View allAll Photos Tagged Adolphe
Item:
Title: King's House, Spanishtown
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: Spanishtown
Notes: No. 11 from Adolphe Duperly's very scarce folio 'Daguerrian Excursions in Jamaica. Being a Collection of Views of the Most Strking Scenery.... Taken on the Spot with the Daguerreotype, by A. Duperly and Lithographed...In Paris' Paris:Thierry Bros.
[A. Duperly. Lithograph by J. Jacottet.]
[Kingston, Jamaica, 1846-47.]
Depicts the King's House, which was located in the centre of Spanish Town and served as the Governor's residence until 1872 when the capital of the island was transferred to Kingston. It was built from stone from the Hope River and the magnificent columns were made from Portland stone. A large ball room ran the length of the house and many social functions were held there.
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William-Adolphe Bouguereau enjoyed a remarkable popularity in the United States, particularly during the late 1800s through the early 20th century. Lauded and laureled by the French artistic establishment, and a dominant presence at the Parisian Salons, Bouguereau’s canvases offered American collectors the chance to bring Gallic sophistication and worldly elegance to their own galleries and drawing rooms. The master’s idealized, polished images—of chastely sensual classical maidens, Raphaelesque Madonnas, and impossibly pristine peasant children—embodied the tastes of the American Victorian age, and of his Gilded Age patrons. Bouguereau canvases at one time were de rigueur for every collector and arts institution from the late 1860s to the early 1900s in America.
Maker: Pauline and Adolphe Pierre Riffaut (1821-1859)
Born: France
Active: France
Medium: photogravure
Size: 2 11/16 in x 4 13/16
Location:
Object No. 2024.393
Shelf: B-41
Publication: L'Artiste, Beaux-Arts et Belles-Lettres,
Other Collections:
Provenance: Les Greniers de la Galerie Gerard Levy, Millon, Paris, March 20, 2024, Lot 7
Notes: Considered the first continuous tone photograph printed on a page with text. On October 7, 1854 La Lumiere had published this heliogravure following the essay on heliography, "Mémoire sur la gravure héliographique sur acier et sur verre," which Niepce de Saint-Victor had presented to the Académie des sciences two days earlier. In his presentation, Niepce had shown to the Académie des Sciences two heliogravures the Riffauts made using Niepce’s process, a portrait of Napoleon III and this plate from the Louvre. Photographer Pauline Riffaut and noted engraver, etcher and printer engraver Adolphe-Pierre Riffaut were the primary practitioners of Niépce de Saint-Victor’s process beginning in 1853. Although not always properly credited, the couple worked as a team until his internment for madness after which Pauline worked by herself. Adolphe, a noted engraver, was a colleague of Augustin Lemaître which likely explains the couple’s connection to Niepce de Saint-Victor. Madame Riffaut is singled out on a number of early plates with the imprint “Photographie sur acier par Mme Riffaut.” A portrait of Niepce de Saint-Victor himself bears the inscription "Photographie sur acier par Mme Riffaut d’apres les precedes de Mr. Niepce de Saint-Victor” L’Artiste re-published the plate in January 1856. The publication was one Riffaut’s main clients between 1840 and 1853. The first photographic project which Riffaut was involved was the publication of heliogravure Photographie Zoologique, published by Louis Rousseau and Achille Deveria. (source: photogravure.com)
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Created For~Photoshop Talent #90
With Kind Thanks to~
Original Source~Cheyberpunk
Ruin~Feargal
Bird Brush~shadowhousecreations
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Location: Chateau de Versailles - France
Work of:
Léon Bonnat
French Academic and Portrait Painter
1833 - 1922
Louis-Adolphe Thiers was a French politician and historian. Thiers was a Prime Minister under King Louis-Philippe of France. Following the overthrow of the Second Empire he again came to prominence as the French leader who suppressed the Revolutionary Paris Commune of 1871. From 1871 to 1873 he served initially as Head of State (effectively a provisional President of France), then provisional President. When, following a vote of no confidence in the National Assembly, his offer of resignation was accepted (he had expected a rejection) he was forced to vacate the office. He was replaced as Provisional President by Patrice MacMahon, duc de Magenta, who became full President of the Republic, a post Thiers had coveted, in 1875 when a series of constitutional laws officially creating the Third Republic were enacted.
Vintage Russian postcard. Goznak, Moscow, 1928. Series 5, A4711. Kino pesjat.
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).
A French Chateau near Dreux built from 1547 to 1552 for Diane de Poitiers, the mistress of Henry II of France.
The Chateau was used as a location in the 1965 James Bond film Thunderball
This was just a quick photo stop on our tour group, so we didn't go in. Took lots of shots and we were on our way towards Chartres.
The Château d'Anet is a French château near Dreux built by Philibert de l'Orme from 1547 to 1552 for Diane de Poitiers, the mistress of Henry II of France. It was a gift from the king and was built on the former château at the center of the domains of Diane's deceased husband, Louis de Brézé, seigneur d'Anet, Marshal of Normandy and Master of the Hunt. The château is especially noted for its exterior, notably the statues of Diane de Poitiers as Diana, goddess of the hunt, by Jean Goujon and the relief by Benvenuto Cellini over the portal. Anet was the site of one of the first Italianate parterre gardens centered on the building's facade in France; the garden-designer in charge was Jacques Mollet, who trained his son at Anet, Claude Mollet, destined to become royal gardener to three French kings. Anet today The château was built partly upon the foundations and cellar vaults of a feudal castle that had been dismantled by Charles V and was subsequently rebuilt as a Late Gothic manor of brick and stone. The château was not pillaged during the French Revolution, but Diane de Poitiers' remains were removed to a pauper's ditch in the parish cemetery and the rich contents of the château, which were the property of King Louis XVI's cousin, Louis Jean Marie de Bourbon, duc de Penthièvre, were sold at auction as biens nationals. A large part of the château was subsequently demolished, but only after Alexandre Lenoir was able to salvage some architectural elements for his Musée des monuments français ( presently situated in the École des Beaux-Arts in Paris). The elements were reinstalled at Anet after World War II. The restoration of the château itself, in pitiable condition, was due to comte Adolphe de Caraman, who purchased it in 1840 and undertook a colossal program of restoration. In 1851, the minister of the interior granted Anet the status of a monument historique. Under financial duress, Caraman sold the château in 1860 to Ferdinand Moreau, who continued the restoration, purchasing furnishings and works of art that were thought to be originally from the château. The portal The free-standing chapel of Anet, built to the left of the cour d'honneur in 1549-1552, is designed on a centralized Greek cross floor plan under a diagonally-coffered dome. Its facade has a porch of widely-spaced paired Ionic columns between towers crowned by pyramidal spires.In 1581, Henri III and his mother Catherine de' Medici came to the chapel to attend the baptism of the infant son of Charles, duc d'Aumale. There is also the mortuary chapel, built according to Diane de Poitiers' last wishes to contain her tomb, commissioned from Claude de Foucques by Diane's daughter, the Duchesse d'Aumale. The property belonged to many of louis XIV's descendants; Louise-Françoise de Bourbon died here in 1743, she was a daughter of the famous illegitimate son of Louis XIV the Louis-Auguste de Bourbon, duc du Maine. His sons the princes des Dombes and comte d'Eu lived here when away from Versailles. It was later owned by the fabulously wealthy duc de Penthièvre, first cousin of prince and the comte. The castle was used as a filming location in the 1965 James Bond film Thunderball.
A French Chateau near Dreux built from 1547 to 1552 for Diane de Poitiers, the mistress of Henry II of France.
The Chateau was used as a location in the 1965 James Bond film Thunderball
This was just a quick photo stop on our tour group, so we didn't go in. Took lots of shots and we were on our way towards Chartres.
The Château d'Anet is a French château near Dreux built by Philibert de l'Orme from 1547 to 1552 for Diane de Poitiers, the mistress of Henry II of France. It was a gift from the king and was built on the former château at the center of the domains of Diane's deceased husband, Louis de Brézé, seigneur d'Anet, Marshal of Normandy and Master of the Hunt. The château is especially noted for its exterior, notably the statues of Diane de Poitiers as Diana, goddess of the hunt, by Jean Goujon and the relief by Benvenuto Cellini over the portal. Anet was the site of one of the first Italianate parterre gardens centered on the building's facade in France; the garden-designer in charge was Jacques Mollet, who trained his son at Anet, Claude Mollet, destined to become royal gardener to three French kings. Anet today The château was built partly upon the foundations and cellar vaults of a feudal castle that had been dismantled by Charles V and was subsequently rebuilt as a Late Gothic manor of brick and stone. The château was not pillaged during the French Revolution, but Diane de Poitiers' remains were removed to a pauper's ditch in the parish cemetery and the rich contents of the château, which were the property of King Louis XVI's cousin, Louis Jean Marie de Bourbon, duc de Penthièvre, were sold at auction as biens nationals. A large part of the château was subsequently demolished, but only after Alexandre Lenoir was able to salvage some architectural elements for his Musée des monuments français ( presently situated in the École des Beaux-Arts in Paris). The elements were reinstalled at Anet after World War II. The restoration of the château itself, in pitiable condition, was due to comte Adolphe de Caraman, who purchased it in 1840 and undertook a colossal program of restoration. In 1851, the minister of the interior granted Anet the status of a monument historique. Under financial duress, Caraman sold the château in 1860 to Ferdinand Moreau, who continued the restoration, purchasing furnishings and works of art that were thought to be originally from the château. The portal The free-standing chapel of Anet, built to the left of the cour d'honneur in 1549-1552, is designed on a centralized Greek cross floor plan under a diagonally-coffered dome. Its facade has a porch of widely-spaced paired Ionic columns between towers crowned by pyramidal spires.In 1581, Henri III and his mother Catherine de' Medici came to the chapel to attend the baptism of the infant son of Charles, duc d'Aumale. There is also the mortuary chapel, built according to Diane de Poitiers' last wishes to contain her tomb, commissioned from Claude de Foucques by Diane's daughter, the Duchesse d'Aumale. The property belonged to many of louis XIV's descendants; Louise-Françoise de Bourbon died here in 1743, she was a daughter of the famous illegitimate son of Louis XIV the Louis-Auguste de Bourbon, duc du Maine. His sons the princes des Dombes and comte d'Eu lived here when away from Versailles. It was later owned by the fabulously wealthy duc de Penthièvre, first cousin of prince and the comte. The castle was used as a filming location in the 1965 James Bond film Thunderball.
Claude Monet French, 1840-1926
Adolphe Monet (1800-1871) Reading in a Garden , 1867
Oil on canvas Signed ( lower right): Claude Monet
Monet’s gardenview presents a glimpse of the manicured grounds of Le Coteau, his aunt’s estate in the seaside resort of Saint-Adresse, where he took refuge “in the bosom of my family” during the summer of 1867. Beyond room and board, the impoverished young artist seems to have enjoyed familial support ( “to the point of admiring every stroke of my brush”) even from his stern father, who posed for the dapper gentleman reading his newspaper. Smartly attired in a panama hat, dark frock coat, and dove-gray trousers, the sixty-seven-year-old family patriarch also appears in other scenes of modern life, Garden at Sainte-Adresse (67.241) and Regatta at Sainte-Adresse ( 51.30.4), of the same date.
Lent by Lawrence J. Ellison
L.2013.75
From the placard: Metropolitan Museum of Art
Maker: Alexander de Bar from a photograph by Adolphe Braun (1812-1877)
Born: France
Active: France
Medium: engraving
Size: 5 1/2 in x 7 in
Location: Cairo, Egypt
Object No. 2020.241
Shelf: C-49
Publication:
Other Collections:
Provenance: reben-benoit
Rank: 17
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
A French Chateau near Dreux built from 1547 to 1552 for Diane de Poitiers, the mistress of Henry II of France.
The Chateau was used as a location in the 1965 James Bond film Thunderball
This was just a quick photo stop on our tour group, so we didn't go in. Took lots of shots and we were on our way towards Chartres.
The Château d'Anet is a French château near Dreux built by Philibert de l'Orme from 1547 to 1552 for Diane de Poitiers, the mistress of Henry II of France. It was a gift from the king and was built on the former château at the center of the domains of Diane's deceased husband, Louis de Brézé, seigneur d'Anet, Marshal of Normandy and Master of the Hunt. The château is especially noted for its exterior, notably the statues of Diane de Poitiers as Diana, goddess of the hunt, by Jean Goujon and the relief by Benvenuto Cellini over the portal. Anet was the site of one of the first Italianate parterre gardens centered on the building's facade in France; the garden-designer in charge was Jacques Mollet, who trained his son at Anet, Claude Mollet, destined to become royal gardener to three French kings. Anet today The château was built partly upon the foundations and cellar vaults of a feudal castle that had been dismantled by Charles V and was subsequently rebuilt as a Late Gothic manor of brick and stone. The château was not pillaged during the French Revolution, but Diane de Poitiers' remains were removed to a pauper's ditch in the parish cemetery and the rich contents of the château, which were the property of King Louis XVI's cousin, Louis Jean Marie de Bourbon, duc de Penthièvre, were sold at auction as biens nationals. A large part of the château was subsequently demolished, but only after Alexandre Lenoir was able to salvage some architectural elements for his Musée des monuments français ( presently situated in the École des Beaux-Arts in Paris). The elements were reinstalled at Anet after World War II. The restoration of the château itself, in pitiable condition, was due to comte Adolphe de Caraman, who purchased it in 1840 and undertook a colossal program of restoration. In 1851, the minister of the interior granted Anet the status of a monument historique. Under financial duress, Caraman sold the château in 1860 to Ferdinand Moreau, who continued the restoration, purchasing furnishings and works of art that were thought to be originally from the château. The portal The free-standing chapel of Anet, built to the left of the cour d'honneur in 1549-1552, is designed on a centralized Greek cross floor plan under a diagonally-coffered dome. Its facade has a porch of widely-spaced paired Ionic columns between towers crowned by pyramidal spires.In 1581, Henri III and his mother Catherine de' Medici came to the chapel to attend the baptism of the infant son of Charles, duc d'Aumale. There is also the mortuary chapel, built according to Diane de Poitiers' last wishes to contain her tomb, commissioned from Claude de Foucques by Diane's daughter, the Duchesse d'Aumale. The property belonged to many of louis XIV's descendants; Louise-Françoise de Bourbon died here in 1743, she was a daughter of the famous illegitimate son of Louis XIV the Louis-Auguste de Bourbon, duc du Maine. His sons the princes des Dombes and comte d'Eu lived here when away from Versailles. It was later owned by the fabulously wealthy duc de Penthièvre, first cousin of prince and the comte. The castle was used as a filming location in the 1965 James Bond film Thunderball.
A French Chateau near Dreux built from 1547 to 1552 for Diane de Poitiers, the mistress of Henry II of France.
The Chateau was used as a location in the 1965 James Bond film Thunderball
This was just a quick photo stop on our tour group, so we didn't go in. Took lots of shots and we were on our way towards Chartres.
The Château d'Anet is a French château near Dreux built by Philibert de l'Orme from 1547 to 1552 for Diane de Poitiers, the mistress of Henry II of France. It was a gift from the king and was built on the former château at the center of the domains of Diane's deceased husband, Louis de Brézé, seigneur d'Anet, Marshal of Normandy and Master of the Hunt. The château is especially noted for its exterior, notably the statues of Diane de Poitiers as Diana, goddess of the hunt, by Jean Goujon and the relief by Benvenuto Cellini over the portal. Anet was the site of one of the first Italianate parterre gardens centered on the building's facade in France; the garden-designer in charge was Jacques Mollet, who trained his son at Anet, Claude Mollet, destined to become royal gardener to three French kings. Anet today The château was built partly upon the foundations and cellar vaults of a feudal castle that had been dismantled by Charles V and was subsequently rebuilt as a Late Gothic manor of brick and stone. The château was not pillaged during the French Revolution, but Diane de Poitiers' remains were removed to a pauper's ditch in the parish cemetery and the rich contents of the château, which were the property of King Louis XVI's cousin, Louis Jean Marie de Bourbon, duc de Penthièvre, were sold at auction as biens nationals. A large part of the château was subsequently demolished, but only after Alexandre Lenoir was able to salvage some architectural elements for his Musée des monuments français ( presently situated in the École des Beaux-Arts in Paris). The elements were reinstalled at Anet after World War II. The restoration of the château itself, in pitiable condition, was due to comte Adolphe de Caraman, who purchased it in 1840 and undertook a colossal program of restoration. In 1851, the minister of the interior granted Anet the status of a monument historique. Under financial duress, Caraman sold the château in 1860 to Ferdinand Moreau, who continued the restoration, purchasing furnishings and works of art that were thought to be originally from the château. The portal The free-standing chapel of Anet, built to the left of the cour d'honneur in 1549-1552, is designed on a centralized Greek cross floor plan under a diagonally-coffered dome. Its facade has a porch of widely-spaced paired Ionic columns between towers crowned by pyramidal spires.In 1581, Henri III and his mother Catherine de' Medici came to the chapel to attend the baptism of the infant son of Charles, duc d'Aumale. There is also the mortuary chapel, built according to Diane de Poitiers' last wishes to contain her tomb, commissioned from Claude de Foucques by Diane's daughter, the Duchesse d'Aumale. The property belonged to many of louis XIV's descendants; Louise-Françoise de Bourbon died here in 1743, she was a daughter of the famous illegitimate son of Louis XIV the Louis-Auguste de Bourbon, duc du Maine. His sons the princes des Dombes and comte d'Eu lived here when away from Versailles. It was later owned by the fabulously wealthy duc de Penthièvre, first cousin of prince and the comte. The castle was used as a filming location in the 1965 James Bond film Thunderball.
William Adolphe Bouguereau - "Broken Pitcher" 1891- Legion of Honor, Fine Arts Museums of San Francisco
Dutch postcard by M.B. & Z. (M. Bonnist & Zonen, Amsterdam). Photo: Dick van Maarseveen, Den Haag / Nationaal Film. Henriëtte Davids, Adolphe Engers and Jopie Koopman in Op stap/On the Move (Ernst Winar, 1935).
Dutch variety artist and comedian Henriëtte 'Heintje' Davids (1888-1975) was the sister of talented cabaret star Louis Davids. She appeared in De Jantjes/The Tars (1934) and several other Dutch films of the 1920s, 1930s and 1940s.
Impressive Dutch actor Adolphe Engers (1884-1945) appeared in some 50 German and Dutch films during the 1920s and 1930s.
Jopie Koopman (1910-1979) was one of the stars of the Dutch cinema of the 1930s. The pretty cabaret artist sang and played in several revues and early sound films.
For more postcards, a bio and clips check out our blog European Film Star Postcards.
A French Chateau near Dreux built from 1547 to 1552 for Diane de Poitiers, the mistress of Henry II of France.
The Chateau was used as a location in the 1965 James Bond film Thunderball
This was just a quick photo stop on our tour group, so we didn't go in. Took lots of shots and we were on our way towards Chartres.
The Château d'Anet is a French château near Dreux built by Philibert de l'Orme from 1547 to 1552 for Diane de Poitiers, the mistress of Henry II of France. It was a gift from the king and was built on the former château at the center of the domains of Diane's deceased husband, Louis de Brézé, seigneur d'Anet, Marshal of Normandy and Master of the Hunt. The château is especially noted for its exterior, notably the statues of Diane de Poitiers as Diana, goddess of the hunt, by Jean Goujon and the relief by Benvenuto Cellini over the portal. Anet was the site of one of the first Italianate parterre gardens centered on the building's facade in France; the garden-designer in charge was Jacques Mollet, who trained his son at Anet, Claude Mollet, destined to become royal gardener to three French kings. Anet today The château was built partly upon the foundations and cellar vaults of a feudal castle that had been dismantled by Charles V and was subsequently rebuilt as a Late Gothic manor of brick and stone. The château was not pillaged during the French Revolution, but Diane de Poitiers' remains were removed to a pauper's ditch in the parish cemetery and the rich contents of the château, which were the property of King Louis XVI's cousin, Louis Jean Marie de Bourbon, duc de Penthièvre, were sold at auction as biens nationals. A large part of the château was subsequently demolished, but only after Alexandre Lenoir was able to salvage some architectural elements for his Musée des monuments français ( presently situated in the École des Beaux-Arts in Paris). The elements were reinstalled at Anet after World War II. The restoration of the château itself, in pitiable condition, was due to comte Adolphe de Caraman, who purchased it in 1840 and undertook a colossal program of restoration. In 1851, the minister of the interior granted Anet the status of a monument historique. Under financial duress, Caraman sold the château in 1860 to Ferdinand Moreau, who continued the restoration, purchasing furnishings and works of art that were thought to be originally from the château. The portal The free-standing chapel of Anet, built to the left of the cour d'honneur in 1549-1552, is designed on a centralized Greek cross floor plan under a diagonally-coffered dome. Its facade has a porch of widely-spaced paired Ionic columns between towers crowned by pyramidal spires.In 1581, Henri III and his mother Catherine de' Medici came to the chapel to attend the baptism of the infant son of Charles, duc d'Aumale. There is also the mortuary chapel, built according to Diane de Poitiers' last wishes to contain her tomb, commissioned from Claude de Foucques by Diane's daughter, the Duchesse d'Aumale. The property belonged to many of louis XIV's descendants; Louise-Françoise de Bourbon died here in 1743, she was a daughter of the famous illegitimate son of Louis XIV the Louis-Auguste de Bourbon, duc du Maine. His sons the princes des Dombes and comte d'Eu lived here when away from Versailles. It was later owned by the fabulously wealthy duc de Penthièvre, first cousin of prince and the comte. The castle was used as a filming location in the 1965 James Bond film Thunderball.
Opposite the chateau was these streets - several old buildings on the corner.
A French Chateau near Dreux built from 1547 to 1552 for Diane de Poitiers, the mistress of Henry II of France.
The Chateau was used as a location in the 1965 James Bond film Thunderball
This was just a quick photo stop on our tour group, so we didn't go in. Took lots of shots and we were on our way towards Chartres.
The Château d'Anet is a French château near Dreux built by Philibert de l'Orme from 1547 to 1552 for Diane de Poitiers, the mistress of Henry II of France. It was a gift from the king and was built on the former château at the center of the domains of Diane's deceased husband, Louis de Brézé, seigneur d'Anet, Marshal of Normandy and Master of the Hunt. The château is especially noted for its exterior, notably the statues of Diane de Poitiers as Diana, goddess of the hunt, by Jean Goujon and the relief by Benvenuto Cellini over the portal. Anet was the site of one of the first Italianate parterre gardens centered on the building's facade in France; the garden-designer in charge was Jacques Mollet, who trained his son at Anet, Claude Mollet, destined to become royal gardener to three French kings. Anet today The château was built partly upon the foundations and cellar vaults of a feudal castle that had been dismantled by Charles V and was subsequently rebuilt as a Late Gothic manor of brick and stone. The château was not pillaged during the French Revolution, but Diane de Poitiers' remains were removed to a pauper's ditch in the parish cemetery and the rich contents of the château, which were the property of King Louis XVI's cousin, Louis Jean Marie de Bourbon, duc de Penthièvre, were sold at auction as biens nationals. A large part of the château was subsequently demolished, but only after Alexandre Lenoir was able to salvage some architectural elements for his Musée des monuments français ( presently situated in the École des Beaux-Arts in Paris). The elements were reinstalled at Anet after World War II. The restoration of the château itself, in pitiable condition, was due to comte Adolphe de Caraman, who purchased it in 1840 and undertook a colossal program of restoration. In 1851, the minister of the interior granted Anet the status of a monument historique. Under financial duress, Caraman sold the château in 1860 to Ferdinand Moreau, who continued the restoration, purchasing furnishings and works of art that were thought to be originally from the château. The portal The free-standing chapel of Anet, built to the left of the cour d'honneur in 1549-1552, is designed on a centralized Greek cross floor plan under a diagonally-coffered dome. Its facade has a porch of widely-spaced paired Ionic columns between towers crowned by pyramidal spires.In 1581, Henri III and his mother Catherine de' Medici came to the chapel to attend the baptism of the infant son of Charles, duc d'Aumale. There is also the mortuary chapel, built according to Diane de Poitiers' last wishes to contain her tomb, commissioned from Claude de Foucques by Diane's daughter, the Duchesse d'Aumale. The property belonged to many of louis XIV's descendants; Louise-Françoise de Bourbon died here in 1743, she was a daughter of the famous illegitimate son of Louis XIV the Louis-Auguste de Bourbon, duc du Maine. His sons the princes des Dombes and comte d'Eu lived here when away from Versailles. It was later owned by the fabulously wealthy duc de Penthièvre, first cousin of prince and the comte. The castle was used as a filming location in the 1965 James Bond film Thunderball.
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.
Maker: Adolphe Braun (1812-1877)
Born: France
Active: France
Medium: Albumen Print
Size: 8 x 10.4 in
Location: France
Object No. 2008.072
Shelf: B-18
Publication: 1857 catalogue "Etude de Fleurs".
Other Collections: V & A
Notes: Based on his experience working on fabric designs, Braun realized his still-life of flowers, caught mid-bloom, could provide inspiration for mass-produced textile patterns. His album Fleurs Photographiees featured a series of flower studies untended as pattern models that could be used by artists and designers for commercial manufacture. Braun’s flower photographs were awarded a medal at the 1855 Paris Exposition. (Source: V & A)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
created for: Digitalmania group
1 tribute to:Ambrosius Holbein
2 tribute to: William Adolphe Bouguereau
3 tribute to: Gainsborough
4 tribute to : Jan Gossaert
Base militaire
Saint-Adolphe d'Howard (Quebec), Canada
Ancienne base militaire canadienne du Lac-St-Denis à Saint-Adolphe-d'Howard débuta ses opérations au cours des années 1950. Sa mission: surveiller l'espace aérien du sud-ouest du Québec et du Nord-Est de l'Ontario. Cette base était opérée par le Canada dans le cadre du NORAD, à savoir le Commandement de la défense aérospatiale de l'Amérique du Nord (North American Aerospace Defense Command, ou NORAD).
Une organisation américano-canadienne dont la mission est la surveillance de l'espace aérien nord-américain
La base militaire de Saint-Adolphe faisait partie de la ligne Pinetree (Pinetree Line) qui était constituée d'un réseau de 33 stations radars sous juridiction canado-américaine s’échelonnant le long du 49e parallèle afin de protéger l'Amérique du Nord d'éventuelles attaques aériennes en provenance de l'URSS.
Alors que les nouvelles technologies rendent les installations caduques, elles furent fermées en 1987.
Norad Military Base
Saint-Adolphe d'Howard (Quebec), Canada
Canadian military base located in St-Adolphe-d'Howard began its operations in 1950. Its mission: monitor the airspace in southwestern Quebec and northeastern Ontario.
True vestige of the Cold War between the Western bloc and the Eastern bloc, the military base was operated by Canada as part of the NORAD organization (namely North American Aerospace Defense Command, or NORAD. It is an US-Canadian organization whose mission is to monitor the North American airspace.
This military base located in Saint-Adolphe was part of the Pinetree Line which consisted of a network of 33 radar stations under Canada-US jurisdiction ranging along the 49th parallel to protect North America from possible air attacks from the USSR.
While new technologies made these facilities obsolete, it was closed in 1987.
Texte Source: www.urbexplayground.com
Maker: Adolphe Braun (1812-1877)
Born: France
Active: France
Medium: carbon print
Size: 15 in x 19 in
Location: Italy
Object No. 2021.050
Shelf: L-12
Publication: Stephen Bann, Art and the Early Photographic Album, National Gallery of Art, Washington, D.C.., 2011, pg 168
Dominique de Font-Reaulx, Joelle Bolloch, L'oeuvre d'art et sa reproduction, Musee d'Orsay, Paris, 2006, pl 41,
Histoires de Photographies, Collection du Musee des Arts Decoratifs, Paris, pg 71
Other Collections: Bodleian Library, Getty, Royal Academy, Bibliotheque Centrale des Musees Nationaux Paris, Accademia Nazionale di San Luca Rome
Provenance: Le Musee Prive:
Rank: 227
Notes: Adolphe Braun (1812-1877) was a French photographer whose studio, Braun et Cie., specialised in the development of landscape pictures and art historical images. In 1870 Braun et Cie published a set of 125 loose mounted photographs (using a carbon printing process) of the Sistine Chapel, taken by a team composed of Braun’s brother Charles, and Braun’s two sons, Henri and Gaston the year before. These images meticulously surveyed the frescoes decorating the walls and ceiling of the Sistine Chapel. At the time of their release they constituted the only existing photographic record of the chapel’s interior. These large photographs exemplify Braun’s technical abilities in successfully capturing the curved surface of the ceiling
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
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.
Hippolyte (Adolphe) BELHOMME, basse bouffe et baryton français (1854-1923).
cf. Virtual Exhibit on Operatic Glories from the Opéra-Comique at Operas.org in New York City: www.operas.org/category/operatic-glories-from-the-opera-c...
Panorámica de Ávila desde un original punto de vista. Algunos personajes posan junto al rió, en cuyas aguas se refleja tenuemente la Muralla. El Adaja estaba entonces cruzado sólo por el puente romano, lo que deja despejada esta insospechada perspectiva de la ciudad, con la Fábrica de Harinas dominando el skyline. Abajo, a la izquierda, Disdéri se autorretrata de modo discreto dejando recortada su propia sombra.
Poco sabemos del viaje que Disdéri realizó a España en esta época. Hasta hoy tampoco se conocen demasiadas imágenes sobre nuestro país de este innovador fotógrafo francés.
" Fue uno de los grandes fotógrafos que, además, cambió la fotografía fue Disderi.
En efecto la carta de visita un formato pequeño pero barato a la vez popularizó la fotografía. Es, quizás, junto la cámara Brownie de Kodak el mayor responsable de la foto como documento en casa y documento para hacer. De ahi nacieron los álbumes.
Recordemos que las cartas de visita se llaman asi pues se daban en las visitas como recuerdo, recuerdo que luego se ampliaría a tener fotos, cartas de visitas, de reyes y reinas, políticos y, por último gente del espectáculo.
Muestro aquí algunas fotos de todos los tipos de Disderi pero quisiera indicar que, en mi opinión, la mejor de todas es la última de una niña de pie en un estudio ( es una carta de gabinete) La pose, el encanto es total en esta foto que es obra, según dirían los estudiosos de Disderi, de su mala época final cuando malvivía en Niza donde acabaría falleciendo totalmente arruinado"
photoblog.alonsorobisco.es/2014/07/disderi-fotografo-cart...
Su obra:
"Disdéri se consideraba así mismo un artista de carácter academicista (fotografía academicista). En sus retratos recurre al atrezzo para mostrar el oficio del retratado, en detrimento de su personalidad -aparece así el escritor en trance rodeado de libros y papel mientras escribe, el pintor con sus pinceles y caballete en plena tarea, al científico con sus instrumentos. Recurre por ello a fotografiar al retratado de cuerpo entero, olvidando su rostro, para incluir todo el atrezzo. De esta manera Disdéri retrataba arquetipos más que a personas, es el retrato, conforme al academicismo, propio de la época. Por ello fue denostado por algunos historiadores.
No sólo practicó la fotografía sino que incluso fue un teórico de la misma. En su libro El Arte de la Fotografía de 1862, señala que para que un retrato fotográfico pueda ser considerado con valor artístico ha de cumplir con los siguientes elementos: - Fisonomía agradable, - Nitidez general (nada de juegos de luces y sombras), - Proporciones naturales, - Detalles en los oscuros, y - Belleza." Wikipedia
www.britannica.com/EBchecked/topic/165519/Andre-Adolphe-E....
__________
Informes académicos
Puente romano sobre el río Adaja, en Ávila
Antonio Blanco Freijeiro.
bib.cervantesvirtual.com/servlet/SirveObras/0159396343569...
A French Chateau near Dreux built from 1547 to 1552 for Diane de Poitiers, the mistress of Henry II of France.
The Chateau was used as a location in the 1965 James Bond film Thunderball
This was just a quick photo stop on our tour group, so we didn't go in. Took lots of shots and we were on our way towards Chartres.
The Château d'Anet is a French château near Dreux built by Philibert de l'Orme from 1547 to 1552 for Diane de Poitiers, the mistress of Henry II of France. It was a gift from the king and was built on the former château at the center of the domains of Diane's deceased husband, Louis de Brézé, seigneur d'Anet, Marshal of Normandy and Master of the Hunt. The château is especially noted for its exterior, notably the statues of Diane de Poitiers as Diana, goddess of the hunt, by Jean Goujon and the relief by Benvenuto Cellini over the portal. Anet was the site of one of the first Italianate parterre gardens centered on the building's facade in France; the garden-designer in charge was Jacques Mollet, who trained his son at Anet, Claude Mollet, destined to become royal gardener to three French kings. Anet today The château was built partly upon the foundations and cellar vaults of a feudal castle that had been dismantled by Charles V and was subsequently rebuilt as a Late Gothic manor of brick and stone. The château was not pillaged during the French Revolution, but Diane de Poitiers' remains were removed to a pauper's ditch in the parish cemetery and the rich contents of the château, which were the property of King Louis XVI's cousin, Louis Jean Marie de Bourbon, duc de Penthièvre, were sold at auction as biens nationals. A large part of the château was subsequently demolished, but only after Alexandre Lenoir was able to salvage some architectural elements for his Musée des monuments français ( presently situated in the École des Beaux-Arts in Paris). The elements were reinstalled at Anet after World War II. The restoration of the château itself, in pitiable condition, was due to comte Adolphe de Caraman, who purchased it in 1840 and undertook a colossal program of restoration. In 1851, the minister of the interior granted Anet the status of a monument historique. Under financial duress, Caraman sold the château in 1860 to Ferdinand Moreau, who continued the restoration, purchasing furnishings and works of art that were thought to be originally from the château. The portal The free-standing chapel of Anet, built to the left of the cour d'honneur in 1549-1552, is designed on a centralized Greek cross floor plan under a diagonally-coffered dome. Its facade has a porch of widely-spaced paired Ionic columns between towers crowned by pyramidal spires.In 1581, Henri III and his mother Catherine de' Medici came to the chapel to attend the baptism of the infant son of Charles, duc d'Aumale. There is also the mortuary chapel, built according to Diane de Poitiers' last wishes to contain her tomb, commissioned from Claude de Foucques by Diane's daughter, the Duchesse d'Aumale. The property belonged to many of louis XIV's descendants; Louise-Françoise de Bourbon died here in 1743, she was a daughter of the famous illegitimate son of Louis XIV the Louis-Auguste de Bourbon, duc du Maine. His sons the princes des Dombes and comte d'Eu lived here when away from Versailles. It was later owned by the fabulously wealthy duc de Penthièvre, first cousin of prince and the comte. The castle was used as a filming location in the 1965 James Bond film Thunderball.
Bain News Service,, publisher.
Adolphe Smith
[between ca. 1910 and ca. 1915]
1 negative : glass ; 5 x 7 in. or smaller.
Notes:
Title from unverified data provided by the Bain News Service on the negatives or caption cards.
Forms part of: George Grantham Bain Collection (Library of Congress).
Format: Glass negatives.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
General information about the Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.12141
Call Number: LC-B2- 2588-8
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. 2016.645j
Shelf: B-40
Publication: A. L. Donnadieu - Traite Photographie Stereoscopique, Theorie et Pratique,Atlas, 1892, Pl XVIII
Other Collections:
Provenance:
Notes:
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
A French Chateau near Dreux built from 1547 to 1552 for Diane de Poitiers, the mistress of Henry II of France.
The Chateau was used as a location in the 1965 James Bond film Thunderball
This was just a quick photo stop on our tour group, so we didn't go in. Took lots of shots and we were on our way towards Chartres.
The Château d'Anet is a French château near Dreux built by Philibert de l'Orme from 1547 to 1552 for Diane de Poitiers, the mistress of Henry II of France. It was a gift from the king and was built on the former château at the center of the domains of Diane's deceased husband, Louis de Brézé, seigneur d'Anet, Marshal of Normandy and Master of the Hunt. The château is especially noted for its exterior, notably the statues of Diane de Poitiers as Diana, goddess of the hunt, by Jean Goujon and the relief by Benvenuto Cellini over the portal. Anet was the site of one of the first Italianate parterre gardens centered on the building's facade in France; the garden-designer in charge was Jacques Mollet, who trained his son at Anet, Claude Mollet, destined to become royal gardener to three French kings. Anet today The château was built partly upon the foundations and cellar vaults of a feudal castle that had been dismantled by Charles V and was subsequently rebuilt as a Late Gothic manor of brick and stone. The château was not pillaged during the French Revolution, but Diane de Poitiers' remains were removed to a pauper's ditch in the parish cemetery and the rich contents of the château, which were the property of King Louis XVI's cousin, Louis Jean Marie de Bourbon, duc de Penthièvre, were sold at auction as biens nationals. A large part of the château was subsequently demolished, but only after Alexandre Lenoir was able to salvage some architectural elements for his Musée des monuments français ( presently situated in the École des Beaux-Arts in Paris). The elements were reinstalled at Anet after World War II. The restoration of the château itself, in pitiable condition, was due to comte Adolphe de Caraman, who purchased it in 1840 and undertook a colossal program of restoration. In 1851, the minister of the interior granted Anet the status of a monument historique. Under financial duress, Caraman sold the château in 1860 to Ferdinand Moreau, who continued the restoration, purchasing furnishings and works of art that were thought to be originally from the château. The portal The free-standing chapel of Anet, built to the left of the cour d'honneur in 1549-1552, is designed on a centralized Greek cross floor plan under a diagonally-coffered dome. Its facade has a porch of widely-spaced paired Ionic columns between towers crowned by pyramidal spires.In 1581, Henri III and his mother Catherine de' Medici came to the chapel to attend the baptism of the infant son of Charles, duc d'Aumale. There is also the mortuary chapel, built according to Diane de Poitiers' last wishes to contain her tomb, commissioned from Claude de Foucques by Diane's daughter, the Duchesse d'Aumale. The property belonged to many of louis XIV's descendants; Louise-Françoise de Bourbon died here in 1743, she was a daughter of the famous illegitimate son of Louis XIV the Louis-Auguste de Bourbon, duc du Maine. His sons the princes des Dombes and comte d'Eu lived here when away from Versailles. It was later owned by the fabulously wealthy duc de Penthièvre, first cousin of prince and the comte. The castle was used as a filming location in the 1965 James Bond film Thunderball.
Jules Adolphe Aime Louis Breton - The Colza (Harvesting Rape Seed), 1860 at Corcoran Art Gallery Washington, DC
Created For~Winks Place~Theme Challenge ~Starting with D
Pup~Juliana Marques~
Please visit Juliana's Photostream to see more of these beautiful lost and abandon animals, thank you
www.flickr.com/photos/julianamarques/
Child~William-Adolphe_Bouguereau
Premade Background~My Own
Hands, detail from Whisperings of Love, Adolphe-William Bouguereau, 1889, New Orleans Museum of Art (NOMA)
"Nymphs and a Satyr" by Adolphe-William Bouguereau (French).
1873.
Oil on canvas.
9' x 5' 11".
Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, United States.
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
Crime Mysteries / Heft-Reihe
cover: Adolphe Barreaux
Ribage Publishing / USA 1952
Reprint / Comic-Club NK 2010
ex libris MTP
Maker: Adolphe Bilordeaux (1807-1872)
Born: France
Active: France
Medium: albumen print
Size: 9.4 in x 12.2 in
Location: France
Object No. 2019.856
Shelf: B-19
Publication:
Other Collections:
Provenance: Photographies Pour Tous 14e Edition - Special Galerie Verdeau le Dernier Accrochage, Artprecium, Paris, May 14, 2019, lot 31
Rank: 157
Notes: photographer's signature in red on image lower right
To view our archive organized by themes and subjects, visit:
OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE