View allAll Photos Tagged Adolphe
Talbot Brougham (1904) Engine 12 HP Four Cylinder
Country of Origin England, Ladbrooke Grove, London)
Registration Number SD 1534
2021 London-Brighton number 271
Body Brougham
Entrant Desmond Maybury
Pilote Desmond Maybury
TALBOT ALBUM
www.flickr.com/photos/45676495@N05/sets/72157623918911117...
Talbot - was originally founded in 1903 to sell French imported Clemment-Bayard cars under the Talbot brand. Financed by Charles Chetwyn-Talbot (20th earl of Shrewsbury) and Adolphe Clemment. Imports of the Clemment began in 1900 as Clemment-Talbots. By late 1904 its factory in Ladbrooke Grove, North Kensington began assembling cars from French components and the Clemment part of the name was dropped. Domestic designed Talbots followed from 1906.
Taken over in 1919 by the British owned French based Darracq, the Talbots becoming known as Talbot-Darracq and re-organised as part of the Sunbeam-Talbot-Darracq conglomerate. In 1935 STD collapsed being taken over by group with the French factory being bought by Anthony Lago, Talbot who used the brand name Lago-Talbot in France. Whereas in Britain Sunbeam-Talbot.
Production of the Talbot (British) continued until WW2 and resumed in 1946 until the Talbot name was dropped in 1955.
In France the Lago-Talbot continued until 1960 before being purchased by Simca
In 1967 Chrysler took over Rootes Group and merged it with Simca under the banner Chrysler Europe the Talbot brand name was used on Finnish produced Horizon, Solara and the 1510 models.
In 1978 Peugeot took over Chrysler Europe using the Talbot name to re badge the former Rootes and Simca products a situation that continued until the brand was once again phased out in 1985 in all but Finland were production of the Horizon continued until 1986 ending Talbot passenger cars. Although the name lived on with the Talbot Express panel van until the end of production in 1992
Diolch am 90,277,403 o olygfeydd anhygoel, mae pob un yn cael ei werthfawrogi'n fawr.
Thanks for 90,277,403 amazing views, every one is greatly appreciated.
Shot 07.11.2021 near Queen Elizabeth Gate, Hyde Park In that London in the South (London-Brighton weekend). Ref. 123-348
Maker: Adolphe Braun (1812-1877)
Born: France
Active: France
Medium: albumen print
Size: 3.5" x 7"
Location:
Object No. 2017.436
Shelf: E-14-BRAU
Publication: French Primitive Photography, Aperture, New York, 1969,
Histoire de la Photographie Francaise des origins a 1920, Creatis, Paris, 1982, end of Chapter 5
John J. McKendry, Four Victorian Photographers (calendar), Metropolitan Museum of Art, New York, 1968,
Other Collections:
Provenance: fulcus
Rank: 72
Notes: No 1513
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Bien qu'Adolphe Block soit décédé en 1903. Soit son fils ou son épouse (???) reprirent l'entreprise Block jusqu'au début de Première Guerre mondiale au 121 rue Lafayette, Paris puis au 146 rue de Paris à Vincennes.
S : D.Pellerin in "DIABLERIES" London Stereo co.
Stéréo très plate…
21 mai 1911 : Le départ de la course Paris-Madrid est endeuillé par la « catastrophe d'Issy-les-Moulineaux », lorsqu'un concurrent (Louis Émile Train), victime d'ennuis de moteur et cherchant à se reposer, s'abat sur les officiels, tuant le ministre de la Guerre et blessant gravement le président du Conseil.
Louis-Emile Train est le cinquième concurrent à se présenter au départ. Il décolle, mais, ne parvenant pas à prendre de la hauteur, il tente un atterrissage d’urgence. Il évite le peloton de cuirassés qui se trouve sur la piste... mais pas le petit groupe de personnalités qu’il masquait. Maurice Berteaux, ministre de la Guerre, est grièvement blessé à la tête et l’un de ses bras est sectionné par l’hélice du monoplan. D’autres officiels seront blessés, mais seul le ministre de la Guerre succombera à ses blessures. On organisera en son honneur des funérailles nationales.
« J'ai pris le départ avec l'intention d'effectuer un ou deux tours de piste pour me rendre compte si tout marchait bien et d’atterrir au cas où quelque chose laisserait à désirer. Dès que je fus au volant, je me rendis compte que le moteur ne « tirait » pas suffisamment. Je me disposais à atterrir, après avoir effectué un virage, lorsque j’aperçus un peloton de cuirassiers traversant la piste. J’essayai alors de virer, pour l’éviter et atterrir en revenant sur mes pas ; mais le moteur faiblissant de plus en plus et voyant qu’il m’était impossible d’effectuer le virage, je redressai l’appareil et tentai d’aller atterrir au-delà du peloton. À ce moment, un groupe de personnes, masqué par les cuirassiers, s’éparpilla en tous sens et je fis l’impossible, risquant la vie de mon passager, pour prolonger mon vol et passer au-dessus des dernières personnes. J’allais y arriver lorsque l’appareil, complètement cabré, s’abattit lourdement. Je sortis de l’appareil avec mon passager, persuadé d’avoir évité tout accident. Ce n’est qu’à ce moment qu’atterré, je me suis aperçu de l’immense malheur. »
S : Le petit Parisien, Wiki.
www.flickr.com/photos/mfcj/5836386386/
www.radiofrance.fr/franceculture/quand-l-aviateur-train-s...
Although Adolphe Block died in 1903. Either his son or his wife (???) took over the Block business at 121 rue Lafayette, Paris, then at 146 rue de Paris in Vincennes, until the outbreak of the First World War.
S: D.Pellerin in “DIABLERIES” London Stereo co.
Very flat stereo...
May 21, 1911: The start of the Paris-Madrid race is mourned by the “Issy-les-Moulineaux catastrophe”, when a competitor (Louis Émile Train), suffering from engine trouble and seeking a rest, crashes into the officials, killing the Minister of War and seriously injuring the President of the Council.
Louis-Emile Train was the fifth competitor to take off. He takes off but, unable to gain height, attempts an emergency landing. He avoided the platoon of battleships on the runway... but not the small group of VIPs he was masking. Maurice Berteaux, Minister of War, was seriously wounded in the head, and one of his arms was severed by the monoplane's propeller. Other officials were injured, but only the Minister of War succumbed to his wounds. A state funeral was held in his honor.
Although Adolphe Block died in 1903. Either his son or his wife (???) took over the Block business at 121 rue Lafayette, Paris, then at 146 rue de Paris in Vincennes, until the outbreak of the First World War.
S: D.Pellerin in “DIABLERIES” London Stereo co.
Very flat stereo...
May 21, 1911: The start of the Paris-Madrid race is mourned by the “Issy-les-Moulineaux catastrophe”, when a competitor (Louis Émile Train), suffering from engine trouble and seeking a rest, crashes into the officials, killing the Minister of War and seriously injuring the President of the Council.
"I took off with the intention of doing one or two laps to see if everything was running smoothly, and landing in case anything went wrong. As soon as I got behind the wheel, I realized that the engine wasn't pulling enough. I was about to land, after making a turn, when I saw a platoon of cuirassiers crossing the runway. I then tried to turn, to avoid it and land by retracing my steps; but the engine was getting weaker and weaker, and seeing that it was impossible for me to make the turn, I righted the aircraft and tried to land beyond the platoon. At this point, a group of people, masked by the cuirassiers, scattered in all directions and I did the impossible, risking the life of my passenger, to extend my flight and pass over the last people. I was just about to do so when the aircraft, completely nose-up, came down heavily. I climbed out of the plane with my passenger, convinced I'd avoided an accident. It was only then that I realized what a terrible misfortune it had been.
S: Le petit Parisien, Wiki.
French postcard by Editions Cinémagazine, no. 136. Photo: Witzel.
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).
Work of:
William-Adolphe Bouguereau
French Academic Artist
Genre Painter
1825 – 1905
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.
Quoted From: A Young Girl Defending Herself against Eros (Getty Museum)
Maker: Adolphe Louis Donnadieu (1840–1911)
Born: France
Active: France
Medium: book
Size: 6 1/2" x 9 3/4"
Location:
Object No. 2016.645
Shelf: B-40
Publication:
Other Collections:
Provenance: Ader Nordmann, Livres de Photographies, May 12, 2016. lot 3
Rank: 84
Notes: TBAL
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
St. Adolphe bridge.
The Grand Duchy of Luxembourg is a small, landlocked country in western Europe, bordered by Belgium, France, and Germany. One of its landmarks is the St. Adolphe bridge which was named after Grand Duke Adolphe, who reigned Luxembourg from 1890 until 1905. The bridge, although over a century old, is also known as the New Bridge by people from Luxembourg City.
These days, it's hard to find a location where you can be guaranteed good weather. It's been dreary and raining in this part of the world for several days -- conditions not ideal for photography. On this trip to Luxembourg, it was overcast the entire day, and although blue hour was quite hazy and lame, I was thankful that at least it came right before the rain.
Nikon D200; Lens: 17-55mm/ f /2.8; Focal Length: 40mm; Exposure: 15.0 sec @ f/13; ISO 100; Copyright © Yen Baet. All Rights Reserved. Not to be used without permission.
Say hello at www.yenbaet.com.
D667_369
17/08/2012 : Manchester, Mosley St, Manchester Art Gallery: Life drawing of a male nude with a cane (detail; black chalk and graphite on paper; Adolphe Valette, ca. 1910-12)
(detail) A Young Girl Defending Herself Against Eros, ca 1880. Oil on canvas (1825-1905) Getty Center
My Bloody Valentine
CD :
Björk
Venus As A Boy
One Little Indian
122 TP 7 CDL
Design . Me Company
Postcard :
William - Adolphe Bouguereau
Eros
Huile Sur Toile
1877
Use Hearing Protection
GMA
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. 2015.784u
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: Adolphe Braun (1812-1877)
Born: France
Active: France
Medium: albumen print
Size: 6.25 in x 4.25 in
Location: France
Object No. 2011.021
Shelf: E-52-BRAU
Publication: Image and Enterprise: The Photographs of Adolphe Braun, London, Thames & Hudson, 2000, pg 150 (similar)
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
Maker: Adolphe Terris (1820-1900)
Born: France
Active: France
Medium: albumen print
Size: 9.75" x 7.5"
Location: France
Object No. 2019.776
Shelf: B-11
Publication: Renovation de la Vielle Ville de Marseille, 1862
Other Collections:
Provence:
Notes: Renovation of the old section of Marseille. Terris is a very important photographer in the ranks with Baldus, Marville and Le Gray, but he worked in Marseilles and not Paris. Title translates as "Street of Cheats". On original printed mount. Titles, date, photographer credit and other information is printed on the recto of the mount.
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Artist William-Adolphe Bouguereau, French, 1825-1905
Oil on canvas, 1886
By the 19th century, two views of femininity had developed, the Romantic, or Pre-Raphaelite view where the woman was etherial and spiritual, and the Realistic view where the woman was placed into a natural setting.
In this painting the young woman is a shepherdess, and she is not accepting any nonsense. You can practically hear her telling Dante Gabriel Rossetti to put up his paints and clean up that mess his sheep have made. That left foot is going to start tapping in another minute.
William-Adolphe Bouguereau, an academically-trained artist, is best known for his paintings of mythological images and scenes of everyday peasant life. He preferred to work in a precise, finished style rather than the loose, spontaneous, brushstrokes made famous by his contemporaries.
In Young Girl, Bouguereau depicts a nearly life-size shepherdess, one of his favorite subjects.
Item:
Title: King's House, Court House, Kingston,
Photographer: from a daguerreotype by Adolphe Duperly ca 1845
Publisher: J. Jacottet
Publisher#:
Year: 1846-47
Height: 6.5 in
Width: 9.5 in
Media:lithograph
Color: b/w
Country: Jamaica
Town: Kingston
Notes: No.2 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.]
Depicts the Court House in Kingston on the day of an election.
For information about licensing this image, visit: THE CARIBBEAN PHOTO ARCHIVE
original picture (lioness) by www.flickr.com/photos/jiformales/449163493/
girl is homenage to William Adolphe Bouguereau
Background is the www.terragalleria.com/
texture by www.flickr.com/photos/moritonauta/3830369397/in/pool-8072...
Just in case anyone was wondering how I recolour black and white photos of paintings, here's a little something that will undoubtedly leave you none the wiser.
I have now adjusted the text for hopefully greater clarity.
Wreck of the Adolphe, Newcastle, NSW
© Ben Cue 2011 | All Rights Reserved | Please do not use without my permission
Exposure 30s
Aperture f/14.0
Focal Length 21 mm
ISO Speed 400
Oil on canvas
31 1/4 x 21 5/8 in.
A Young Girl Defending Herself against Eros - Adolphe William Bouguereau 1880
Jean Paul Getty Museum - Getty Center
1200 Getty Center Drive Los Angeles, CA 90049
The Royal Ballet: Giselle 2021 (Osipova & Clarke)
The most famous ballet of the Romantic era and a significant work in The Royal Ballet’s repertory: Peter Wright’s hallmark production of Giselle returns to the Royal Opera House 4 Nov - 3 Dec 2021 with a special digital stream on 3 Dec and on demand for 30 days.
Company: The Royal Ballet
Choreography: Marius Petipa after Jean Coralli
Music: Adolphe Adam Edited by Lars Payne
Scenario: Théophile Gautier after Heinrich Heine
Production: Peter Wright
Additional choreography: Peter Wright
Designer: John Macfarlane
Original lighting: Jennifer Tipton
Lighting re-created by David Finn
Cast
Giselle: Natalia Osipova
Albrecht: Reece Clarke
Queen of the Willis: Mayara Magri
photo © Foteini Christofilopoulou | All rights reserved | For all usage/licensing enquiries please contact www.foteini.com
By kind permission of the Royal Opera House
Toulouse Lautrec Impressionist Painting Young Girl & Eros - Adolphe c.1882
Attributed to Henri de Toulouse Lautrec (1864-1901) After William Bouguereau
Approx: Size 47" tall x 35.25" wide (without the frame) - 62.75" tall x 51" wide (with Frame)
History
William Bouguereau was France's most popular painter of the late 1800s. A leader of the Academic School,
Bouguereau specialized in carefully detailed mythological and genre scenes, and was particularly noted for his tender
portrayals of children. "The Abduction of Psyche" (1895) is probably his best-known work. Today many critics dismiss
his style as kitsch and do not look kindly on his harmful opposition to new creative trends; but his exquisite craftsmanship
is undeniable. Bouguereau completed over 800 paintings, many of them life-sized. Adolphe William Bouguereau (he
never used his first name) was born in La Rochelle, France. He studied at the Ecole des Beaux-Arts and won the Prix de
Rome in 1850. In 1868 he built a lavish studio in Montparnasse and helped make that area the foremost artists' quarter
in Paris. Around this time he also began a liason with one of his students, American painter Elizabeth Gardner;
Bouguereau's mother opposed the relationship and the couple did not marry until her death in 1896. As comparatively
obscure as he is these days, it's difficult to imagine what a star Bouguereau was in the art world of his era. He worked
hard to fufil his many commissions and his paintings were so sought after, and fetched such high prices, that he once
boasted, "I lose five francs every time I pee". Engraved reproductions of his works sold in the millions. Along with wealth
and fame came many honors, including election to the Institute of France and being named a Grand Officer of the Legion
of Honor. Reactionary in visual tastes, Bouguereau believed art should idealize beauty and turned up his nose at
anything that even remotely deviated from this dictum. As President of the Society of French Artists from 1881, he
oversaw the selection of the thousands of paintings shown annually at the Paris Salon, the only real avenue to success
for aspiring Gallic painters and sculptors. For decades he used this position to hinder the press and public from
discovering the revolutionary changes that were taking place in French painting, including Impressionism, Realism,
Pointillism, and the singular efforts of Paul Gaugin, Henri Rousseau, and Toulouse-Lautrec. Paul Cezanne, who
submitted canvases to that venue every year only to have them rejected, finally gave up and declared, "I don't stand a
chance in Monsieur Bouguereau's Salon". Rival salons sprang up in Paris to combat Bouguereau's conservatism, but he
remained powerful and influential until his death at 79. (bio by: Bobb Edwards)
In 1882, Lautrec moved from Albi to Paris, where he studied art in the ateliers of two academic painters, Léon Bonnat
(1833–1922) and Fernand Cormon (1845–1924), who also taught Émile Bernard (1868–1941) and Vincent van Gogh
(1853–1890). Lautrec soon began painting en plein air in the manner of the Impressionists, and often posed sitters in the
Montmartre garden of his neighbor, Père Forest, a retired photographer. One of his favorite models was a prostitute
nicknamed La Casque d'Or (Golden Helmet), seen in the painting The Streetwalker (2003.20.13). Lautrec used peinture
à l'essence, or oil thinned with turpentine, on cardboard, rendering visible his loose, sketchy brushwork. The
transposition of this creature of the night to the bright light of day—her pallid complexion and artificial hair color clash with
the naturalistic setting—signals Lautrec's fascination with sordid and dissolute subjects. Later in his career, he would
devote an entire series of prints, called Elles, to life inside a brothel (1984.1203.166).
The most notable painting from the Harris collection was the early Toulouse-Lautrec painting "La blanchisseuse" (1886-
87), a young laundress with copper-colored hair and a pearly white blouse. Its optimistic presale estimate of $20 million
to $25 million turned out to be justified, as the painting sold for $22.4 million to a phone bidder. The price was a record
for a work by the artist sold at auction, $6 million more than the previous highest price.
Henri de Toulouse Lautrec (1864-1901) was a French artist of the late 19th Century, most closely associated with the
Symbolists, but with a unique, distinctive style of his own. His depictions of Parisian night life and society -- vivid, candid,
energetic and unflattering -- are instantly recognizable, and typify that place and period in the minds of many. The
painter's own life has become a legend that has inspired many romanticized interpretations.
Henri-Marie Raymond de Toulouse-Lautrec-Montfa was born on November 24, 1864, in the town of Albi, in the south of
France. He was the first child and heir of Alphonse Charlers Jean Marie (1838-1913), Count of Toulouse, and his wife
Marie Marquette Zoe Adele Tapie de Celeyran (1841-1930). Count Alphonse de Toulouse-Lautrec was an avid
sportsman and hunter, with a penchant for flamboyant outfits. Marie de Celeyran, by contrast, was very reserved and shy,
and doted on her first child. Young Henri was probably first introduced to painting through his uncles, several of whom
were amateur artists. He received his first tutelage in art from Rene Princeteau, a well-known sports-painter and a friend
of his father's.
Much of Henri's early childhood was spent in the Chateau de Celeyran, his mother's familial home, near the
Mediterranean town of Narbonne, where he spent much time drawing and painting the life and landscape of the estate. In
1868, his parents separated; Henri would live mostly with his mother. In 1872, he was enrolled in the prestigious Lycee
Fontanes in Paris, but he left the school only three short years later, in 1875, due to health reasons. Together with his
mother, he moved back to the south of France, and its gentler climate.
In 1878, Henri broke his left thigh as he was getting up out of a chair. Bed-ridden, he spent his time reading, drawing and
painting. A year later and just barely recovered from his first injury, he broke his other thigh whilst taking a walk with his
mother. The growth of his legs was stunted forever, and he never grew taller than 5 feet. There is much speculation about
the causes of the painter's medical condition. From the evidence we have today, it is probable that he suffered from
brittle bone disease (osteogenesis imperfecta), a genetic disorder that prevents bones and connective tissues from
developing properly. Osteogenesis imperfecta was not uncommon among the European aristocracy, and this would
explain Henri's physical frailty and other symptoms. Be that as it may, his illness was never identified during his lifetime,
and nothing his mother and his doctors undertook would help.
Meanwhile, Henri continued to pursue art. By 1880, he had produced as many as two and a half thousand works, in a
variety of techniques. Encouraged by his uncle Charles and by Princeteau, he eventually managed to convince his
mother to allow him to return to Paris to study art. In 1881, Henri de Toulouse-Lautrec set up residence in Princeteau's
Paris studio.
In 1882, the young artist was accepted into the studio of the famous painter and art teacher Leon Bonnat. However,
Bonnat took an immediate dislike to Toulouse-Lautrec, who, already then, had something of a caustic personality. The
two did not get along well, and after Bonnat became a professor at the Paris Academy of Art, Lautrec quit his studio and
began to study, instead, under Fernand Cormon. Cormon was a talented artist in his own right, and an enthusiastic
teacher, and his workshop attracted many young painters who would later be among the shapers of the art world.
Under Cormon, Toulouse-Lautrec explored many styles and techniques. He received a firm grounding in academic
painting, but Cormon also encouraged his students to explore Impressionism and contemporary directions in art. Two of
the painter's works from this period are the Artist's Mother (1883) and the Young Routy at Celeyran (1883).
In 1883, Lautrec had his first romantic liaison with Marie Charlet, a 17-year-old model. The painter would have many
affairs over the course of his rather brief life. All of them would be with women far below his station, and none of them
were very long-lasting. Although the artist immersed himself in the life of the lower classes -- the cabarets, the dance
halls and the brothels -- he always retained an aristocratic aloofness and a sense of his own superiority. He was not
attempting to become part of that life: he was rather an unprejudiced observer; a doctor or a scientist, trying to dissect it
and give it life, in his art.
Lautrec moved into the Montmartre district in 1884. Here, he met Edgar Degas, whom he came to admire. He soon
began to frequent the district's cabarets, including the Elysee-Montmartre, the Moulin de la Galette and the Mirliton, run
by Artistide Bruant, where he displayed his works. That year, he also had his first exhibition at the Pau.
In 1886, Lautrec met Vincent Van Gogh at Cormon's studio, where the Dutch painter had come to study. They quickly
became friends, though Lautrec left the studio only a few months later, his education there concluded. This was also the
year when he met Suzanne Valadon, who modelled for him, and they began a relationship. It didn't last long; two years
later, Valadon attempted suicide and the couple broke up. See The Laundress, which is one of the artist's depiction of
his mistress.
By this point, Lautrec's art was beginning to attract greater notice. In 1887, he participated in an exhibition in Toulouse,
where he assumed a false name, in order to distance himself from his father, the Count of Toulouse. In Paris, he
exhibited together with Van Gogh. He was invited to send some of his work to the les Vingt ("The Twenty") exhibition,
taking place early in 1888, in Brussels. At the same exhibition, two years later, Lautrec had a fierce argument with the
painter Henry de Groux over the inclusion of Van Gogh's work, and challenged the Belgian to a duel. The duel never took
place, but it shows the friendship Lautrec and Van Gogh shared. Van Gogh stayed with Lautrec in Paris, not long before
his suicide in 1890. See Toulouse-Lautrec's portrait of Vincent Van Gogh.
In 1889, Lautrec participated in the Salon des Independants for the first time. He would become a frequent contributor to
the Salon's exhibitions. He spent the summer on France's Atlantic coast, yachting. This year saw the opening of the
cabaret Moulin Rouge in the Montmartre; Lautrec immediately became a regular, and would often show his work at the
establishment. In modern popular culture, the name Henri de Toulouse-Lautrec is inseparably linked to the Moulin Rouge,
and it is true that some of his most iconic work was made there, including his notorious Moulin Rouge poster of 1891 (La
Goulue), Valentin "the Boneless" Training the New Girls (1890), and others.
Though Lautrec is most famous for his depictions of Parisian night-life, he was a man of constantly-evolving interests,
both artistically and otherwise. Around 1893, moved away from the cabarets and took an interest in literature and
theater. He made his first engraving in 1891, and his later works include many lithographs, such as Les Ambassadeurs:
Aristide Bruant (1892), May Milton (1895), The Jockey (1899), and others. In 1893, he took part in an exhibition devoted
to painters and engravers. That year was important as well, because he had his first solo exhibition at the gallery of
Maurice Joyant. In this, he was part of a modern trend for the celebration of individual artistic achievement. Prior to the
late 19th Century, exhibitions had always been collective, featuring numerous artists.
Lautrec spent a lot of the time between 1894 and 1897 travelling. He visited London, Madrid and Toledo in Spain,
Brussels, Haarlem and Amsterdam. In England, the painter became acquainted with Whistler and Oscar Wilde, both of
whom he saw as role models -- the former for his art, the latter for his lifestyle. In Spain, he took inspiration from the old
masters: Velasquez, Goya and El Greco. In Holland, he studied Rembrandt, Bruegel and Hals. In Brussels, in 1895 and
again in 1897, he took part in exhibitions organized by the group La Libre Esthetique (The Free Aesthetic), the
successors to les Vingt, where his work was exhibited side-by-side with that of Cezanne, Signac, Gauguin and Van
Gogh.
His lifestyle, ever erratic, was becoming increasingly so as a result of his drinking, which was rapidly spiralling out of
control. In 1894, on a whim, he moved into one of the brothels he frequented and lived there for some time. Some works
painted from his experience there include Rue de Moulins (1894), Prostitutes Around a Dinner Table (1894), Two
Friends (1894-95), In 1896, at a private exhibition in the gallery of Joyant, he got into altercation with no less a
personage than the former King of Serbia, Milan Obrenovic, whom he called an ignorant "pig farmer". By this time, he
was descending into outright alcoholism. In 1897, he had an attack of delirium tremens, while on summer vacation at
Villeneuve-sur-Yonne. His artistic output decreased sharply, as most of his days were spent in various states of
intoxication. His health deteriorated sharply. In 1899, he was confined to a mental hospital, attracting jabs from the press.
He died on September 9th, 1901, at the age of 36, at one of his beloved mother's homes in Malrome. His last two
paintings were "Admiral Viaud" and "An Examination at the Faculty of Medicine".
Biography by Yuri Mataev
Bibliography:
Court Painter to the Wicked. The Life and Work of Toulouse-Lautrec by Jean Bouret. Harry N. Abrams, Inc. NY 1968
Toulouse_Lautrec. A Life. by Julia Frey Viking. 1994
Nightlife of Paris. The Art of Toulouse-Lautrec by Patrick O'Connor. Universe, NY.1991
Henri de Toulouse-Lautrec by Herhard Gruitrooy. 1996.
Toulouse-Lautrec by Philippe Huisman and M.G. Dortu. Chartwell Books, Inc.1971
Toulouse-Lautrec His Complete Lithographs and Drypoints by Jean Adhemar. Harry N.Abrams, Inc. NY
Toulouse-Lautrec: The Complete Graphic Works by Gotz Adriani. Thames & Hudson, 1988.
H. de Toulouse-Lautrec: One Hundred Ten Unpublished Drawings by Arthur William Heintzelman, Edouard Julien, M.
Roland O. Heintzelman. French & European Pubns, 1955.
Thier’s Consulate and Empire 1845.
The history of the French Consulate and Empire under Napoleon, written by Adolphe Thiers.
Thiers condensed history adapted from his original 16 Volume set, translated from the original French.
M.J.L. Adolphe Thiers ( 1797-1877) was a French politician and historian, and the first President of the Third Republic ( 1871-1873)..
Published by A. Fullarton, London (1845). showing 3 volumes of the 6 volume condensed edition, half leather binding.
More on the remarkable Thiers: en.wikipedia.org/wiki/Adolphe_Thiers
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.
Higher resolutions with no attribution required can be downloaded: rawpixel
Maker: Adolphe Braun (1812-1877)
Born: France
Active: France
Medium: albumen print
Size: 3.5" x 7"
Location:
Object No. 2022.031a
Shelf: E-14-BRAU
Publication:
Other Collections:
Provenance: genest
Rank: 38
Notes: TBAL
To view our archive organized by Collections, 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.
Higher resolutions with no attribution required can be downloaded: rawpixel
Toulouse Lautrec Impressionist Painting Young Girl & Eros - Adolphe c.1882
Attributed to Henri de Toulouse Lautrec (1864-1901) After William Bouguereau
Approx: Size 47" tall x 35.25" wide (without the frame) - 62.75" tall x 51" wide (with Frame)
History
William Bouguereau was France's most popular painter of the late 1800s. A leader of the Academic School,
Bouguereau specialized in carefully detailed mythological and genre scenes, and was particularly noted for his tender
portrayals of children. "The Abduction of Psyche" (1895) is probably his best-known work. Today many critics dismiss
his style as kitsch and do not look kindly on his harmful opposition to new creative trends; but his exquisite craftsmanship
is undeniable. Bouguereau completed over 800 paintings, many of them life-sized. Adolphe William Bouguereau (he
never used his first name) was born in La Rochelle, France. He studied at the Ecole des Beaux-Arts and won the Prix de
Rome in 1850. In 1868 he built a lavish studio in Montparnasse and helped make that area the foremost artists' quarter
in Paris. Around this time he also began a liason with one of his students, American painter Elizabeth Gardner;
Bouguereau's mother opposed the relationship and the couple did not marry until her death in 1896. As comparatively
obscure as he is these days, it's difficult to imagine what a star Bouguereau was in the art world of his era. He worked
hard to fufil his many commissions and his paintings were so sought after, and fetched such high prices, that he once
boasted, "I lose five francs every time I pee". Engraved reproductions of his works sold in the millions. Along with wealth
and fame came many honors, including election to the Institute of France and being named a Grand Officer of the Legion
of Honor. Reactionary in visual tastes, Bouguereau believed art should idealize beauty and turned up his nose at
anything that even remotely deviated from this dictum. As President of the Society of French Artists from 1881, he
oversaw the selection of the thousands of paintings shown annually at the Paris Salon, the only real avenue to success
for aspiring Gallic painters and sculptors. For decades he used this position to hinder the press and public from
discovering the revolutionary changes that were taking place in French painting, including Impressionism, Realism,
Pointillism, and the singular efforts of Paul Gaugin, Henri Rousseau, and Toulouse-Lautrec. Paul Cezanne, who
submitted canvases to that venue every year only to have them rejected, finally gave up and declared, "I don't stand a
chance in Monsieur Bouguereau's Salon". Rival salons sprang up in Paris to combat Bouguereau's conservatism, but he
remained powerful and influential until his death at 79. (bio by: Bobb Edwards)
In 1882, Lautrec moved from Albi to Paris, where he studied art in the ateliers of two academic painters, Léon Bonnat
(1833–1922) and Fernand Cormon (1845–1924), who also taught Émile Bernard (1868–1941) and Vincent van Gogh
(1853–1890). Lautrec soon began painting en plein air in the manner of the Impressionists, and often posed sitters in the
Montmartre garden of his neighbor, Père Forest, a retired photographer. One of his favorite models was a prostitute
nicknamed La Casque d'Or (Golden Helmet), seen in the painting The Streetwalker (2003.20.13). Lautrec used peinture
à l'essence, or oil thinned with turpentine, on cardboard, rendering visible his loose, sketchy brushwork. The
transposition of this creature of the night to the bright light of day—her pallid complexion and artificial hair color clash with
the naturalistic setting—signals Lautrec's fascination with sordid and dissolute subjects. Later in his career, he would
devote an entire series of prints, called Elles, to life inside a brothel (1984.1203.166).
The most notable painting from the Harris collection was the early Toulouse-Lautrec painting "La blanchisseuse" (1886-
87), a young laundress with copper-colored hair and a pearly white blouse. Its optimistic presale estimate of $20 million
to $25 million turned out to be justified, as the painting sold for $22.4 million to a phone bidder. The price was a record
for a work by the artist sold at auction, $6 million more than the previous highest price.
Henri de Toulouse Lautrec (1864-1901) was a French artist of the late 19th Century, most closely associated with the
Symbolists, but with a unique, distinctive style of his own. His depictions of Parisian night life and society -- vivid, candid,
energetic and unflattering -- are instantly recognizable, and typify that place and period in the minds of many. The
painter's own life has become a legend that has inspired many romanticized interpretations.
Henri-Marie Raymond de Toulouse-Lautrec-Montfa was born on November 24, 1864, in the town of Albi, in the south of
France. He was the first child and heir of Alphonse Charlers Jean Marie (1838-1913), Count of Toulouse, and his wife
Marie Marquette Zoe Adele Tapie de Celeyran (1841-1930). Count Alphonse de Toulouse-Lautrec was an avid
sportsman and hunter, with a penchant for flamboyant outfits. Marie de Celeyran, by contrast, was very reserved and shy,
and doted on her first child. Young Henri was probably first introduced to painting through his uncles, several of whom
were amateur artists. He received his first tutelage in art from Rene Princeteau, a well-known sports-painter and a friend
of his father's.
Much of Henri's early childhood was spent in the Chateau de Celeyran, his mother's familial home, near the
Mediterranean town of Narbonne, where he spent much time drawing and painting the life and landscape of the estate. In
1868, his parents separated; Henri would live mostly with his mother. In 1872, he was enrolled in the prestigious Lycee
Fontanes in Paris, but he left the school only three short years later, in 1875, due to health reasons. Together with his
mother, he moved back to the south of France, and its gentler climate.
In 1878, Henri broke his left thigh as he was getting up out of a chair. Bed-ridden, he spent his time reading, drawing and
painting. A year later and just barely recovered from his first injury, he broke his other thigh whilst taking a walk with his
mother. The growth of his legs was stunted forever, and he never grew taller than 5 feet. There is much speculation about
the causes of the painter's medical condition. From the evidence we have today, it is probable that he suffered from
brittle bone disease (osteogenesis imperfecta), a genetic disorder that prevents bones and connective tissues from
developing properly. Osteogenesis imperfecta was not uncommon among the European aristocracy, and this would
explain Henri's physical frailty and other symptoms. Be that as it may, his illness was never identified during his lifetime,
and nothing his mother and his doctors undertook would help.
Meanwhile, Henri continued to pursue art. By 1880, he had produced as many as two and a half thousand works, in a
variety of techniques. Encouraged by his uncle Charles and by Princeteau, he eventually managed to convince his
mother to allow him to return to Paris to study art. In 1881, Henri de Toulouse-Lautrec set up residence in Princeteau's
Paris studio.
In 1882, the young artist was accepted into the studio of the famous painter and art teacher Leon Bonnat. However,
Bonnat took an immediate dislike to Toulouse-Lautrec, who, already then, had something of a caustic personality. The
two did not get along well, and after Bonnat became a professor at the Paris Academy of Art, Lautrec quit his studio and
began to study, instead, under Fernand Cormon. Cormon was a talented artist in his own right, and an enthusiastic
teacher, and his workshop attracted many young painters who would later be among the shapers of the art world.
Under Cormon, Toulouse-Lautrec explored many styles and techniques. He received a firm grounding in academic
painting, but Cormon also encouraged his students to explore Impressionism and contemporary directions in art. Two of
the painter's works from this period are the Artist's Mother (1883) and the Young Routy at Celeyran (1883).
In 1883, Lautrec had his first romantic liaison with Marie Charlet, a 17-year-old model. The painter would have many
affairs over the course of his rather brief life. All of them would be with women far below his station, and none of them
were very long-lasting. Although the artist immersed himself in the life of the lower classes -- the cabarets, the dance
halls and the brothels -- he always retained an aristocratic aloofness and a sense of his own superiority. He was not
attempting to become part of that life: he was rather an unprejudiced observer; a doctor or a scientist, trying to dissect it
and give it life, in his art.
Lautrec moved into the Montmartre district in 1884. Here, he met Edgar Degas, whom he came to admire. He soon
began to frequent the district's cabarets, including the Elysee-Montmartre, the Moulin de la Galette and the Mirliton, run
by Artistide Bruant, where he displayed his works. That year, he also had his first exhibition at the Pau.
In 1886, Lautrec met Vincent Van Gogh at Cormon's studio, where the Dutch painter had come to study. They quickly
became friends, though Lautrec left the studio only a few months later, his education there concluded. This was also the
year when he met Suzanne Valadon, who modelled for him, and they began a relationship. It didn't last long; two years
later, Valadon attempted suicide and the couple broke up. See The Laundress, which is one of the artist's depiction of
his mistress.
By this point, Lautrec's art was beginning to attract greater notice. In 1887, he participated in an exhibition in Toulouse,
where he assumed a false name, in order to distance himself from his father, the Count of Toulouse. In Paris, he
exhibited together with Van Gogh. He was invited to send some of his work to the les Vingt ("The Twenty") exhibition,
taking place early in 1888, in Brussels. At the same exhibition, two years later, Lautrec had a fierce argument with the
painter Henry de Groux over the inclusion of Van Gogh's work, and challenged the Belgian to a duel. The duel never took
place, but it shows the friendship Lautrec and Van Gogh shared. Van Gogh stayed with Lautrec in Paris, not long before
his suicide in 1890. See Toulouse-Lautrec's portrait of Vincent Van Gogh.
In 1889, Lautrec participated in the Salon des Independants for the first time. He would become a frequent contributor to
the Salon's exhibitions. He spent the summer on France's Atlantic coast, yachting. This year saw the opening of the
cabaret Moulin Rouge in the Montmartre; Lautrec immediately became a regular, and would often show his work at the
establishment. In modern popular culture, the name Henri de Toulouse-Lautrec is inseparably linked to the Moulin Rouge,
and it is true that some of his most iconic work was made there, including his notorious Moulin Rouge poster of 1891 (La
Goulue), Valentin "the Boneless" Training the New Girls (1890), and others.
Though Lautrec is most famous for his depictions of Parisian night-life, he was a man of constantly-evolving interests,
both artistically and otherwise. Around 1893, moved away from the cabarets and took an interest in literature and
theater. He made his first engraving in 1891, and his later works include many lithographs, such as Les Ambassadeurs:
Aristide Bruant (1892), May Milton (1895), The Jockey (1899), and others. In 1893, he took part in an exhibition devoted
to painters and engravers. That year was important as well, because he had his first solo exhibition at the gallery of
Maurice Joyant. In this, he was part of a modern trend for the celebration of individual artistic achievement. Prior to the
late 19th Century, exhibitions had always been collective, featuring numerous artists.
Lautrec spent a lot of the time between 1894 and 1897 travelling. He visited London, Madrid and Toledo in Spain,
Brussels, Haarlem and Amsterdam. In England, the painter became acquainted with Whistler and Oscar Wilde, both of
whom he saw as role models -- the former for his art, the latter for his lifestyle. In Spain, he took inspiration from the old
masters: Velasquez, Goya and El Greco. In Holland, he studied Rembrandt, Bruegel and Hals. In Brussels, in 1895 and
again in 1897, he took part in exhibitions organized by the group La Libre Esthetique (The Free Aesthetic), the
successors to les Vingt, where his work was exhibited side-by-side with that of Cezanne, Signac, Gauguin and Van
Gogh.
His lifestyle, ever erratic, was becoming increasingly so as a result of his drinking, which was rapidly spiralling out of
control. In 1894, on a whim, he moved into one of the brothels he frequented and lived there for some time. Some works
painted from his experience there include Rue de Moulins (1894), Prostitutes Around a Dinner Table (1894), Two
Friends (1894-95), In 1896, at a private exhibition in the gallery of Joyant, he got into altercation with no less a
personage than the former King of Serbia, Milan Obrenovic, whom he called an ignorant "pig farmer". By this time, he
was descending into outright alcoholism. In 1897, he had an attack of delirium tremens, while on summer vacation at
Villeneuve-sur-Yonne. His artistic output decreased sharply, as most of his days were spent in various states of
intoxication. His health deteriorated sharply. In 1899, he was confined to a mental hospital, attracting jabs from the press.
He died on September 9th, 1901, at the age of 36, at one of his beloved mother's homes in Malrome. His last two
paintings were "Admiral Viaud" and "An Examination at the Faculty of Medicine".
Biography by Yuri Mataev
Bibliography:
Court Painter to the Wicked. The Life and Work of Toulouse-Lautrec by Jean Bouret. Harry N. Abrams, Inc. NY 1968
Toulouse_Lautrec. A Life. by Julia Frey Viking. 1994
Nightlife of Paris. The Art of Toulouse-Lautrec by Patrick O'Connor. Universe, NY.1991
Henri de Toulouse-Lautrec by Herhard Gruitrooy. 1996.
Toulouse-Lautrec by Philippe Huisman and M.G. Dortu. Chartwell Books, Inc.1971
Toulouse-Lautrec His Complete Lithographs and Drypoints by Jean Adhemar. Harry N.Abrams, Inc. NY
Toulouse-Lautrec: The Complete Graphic Works by Gotz Adriani. Thames & Hudson, 1988.
H. de Toulouse-Lautrec: One Hundred Ten Unpublished Drawings by Arthur William Heintzelman, Edouard Julien, M.
Roland O. Heintzelman. French & European Pubns, 1955.