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French postcard. Théâtre du Chatelet, Paris. Le Tour du Monde en 80 jours. 7nd tableau. Calcutta. L'Arrestation. Play by Adolphe and D'Ennery and Jules Verne, after Verne's eponymous novel, written in 1873-1874, and first performed 7 November 1874 at the Théâtre de la Porte-Saint-Martin in Paris. Despite the enormous investments, even a real elephant was involved, the play was a giant success. People were queuing around the block to see how one could travel the whole world in eighty days, and in the case of the play, within the time span of just a few hours. From 1874 to the start of WWII, the play was constantly restaged and with great success. The version of this card must date from the early 1900s, while he first staging at the Châtelet dates of 1887, where it remained a crowd-puller for years.
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. 2015.784c
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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William-Adolphe Bouguereau enjoyed a remarkable popularity in the United States, particularly during the late 1800s through the early 20th century. Lauded and laureled by the French artistic establishment, and a dominant presence at the Parisian Salons, Bouguereau’s canvases offered American collectors the chance to bring Gallic sophistication and worldly elegance to their own galleries and drawing rooms. The master’s idealized, polished images—of chastely sensual classical maidens, Raphaelesque Madonnas, and impossibly pristine peasant children—embodied the tastes of the American Victorian age, and of his Gilded Age patrons. Bouguereau canvases at one time were de rigueur for every collector and arts institution from the late 1860s to the early 1900s in America.
Maker: Adolphe Godard (1817-1883)
Born: France
Active: Italy/France
Medium: albumen print
Size: 2 1/4 in x 4 in
Location:
Object No. 2021.835a
Shelf: E-17-G
Publication:
Other Collections:
Provenance: photo-discovery
Rank: 80
Notes: Adolphe Godard (1817-1883) was born in Bernay and began photographing in the French Pyrenees in the mid-1850s. The first landscape photographer to work in Isère, he also took views of Grenoble and Uriage. He became a member of the Société Française de Photographie in 1854. He opened a studio in Genoa in 1856, deposited a series of views of Genoa and Pisa at the Bibliothèque Nationale of Paris in 1857, and exhibited at the 1861 exhibition of the Société Française de Photographie . He produced large format views, stereoscopic views and carte d’vistes of Italian cities including Genoa, Pisa, Rome and Naples, some published with an editorial label "I travel to Italy". In 1862 he was commissioned to document the zinc and lead mines of Monteponi. Between 1860 and 1866 he worked in partnership with the Genoese photographer Giovanni Battista Caorsi (1829- 1900) and continued activity in Genoa as the Etablissement Photographique Adolphe Godard until 1871. By 1880 Godard was living in Aix-en-Provence.
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Base militaire
Saint-Adolphe d'Howard (Quebec), Canada
Ancienne base militaire canadienne du Lac-St-Denis à Saint-Adolphe-d'Howard débuta ses opérations au cours des années 1950. Sa mission: surveiller l'espace aérien du sud-ouest du Québec et du Nord-Est de l'Ontario. Cette base était opérée par le Canada dans le cadre du NORAD, à savoir le Commandement de la défense aérospatiale de l'Amérique du Nord (North American Aerospace Defense Command, ou NORAD).
Une organisation américano-canadienne dont la mission est la surveillance de l'espace aérien nord-américain
La base militaire de Saint-Adolphe faisait partie de la ligne Pinetree (Pinetree Line) qui était constituée d'un réseau de 33 stations radars sous juridiction canado-américaine s’échelonnant le long du 49e parallèle afin de protéger l'Amérique du Nord d'éventuelles attaques aériennes en provenance de l'URSS.
Alors que les nouvelles technologies rendent les installations caduques, elles furent fermées en 1987.
Norad Military Base
Saint-Adolphe d'Howard (Quebec), Canada
Canadian military base located in St-Adolphe-d'Howard began its operations in 1950. Its mission: monitor the airspace in southwestern Quebec and northeastern Ontario.
True vestige of the Cold War between the Western bloc and the Eastern bloc, the military base was operated by Canada as part of the NORAD organization (namely North American Aerospace Defense Command, or NORAD. It is an US-Canadian organization whose mission is to monitor the North American airspace.
This military base located in Saint-Adolphe was part of the Pinetree Line which consisted of a network of 33 radar stations under Canada-US jurisdiction ranging along the 49th parallel to protect North America from possible air attacks from the USSR.
While new technologies made these facilities obsolete, it was closed in 1987.
Texte Source: www.urbexplayground.com
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. 2015.784s
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.
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
German postcard by Ross Verlag, no. 4101/1, 1929-1930. Photo: Paramount.
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).
Adolphe Jean Menjou was born in 1890 in Pittsburgh. He was the elder son of hotel manager Albert Menjou. His Irish mother, Nora Menjou-Joyce, was a distant cousin of the famous Irish author James Joyce. Menjou had a younger brother, Henri Menjou, who made an attempt to become an actor and played in three films for Paramount in the mid-1930s. Their French émigré father moved the family to Cleveland, where he operated a chain of restaurants. He disapproved of show business and sent his son to Culver Military Academy in Indiana in the hopes of dissuading him from an acting career. Later, at Cornell University, Menjou abruptly changed his major engineering to liberal arts and began auditioning for college plays. He did some vaudeville work, and from 1915 on, he appeared as an extra for such film studios as Vitagraph, Edison and Biograph. During World War I, he served as a captain with the Ambulance Corps in France. After the war he found employment off-camera as a productions manager and unit manager. After six years of struggle he finally broke into the top ranks with substantial roles in The Faith Healer (George Melford, 1921) and Through the Back Door (Alfred E. Green, Jack Pickford, 1921), starring Mary Pickford. He earned a Paramount contract and played Louis XIII in The Three Musketeers (Fred Niblo, 1921), starring Douglas Fairbanks and the influential writer Raoul de Saint Hubert in Rudolph Valentino's classic The Sheik (George Melford, 1921). Menjou established his slick prototype as the urbane ladies' man and wealthy roué opposite Edna Purviance in Charlie Chaplin's A Woman of Paris (1923). Paramount capitalized on Menjou's playboy image by casting him as matinée leads in Broadway After Dark (Monta Bell, 1924), Sinners in Silk (Hobart Henley, 1924), The Ace of Cads (Luther Reed, 1926), A Social Celebrity (Malcolm St. Clair, 1926) and A Gentleman of Paris (Harry d'Abbadie d'Arrast, 1927).
The stock market crash led to the termination of Adolphe Menjou's Paramount contract and his status as a leading man. Gary Brumburgh at IMDb: "MGM took him on at half his Paramount salary and his fluency in such languages as French and Spanish kept him employed at the beginning. Rivalling Gary Cooper for the attentions of Marlene Dietrich in Morocco (1930) started the ball rolling for Menjou as a dressy second lead. Rarely placed in leads following this period, he managed his one and only Oscar nomination for "Best Actor" with his performance as editor Walter Burns in The Front Page (Lewis Milestone, 1931). " Other successful films include Forbidden (Frank Capra, 1932), Little Miss Marker (Alexander Hall, 1934), A Star is Born (William A. Wellman, 1937), Stage Door (Gregory La Cava, 1937) and Golden Boy (Rouben Mamoulian, 1939). During the war, he entertained the troops overseas and worked for the radio. He played the slick and slimy lawyer Billy Flynn opposite Ginger Rogers in Roxie Hart (William A. Wellman, 1942). After the war he played secondary parts in The Hucksters (Jack Conway, 1947) and State of the Union (Frank Capra, 1948). His last lead was in the crackerjack thriller The Sniper (Edward Dmytryk, 1952). His role was a San Francisco homicide detective tracking down a killer who preys on women in San Francisco. For the first time in nearly two decades, he appeared without his moustache .In 1947, Menjou cooperated with the House Committee on Un-American Activities in its hunt for communists in Hollywood. Menjou was a leading member of the Motion Picture Alliance for the Preservation of American Ideals, a group formed to oppose communist influence in Hollywood. His last notable film was the classic anti-war picture Paths of Glory (Stanley Kubrick, 1957) in which he played the villainous General Broulard. After Disney's Pollyanna (David Swift, 1960), featuring Hayley Mills, he retired from acting. In 1963, he died in his home in Beverly Hills after a nine-month battle with hepatitis. He married three times. His second wife was actress and co-star Kathryn Carver. They married in 1928 and divorced in 1934. Since 1934 he was married to actress Verree Teasdale, with whom he had an adopted son, Peter. His autobiography was called 'It Took Nine Tailors' (1947).
Sources: Gary Brumburgh (IMDb), Wikipedia and IMDb.
The French painter and illustrator Camille Adolphe Rogier (1810-1896) studied drawing and engraving in Toulouse. He exhibited his works in the yearly Salon of Paris from 1833 to 1848. In 1835, he illustrated an edition of Boccaccio and thus became established as a vignettist.
In 1837 Rogier travelled to Italy, where he stayed for three years. He then moved to Istanbul, and lived in that city from 1840 to 1843. This was the same period when other French artists and intellectuals, more or less close to Rogier, such as Gérard de Nerval, Théophile Gautier, Maxime du Camp and Gustave Flaubert were also in Istanbul. The artist later travelled to Izmir and Asia Minor. Following his return to Paris, he was appointed official illustrator of “L'Illustration” journal. Later on, Rogier held the position of post director at Beirut.
Rogier is considered one of the first French Orientalist painters of the 19th century to depict human types and snapshots from everyday social and private life in the East. He published lithographs, aquarelles and drawings. He is mostly known for his oriental themed lithographs and for the illustration of the works of well-known French authors such as René de Chateaubriand and Victor Hugo.
Rogier's album “La Turquie...”, which includes fifty lithographs and opens with an introductory note by Théophile Gautier, was republished several times. The present edition contains only a few of the plates which make up the complete work.
Théophile Gautier (1811-1872) was a prolific French wirter, poet, journalist and art critic. The son of a government official, Gautier lived in Paris from a very early age. He was a close friend of Romantic writer G. de Nerval. Passionate about Victor Hugo‘s work, Gautier became involved in the Romantic movement and published his first poems in the years 1831-32.
Gautier was acquainted with Baudelaire, Victor Hugo, Balzac, Flaubert, Delacroix and other artists of the era. He lived in an eccentric and provocative fashion and was a member of the literary societies that determined intellectual life in 19th century France, such as the Parnassians.
In 1836, following a request by Honoré de Balzac, Gautier started writing art criticism for “La Chronique de Paris”, and in the following thirty years contributed more than two thousand articles to the journal “La Presse”. He wrote numerous collections of poetry and theatre plays, as well as the memoirs of his travels to the Pyrenees in 1840. His travels to Algeria (1845), Italy (1850), Greece (1852), Turkey (1852), Russia (1858) and Egypt (1869) provided Gautier with material for his publications.
Gautier travelled simply, without escorts, and tried to become familiar with local people and their culture. He became director of the “Revue De Paris” and contributed articles to “Le Moniteur”. Gautier was very productive and tirelessly contributed articles to various reviews and wrote biographies (including that of Balzac), articles on art, novels, ballet librettos such as “Giselle”, and texts on musicians such as Berlioz, Gounaud and Wagner.
Gautier was elected president of the Société Nationale Des Beaux-Arts and thus met the most eminent artists of his era: Delacroix, Manet, Doré etc. He was awarded the Légion d'Honneur and was married to Ernestina Grisi, sister of the ballet dancer who interpreted Giselle for the first time. He practiced boxing and swimming and was passionately fond of cats.
Gautier’s style is elaborate, rich and engaging. His descriptions of Istanbul (the monuments, the cafés, bazaars, dervishes, palaces, the Bosporus etc.) show the fascination this city held for travellers. He manages to convey to his readers images that almost acquire the status of artistic paintings.
Plethoric in his life as well as in his discourse, Gautier wrote in a clear, agile and vivid language and his work is the most representative of the literary and artistic life of his era, and has not ceased to be appreciated. To him belong sayings as “Imagination is the first weapon against Reality” and “Art for Art”.
Written by Ioli Vingopoulou
Fransız asıllı ressam ve desinatör Camille Adolphe Rogier (1810-1896) (okunuş: Kamiy Adolf Rojie) Toulouse şehrinde çizim ve gravür sanatı eğitimi görür. 1833'den 1848'e dek Paris'te her yıl gerçekleşen "Salon" fuarında eserlerini sergiler. 1835 yılında yayınlanan Boccaccio (Bokaçyo) kitabının resimlenmesini üstlenen Rogier, bundan sonra küçük dekoratif konuların (vinyet) desinatörü sıfatını alır. 1837 yılında İtalya'ya seyahat edip burada 3 yıl kalır. Daha sonra 1840'dan 1843'e kadar İstanbul'da yaşar. Aynı devirde G. de Nerval, Th. Gautier, M. du Camp ve G. Flaubert gibi Rogier ile uzak yada yakın arkadaş olan başka Fransız entelektüeller de İstanbul'a seyahat etmişti. Rogier, İzmir ve Anadolu'yu gezer, Paris'e döndüğünde ise “L'Illustration” dergisinin resmî desinatörü olarak atanır. Daha sonra ise Beyrut postanesi müdürü görevinde bulunur.
19. yüzyılda Doğu'ya ilişkin konuları resmeden ilk Fransız oryantalist ressamlar arasında Rogier, çeşitli insan tiplerine ve halkın günlük özel ve kamu yaşamından sahnelere odaklanması açısından dikkati çekmektedir. Taş baskı gravürler, akuarel ve eskizler yayınlamıştır. Doğu'dan konular sergileyen gravürleri ve R. Chateubriand, V. Hugo v.s. gibi ünlü Fransız yazarların kitaplarına yaptığı resimlerle tanınmıştır.
Rogier'nin 50 tane gravür ve Th. Gautier'nin bir giriş yazısını içeren “La Turquie…” başlıklı Albümü birçok yeni baskı yapmıştır. Burada sözkonusu olan baskı, eserin tamamını süsleyen tabloların sadece birkaçını içermektedir.
Çok üretken bir yazar, şair, gazeteci ve sanat eleştirmeni olan Fransız asıllı Théophile Gautier (1811-1872) (okunuş: Teofil Gotie) bir devlet memurunun oğlu olarak küçük yaştan beri Paris'te yaşar. Victor Hugo'ya tutkuyla bağlı olan Gautier romantik sanat akımına katılıp ilk şiirlerini 1831-32'de yayınlar. Romantik yazar G. de Nerval'in yakın dostu olan Gautier, Baudelaire, Hugo, Balzac, Flaubert, Delacrois gibi sanatçılarla da ilişki kurar; yerleşik ahlâk kurallarına göre eksantrik ve kışkırtıcı bir biçimde yaşar; 19. yüzyılın düşünsel akımlarını belirleyici biçimde etkilemiş olan "Parnasistler" grubu gibi çeşitli edebiyat kulüplerine katılır.
1836 yılında Honoré de Balzac'ın tembihi üzerine La Chronique de Paris dergisinde sanat eleştirmeni olarak yazmaya başlar. Otuz yıl boyunca La Presse dergisinde 2 bine yakın makale yazar. Sanat eleştirmenliğini şiir, tiyatro eseri ve seyahatname (1840'ta Pireneler'den anılar) türlerinde yoğun bir üretim izler. Cezayir (1845), İtalya (1850), Yunanistan (1852), Türkiye (1852), Rusya (1858) ve Mısır'a (1869) yaptığı yolculuklarla daha sonra yazacağı birçok kitap için malzeme sağlar. Gautier, sade bir biçimde, refakatsız seyahat edip karşılaştığı insanları ve uygarlıklarını tanımaya gayret göstermekteydi. Revue de Paris dergisinde müdür olur, Le Moniteur'de köşe yazarlığı yapar ve hiç ara vermeden dergilerde makaleler, biyografiler (Honoré de Balzac'ın biyografisi dahil), sanat üzerine yazılar, romanlar, bale metinleri (örneğin "Giselle"), hatta Berlioz, Gounod, Wagner v.s. gibi besteciler hakkında makaleler yayınlar. Société Nationale Des Beaux-Arts'ın başkanı seçilince zamanının en tanınmış sanatçılarını tanıma fırsatını bulur (E. Delacrois, E. Manet, G. Doré). Légion d' honneur unvanına lâyık görülür, Ernestine Grisi ("Giselle" balesinin birinci balerininin kardeşi) ile evlenir; güreş ve kürek sporuyla uğraşır ve tutkulu bir biçimde kedi sever.
Yazı dilinin mükemmelliği, metnindeki estetik öğeler ve akıcı dil Gautier'nin eserlerinin temel unsurlarını oluşturmaktadır. İstanbul hakkında yaptığı betimlemeler (anıtlar, kahvehaneler, pazaryerleri, dervişler, saraylar, Boğaziçi v.s.) kentin gezginler üzerindeki cazibesini öne çıkarıp okurun gözünde hemen hemen resim tablolarına dönüşen görüntüler yaratmayı başarıyor. Yaşamı gibi yazma uslubu da taşkın olan Gautier yazılarında yalın, esnek ve diri bir dil kullanmakla zamanının sanat ve edebiyatının en tipik yazar örneği olmuştur. Eserleri bugüne dek takdir görmektedir. "Düşgücü gerçeğe karşı yapılan savaşta en güçlü silâhtır" ve " Sanat için sanat" özdeyişleri ona aittir.
Yazan: İoli Vingopoulou
The French painter and illustrator Camille Adolphe Rogier (1810-1896) studied drawing and engraving in Toulouse. He exhibited his works in the yearly Salon of Paris from 1833 to 1848. In 1835, he illustrated an edition of Boccaccio and thus became established as a vignettist.
In 1837 Rogier travelled to Italy, where he stayed for three years. He then moved to Istanbul, and lived in that city from 1840 to 1843. This was the same period when other French artists and intellectuals, more or less close to Rogier, such as Gérard de Nerval, Théophile Gautier, Maxime du Camp and Gustave Flaubert were also in Istanbul. The artist later travelled to Izmir and Asia Minor. Following his return to Paris, he was appointed official illustrator of “L'Illustration” journal. Later on, Rogier held the position of post director at Beirut.
Rogier is considered one of the first French Orientalist painters of the 19th century to depict human types and snapshots from everyday social and private life in the East. He published lithographs, aquarelles and drawings. He is mostly known for his oriental themed lithographs and for the illustration of the works of well-known French authors such as René de Chateaubriand and Victor Hugo.
Rogier's album “La Turquie...”, which includes fifty lithographs and opens with an introductory note by Théophile Gautier, was republished several times. The present edition contains only a few of the plates which make up the complete work.
Théophile Gautier (1811-1872) was a prolific French wirter, poet, journalist and art critic. The son of a government official, Gautier lived in Paris from a very early age. He was a close friend of Romantic writer G. de Nerval. Passionate about Victor Hugo‘s work, Gautier became involved in the Romantic movement and published his first poems in the years 1831-32.
Gautier was acquainted with Baudelaire, Victor Hugo, Balzac, Flaubert, Delacroix and other artists of the era. He lived in an eccentric and provocative fashion and was a member of the literary societies that determined intellectual life in 19th century France, such as the Parnassians.
In 1836, following a request by Honoré de Balzac, Gautier started writing art criticism for “La Chronique de Paris”, and in the following thirty years contributed more than two thousand articles to the journal “La Presse”. He wrote numerous collections of poetry and theatre plays, as well as the memoirs of his travels to the Pyrenees in 1840. His travels to Algeria (1845), Italy (1850), Greece (1852), Turkey (1852), Russia (1858) and Egypt (1869) provided Gautier with material for his publications.
Gautier travelled simply, without escorts, and tried to become familiar with local people and their culture. He became director of the “Revue De Paris” and contributed articles to “Le Moniteur”. Gautier was very productive and tirelessly contributed articles to various reviews and wrote biographies (including that of Balzac), articles on art, novels, ballet librettos such as “Giselle”, and texts on musicians such as Berlioz, Gounaud and Wagner.
Gautier was elected president of the Société Nationale Des Beaux-Arts and thus met the most eminent artists of his era: Delacroix, Manet, Doré etc. He was awarded the Légion d'Honneur and was married to Ernestina Grisi, sister of the ballet dancer who interpreted Giselle for the first time. He practiced boxing and swimming and was passionately fond of cats.
Gautier’s style is elaborate, rich and engaging. His descriptions of Istanbul (the monuments, the cafés, bazaars, dervishes, palaces, the Bosporus etc.) show the fascination this city held for travellers. He manages to convey to his readers images that almost acquire the status of artistic paintings.
Plethoric in his life as well as in his discourse, Gautier wrote in a clear, agile and vivid language and his work is the most representative of the literary and artistic life of his era, and has not ceased to be appreciated. To him belong sayings as “Imagination is the first weapon against Reality” and “Art for Art”.
Written by Ioli Vingopoulou
Fransız asıllı ressam ve desinatör Camille Adolphe Rogier (1810-1896) (okunuş: Kamiy Adolf Rojie) Toulouse şehrinde çizim ve gravür sanatı eğitimi görür. 1833'den 1848'e dek Paris'te her yıl gerçekleşen "Salon" fuarında eserlerini sergiler. 1835 yılında yayınlanan Boccaccio (Bokaçyo) kitabının resimlenmesini üstlenen Rogier, bundan sonra küçük dekoratif konuların (vinyet) desinatörü sıfatını alır. 1837 yılında İtalya'ya seyahat edip burada 3 yıl kalır. Daha sonra 1840'dan 1843'e kadar İstanbul'da yaşar. Aynı devirde G. de Nerval, Th. Gautier, M. du Camp ve G. Flaubert gibi Rogier ile uzak yada yakın arkadaş olan başka Fransız entelektüeller de İstanbul'a seyahat etmişti. Rogier, İzmir ve Anadolu'yu gezer, Paris'e döndüğünde ise “L'Illustration” dergisinin resmî desinatörü olarak atanır. Daha sonra ise Beyrut postanesi müdürü görevinde bulunur.
19. yüzyılda Doğu'ya ilişkin konuları resmeden ilk Fransız oryantalist ressamlar arasında Rogier, çeşitli insan tiplerine ve halkın günlük özel ve kamu yaşamından sahnelere odaklanması açısından dikkati çekmektedir. Taş baskı gravürler, akuarel ve eskizler yayınlamıştır. Doğu'dan konular sergileyen gravürleri ve R. Chateubriand, V. Hugo v.s. gibi ünlü Fransız yazarların kitaplarına yaptığı resimlerle tanınmıştır.
Rogier'nin 50 tane gravür ve Th. Gautier'nin bir giriş yazısını içeren “La Turquie…” başlıklı Albümü birçok yeni baskı yapmıştır. Burada sözkonusu olan baskı, eserin tamamını süsleyen tabloların sadece birkaçını içermektedir.
Çok üretken bir yazar, şair, gazeteci ve sanat eleştirmeni olan Fransız asıllı Théophile Gautier (1811-1872) (okunuş: Teofil Gotie) bir devlet memurunun oğlu olarak küçük yaştan beri Paris'te yaşar. Victor Hugo'ya tutkuyla bağlı olan Gautier romantik sanat akımına katılıp ilk şiirlerini 1831-32'de yayınlar. Romantik yazar G. de Nerval'in yakın dostu olan Gautier, Baudelaire, Hugo, Balzac, Flaubert, Delacrois gibi sanatçılarla da ilişki kurar; yerleşik ahlâk kurallarına göre eksantrik ve kışkırtıcı bir biçimde yaşar; 19. yüzyılın düşünsel akımlarını belirleyici biçimde etkilemiş olan "Parnasistler" grubu gibi çeşitli edebiyat kulüplerine katılır.
1836 yılında Honoré de Balzac'ın tembihi üzerine La Chronique de Paris dergisinde sanat eleştirmeni olarak yazmaya başlar. Otuz yıl boyunca La Presse dergisinde 2 bine yakın makale yazar. Sanat eleştirmenliğini şiir, tiyatro eseri ve seyahatname (1840'ta Pireneler'den anılar) türlerinde yoğun bir üretim izler. Cezayir (1845), İtalya (1850), Yunanistan (1852), Türkiye (1852), Rusya (1858) ve Mısır'a (1869) yaptığı yolculuklarla daha sonra yazacağı birçok kitap için malzeme sağlar. Gautier, sade bir biçimde, refakatsız seyahat edip karşılaştığı insanları ve uygarlıklarını tanımaya gayret göstermekteydi. Revue de Paris dergisinde müdür olur, Le Moniteur'de köşe yazarlığı yapar ve hiç ara vermeden dergilerde makaleler, biyografiler (Honoré de Balzac'ın biyografisi dahil), sanat üzerine yazılar, romanlar, bale metinleri (örneğin "Giselle"), hatta Berlioz, Gounod, Wagner v.s. gibi besteciler hakkında makaleler yayınlar. Société Nationale Des Beaux-Arts'ın başkanı seçilince zamanının en tanınmış sanatçılarını tanıma fırsatını bulur (E. Delacrois, E. Manet, G. Doré). Légion d' honneur unvanına lâyık görülür, Ernestine Grisi ("Giselle" balesinin birinci balerininin kardeşi) ile evlenir; güreş ve kürek sporuyla uğraşır ve tutkulu bir biçimde kedi sever.
Yazı dilinin mükemmelliği, metnindeki estetik öğeler ve akıcı dil Gautier'nin eserlerinin temel unsurlarını oluşturmaktadır. İstanbul hakkında yaptığı betimlemeler (anıtlar, kahvehaneler, pazaryerleri, dervişler, saraylar, Boğaziçi v.s.) kentin gezginler üzerindeki cazibesini öne çıkarıp okurun gözünde hemen hemen resim tablolarına dönüşen görüntüler yaratmayı başarıyor. Yaşamı gibi yazma uslubu da taşkın olan Gautier yazılarında yalın, esnek ve diri bir dil kullanmakla zamanının sanat ve edebiyatının en tipik yazar örneği olmuştur. Eserleri bugüne dek takdir görmektedir. "Düşgücü gerçeğe karşı yapılan savaşta en güçlü silâhtır" ve " Sanat için sanat" özdeyişleri ona aittir.
Yazan: İoli Vingopoulou
German postcard by Ross Verlag, no. 4101/2, 1929-1930. Photo: Paramount. Adolphe Menjou in His Tiger Wife (Hobart Henley, 1928).
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).
Adolphe Jean Menjou was born in 1890 in Pittsburgh. He was the elder son of hotel manager Albert Menjou. His Irish mother, Nora Menjou-Joyce, was a distant cousin of the famous Irish author James Joyce. Menjou had a younger brother, Henri Menjou, who made an attempt to become an actor and played in three films for Paramount in the mid-1930s. Their French émigré father moved the family to Cleveland, where he operated a chain of restaurants. He disapproved of show business and sent his son to Culver Military Academy in Indiana in the hopes of dissuading him from an acting career. Later, at Cornell University, Menjou abruptly changed his major engineering to liberal arts and began auditioning for college plays. He did some vaudeville work, and from 1915 on, he appeared as an extra for such film studios as Vitagraph, Edison and Biograph. During World War I, he served as a captain with the Ambulance Corps in France. After the war he found employment off-camera as a productions manager and unit manager. After six years of struggle he finally broke into the top ranks with substantial roles in The Faith Healer (George Melford, 1921) and Through the Back Door (Alfred E. Green, Jack Pickford, 1921), starring Mary Pickford. He earned a Paramount contract and played Louis XIII in The Three Musketeers (Fred Niblo, 1921), starring Douglas Fairbanks and the influential writer Raoul de Saint Hubert in Rudolph Valentino's classic The Sheik (George Melford, 1921). Menjou established his slick prototype as the urbane ladies' man and wealthy roué opposite Edna Purviance in Charlie Chaplin's A Woman of Paris (1923). Paramount capitalized on Menjou's playboy image by casting him as matinée leads in Broadway After Dark (Monta Bell, 1924), Sinners in Silk (Hobart Henley, 1924), The Ace of Cads (Luther Reed, 1926), A Social Celebrity (Malcolm St. Clair, 1926) and A Gentleman of Paris (Harry d'Abbadie d'Arrast, 1927).
The stock market crash led to the termination of Adolphe Menjou's Paramount contract and his status as a leading man. Gary Brumburgh at IMDb: "MGM took him on at half his Paramount salary and his fluency in such languages as French and Spanish kept him employed at the beginning. Rivalling Gary Cooper for the attentions of Marlene Dietrich in Morocco (1930) started the ball rolling for Menjou as a dressy second lead. Rarely placed in leads following this period, he managed his one and only Oscar nomination for "Best Actor" with his performance as editor Walter Burns in The Front Page (Lewis Milestone, 1931). " Other successful films include Forbidden (Frank Capra, 1932), Little Miss Marker (Alexander Hall, 1934), A Star is Born (William A. Wellman, 1937), Stage Door (Gregory La Cava, 1937) and Golden Boy (Rouben Mamoulian, 1939). During the war, he entertained the troops overseas and worked for the radio. He played the slick and slimy lawyer Billy Flynn opposite Ginger Rogers in Roxie Hart (William A. Wellman, 1942). After the war, he played secondary parts in The Hucksters (Jack Conway, 1947) and State of the Union (Frank Capra, 1948). His last lead was in the crackerjack thriller The Sniper (Edward Dmytryk, 1952). His role was a San Francisco homicide detective tracking down a killer who preys on women in San Francisco. For the first time in nearly two decades, he appeared without his mustache. In 1947, Menjou cooperated with the House Committee on Un-American Activities in its hunt for communists in Hollywood. Menjou was a leading member of the Motion Picture Alliance for the Preservation of American Ideals, a group formed to oppose communist influence in Hollywood. His last notable film was the classic anti-war picture Paths of Glory (Stanley Kubrick, 1957) in which he played the villainous General Broulard. After Disney's Pollyanna (David Swift, 1960), featuring Hayley Mills, he retired from acting. In 1963, he died in his home in Beverly Hills after a nine-month battle with hepatitis. He married three times. His second wife was actress and co-star Kathryn Carver. They married in 1928 and divorced in 1934. Since 1934 he was married to actress Verree Teasdale, with whom he had an adopted son, Peter. His autobiography was called 'It Took Nine Tailors' (1947).
Sources: Gary Brumburgh (IMDb), Wikipedia and IMDb.
Maker: André Adolphe Eugène Disderi (1819-1889)
Born: France
Active: France
Medium: albumen print
Size: 4 1/8 × 11 1/8 in
Location: France
Object No. 2021.113c
Shelf: C-62
Publication: Mr. Disderi, Windsor Castle, Twenty-nine Photographic Views of the interior of WindsorCastle, Photographed by the Gracious Permission of Her Majesty The Queen, London, 1867
Other Collections: The Getty
Provenance:
Notes: View of an open grassy area that is surrounded by stone buildings. This view looks toward the Upper Ward section of Windsor Castle. Two men can be seen standing at the base of a statue of King Charles II on horseback on the left area of the image, while another man stands on the edge of the quadrangle.
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
Maker: A.A.E. Disderi (1819-1889)
Born: France
Active: France
Medium: albumen print from wet plate collodion negative
Size: 2.25" x 4"
Location: France
Object No. 2016.249
Shelf: B-2
Publication:
Other Collections:
Provenance: Millon, Paris, March 16, 2016, lot 103
Rank: 88
Notes: 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
Toute reproduction sur un support imprimé ou publication sur internet devra faire l'objet d'une demande expresse auprès du service communication de la Fédération Française Handisport.
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Contact : photos [at] handisport.org
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Адо́льф Селесте́н Пегу́ (фр. Célestin Adolphe Pégoud; 13 июня 1889 — 31 августа 1915) — французский пионер авиации, сразу после Петра Нестерова выполнивший мёртвую петлю, первый в истории лётчик-ас, хотя в этом значении слово «туз» (фр. as) стало фигурировать позднее.
Родился Адольф в июне (В различных документах указана разная дата его рождения — 8 или 13 июня.) 1889 года на юге Франции в городке Монферра в департаменте Изер.
Адольф был третьим ребёнком в семье фермеров. Бесстрашного и изобретательного мальчика больше увлекали мечты о приключениях, чем работа на земле, и в возрасте 14 лет он поехал искать счастья в Париже.
В возрасте 18-ти лет Адольф пошёл добровольцем в армию, подписав 5-летний контракт и был зачислен в 5-й полк африканской лёгкой кавалерии (фр. Régiment de Chasseurs d’Afrique. Вместе со своей частью участвовал в нескольких кампаниях по усмирению мятежных племён Северной Африки, которые находились под управлением Французской республики. В мае 1908 года Адольф заболел болотной лихорадкой и был эвакуирован во Францию. Болезнь протекала тяжело, и лишь в следующем году его признали годным к продолжению службы. По собственному желанию Пегу получил назначение в 12-й гусарский полк (фр. Régiment de Hussards, расквартированный в метрополии, а 29 января 1910 года его перевели в 3-й колониальный артиллерийский полк (фр. Régiment d’Artillerie Coloniale, защищавший базу флота в Тулоне.
В 1911 г. в Тулоне Пегу познакомился с военным лётчиком капитаном Луи Карленом, энтузиастом авиации. Они подружились, вскоре оба были переведены в лагерь Сатори (фр. Satory), недалеко от Версаля. Там в октябре 1911 Карлен взял его в полёт в качестве пассажира, что стало для юноши настоящим откровением. Пегу охватило страстное желание стать авиатором. В 1912 г. он добился перевода в авиацию, став в помощником-механиком Карлена. Вместе они приняли участие в сентябрьских маневрах французской армии.
Демобилизовавшись, Пегу сразу же поступил в лётную школу. 1 марта,через несколько дней после поступления, Адольф Пегу успешно сдал экзамен и получил "бреве" - пилотское удостоверение Аэроклуба Франции № 1243.
После этого Пегу стал работать испытателем новых самолётов у авиаконструктора Луи Блерио, а в дополнение к этому инструктором.
13 мая 1913 г. Пегу совершил полёт с испанским королём Альфонсо XIII в качестве пассажира.
Летом 1913 г. состоялась демонстрация работы парашюта системы Бонне, когда Пегу совершил первый во Франции прыжок с парашютом из самолёта. Во время прыжка лётчику пришла в голову идея совершения на самолёте мёртвой петли.
21 сентября 1913 г. на аэроплане «Блерио-XI» через 12 дней после Петра Нестерова Пегу выполнил мёртвую петлю. «К сожалению, — писал он, — мои дальнейшие фигурные полёты были запрещены французским правительством. Тогда я отправился в Англию, где и приступил к совершению "мёртвых петель". Так началась моя карьера петлиста».
В 1913-14 гг. Пегу с демонстрационными полётами побывал в Англии, Австрии, Бельгии, Германии, Голландии, Италии, Норвегии, России и Румынии.
В мае 1914 года Пегу посетил Москву, где на Ходынском аэродроме произвёл публичную демонстрацию петли, а также дал урок пилотирования будущему авиаконструктору Александру Архангельскому.[1] Французский лётчик лично встретился с Петром Нестеровым и признал приоритет россиянина,[1][2] а 18 мая Нестеров, Пегу и Н. Е. Жуковский совместно выступили в Политехническом музее.[1]
Из иллюстрированного журнала «Искры» от 25 мая 1914 года:
«Король воздуха» в Москве. Известный французский авиатор Пегу, сделавший в прошлом году в августе безумный прыжок с аэроплана на парашюте и вслед за тем «мертвую петлю», после петербургских «гастролей» появился на московском аэродроме. Выступление «короля воздуха», как называют Пегу, так заинтересовало Москву, что на его полетах присутствовало до 300 тыс. человек. Пегу, действительно, показал ряд воздушных «трюков», которым приходится удивляться. Кувыркание в воздухе для него — забава, а «мертвая петля» — пустячное дело. Он их делает подряд десятками. Мало того, он вылезает из гондолы и летит, стоя. Это уже совершенно невероятный трюк, сделанный только Пегу, и то в первый раз в Москве. За два дня полетов Пегу Москва принесла свою дань в 24.000 руб., из коих московскому воздухоплавательному обществу осталось лишь 2 тыс. с небольшим. Остальные деньги пошли в карман Пегу и его антрепренёров[2].
Пегу поддерживал связи с русскими авиаторами и во Франции, в Париже он встречался с известным лётчиком Харитоном Славороссовым.
Рядовой-резервист Адольф Пегу был приписан к артиллерии, но его, как и всех остальных гражданских пилотов, с началом Первой мировой войны, определили в авиацию.
14 августа 1914 года Пегу становится пилотом эскадрильи «HF 7»[3]. С этого времени его персональным и бессменным механиком стал рядовой Леон Лерандю (фр. Soldat Leon Lerendu).
В конце августа Пегу на «Блерио-11» был отправлен в распоряжение штаба 3-й армии и начал выполнять разведывательные полеты. 2 сентября 1914 года он впервые оказался под огнём противника, но все обошлось только пробоинами в крыльях. В конце сентября экипаж Пегу-Лерандю в дополнение к разведке стал также проводить стрелометание. 1 октября 1914 года они сбили германский привязной аэростат, сбросив на него две тысячи стрел.
9 октября 1914 года за первые успешные боевые вылеты Пегу удостоился упоминания в приказе по армии:
«...С начала кампании продемонстрировал исключительные качества. Смел и хладнокровен, особенно при выполнении заданий. Его самолет был трижды изрешечён снарядами.»
27 октября 1914 года Пегу присвоили звание капрала. 7 ноября 1914 года становится сержантом. С конца осени 1914 г. на французских аэропланах появились пулемёты. Один такой аппарат получил Пегу. 25 ноября экипажу выдался шанс применить новое оружие в реальном бою, но пулемёт «Гочкис» заело. Тем не менее, Пегу продолжил бой. Его демонстративные атаки заставили противника обратиться в бегство, но преследование пришлось прекратить из-за неполадок в работе двигателя.
27 декабря совершил бомбардировочный рейд. Невзирая на сильный зенитный огонь, Пегу точно сбросил восемь бомб. Этот эпизод можно считать своего рода воздушным боем, поскольку налёт имел целью уничтожение привязного аэростата.
С 21 января 1915 года Пегу - пилот специализированной бомбардировочной эскадрильи «MF 25»[4]. 5 февраля Пегу и Лерандю совершили очередной боевой вылет, имея задачей разведку и, в случае встречи с вражескими самолетами, расчистку воздуха. Следуя по маршруту, они заметили и сбили германский аэроплан типа «Таубе». Затем появилась пара «Авиатиков». Пегу сблизился с новым противником, стрелок открыл огонь, и после нескольких попаданий немец вышел из боя пикированием. После этого Пегу снова набрал высоту и атаковали второго германского разведчика, вынудив его совершить посадку. За этот бой Пегу вновь был упомянут в приказе и представлен к Военной Медали.
Из приказа от 17 февраля 1915 года о награждении Военной медалью:
«... несколько раз преследовал самолеты противника. 5 февраля 1915 года атаковал и сбил моноплан. Почти сразу после этого настиг два биплана, последовательно сбил первый и вынудил приземлиться второй.»
6 февраля 1915 года Пегу был переведен в эскадрилью «MS37»[5], которая воевала на парасолях «Моран Солнье» тип L. На новом самолете Пегу провел свой второй успешный воздушный бой. В первых числах апреля (по одним данным 1, по другим — 3) он встретил два немецких самолета, проводивших разведку в ближнем тылу союзных войск. Первый самолёт противника со снижением ушел на свою территорию, другой был сбит. За этот бой Пегу получил звание аса.
22 апреля 1915 года Пегу назначается пилотом в только что сформированную эскадрилью «MS 49»[6]. 28 апреля, отправившись на разведку, он встретил над линией фронта немецкого разведчика. Пегу спикировал на противника, но тот, не приняв боя, ушёл под защиту своих зениток. Позже был замечен ещё один разведчик. На этот раз атака оказалась более успешной: хотя пулемет отказал после первого же выстрела, немецкий лётчик пошёл на посадку.
Летом 1915 г. на фронте появились разведывательные аэропланы «Ньюпор-10», призванные заменить «Мораны». Пегу получил один из самых ранних «Ньюпоров». Это был самолет модификации AR, в котором наблюдатель располагался перед лётчиком. Подразумевалось, что стрелок будет вести огонь поверх крыла, стоя в кабине. Вместо этого Пегу решил оставить напарника на земле и вооружиться пулемётом «Льюис», установленным в вырезе крыла[7].
11 июля 1915 года Адольф Пегу записал в своем дневнике:
«Был замечен «Авиатик»... Вылетел на перехват и вскоре нашёл его. Попытался ложными атаками загнать его на нашу сторону фронта, но безуспешно, он продолжил полёт вдоль траншей. Тогда я спикировал и зашёл под него, стрелок открыл огонь, но неудачно, ему мешал собственный фюзеляж. Пытался держаться непосредственно под противником, следуя за всеми его манёврами. Задрал нос и с 50 метров открыл огонь, целясь по точке чуть сзади мотора... После 10-го выстрела «бош» опустил нос, пламя пошло по фюзеляжу...»
Сбив «Авиатик-С» из 48-го немецкого авиаотряда, Пегу одержал первую победу в новом качестве — летчика-истребителя. 18 июля этот эпизод был упомянут в приказе по 7-й армии:
«...Прапорщик, пилот эскадрильи «MS 49». В одиночку на своем аппарате вступил в бой против бронированного "Авиатика" с экипажем из двух человек. Сбил его над нашими позициями после очень острой схватки, в которой продемонстрировал смелость и мастерство выше всех похвал.»
28 августа во время очередного полета Пегу заметил неприятельский разведчик и атаковал его. Однако немецкий стрелок встретил нападавшего метким огнём. С пробитым бензобаком Пегу вынужден был выйти из боя пикированием в сторону траншей, которые пересёк на высоте 400 метров под интенсивным огнём немецкой зенитной артиллерии и пулеметов. На этот раз лётчик благополучно посадил свой поврежденный «Ньюпор».
Посвящение в Рыцари Почётного Легиона от 28 августа 1915 года:
«...Су-лейтенант эскадрильи «MS 49», дух и отвага которого выше всяческих похвал, также проявил себя скромным и опытным пилотом. С самого начала кампании все свои замечательные навыки он поставил на службу стране. Ежедневно демонстрируя мужество и смелость, он в одиночку проводил бои против мощно бронированных самолетов. 28 августа, во время воздушной дуэли, его самолет был изрешечён пулями. Вынужденный приземлиться, он сразу принял все меры для спасения своего аппарата, несмотря на интенсивный огонь немецких батарей.»
— Официальный Журнал, 26 Сентября 1915 года.
31 августа 1915 года, в 08:30 утра, получив сообщение о немецком разведчике, кружившим над линией фронта, Пегу взлетел по тревоге. Он атаковал противника, выпустив несколько длинных очередей, затем отошёл в сторону, вероятно, для перезарядки пулемёта. Затем последовала повторная атака. Внезапно французский самолет перешел в отвесное пике и разбился рядом с расположением одного из пехотных полков. При осмотре тела пилота выяснилось, что Адольф Пегу был убит ещё в воздухе: пуля перебила аорту.
Самолёт Пегу был сбит немецким капралом[8]. Им оказался его ученик польского происхождения Отто Кандульски (нем. Kandulski). 6 сентября, узнав о гибели героя, лётчик Кандульски и его наблюдатель лейтенант фон Билиц (нем. von Bilitz) вернулись на место боя и сбросили над французскими позициями траурный лавровый венок с надписью на ленте: "Пегу, геройски погибшему за свою Родину, от противника".
Похороны Пегу состоялись 3 сентября на кладбище Бросс-де-Бельфор (фр. Brosse-de-Belfort). Друзья предали земле лётчика в саване из полотна от его самолёта, вместе с ним положили талисман Адольфа - плюшевого пингвина, сопровождавшего его во всех полётах. Вместе с другими венками на могилу был возложен и немецкий.
В октябре 1920 его останки был перенесены на кладбище Монпарнас в Париже после церемонии в Нотр-Дам.
18 мая 1916 года французский пилот Роже Ронсерай (фр. Ronserail) сбил во время воздушного боя самолёт Отто Кандульски к северо-западу от Mulhausen, отомстив за смерть Адольфа Пегу. Подвиг Роже Ронсерая получил название «мститель за Пегу». Но есть сведения, что Кандульски не погиб, а пережил войну.
23 сентября 1917 на месте гибели Пегу в городке Пети-Круа установлен памятник. 15 мая 1982 года перенесен в центр деревни.
В его родном городке Монферра также воздвигнут памятник со стелой.
Су-лейтенант Адольф Пегу одержал шесть "достоверных" побед и три "предположительные", был награждён Военной Медалью, Военным Крестом с несколькими пальмами* (фр. Croix de Guerre avec palmes) и Памятной Марокканской Медалью (фр. Médaille Commémorative du Maroc). 28 августа он стал Рыцарем Ордена Почетного Легиона** (фр. Chevalier de la Legion d'Honneur), но так и не успел получить этот орден. Кроме французских наград, Пегу также удостоился Ордена Румынской Короны (рум. Ordinul Coroana României).
D'Nei Bréck iwwert dem Péitrussdall
Adolphe Bridge with the Luxembourg National Bank in the background.
Canon 5D + Canon EF 50mm F1.4 + Raw + Alien Skin Exposure 3
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Colored photo:
Vintage French postcard. Series Collection Artistique du Vin Désiles. S.I.P. Photo by P. Berger. Maréchal, Opéra Comique. Je tiens à vous dire que votre vin Désiles est délicieux, et souverain pour les chanteurs, qu'il donne à la voix plus de force et plus de clarté.
Adolphe (Alphonse) Maréchal (26 September 1867 – 1 February 1935) was a Belgian tenor whose career in the French and Italian repertoire took him to France and England.
Maréchal was born in Liège. Having studied at the Liège Conservatoire, Maréchal made his debut at Dijon in 1891 and toured the French provinces, singing in Rheims, Nice, Bordeaux, and especially at the Théâtre du Grand Cercle in Aix-les-Bains. He was engaged by the Opéra-Comique in 1895, making his debut as Don José in Carmen on 7 October 1895. His repertoire at the Opéra-Comique covered Cavalleria Rusticana (Turriddu), Don Juan (don Ottavio), Les dragons de Villars (Sylvain), Joseph, Lakmé (Gérald), Manon (des Grieux), Mireille (Vincent), La Navarraise (Araquil), Le pardon de Ploërmel (Un faucheur), Les pêcheurs de perles (Nadir), Le pré aux clercs (Mergy) and Le roi d'Ys (Mylio). He also sang in several premieres, notably Louise in 1900 (Julien) and Grisélidis in 1901 (Alain), as well as enjoying a success in the Paris premiere of La Boheme (Rodolphe). At the Opéra de Monte-Carlo he created the role of Jean in Le jongleur de Notre Dame in 1902, and made his debut at Covent Garden the same year as Don José, also appearing in Faust, Manon and the première of The Princess Osra by Herbert Bunning (1863-1937. He retired back to Belgium in 1907, having made a handful of recordings. He died at Brussels, aged 67.
(Source: English Wikipedia)
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. 2015.784k
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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Maker: Louis-Adolph Humbert de Molard (1800-1874)
Born: France
Active: France
Medium: modern gelatin silver print
Size: 7" x 9 1/2"
Location:
Object No. 2016.937
Shelf: E-25
Publication:
Other Collections:
Provenance: Texbraun Galerie
Notes: Baron Louis Adolphe Humbert de Molard, born in Paris on October 30, 1800 and died on March 17, 1874, was a French pioneer of photography. From the beginning of the 1840s, Baron Humbert de Molard became interested in the first photographic techniques. He is one of those wealthy amateurs who were passionate about this emerging art. After the death of his first wife, he remarried in 1843 with Henriette Renée Patu, miniaturist designer and lithographer, who owned land in Lagny-sur-Marne. From 1843 to 1850, he produced a series of daguerreotypes but gradually favored the calotype technique , which he experimented with from 1844. He was partly trained by his friend Hippolyte Bayard . He used other techniques, such as albumen printing and wet collodion . He came into contact with Abel Niépce de Saint-Victor to try to improve certain processes and then became the defender of the development techniques promoted by Gustave Le Gray. His productions have remarkable pictorial qualities and reveal a great mastery of the technical stages (lighting, emulsion, development). He staged activities related to the peasant world, as well as several gender figures, helped by his steward and model named Louis Dodier. In 1854, he was a founding member of the Société française de photographie and sought to promote various techniques of development on paper from negatives and resigned in 1864 for health reasons. He published his research between 1851 and 1866 in the journal La Lumière, which was for a time the bulletin of the Société héliographique de Paris. (Source: Wikipedia)
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Β' κόπια
Adolphe Block
arthouse1952.blogspot.com/2013/11/1839-1900.html
Adolphe Block
imagestereoscopiques.com/fr/b/block-adolphe/
web.fe.up.pt/~jmf/stereo/fr/frbk/frbk-info.htm
data.bnf.fr/fr/14977157/adolphe_block/
images.bnf.fr/#/doclist/1616015996238
www.parismuseescollections.paris.fr/fr/recherche/type/oeu...
www.getty.edu/art/collection/artists/5866/adolphe-block-f...
British postcard. Film Weekly. Benita Hume in the American pre-Code movie The Worst Woman in Paris? (Monta Bell, Fox Film 1933), co-starring Adolphe Menjou.
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).
Lucien Adolphe Labaudt (1880-1943) was a French-born American muralist based in San Francisco, California. This photograph features a portion of a larger fresco, painted by Lebaudt in 1936, that covers three walls of the ground floor of a two-story Spanish Revival building designed by Willis Polk in 1925 called the 'Beach Chalet' at Ocean Beach in San Francisco.
The red-tiled roofs and white stucco buildings set the scene for 'Fisherman's Wharf', circa 1930. A design student of Labaudt is depicted with her daughter and several fisherman, one of whom is preparing a local Dungeness crab. The fisherman, seated in the background, is mending a fishing net.
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. 2015.784x
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.
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
The UK marketing brochure (circa 1930-40?) for Adolphe Mouron Cassandre's Bifur typeface. See my blog for more information.
Adolphe-Félix Cais (October 17, 1810 - October 3, 1880) was a French painter. Having divided his time between Paris and Honfleur since 1871, he finally decided to settle down, in 1873, in Honfleur, a port in Normandy which was home to many painters, and has been called "the cradle of impressionism.” At the invitation of Monet, he participated in the first Impressionist exhibition in 1874, and 1876 until 1881.
[Philadelphia Museum of Art - Oil on canvas, 36 x 62.5 cm]
gandalfsgallery.blogspot.co.uk/2012/10/adolphe-felix-cais...
A young nude woman sits with her arms outstretched, pushing away a winged boy. He is Cupid, the god of love, holding up an arrow to pierce her. The title suggests that the young woman is trying to defend herself, yet she smiles and struggles unconvincingly against the mischievous little god.
Visitors to the Paris exhibitions of the 1870s and 1880s loved Adolphe Bougereau's paintings. The Getty Museum's painting repeats a larger composition that Bougereau made for the Paris Salon in 1880; a viewer probably saw the larger version there and requested a smaller one for private viewing.
Bougereau placed his mythological fantasy in an idyllic, Arcadia-like landscape. In fact, he made this composition in his studio, copying the landscape from the neighboring French countryside and using one of his favorite models.
(Edit) I changed the separation from the original 10% to the standard 30% for normal cross viewing. This seems to be the most successful depth map conversion so far. I think it is because I enlarged it 200% before working on it.
Title:
A Young Girl Defending Herself against Eros
Artist/Maker:
William Adolphe Bouguereau (French, 1825 - 1905)
Culture:
French
Date:
about 1880
Medium:
Oil on canvas
Dimensions:
81.6 × 57.8 cm (32 1/8 × 22 3/4 in.)
Credit Line:
Gift of J. Paul Getty
Maker: Adolphe Paul Auguste Beau (1828-1910)
Born: UK
Active: UK
Medium: albumen print
Size: 2 1/2 in x 4 in
Location:
Object No. 2025.178
Shelf: E-20-B
Publication:
Other Collections:
Provenance: aurorephot
Rank: 34
Notes: French photographer and inventor Adolphe Beau came to London in the aftermath of the 1851 Great Exhibition and entered into a brief partnership with Camille Silvy before setting up his own London studio, specializing in theatrical portraits. He photographed the French Imperial family in exile.
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William-Adolphe Bouguereau enjoyed a remarkable popularity in the United States, particularly during the late 1800s through the early 20th century. Lauded and laureled by the French artistic establishment, and a dominant presence at the Parisian Salons, Bouguereau’s canvases offered American collectors the chance to bring Gallic sophistication and worldly elegance to their own galleries and drawing rooms. The master’s idealized, polished images—of chastely sensual classical maidens, Raphaelesque Madonnas, and impossibly pristine peasant children—embodied the tastes of the American Victorian age, and of his Gilded Age patrons. Bouguereau canvases at one time were de rigueur for every collector and arts institution from the late 1860s to the early 1900s in America.
Base militaire
Saint-Adolphe d'Howard (Quebec), Canada
Ancienne base militaire canadienne du Lac-St-Denis à Saint-Adolphe-d'Howard débuta ses opérations au cours des années 1950. Sa mission: surveiller l'espace aérien du sud-ouest du Québec et du Nord-Est de l'Ontario. Cette base était opérée par le Canada dans le cadre du NORAD, à savoir le Commandement de la défense aérospatiale de l'Amérique du Nord (North American Aerospace Defense Command, ou NORAD).
Une organisation américano-canadienne dont la mission est la surveillance de l'espace aérien nord-américain
La base militaire de Saint-Adolphe faisait partie de la ligne Pinetree (Pinetree Line) qui était constituée d'un réseau de 33 stations radars sous juridiction canado-américaine s’échelonnant le long du 49e parallèle afin de protéger l'Amérique du Nord d'éventuelles attaques aériennes en provenance de l'URSS.
Alors que les nouvelles technologies rendent les installations caduques, elles furent fermées en 1987.
Norad Military Base
Saint-Adolphe d'Howard (Quebec), Canada
Canadian military base located in St-Adolphe-d'Howard began its operations in 1950. Its mission: monitor the airspace in southwestern Quebec and northeastern Ontario.
True vestige of the Cold War between the Western bloc and the Eastern bloc, the military base was operated by Canada as part of the NORAD organization (namely North American Aerospace Defense Command, or NORAD. It is an US-Canadian organization whose mission is to monitor the North American airspace.
This military base located in Saint-Adolphe was part of the Pinetree Line which consisted of a network of 33 radar stations under Canada-US jurisdiction ranging along the 49th parallel to protect North America from possible air attacks from the USSR.
While new technologies made these facilities obsolete, it was closed in 1987.
Texte Source: www.urbexplayground.com
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. 2015.784o
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.
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE