View allAll Photos Tagged Adolphe
Maker: Adolphe Braun (1812-1877)
Born: France
Active: France
Medium: carbon print
Size: 18 5/8" x 14 1/2"
Location: France
Object No. 2021.403
Shelf: L-12
Publication:
Other Collections:
Provenance: Adolphe Braun studio, Provenance: Summer Auction, Consigned.it Senegalia, June 26, 2021, Lot 54
Rank: 309
Notes: The statue of Ariadne sleeping was acquired by Pope Julius II (1503-1513) in 1512 for the Courtyard of Statues (Cortile delle Statue) where it was adapted in order to decorate a fountain. After being moved several times, it was finally placed where you see it now in 1779 and the painter Cristoforo Unterperger painted the background of the niche with Egyptian motifs, now covered over with a red wash. Because the statue has a bracelet in the form of a serpent, it was believed to be of Cleopatra, who killed herself with the bite of an asp. It was Ennio Quirino Visconti who finally recognised the statue as being of Ariadne at the end of the 1700s. Ariadne was the daughter of King Minos of Crete who, after having helped Theseus overcome the Minotaur and escape the Labyrinth, was abandoned by the ungrateful man as she lay sleeping on the island of Naxos; she was re-awakened by the arrival of Dionysus, who married her. The sculpture is a copy of a 2nd century B.C. original from the school of Pergamon and had some other replicas in Roman times
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Maker: André Adolphe Eugène Disdéri (1819-1889)
Born: France
Active: France
Medium: albumen print
Size: 5 7/8 x 4 1/2 x 1 in
Location: France
Object No. 2015.784w
Shelf: J-12
Publication:
Other Collections:
Notes: contained in Galerie des Contemporains, Vol. 12. According to McCauley Galerie des contemporains could either be purchased in volumes of 25 biographies or assembled by subscribers. Disdéri reached an agreement with the editor Zacharias Dollingen in which Dollingen hired journalists to provide the biographical notices which would accompany Disdéri's photographs.
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A view on the Adolphe Bridge in Luxembourg City. The Adolphe Bridge (Adolphe-Bréck in Luxembourgish) is an arch bridge of 153 metres lenght and stands over the Pétrusse Valley, connecting Boulevard Royal to Avenue de la Liberté.
The Adolphe Bridge has become an unofficial national symbol of sorts, representing Luxembourg's independence, and has become one of Luxembourg City's main tourist attractions. The bridge was designed by Paul Séjourné, a Frenchman, and Paul Rodange, a Luxembourger, and was built between 1900 and 1903. Its design was copied in the construction of Walnut Lane Bridge in Philadelphia, the United States.
The bridge was named after Grand Duke Adolphe, who reigned Luxembourg from 1890 until 1905.
Belgium - Dinant - The Sax Space
Monument made for the inventor of the saxophone, Adolphe Sax. The 'saxophone women' suggest the form of the instrument.
Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com
Adolphe Léon Willette (1857-1926) was a French painter, illustrator, caricaturist, and lithographer. He contributed to several journals with somewhat questionable political views. However, he is mainly known as the architect of the famous Moulin Rouge cabaret.
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One of the highlights of the Philbrook Museum in Tulsa, Oklahoma is The Shepherdess by William-Adolphe Bouguereau.
Many of Monticelli's still lifes of this period were painted with the same patterned fabric covering the table. The painting recalls the Dutch tradition of demonstrating one's virtuosity as an artist by describing objects and textures, such as the glass and the half-peeled lemon.
[National Gallery, London - Oil on wood, 46.4 x 61.6 cm]
This is the 16th century Notre-Dame collegiate church, on the banks of the River Meuse in Dinant, Belgium. It was built in local limestone and, as you can see here, is a dominant landmark.
Above it is the citadel which commands the river crossing. It was built in the 11th century by the Prince Bishops of Liège.
Dinant, by the way, is also the birthplace of the inventor of the saxophone, Adolphe Sax.
Maker: André Adolphe-Eugène Disdéri (1819-1889)
Born: France
Active: France
Medium: albumen print
Size: 7 7/8 x 9 1/8 in
Location:
Object No. 2016.391a
Shelf: B-2
Publication:
Provenance: Photography: The First 80 Years, Christies On-Line, April 21, 2016, Lot 64
Other Collections:
Notes: numbered '14891' in ink (recto); numbered '14891' in blue crayon/pencil and annotated 'M. de Reddement' in ink (verso); titled, dated and numbered '14891' in ink on enclosed original label.
André-Adolphe-Eugène Disdéri (1819 - 1889) a self-taught daguerreotypist, researched and improved upon the existing collodion-on-glass negative process, which he outlined in his first publication, Manuel Opératoire de Photographie sur Collodion Instantané, 1853. That same year, he returned to Paris and opened the largest studio in Paris, which spread across two floors. It was there that he introduced his carte-de-visite portraits which were a great financial success. For the 1855 Paris Exposition Universelle, he formed the Société du Palais de l'Industrie and obtained the rights to photograph all the products and works of art exhibited at the Exposition. Eder writes "Disdéri was considered the outstanding portrait photographer of his time in Paris. Napoleon III appointed him court photographer. In 1861, he instructed French officers in photography under orders from the minister of war. Disdéri's popularity is best shown by the fact that his character was introduced in 1861 as a star attraction on the stage of a small vaudeville theater in Paris by a realistic representation featuring his bald head and tremendous beard."
(Source: Andrew. Cahan)
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Die Adolphe-Brücke quert das Petruss-Tal in Luxemburg und verbindet den Boulevard Royal in der Altstadt mit der Avenue de la Liberté im Bahnhofsviertel. Sie zählt immer noch zu den größten Steinbogenbrücken der Welt.
Pascal-Adolphe-Jean Dagnan-Bouveret (Paris, January 7, 1852 - July 3, 1929) was one of the leading French artists of the academic school. He was born in Paris, the son of a tailor, and was raised by his grandfather after his father emigrated to Brazil. Later he added his grandfather’s name, Bouveret, to his own. he was recognised as a leading modern artist known for his peasant scenes, but also for his mystical-religious compositions.
[Oil on canvas, 49.375 X 41.5 inches]
gandalfsgarden.blogspot.co.uk/2012/04/pascal-adolphe-jean...
The Royal Ballet: Giselle 2021 (Osipova & Clarke)
The most famous ballet of the Romantic era and a significant work in The Royal Ballet’s repertory: Peter Wright’s hallmark production of Giselle returns to the Royal Opera House 4 Nov - 3 Dec 2021 with a special digital stream on 3 Dec and on demand for 30 days.
Company: The Royal Ballet
Choreography: Marius Petipa after Jean Coralli
Music: Adolphe Adam Edited by Lars Payne
Scenario: Théophile Gautier after Heinrich Heine
Production: Peter Wright
Additional choreography: Peter Wright
Designer: John Macfarlane
Original lighting: Jennifer Tipton
Lighting re-created by David Finn
Cast
Giselle: Natalia Osipova
Albrecht: Reece Clarke
Queen of the Willis: Mayara Magri
photo © Foteini Christofilopoulou | All rights reserved | For all usage/licensing enquiries please contact www.foteini.com
By kind permission of the Royal Opera House
Treaty of Versailles (1871)
From Wikipedia, the free encyclopedia
The Treaty of Versailles of 1871 ended the Franco-Prussian War and was signed by Adolphe Thiers, of the French Third Republic, and Otto von Bismarck, of the German Empire on February 26, 1871. This was a preliminary treaty used to solidify the initial armistice of January 27, 1871 between the two states. It was later ratified by the Treaty of Frankfurt on May 10 of the same year. The 1871 Treaty of Versailles made the decline of France obvious to the rest of the continent, and at the same time demonstrated the strength of a unified German empire.
Paris's governing body, the Government of National Defense, initiated the armistice by surrendering to the Germans after the siege of Paris. Jules Favre, a prominent French politician, met with Otto von Bismarck in Versailles to sign the armistice to be put into effect January 28, 1871. Adolphe Thiers then emerged as the new French leader as the country began reconstructing its government.Disruption of the French Government[edit]
In the first few months of 1871, German forces experienced several great military successes against the struggling French government, including the capture of the current French emperor, Louis Napoleon of the French Second Empire, at the Battle of Sedan. This caused the collapse of Louis Napoleon's empire, which was replaced by the French Third Republic in 1870. The Government of National Defense served as an interim governing body before the Third Republic could hold elections, and received unfavorable responses from Parisians as it was unable to break the siege. Statesmen evacuated to establish offices in Bordeaux and Tours, which left French government officials unable to communicate, further upsetting the structure of the state and weakening the government.
Georges-Eugène Haussmann
From Wikipedia, the free encyclopedia
Georges-Eugène Haussmann, circa 1860
Georges-Eugène Haussmann, commonly known as Baron Haussmann (French pronunciation: [ʒɔʁʒ øʒɛn (ba.ʁɔ̃ ) os.man], 27 March 1809 – 11 January 1891), was the Prefect of the Seine Department in France, who was chosen by the Emperor Napoleon III to carry out a massive program of new boulevards, parks and public works in Paris, commonly called Haussmann's renovation of Paris.[1] Critics forced his resignation for extravagance, but his vision of the city still dominates Central Paris.
Haussmann's works[edit]
Rebuilding of Paris[edit]
Main article: Haussmann's renovation of Paris
Between the Revolution of 1789 and Haussmann's renovation of Paris in the 1860s, ideals changed from those of a politically motivated city to those of an economically and socially centered city. Modern technology such as railroads and gas lamps were conveniences which the rising bourgeoisie could enjoy in their leisurely lifestyle. New spaces that were created during the renovation encouraged the bourgeoisie to flaunt their new wealth, creating a booming economy. All of these examples of the changes occurring in Paris during this period can be seen in representations of the city. There are two views of Baron Haussmann: One depicts him as the man who destroyed Old Paris, and the other as the man who created New Paris.
Avenue de la Grande Armée, one of Haussmann's twelve grand avenues radiating from the Arc de Triomphe. La Défense and the Grande Arche (the hollow white cube) can be seen on the horizon.
Haussmann was hired by Napoleon III on 22 June 1852 to "modernize" Paris. Napoleon hoped in hiring Haussmann that Paris could be moulded into a city with safer streets, better housing, more sanitary, hospitable, shopper-friendly communities, better traffic flow, and, last but not least, streets too broad for rebels to build barricades across them and where coherent battalions and artillery could circulate easily if need be.[7] He created broad avenues linked to the main train stations so army troops from the provinces could be deployed in a short amount of time (for example, the boulevard de Strasbourg near Gare de l'Est and Gare du Nord). This work, achieved during the Second Empire, is one of the causes of the quick repression of the 1871 Paris Commune revolt: since the 1848 revolution, Adolphe Thiers had become obsessed with crushing out the next foreseeable Parisian rebellion. Thus, he planned to leave the city and retreat, in order to better take it back with more military forces.[4]
Haussmann's design of streets and avenues, combined with the new importance given to trains, made this plan more than successful, and Adolphe Thiers easily crushed the Communards. Haussmann accomplished much of this by tearing up many of the old, twisting streets and rundown apartment houses, and replacing them with the wide, tree-lined boulevards and expansive gardens for which Paris is famous today. Other elements of Haussmann's plan included uniform building heights, grand boulevards, and anchoring elements including the Arc de Triomphe and the Grand Opera House.[citation needed]
Haussmann's plan for Paris inspired some of the most important architectural movements including the City Beautiful Movement in the United States. In fact, renowned American architect Daniel Burnham borrowed liberally from Haussmann's plan and even incorporated the diagonal street designs in his 1909 Plan of Chicago. Cities like London and Moscow also have Haussmann influences in their city plans.[citation needed]
Historian Shelley Rice, in her book Parisian Views writes that "most Parisians during [the first half of the nineteenth century] perceived [the streets] as dirty, crowded, and unhealthy . . . Covered with mud and makeshift shanties, damp and fetid, filled with the signs of poverty as well as the signs of garbage and waste left there by the inadequate and faulty sewer system . . ." (p. 9). For these people, Haussmann was performing a much needed service to the city and to France.[citation needed]
How ugly Paris seems after a year's absence. How one chokes in these dark, narrow and dank corridors that we like to call the streets of Paris! One would think that one was in a subterranean city, that's how heavy is the atmosphere, how profound is the darkness!
—the Vicomte de Launay, 1838 (as quoted in Rice, p. 9)
It should be noted, however, that the people who suffered most from the medieval living conditions were often exiled to the suburbs by Haussmannization, since slums were cleared away and replaced with bourgeois apartments.[citation needed]
Criticism of his work[edit]
Haussmann was honest, but he spent 2.5 billion francs[1] on rebuilding Paris, a sum that staggered his critics. Jules Ferry and other enemies of Napoleon alleged that Haussmann had recklessly squandered money, and planned poorly. They further alleged he had falsified accounts. While Napoleon had hired Haussmann, the political attacks were so intense that he forced Haussmann to become a scapegoat, hoping his resignation would satisfy the bourgeois parties which had become increasingly angered during the economic depression of the late 1860s.[8]
Haussmann's plans, with their radical redevelopment, coincided with a time of intense political activity in Paris. Many Parisians were troubled by the destruction of "old roots". Historian Robert Herbert says that "the impressionist movement depicted this loss of connection in such paintings as Manet's A Bar at the Folies-Bergère." The subject of the painting is talking to a man, seen in the mirror behind her, but seems disengaged. According to Herbert, this is a symptom of living in Paris at this time: the citizens became detached from one another. "The continuous destruction of physical Paris led to a destruction of social Paris as well." The poet Charles Baudelaire witnessed these changes and wrote the poem "The Swan" in response. The poem is a lament for, and critique of the destruction of the medieval city in the name of "progress":
Old Paris is gone (no human heart
changes half so fast as a city's face)…
There used to be a poultry market here,
and one cold morning… I saw
a swan that had broken out of its cage,
webbed feet clumsy on the cobblestones,
white feathers dragging through uneven ruts,
and obstinately pecking at the drains…
Paris changes . . . but in sadness like mine
nothing stirs—new buildings, old
neighbourhoods turn to allegory,
and memories weigh more than stone.[9]
Haussmann was also criticized for the great cost of his project. Napoleon III fired Haussmann on 5 January 1870 in order to improve his own flagging popularity. And Haussmann was a favorite target of the Situationist's critique; besides pointing out the repressive aims that were achieved by Haussmann's urbanism, Guy Debord and his friends (who considered urbanism to be a "state science" or inherently "capitalist" science) also underlined that he nicely separated leisure areas from work places, thus announcing modern functionalism, as illustrated by Le Corbusier's precise zone tripartition (one zone for circulation, another one for accommodations, and the last one for labour).
Maker: André Adolphe Eugène Disdéri (1819-1889)
Born: France
Active: France
Medium: albumen print
Size: 5 7/8 x 4 1/2 x 1 in
Location: France
Object No. 2015.784i
Shelf: J-12
Publication: Pierre Miquel, Le Second Empire, Tresors de la Photographie, Andre Barret, Ed, Paris, 1979, pg 211
Other Collections:
Notes: contained in Galerie des Contemporains, Vol. 12. According to McCauley Galerie des contemporains could either be purchased in volumes of 25 biographies or assembled by subscribers. Disdéri reached an agreement with the editor Zacharias Dollingen in which Dollingen hired journalists to provide the biographical notices which would accompany Disdéri's photographs.
Émile Jean-Horace Vernet (30 June 1789 – 17 January 1863) was a French painter of battles, portraits, and Orientalist subjects. He was director of the Academy of France in Rome from 1829 to 1834 and took the first daguerreotype of the port of Marseille in 1839. In the early 1840s, Vernet made a trip to Egypt in the company of his nephew Frédéric Goupil-Fesquet and Gaspard-Pierre-Gustave Joly de Lotbinière. The three men brought back among the first daguerreotypes from Egypt, which were used in the publication Excursions daguerriennes.
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British postcard by Film Weekly. Photo: Fox Film. Benita Hume and Adolphe Menjou in the American pre-Code movie The Worst Woman in Paris? (Monta Bell, 1933).
Benita Hume (14 October 1907 – 1 November 1967) was an English theatre and film actress. She appeared in 44 films between 1925 and 1955, from the silent film era to sound film.
Suave and debonair American actor Adolphe Menjou (1890-1963) with his trademark waxy black moustache was one of Hollywood's most distinguished stars and one of America's 'Best Dressed Men'. He started as a matinée idol in the silent cinema in such classics as Ernst Lubitsch's The Marriage Circle (1924). His sound films included Morocco (1931) with Marlene Dietrich and Gary Cooper, A Star is Born (1937), and Stanley Kubrick's Paths of Glory (1957) with Kirk Douglas. In 1931, he was nominated for an Oscar for The Front Page (1931).
The Adolphe Bridge has become an unofficial national symbol of sorts, representing Luxembourg's independence, and has become one of Luxembourg City's main tourist attractions.
The bridge was named after Grand Duc Adolphe, who reigned Luxembourg from 1890 until 1905,
Die Adolphe-Brücke ist zu einer Art inoffiziellem Nationalsymbol geworden, das für die Unabhängigkeit Luxemburgs steht und zu einer der wichtigsten Touristenattraktionen der Stadt Luxemburg geworden ist.
Die Brücke wurde nach Großherzog Adolphe benannt, der Luxemburg von 1890 bis 1905 regierte,
Le pont Adolphe est devenu une sorte de symbole national non officiel, représentant l'indépendance du Luxembourg, et est devenu l'une des principales attractions touristiques de la ville de Luxembourg.
Le pont a été nommé en l'honneur du Grand Duc Adolphe, qui a régné sur le Luxembourg de 1890 à 1905,
Belgian postcard for Ons Huis, 1932. The card states that these are Lily Damita and Adolphe Menjou in Soyons gais (Arthur Robison, Metro-Goldwyn-Mayer 1931), the French language version of the American sound film Let Us Be Gay (1930). We think, however, that this card shows not Lily Damita but probably Lya Lys, who had a supporting part in the film. Other actors in the film were Mona Goya (another option for this card) and Françoise Rosay.
Suave and debonair American actor Adolphe Menjou (1890-1963) with his trademark waxy black moustache was one of Hollywood's most distinguished stars and one of America's 'Best Dressed Men'. He started as a matinée idol in the silent cinema in such classics as Charles Chaplin's A Woman of Paris (1923) and Ernst Lubitsch's The Marriage Circle (1924). His sound films included Morocco (1931) with Marlene Dietrich and Gary Cooper, A Star is Born (1937), and Stanley Kubrick's Paths of Glory (1957) with Kirk Douglas. In 1931, he was nominated for an Oscar for The Front Page (1931).
And, please check out our blog European Film Star Postcards.
Maker: André Adolphe Eugène Disdéri (1819-1889)
Born: France
Active: France
Medium: albumen print
Size: 4.1' X 2.5'
Location: France
Object No. 2016.1211
Shelf: E-16-NAPO
Publication:
Other Collections:
Notes: Napoléon, Prince Imperial (Full name: Napoléon Eugène Louis Jean Joseph Bonaparte, 16 March 1856 – 1 June 1879), Fils de France, prince impérial de France, was the only child of Emperor Napoleon III of France and his Empress consort Eugénie de Montijo. After his father was dethroned in 1870, he relocated with his family to England. On his father's death in January 1873, he was proclaimed Napoleon IV, Emperor of the French by the Bonapartist faction.
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William-Adolphe Bouguereau
Cupid and Psyche as Children.
1889
Oil on canvas
"The story of Cupid and Psyche was one of Bouguereau’s favorite myths. He painted several works inspired from this legend, such as The Rapture of Psyche, Psyche and Cupid, and Psyche. The myth of Cupid and Phsyche first appears written in The Golden Ass of Lucius Apuleius in the 2nd century AD. In the story, Psyche is a beautiful princess of whom the goddess Venus is jealous. In her rage she orders her son cupid to make Psyche fall in love with a monster, but Cupid falls in love with her himself. After several trials Cupid and Psyche make their plea to the gods who turn Psyche into an immortal and allow them to be married in heaven (British Library). In this painting Bouguereau was inspired to paint the two lovers together as children. Demonstrating that fate its self had a hand in there meeting. They were born to be together. The subtle paint handling captures the children’s innocence and illustrates to the viewer that Cupid's original attraction to Psyche was not purely physical, but also platonic, for the innocence of childhood does not allow for anything else. You cannot have true love without also having a mutual trust and respect, and a relaxed and enduring companionship between lovers. Cupid and Psyche’s union then is not just physical: they are soul mates and compliment each other eternally."
The remains of the "Adolphe", which was wrecked in 1904. It now forms part of the Stockton breakwater, Newcastle, Australia
Maker: André Adolphe Eugène Disdéri (1819-1889)
Born: France
Active: France
Medium: albumen print
Size: 11 1/4 in x 14 5/8 in
Location: France
Object No. 2022.771
Shelf: B-2
Publication:
Other Collections: The Getty
Provenance: pepeucollectors
Rank: 667
Notes: Napoleon II commissioned Disdéri to make a portfolio of Versailles. While 10 were planned, only 3 were actually produced.
André-Adolphe-Eugène Disdéri (1819 - 1889) a self-taught daguerreotypist, researched and improved upon the existing collodion-on-glass negative process, which he outlined in his first publication, Manuel Opératoire de Photographie sur Collodion Instantané, 1853. That same year, he returned to Paris and opened the largest studio in Paris, which spread across two floors. It was there that he introduced his carte-de-visite portraits which were a great financial success. For the 1855 Paris Exposition Universelle, he formed the Société du Palais de l'Industrie and obtained the rights to photograph all the products and works of art exhibited at the Exposition. Eder writes "Disdéri was considered the outstanding portrait photographer of his time in Paris. Napoleon III appointed him court photographer. In 1861, he instructed French officers in photography under orders from the minister of war. Disdéri's popularity is best shown by the fact that his character was introduced in 1861 as a star attraction on the stage of a small vaudeville theater in Paris by a realistic representation featuring his bald head and tremendous beard."
(Source: Andrew. Cahan)
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Dinant is a Walloon city and municipality located on the River Meuse in the Belgian province of Namur, Belgium.
Born in Dinant: Adolphe Sax, inventor of the saxophone.
The rusting remains of the sailing ship Adolphe still visible on the Newcastle breakwater. For an exciting account of its wrecking, please see my book here: gbooksinternational.nl/product/rusting-relics/