TO MATISSE CO-TRUSTEES Featuring a panorama of French art from Inside Look the Realists through the Impressionists 40 and Post-Impressionists to the early 20th century. -
1 the Jewish Capital of Europe: Literary Representation from Balzac
The Jewish Capital of Europe: Literary Representation from Balzac to Proust of the Societal Place and Architectural Space of Jews in Paris from the July Monarchy to the Belle Époque Christina Leah Sztajnkrycer A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2016 Reading Committee: Meredith Clausen, Chair Richard Watts Galya Diment Program Authorized to Offer Degree: French and Italian Studies 1 © Copyright 2016 Christina Leah Sztajnkrycer 2 University of Washington Abstract The Jewish Capital of Europe: Literary Representation from Balzac to Proust of the Societal Place and Architectural Space of Jews in Paris from the July Monarchy to the Belle Époque Christina Leah Sztajnkrycer Chair of the Supervisory Committee: Dr. Meredith Clausen Architectural History Nineteenth-century France experienced a literary phenomenon of Jewish characters. Represented in greater proportion than their actual population, they were situated within the modernizing city, sometimes as agents of modernity. Creating a palimpsest of literature, history, society, and architecture, this dissertation analyzes the changing representation of Jewish characters within the transforming urban context. The Jewish figures portrayed by Honoré de Balzac, Charles Baudelaire, Jules and Edmond de Goncourt, Emile Zola, Guy de Maupassant, and Marcel Proust evolve between 1830 and 1914, from the stereotypical Shylock type to highly modern, elite aesthetes. Becoming ever more modern, the Jewish characters are presented as participating in the modernization of the urban space, of industry and banking, of arts and society. While the city metamorphosed into a capital of modernity, the discourse concerning Jews became increasingly negative, developing from an ancient cultural aversion to the Jewish religion to the modern expression of racial antipathy, i.e.