DOCSLIB.ORG
Explore
Sign Up
Log In
Upload
Search
Home
» Tags
» Le Chat Noir
Le Chat Noir
Les Ombres Xineses D'els Quatre Gats (1897
GRAM on the Green 2015
Au Bois De Boulogne Pen and Black Ink and Watercolour, Within an Irregularly Shaped Overmount
That World of Somewhere in Between: the History of Cabaret and the Cabaret Songs of Richard Pearson Thomas, Volume I
THE CULTURE and MUSIC of AMERICAN CABARET Katherine Yachinich
Shadow Images Moving to Music
Théophile-Alexandre Steinlen, Creator of Some of the Best-Loved Images of the Era; and Finallyhenri De Toulouse- Lautrec, Who Pointed the Way to Modernism
Shadow Puppets at the Quatre Gats Bohemia and the Popular Imaginary
Into the Night Cabarets and Clubs in Modern Art, Barbican Art Gallery Getty Images, Photo by Tristan Fewings
The Popular and the Avant-Garde: Performance, Incorporation and Resistance
Identity, Counterculture, and Profit in Fin-De-Siècle Montmartre Nicolas Kenny
Teachers' Resource
French-Posters-Pre-Visit-Materials.Pdf
An Investigation of the Relationship Between Popular Music and Analytic Cubist Paintings in Prewar Paris
Henri Rivière: Entre Impressionisme Et Japonisme
Le Chat Noir and the Musical Mainstream in Late Nineteenth-Century Paris
Erik Satie and Art Nouveau
The Cercle Des Hydropathes
Top View
Erik Satie's Ballet Parade: an Arrangement for Woodwind Quintet and Percussion with Historical Summary Tracy A
Summary Education and Early Development Satie, Erik Alfred Leslie
I.E Ciiat Noir Cabaret
Le Chat Noir Renaît De Ses Cendres
Press Release
Tournée Du Chat Noir. Dossier Pédagogique [Texte Imprimé]
French Cabaret Music: Songs of Aristide Bruant, Erik Satie, and Marguerite Monnot (1881-1958) Sara Chiesa
Incohérence, Crédulité Et Cie : La Demi-Ration Pour L'avant Garde
Page 458 H-France Review Vol. 6 (September 2006), No. 108 Mary
STOP 13: Tour of the Black Cat 1896, Théophile-Alexandre STEINLEN
Black Cats, Berlin, Broadway and Beyond: Cabaret History in the Making
Performance, Incorporation and Resistance
The Poster in Fin-De-Siècle Paris
The Reception of Erik Satie's Gymnopédies