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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. 2015.784o
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.
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Created For Digital Challenge#178~
www.flickr.com/groups/380546@N22/discuss/72157625163933101/
Original Sources~NanceeArt~
www.flickr.com/photos/nancee_art/5135695015/
And Swainboat ~
www.flickr.com/photos/22563225@N04/4076632288/
Lady ~The Glass Beehive~
www.flickr.com/photos/theglassbeehive/4562504012/in/set-7...
Child~William Adolphe Bouguereau~
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Premade Background~My Own~
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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.
French postcard by Editions P-C, Paris, no. 19. Photo: Adolphe Osso / Gloria Film. Le Choer sang the military march 'Adieu, vieille Europe' in Le Sergent X/Sergeant X (Vladimir Strizhevsky, 1932), starring Ivan Mozzhukhin. Text by Simon Delyon and music by René Mercier and Henri Forterre. Copyright: Editions Salabert, Paris, 1932.
Russian actor Ivan Mozzhukhin (in French Ivan Mosjoukine and in German Iwan Mosjukin) (1889-1939) was a legendary star of the European silent film, who shone in Russia, France, Germany and Austria, but suffered in Hollywood.
Ivan Ilyitch Mozzhukhin (Иван Ильич Мозжухин in Russian, or Iwan Mosjukin, as he was called in Germany, or Ivan Mosjoukine in France) was born in the village of Kondol, Saratov province, Russian Empire (now Penza province, Russia) in 1889. His father was general manager of the large estate of Prince Obolensky. Mozzhukhin attended a Gymnasium in Penza, then studied law at the Moscow State University for two years. There he was active in amateur stage productions. He joined a touring troupe, then returned to Moscow and was a member of Vvedensky Narodny Dom Theatre. He made his film debut in 1908. From 1911 to 1914 he worked in the silent films of producer Aleksandr Khanzhonkov. Mozzhukhin shot to fame after his leading role as violinist Trukhachevsky in The Kreutzer Sonata/Kreitzerova sonata (Pyotr Chardynin, 1911), based on the eponymous story by Leo Tolstoy. He starred as Admiral Kornilov in Oborona Sevastopolya/Defence of Sevastopol (Vasili Goncharov, Aleksandr Khanzhonkov, 1911). This was the first film ever that was shot by two cameras. Next, he appeared in the delightful comedy Domik v Kolomne/The Kolomna House (Pyotr Chardynin, 1913) after a poem by Alexander Pushkin. He would star in about thirty more silent Russian films made by Chardynin, Khanzhyonkov, and Yevgeni Bauer. His film partners were Diaghilev's ballerina Vera Karalli and his wife Natalya Lyssenko (billed in France as Nathalie Lissenko).
By the mid-1910s, Ivan Mozzhukhin had become the indisputable leading star of the Russian cinema. His facial expressions were studied by many actors and directors as exemplary acting masks. From 1915 till 1919 he worked in about 40 films by directors Yakov Protazanov and Viktor Tourjansky under the legendary Russian producer Joseph N. Ermolieff. His best-known films of this period were Pikovaya dama/The Queen of Spades (Yakov Protazanov, 1916) after Pushkin, Nikolay Stavrogin (Yakov Protazanov, 1915) after Fyodor Dostoyevsky, and Otets Sergiy/Father Sergius (1917, Yakov Protazanov, Alexandre Volkoff). The reviewer at IMDb writes that the film "has many uncommonly modern characteristics. Besides the daring subject, it has a rather strongly developed lead character, good storytelling and cinematography, and a script which deals with human emotions without being exploitative or sentimental. Altogether it has a very modern touch to it for a movie made in 1917, (...) a prime example of the art film movement of pre-soviet Russia." Mozzhukhin's incredible popularity brought him significant wealth, that came with attendant pressure; he also became famous for his numerous love affairs with his admirers.
In 1918, the Russian Communist Revolution already caused irreversible destruction of cultural and economic life, and Ivan Mozzhukhin moved under the protection of the White Russians in Yalta, Crimea. Soviet director Lev Kuleshov assembled his revolutionary illustration of the application of the principles of film editing out of footage from one of Mozzhukhin's Tsarist-era films which had been left behind. Mozzhukhin's face in the recurring representation of illusory reactions demonstrated in Lev Kuleshov's psychological montage experiment 'the Kuleshov Effect'. Meanwhile, Mozzhukhin worked for the Ermolieff film company in Crimea. After the Revolution, in early 1920, he left Russia together with his wife Nathalie Lissenko and his partners from Ermolieff. They emigrated together to France and started in Paris a Russian-French film company. Paris became the new capital for most of the exiled former aristocrats and other refugees escaping the civil war and Bolshevik terror gripping Russia. In France, Ivan Mozzhukhin changed his name into Ivan Mosjoukine. Handsome, tall, and possessing a powerful screen presence, he won a considerable following as a mysterious and exotic romantic figure. He starred in hits like the innovative murder mystery La maison du mystère/The Mysterious House (Alexandre Volkoff, 1923), Kean/Edmund Kean: Prince Among Lovers (Alexandre Volkoff, 1924), the lavish adventure spectacle Michel Strogoff/Michael Strogoff (Victor Tourjansky, 1926) based on the Jules Verne novel, and the humorous and visually splendid Casanova/The Loves of Casanova (Alexandre Volkoff, 1927). His face with the trademark hypnotic stare appeared on covers of film magazines all over Europe. He wrote the screenplays for most of his starring vehicles and directed two of them, L'Enfant du carnaval/Child of the Carnival (1921) and Le Brasier ardent/The Blazing Inferno (1923).
After the death of Rudolph Valentino, Ivan Mozzhukhin got a lucrative contract with Universal Pictures. He was cast as a male lead in Surrender (Edward Sloman, 1927). However, his stint in Hollywood, was not a success, due to numerous pressures from producers who insisted on changing his name to John Moskin and on plastic surgery to shorten his nose. This operation caused a permanent change in his natural facial expression. In addition to the emotional pains of plastic surgery, and changes to his facial features, he suffered from the lack of chemistry with his non-responsive co-star, Mary Philbin. At that time Hollywood was already shifting to sound film, and Mozzhukhin, who did not speak English, was not offered any more roles. He returned to Europe. Artist and longtime friend Aleksandr Vertinsky commented later on Mozzhukhin's suffering in Hollywood, that it was "a conspiracy to destroy the strong competitor". Ivan Mozzhukhin continued to star in sound films like Le Sergent X/Sergeant X (Vladimir Strizhevsky, 1932), albeit with a smaller success. He also wrote screenplays for several of his films. His final film was Nitchevo (Jacques de Baroncelli, 1936). By then his filmography included over 100 films made in Russia, France, Italy, United States, Germany, and Austria. He planned to direct a film in France, but he contracted a severe form of tuberculosis. Ivan Mozzhukhin died in a Neuilly-sur-Seine clinic in 1939. He was laid to rest in the Russian Cemetery at Sainte-Geneviève-des-Bois in Paris. His home in Kondol, Russia is now restored as a public Memorial Museum of Ivan Mozzhukhin. Since the 1990s, the museum is having an annual Mozzhukhin film show also known as Mozzhukhin's Festivities.
Sources: Steve Shelokhonov (IMDb), Sandra Brennan (AllMovie), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Adolphe Cossard (1870-1952) - Musique Profane & Musique Sacrée (c.1900)
www.invaluable.com/auction-lot/musique-profane-musique-sa...
Item:
Title: Montego Bay
Photographer: from a daguerreotype by Adolphe Duperly ca 1845
Publisher: J. Jacottet
Publisher#:
Year: 1844
Height: 6.5 in
Width: 9.5 in
Media:lithograph
Color: b/w
Country: Jamaica
Town: Montego Bay
Notes: No. 24 from Adolphe Duperly's very scarce folio 'Daguerrian Excursions in Jamaica, being a collection of views...taken on the spot with the Daguerreotype.'
[A. Duperly. Lithograph by J. Jacottet.]
[Kingston, Jamaica, 1846-47.]
A prospect of the town of Montego Bay, the capital of the parish of St James and the second largest port in Jamaica (after Kingston). This view is taken from the residence the Melhados, a wealthy family from London; they owned a large house in Kingston in addition to an estate in Montego Bay. Appears as Cat # 31 in The National Gallery of Jamaica's Duperly exhibition catalog, 2001
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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. 2015.784g
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
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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Breton Brother and Sister, 1871
William-Adolphe Bouguereau (French, 1825–1905)
Oil on canvas; 50 7/8 x 35 1/8 in. (129.2 x 89.2 cm)
Catharine Lorillard Wolfe Collection, Bequest of Catharine Lorillard Wolfe, 1887 (87.15.32)
Bouguereau based at least five compositions, including this work of 1871, on studies he made during an 1868 trip to Brittany. He posed his young models in regional costume and painted them with the technical mastery for which he was already famous.
French postcard by Europe, France, no. 257. Photo: Films 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 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).
or, Te Deum laudamus
Adolphe Willette (French 1857-1926)
Stained glass
Musée Carnavalet inv.EN192
for the Chat Noir cabaret
Paris 1900
Portland Art Museum
Travel back to Paris at the dawn of the 20th century and experience the splendor of the sparkling French capital as it hosted the world for the International Exposition of 1900.
This was the height of the Belle Époque, a period of peace and prosperity in France when fine art, fashion, and entertainment flourished as never before. Fifty-one million visitors from around the world attended the Exposition and flooded the city, where they enjoyed its posh restaurants, opulent opera house, artistic cabarets, and well-tended parks. For the French, it was an opportunity to show off their prowess in the arts, sciences, and new technology, and to highlight what made Paris unique from rivals London and Berlin.
Inspired by an exhibition originally presented in 2014 at the Petit Palais in Paris, Paris 1900 re-creates the look and feel of the era through more than 200 paintings, decorative art objects, textiles, posters, photographs, jewelry, sculpture, and film, and will plunge visitors into the atmosphere of the Belle Époque.
These objects, drawn from several City of Paris museums—including the Petit Palais, the Musée Carnavalet, the Palais Galliera, the Musée Bourdelle, and the Maison de Victor Hugo—form a portrait of a vibrant and swiftly changing city.
The splendor of Paris unfolds in six sections or vignettes. The visitor enters “Paris: The World’s Showcase,” which highlights the International Exposition of 1900 and the sweeping architectural and technological changes made to the cityscape to welcome the new century.
As Paris was also the self-proclaimed “Capital of the Arts,” the second section of the exhibition examines the vast range of styles and talent present in the city in the form of sculpture, painting, and prints. Viewers will delight to work by well-known artists such as Camille Pissarro and Berthe Morisot and will discover compelling paintings and sculpture by lesser-known masters of the time.
The seductive Art Nouveau style, so popular in the decorative arts, is the focus of the next vignette, which features furniture, jewelry, pottery, posters, ironwork, and fans that exhibit the whiplash curve and natural inspiration of this international style.
French fashion and style were at the heart of Parisian pride, and the next section examines the cult and myth of la Parisienne—the ideal French woman—through textiles, paintings, prints, and decorative arts. Strolling through the city was considered one of the great Parisian pastimes and is explored in “A Walk in Paris.”
New modes of transport, such as the omnibus and the newly invented bicycle, competed with horses, pedestrians, and automobiles as the 20th century unfolded.
The final vignette, “Paris by Night,” features a selection of the vast amusements that made Paris the center of European entertainment, from lowly cabarets to the most refined theaters and restaurants.
The exhibition concludes with a look at a great French invention of the Belle Époque: the moving picture. Clips from early film animate the exhibition and allow the viewer to rediscover the dawn of cinema.
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 Block (1829-1903)
Born: France
Active: France
Medium: albumen print
Size: 3 1/2 in x 7 in
Location: France
Object No. 2020.414
Shelf: E-2-B
Publication:
Other Collections:
Provenance: yapa-photo
Rank: 40
Notes: Adolphe Block (1829 - 1918) was a studio photographer and from 1863, a publisher of stereoscopic views that he signed with the letters B.K. In 1868, he succeeded Segoffin then took over the collections of François Benjamin Lamiche and Louis Augé. In 1876, he bought the holdings of Jean Andrieu then that of Jules Marinier. He ceased activity in 1915.
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William-Adolphe Bouguereau
Ses tableaux sur la mythologie grecque foisonnent et renvoient aux thèmes déjà repris par la Première Renaissance et le néo-classicisme, périodes qui ont influencé sa peinture, il a notamment abondamment traité des sujets allégoriques. De nombreuses scènes idylliques, champêtres et bucoliques constituent son répertoire.
Un bon nombre de ses tableaux illustrent également les thèmes des liens familiaux et de l'enfance.
Entre toutes ses peintures, l'exclusivité revient à l'image de la femme, avec Cabanel, Gervex et Gérome son nom est associé au genre du nu académique. Sa Naissance de Vénus est emblématique, d'une peinture sensuelle profondément influencée par les vénus d'Ingres. C'est avec ce genre qu'il connaitra le plus de succès mais rencontrera aussi le plus de critiques ; à cause de la texture lisse et minutieuse de sa peinture, Joris-Karl Huysmans dira à son encontre : «Ce n'est même plus de la porcelaine, c'est du léché flasque!». La renommée de Bouguereau est assez établie dans ce style pour que le peintre impressionniste Degas parle péjorativement de '«bouguereauté» pour qualifier le genre.
Après le deuil qu'il subit en 1877 il se tourne vers une peinture à thème religieux et délaisse les thèmes en rapport avec l'Antiquité de ses début
Maker: Adolphe Dallemagne (1811-1882)
Born: France
Active: France
Medium: albumen print
Size: 8 5/8 in x 11 1/2 in
Location:
Object No. 2022.143
Shelf: B-19
Publication:
Other Collections:
Provenance: Catawiki
Rank: 26
Notes: Adolphe Dallemagne started out as a painter, having studied with Ingres, Cogniet and Monvoirsin, and then switched to photography. He created a series of photographs of contemporary artists, published as Galerie des Artistes Contemporains, which appeared in different painting frames from the time periods and styles of LouisXIV, Louis XV and Louis XVI, complete with a theatrical velvet curtain. A full set of these can be seen at: DALLEMAGNE-BNL
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Maker: Adolphe Braun (1812-1877)
Born: France
Active: France
Medium: collotype
Size: 4" x 2.25"
Location: France
Object No. 2013.754a
Shelf: E-16-NAPO
Publication:
Other Collections:
Notes: TBAL
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
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.
Adolphe Adam's famous Christmas song.
Filmed by fellow chorist Jonas Bjerre.
Warnings:
1) Neither picture nor sound quality is good.
2) The last minute was cut off by Flickr, when the movie was uploaded.
Still, you may want to hear a little from the concert.
A white Xmas we enjoyed this year at my buddy's cottage at Lake Saint-Joseph in Saint-Adolphe-d'Howard, Québec, Canada. And it was really nice
Maker: André Adolphe Eugène Disdéri (1819-1889)
Born: France
Active: France
Medium: albumen print
Size: 7 1/4" x 6"
Location: France
Object No. 2016.152
Shelf: B-2
Publication:
Other Collections:
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 themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Pic Adolphe Rey 3536 m. - Si rialza arditamente sotto il Petit Capucin con pilastri di roccia rossa e compatta, dominando il Glacier du Géant. Tutte le sue vie sono difficili. Magnifiche arrampicate su granito rosso. Si svolgono in genere su placche o fessure, tutte le discese si effettuano in corda doppia.
Pic Adolphe Rey 3536 m. - It rises boldly under the Petit Capucin with pillars of red and compact rock, dominating the Glacier du Géant. All its ways are difficult. Magnificent climbing on red granite. They generally take place on plaques or cracks, all descents are done in double rope.
Maker: André Adolphe Eugène Disdéri (1819-1889)
Born: France
Active: France
Medium: albumen print
Size: 2 14 in x 4"
Location: France
Object No. 2018.758
Shelf: E-18-D
Publication:
Other Collections:
Notes: Abbé François-Napoléon-Marie Moigno (15 April 1804 – 14 July 1884) was a French Catholic priest and one time Jesuit, as well as a physicist and author. In 1850, unable to raise any interest in England, David Brewster took his stereoscope to Paris where, the Abbe Moigno was very impressed by the idea and presented it to Jules Dubosq, an optician who manufactured and sold the first Brewster stereo viewers and suggested producing stereo daguerreotypes and eventually transparent glass stereotypes.
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
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.
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: 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. 2022.176a
Shelf: E-19
Publication:
Other Collections:
Provenance: idlejake
Rank: 35
Notes: William Alexander Archibald Hamilton, 11th Duke of Hamilton and 8th Duke of Brandon (19 February 1811 – 8 July 1863) styled Earl of Angus before 1819 and Marquess of Douglas and Clydesdale between 1819 and 1852, was a Scottish nobleman and the Premier Peer of Scotland. He was the son of Alexander Hamilton, 10th Duke of Hamilton and Susan Euphemia Beckford, daughter of English novelist William Beckford. He was educated at Eton and Christ Church, Oxford. He was Knight Marischal of Scotland from 1846 and Lord Lieutenant of Lanarkshire from 1852 until his death. Though he had married in 1843, the duke did not succeed to his title until 1852. In that year, he purchased the house located at 22 Arlington Street in St. James's, a district of the City of Westminster in central London from Henry Somerset, 7th Duke of Beaufort for £60,000. The duke lavished expenses on the house for approximately a decade, including installing iron firebacks with his coronet and motto. Upon his death, the house passed to his widow who sold it to Ivor Guest, 1st Baron Wimborne via auction in 1867.
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Artist: Adolphe-Félix Cals, French
b. 1810, Paris, France; d. 1880, Honfleur, France
Medium: Oil on canvas
On loan from the Musée d’Orsay, Paris
In this view of a quiet lunch in Normandy, Adolphe Félix Cals suggests the timelessness of life on France’s western coast. A couple shares a simple meal as they sit among their chickens and ducks, with children at play in the background. By distancing the viewer from the details of the table, Cals makes the painting less about the food and more about communion. This scene of rural family unity, breaking bread in harmony with nature, appears divorced from the pressures of modernity, which were destabilizing notions of French values.
Honfleur was a frequent subject and destination for Impressionist artists such as Claude Monet and Eugène Boudin. After traveling throughout France, Cals settled in Honfleur in 1873, remaining there until his death in 1880.
Cincinnati Art Museum
Farm to Table Impressionism Exhibit
DSCF9336