View allAll Photos Tagged Adolphe
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:
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Notes: TBAL
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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.
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:
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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)
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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:
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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
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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.
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
Detail of:
Albert Jean Adolphé (American, Pa., 1865-1940)
Portrait of a Father and Son, after Anthony van Dyke
Oil on panel
14 1/8 x 9 3/8 inches
Painted in Paris, at the Louvre, c. 1897-1901
Signed and inscribed, upper right: Albt. Jean Adolphé, Paris
Notes:
In her essay in the catalogue accompanying the 2001 exhibition, "To Paris and Back: Albert Jean Adolphé -- An Artist's Journey" at the Berman Museum of Art, Ursinus College, Pamela Potter-Hennessey notes that Albert Jean Adolphé was born "Albert John Adolph" in Philadelphia in February 1865, and except for a brief period of study in Europe at the turn of the century (c.1897-1901), he lived and worked in Philadelphia his entire life. This painting is one of the rare surviving works from his years in Paris. It is a copy Adolphé' made of a painting by Anthony van Dyck, "Portrait of a Father With His Son (also called Portrait of Guillaume Richardot and His Son," located in the Louvre Museum.
Potter-Hennessey explains the raison d'être of the practice of replicating the Old Masters: "Through the controlled process of copying directly from the paintings, Adolphé and thousands of others learned from the masters of the past, while dreaming that their own works might one day be hung for inspection by a new generation."
Henri Adolphe Laissement, (1854 - 1921)
Anti-clerical art is a genre of art portraying clergy, especially Roman Catholic clergy, in unflattering contexts. It was popular in France during the second half of the 19th century, at a time that the anti-clerical message suited the prevailing political mood. Typical paintings show cardinals in their bright red robes engaging in unseemly activities within their lavish private quarters.
Architect - Adolphe Staatje Date - 1933
fr.wikipedia.org/wiki/Adolphe_Staatje
Not sure how reliable this info is as there is no source reference for it on the wikipedia page
German postcard by Ross Verlag, no. 3186/1, 1928-1929.
Impressive Dutch actor Adolphe Engers (1884-1945) appeared in some 50 German and Dutch films in the 1920s and 1930s.
Adolphe Engers was born in 1884 in Gulpen, The Netherlands. Though in 1938 he celebrated his 30th year career on stage, the first mentionings of his name in plays appear in Dutch newspapers in 1911-1912. Engers soon became an active actor in the companies of Wilem Roijaards and Louis Chrispijn, the latter the future film director at the Hollandia film studios of Maurits Binger. He was also active in translating foreign plays for the Dutch stage, in particular those of Ferenc Molnar for the Hague based company of Cor van der Lugt Melsert. In 1917 Engers also published a tragedy on the life of Oscar Wilde.
In 1918 Engers made his film debut in Holland with De Kroon der schande/ The Crown of Shame (1918, Maurits Binger) before appearing in the British-Dutch production Fate's Plaything/Wat eeuwig blijft (1920, Maurits Binger, B.E. Doxat-Pratt) and the Dutch production De Bruut/The Brute (1922, Theo Frenkel). Soon after The Crown of Shame however Engers moved to Germany to act in films there, probably starting with Madeleine (Siegfried Philippi 1919) with Ria Jende. Already in his second German film, Der Liebeskorridor/The Love Passage (Emil Albes 1920), Engers had the male lead of the film, opposite Erika Glässner. In the 1920's he became a very busy actor in Germany, often playing with fellow compatriote actors like Ernst Winar, who eventually would become a prolific filmmaker in Germany as well. Engers played in his German-Dutch coproduction De man op den achtergrond/Der Mann im Hintergrund (The Man in the Back, 1922). He was also highly succesful with his leading role in the Flappy serial, three short films directed by Winar for the Berliner Terra Film AG. Engers also acted in films by other Dutch filmmakers residing in Berlin like Theo Frenkel and Jaap Speyer.
Engers acted in well-known films of the Weimar era like Die Geliebte Roswolskys/The Lover of Roswolky (1921, Felix Basch) starring Asta Nielsen, Sie und die Drei/She and the Three (1922, Ewald André Dupont) starring Henny Porten, Der Frauenkönig/The King of the Ladies (1923, Jaap Speyer), Friedrich Wilhelm Murnau’s delicious comedy Die Finanzen des Grossherzogs/Finances of the Grand Duke (1924), Auf Befehl der Pompadour/By Order of That Pompadour Woman (1924, Friedrich Zelnik) and Elegantes Pack (1925, Jaap Speyer). In the second part of the 1920's the impressive actor went on to appear in such films as Nick, der König der Chauffeure/Nick, King of the Drivers (1925, Carl Wilhelm) with Carlo Aldini, Der Prinz und die Tänzerin/The Prince and the Dancer (1926, Richard Eichberg) with Hans Albers, Die Fahrt ins Abenteuer/ The Wooing of Eve (1926, Max Mack) with Ossi Oswalda and Willy Fritsch, Gehetzte Frauen/Badgered Women (1927, Richard Oswald) and Das gefährliche Alter/The Dangerous Age (1927, Eugen Illés) both with Asta Nielsen, Die Königin seines Herzens/The Queen of His Heart (1928, Victor Janson) with Liane Haid, Don Juan in der Mädchenschule/Don Juan in the Girls’ School (1928, Reinhold Schünzel), Sündig und süss/Sinful and Sweet (1929, Carl Lamac) with Anny Ondra, and Sensation im Wintergarten/Their Son (1929, Joe May, Gennaro Righelli), Engers' last silent performance in Germany.
The sound film meant the end of Adolphe Engers film career in Germany. He returned to Holland where he first acted in a never finished project by Gerard Rutten, Finale, a black comedy in which Engers played a funeral carriage master. Only some rushes and one reel of edited shots survive. Engers then co-wrote and played the lead in the film Terra Nova/New Land (1932) by Rutten). This fisher drama was meant as the first Dutch sound film - Engers spoke the first words in a Dutch film: De dijk id dicht! [The dyke has closed!] - but disappeared completely after differences about the result between the director and the producer Willem/William Rienks of Electra Film (his nephew Piet also played the lead). In the following years Engers acted regularly in front of the camera, as in the musical Op stap (1935, Ernst Winar) with Fien de la Mar, De Big van het regiment (1935, Max Nosseck), Op een avond in mei (1936, Jaap Speyer), Veertig Jaren/Forty Years (1938, Johan De Meester, Edmond T. Gréville) and De spooktrein/The Ghost Train (1939, Carl Lamac). In the 1930’s he was also active as an author of stage plays and novels like Ardjoena - Indische roman (1936). He also gave acting classes at the Conservatory of The Hague. In 1938 Engers celebrated his 30 years of his stage career, but as he was an openly gay man, not everybody wanted to be in the organizing committee.
In the beginning of World War II Engers was a member of the stage company De Komedianten, but the Nazis gave the half Jewish Engers a berufsverbot. He went into hiding in a village near Eindhoven, helped by Alfred Mazure and Piet van der Ham. From there he secretly contributed to his last film Moord in het modehuis/Murder in the Fashion Store (1943, Alfred Mazure, Piet van der Ham), a film version of Mazure’s popular detective comic Dick Bos. The film would only be shown in 1946, after Engers' death. One of the reasons was that Mazure refused to make a nazi of his hero. After the liberation Engers continued acting but was physically exhausted. In December 1945 Adolphe Engers died in The Hague. In 1991 suddenly a copy of Engers’ lost film Terra Nova (1932) was found. The Filmmuseum reconstructed the film and added a new score, based on the original music by Hans Brandts Buys, which was found at the Haags Gemeentemuseum, while the dialogue was spoken in by modern actors Gerard Thoolen (Engers) and Huub Stapel (Piet Rienks). The reconstructed version premiered in 1994.
Source: Thomas Staedeli (Cyranos), Filmtotaal.nl, Wikipedia, IMDb, www.communityjoodsmonument.nl/page/241847/nl
Maker: Adolphe Louis Donnadieu (1840–1911)
Born: France
Active: France
Medium: photocollographie par MM Thvoz et Cie
Size: 6 1/2" x 9 3/4"
Location:
Object No. 2016.645t
Shelf: B-40
Publication: A. L. Donnadieu - Traite Photographie Stereoscopique, Theorie et Pratique,Atlas, 1892, Pl X
Other Collections:
Provenance:
Notes:
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Details best viewed in Original Size.
Napoleon's tomb (French: tombeau de Napoléon) is the monument erected at Les Invalides to keep the remains of Napoleon following their repatriation to France from Saint Helena in 1840 at the initiative of King Louis Philippe I and his minister Adolphe Thiers. While the tomb's planning started in 1840, it was not completed until two decades later and inaugurated by Emperor Napoleon III on April 2 1861, after its promoter Louis Philippe I, architect Louis Visconti, and main sculptors James Pradier and Pierre-Charles Simart had all died in the meantime.
The Hôtel des Invalides commonly called Les Invalides is a complex of buildings in the 7th arrondissement of Paris, France, containing museums and monuments, all relating to the military History of France, as well as a hospital and an old soldiers’ retirement home, the building's original purpose. The buildings house the Musée de Armée, the museum of the Army of France, the Musée des Plans-Reliefs, and the Musée d’Histoire Contemporaine. The complex also includes the Cathedral of Saint-Louis-des-Invalides, the national cathedral of the French military. It is adjacent to the Royal Chapel known as the Dôme des Invalides, the tallest church building in Paris at a height of 107 meters. The latter has been converted into a shrine to some of France's leading military figures, most notably the tomb of Napoleon.
This panorama was constructed using Photoshop CC to stitch together vertically four landscape-oriented images.
Additional information on the Napoleon’s tomb may be found at 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. 2015.784v
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, 1869.
Photo of a copy.
Original in the Joslyn Art Museum, Omaha, Nebraska.
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.
Bouguereau championed academic training throughout his successful artistic career, even as it fell out of favor during the last decades of the century. Beginning in the 1850s and 1860s, young artists working in France showed an increased awareness of the social and economic changes taking place as regions of Europe moved toward industrialization and peasants abandoned the countryside in search of urban jobs. The Impressionists, who first exhibited together three years after this painting was finished, prided themselves on depicting modern life: their landscapes often include smokestacks, and their views of city life feature laundresses and prostitutes. But academic artists such as Bouguereau had no desire to "debase" their art this way. Bouguereau's peasants are invariably idealized: they are presented as glorified, clean, and noble, and they are often arranged in poses that recall ancient Greek sculpture. This particular painting is based partly on sketches Bouguereau made in Brittany, but it was finished in his studio. And like many of his works, it was purchased by an American collector as soon as it was completed.
Created for Faestock Challenge #65
background by: :smackandtoss
tribute to: William Adolphe Bouguereau
texture by: SkeletalMess
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
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. 2015.784r
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
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. 2015.784q
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
French postcard by Erpé, no. 398. Photo: Film Samuel Goldwyn.
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.
Battle of the Centaurs and the Lapithae (Bataille des Centaures contre les Lapithes)
1852
William-Adolphe Bouguereau French , 1825 - 1905
oil on canvas
49 x 68⅝ in
124.46 x 174.31 cm
Arthur and Margaret Glasgow Fund
Virginia Museum of Fine Arts,
Richmond, Virginia
2008.100
The LAPITHS became famous mainly because of their battle against the CENTAURS, who were their kinsmen. The CENTAURS, having made their hearts foolish with too much wine, attempted to violate Pirithous' bride Hippodamia at their wedding party. In the battle that ensued, Theseus, Pirithous, and the LAPITHS defeated the CENTAURS, and drove them from Mount Pelion in Thessaly to Aethicia, which is a territory near Epirus—the Adriatic coastal region of Greece between the Ambracian Gulf and Illyria (Albania). Source: www.maicar.com/
© 2015 Skip Plitt, All Rights Reserved.
This photo may not be used in any form without permission from the photographer.
Todos los derechos reservados. Esta foto no se puede utilizar en cualquier forma sin el permiso del fotógrafo.
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