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SKA693
Stereobild av Notre Dame de la Garde, Marseille.
Stereo image. View of Notre Dame de la Garde, Marseille.
Photo: Jean César Adolphe Neurdein 1860-1867.
Breton Brother and Sister by Adolphe-William Bouguereau
Bouguereau championed academic training throughout his successful artistic career, even as it fell out of favor during the last decades of the century. Beginning in the 1850s and 1860s, young artists working in France showed an increased awareness of the social and economic changes taking place as regions of Europe moved toward industrialization and peasants abandoned the countryside in search of urban jobs. The Impressionists, who first exhibited together three years after this painting was finished, prided themselves on depicting modern life: their landscapes often include smokestacks, and their views of city life feature laundresses and prostitutes. But academic artists such as Bouguereau had no desire to "debase" their art this way. Bouguereau's peasants are invariably idealized: they are presented as glorified, clean, and noble, and they are often arranged in poses that recall ancient Greek sculpture. This particular painting is based partly on sketches Bouguereau made in Brittany, but it was finished in his studio. And like many of his works, it was purchased by an American collector as soon as it was completed.
Pierrot se suicident (Pierrot Committing Suicide), 1887
Adolphe-Leon Willette
Silhouette for the shadow play L'Âge d'Or (The Golden Age)
Created by Henri Rivière with Henry Somm in 1886 on the third floor of the Chat Noir's second venue, the shadow theatre became its most popular attraction. In the early days of the shadow theatre, a pianist would often improvise a musical score during the performances, while Rudolphe Salis provided lively commentaries. Using sophisticated machinery and up to twelve technicians, the productions were animated by silhouettes of zinc figures, sometimes with the addition of more detailed props and landscape elements. Light from an open flame was projected from backstage onto the figures, conjuring complex atmospheric effects. The plays ranged from solemn epics to fairy tales and satires, sometimes including archetypes from the Commedia dell'arte tradition such as the sad clown Pierrot. In L'Âge d'Or (The Golden Age, 1887), Pierrot is the tragic victim of his unrequited love for Columvine and in Pierrot pornographe (Pierrot Pornographer, 1893), he goes on trial for creating a painting of Columbine naked.
La Tentation de Saint Antoine (The Temptation of St Anthony) was the Chat Noir's first major shadow theatre production and is perhaps Henri Rivière's best-known play. Premiering on 28 December 1887, it was inspired by Gustave Flaubert's fantastical prose-poem published in 1874 about the legendary life of St Antony, who was haunted by visions and tempted by the Devil. The play chronicles Anthony's life as a hermit in the Egyptian desert and the many temptations he face, until successfully overcoming his torments.
[Barbican Centre]
Le Chat Noir - Paris, 1881 Le Chat Noir cabaret club was founded by eccentric storytelling show man and entrepreneur, Rodolphe Salis. Its eclectic interior had a medieval feel, crammed with objects and images from different eras and it soon became the exciting epicentre of the artistic avant-garde in France. Its outpouring of spontaneous poetry performances, visual arts, improvised performances, satirical songs and debates on contemporary politics became legendary. Its ‘open stage’ meant no two evenings were ever the same, with performers rising to their feet as inspiration struck or the mood took them!
Le Chat Noir is particularly known for its famous and influential shadow theatre which was initiated in 1886 by Henri Rivière. Be inspired by these shadow plays and work by other figures associated with Le Chat Noir including: artist Toulouse Lautrec, dancer Jane Avril, cabaret singer Aristide Bruand, composer Claude Debussy, poet Paul Verlaine and the group of artists known as the Incoherants whose satirical work, prefigured both Dada and Surrealism.
[Barbican Centre]
From Into the Night: Cabarets & Clubs in Modern Art
(October 2019 to January 2020)
Spanning the 1880s to the 1960s, Into the Night celebrates the creative spaces where artists congregated to push the boundaries of artistic expression. The exhibition offers insight into the heady atmosphere of Berlin clubs in Weimar Germany; the energy of Harlem’s jazz scene; the vibrant context of the Mbari clubs in 1960s Nigeria; and many more.
Taken in the Barbican
4ième citation
à l'ordre de l'armée
PEGOUD Adolphe Célestin
sous-lieutenant de réserve
à l'escadrille MS 49
d'un entrain et d'une bravoure
au dessus de tout éloge
aussi modeste qu'habile pilote,
n'a pas cessé
depuis le début de la Campagne
de mettre ses merveilleuses aptitudes
au service du Pays
accumulant journellement
les traits de courage et d'audace.
N'en est plus à compter ses combats
qu'il a engagés, seul à bord.
Contre des avions puissamment blindés
le 28 août 1915
au cours d'un duel aérien
en son avion criblé de balles
obligé d'atterrir
a pris aussitôt toutes les dispositions
pour sauver son appareil
malgré un feu intense
des batteries spéciales allemandes
(Jal Officiel 26 sept 1915)
Maker: Adolphe Thomasse (1850-1930)
Born: France
Active: France
Medium: lithograph
Size: 10 1/4 in x 13 in
Location:
Object No: 2019.887
Shelf: B-67
Publication:
Other Collections:
Provenance: nogero44
Rank: 30
Notes: French artist A. Thomasse was famous for whimsical paintings of cats, dogs and rabbits for Duvelleroy, the French fan manufacturer.
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For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
2 inch x 2 inch colored pencil painting of "The Little Knitter" by Jahaziel Minor, after William-Adolphe Bouguereau.
20th Annual Minumental Exhibition
The Knitting Girl (La Couseuse) is a painting La Tricoteuse (The Knitting Girl) Oil Painting by William Adolphe Bouguereau created by artist William-Adolphe Bouguereau in 1869.
This painting is often referred to as Knitting Anne due to the simplistic nature of the female portrayed herein.
The painting is currently held in the Joslyn Art Museum in Omaha, Nebraska, US.
Oil Paintings For Sale at Oilpainting-shop.com .
Steel engraving from History of the French Consulate and Empire by Adolphe Thiers 1845.
From Thier’s Historical Works Series. Translated from the German by Thomas Redhead.
Published by A.Fullerton, London, Edinburgh & Dublin. Four volumes,. half leather binding, this volume 685 pages 26cm x 17.5cm.
This is a huge oil on canvas painting. There are five figures clustered in the center, leaving the dark landscape background largely unnoticed. A thorny vine creeps across their path in the right foreground. The one male, nude holding his hands over his ears with an expression of pain on his face, is swarthy and surrounded by four females in various tints of pale. Three of the females, hair swarming with snakes, are the furies: Tisiphone, Alecto, and Megaera point at his crime, as he covers his ears and tries to escape. The female to his left, his mother, has a knife buried deep in her chest. Her head is tilted back and she is supported by one of the furies. The mother's hair hangs down long past her waist, blood drips on her creamy white skin and garments. Her lower body is draped in a swirling red cloth. The three furies have an eerie cast to their skin, and their faces are distorted in anger. The one on the right side of the canvas holds a torch in her left hand, but the flames are subdued in comparison to the red garment draped about the murdered woman. Orestes, the one male in the painting, murdered her for killing his father.
Maker: Jean César Adolphe Neurdein dit "Charlet" (1806-1867) & Louis Charles Jacotin (1828-1896)
Born: France
Active: France
Medium: cdv back
Size: 2 1/4 in x 4 in
Location:
Object No. 2021.871b
Shelf: E-18-C
Publication:
Other Collections:
Provenance
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
Adolphe Bridge one of the differents beautiful landmarks in Luxemburg City.
Puente Adolphe, una de las tantas maravillosas vistas que tiene Luxemburgo
Clement Tonneau (1903) Engine 1670cc 12 HP Four Cylinder
Country of Origin France
Registration Number N 1261
2021 London-Brighton Number 172
Body Tonneau
Entrant Alan Beardshaw
Pilote Alan Beardshaw
CLEMENT ALBUM
www.flickr.com/photos/45676495@N05/sets/72157687493744684
Having already made a fortune in the cycle industry Gustave-Adolphe Clement launched the Clement-Gladiator-Humber company in 1896 with a float capitol of 22 million French francs. The Humber connection was soon severed, but in 1898 the company began manufacture of Clement and Gladiator cars, at a new facility in Levallois-Perret, Seine. From 1898 he was also a director of Panhard Levassor, when the Panhard factory could not meet the production of around 500 units in 1898 he undertook manufacture under the make name of Clemment-Panhard
Clements were even produced under licence in the UK in Scotland by Stirling of Hamilton
Early cars were light cars powered by, Astor, Panhard engines
In October 1903 Clement left the company which was taken over by Harvey DuCross (Dunlop tyres), and as terms of the agreement barred from making cars under his own name. He therefore changed his name to Clement-Bayard after a Chevalier who's statue stood outside his factory at Mezieres. Initially the Clement-Bayard was similar to the Gladiator, until a more up to date range was launched in 1907.
Diolch am 89,826,503 o olygfeydd anhygoel, mae pob un yn cael ei werthfawrogi'n fawr.
Thanks for 89,826,503 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. 123-136
Heading into Parc de la Tête d'Or in Lyon. The entrance is near the corner of Avenue de Grande Bretagne and Boulevard des Belges.
You enter via an impressive gate.
Parc de la Tête d'Or ("Park of the Golden Head"), in Lyon, is a large urban park in France with an area of approximately 117 hectares (290 acres). Located in the 6th arrondissement, it features a lake on which boating takes place during the summer months. Due to the relatively small number of other parks in Lyon, it receives a huge number of visitors over summer, and is a frequent destination for joggers and cyclists. In the central part of the park, there is a small zoo, with giraffes, elephants, deer, reptiles, primates, and other animals. There are also sports facilities, such as a velodrome, boules court, mini-golf, horse riding, and a miniature train.
Porte des Enfants du Rhône and the Monument des enfants du Rhône
Monument of the children of the Rhone
To the children of the Rhone defenders of the Homeland commonly called Monument of the children of the Rhone is a monument to the dead dedicated to the soldiers of Lyons who died during the Franco-German War of 1870 . It is located at Place du Général-Leclerc at the entrance of the Parc de la Tête d'Or called "Porte des Enfants du Rhone" in Lyon , France . The sculpture was made by the sculptor Étienne Pagny and was inaugurated on 30 October 1887.
The monument consists of a hemicycle of stone in front of which stands the bronze statue composed of a woman with a flag, a trumpet bell, a lion's head ready with the inscription " pro patria " . The lion breaking a sword was made by Charles Textor. The architect is Adolphe Coquet . The founders are the Thiébaut brothers. The monument was financed by a public subscription. At the inauguration of the representatives of the city of Belfort, defended by the children of the Rhone, were present.
The gate of the nearby "Porte des Enfants du Rhone" (made by Charles Meysson and Henry Wilfrid Deville ) and its pillars are the object, with the gate or gate Montgolfier (avenue Verguin), the greenhouse Camellias, the greenhouse Of the Pandanus and the memorial monument of the island of the Remembrance of an inscription to the historical monuments since November 4, 1982.
Plans of the movie Blood Links have been shot at this location.
Maker: Adolphe Anjoux
Born: France
Active: France
Medium: daguerreotype
Size: 3" x 2.4"
Location: France
Object No. 2011.232a
Shelf: F-2
Publication:
Provenience: Millon auction, Paris 11/10/11, lot 46
Rank: 345
Other Collections:
Notes: . Anjoux was a daguerreotypist located 270 rue St Honore, Paris from 1850 to 1880
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
The "Colonist" was a Steamer, steel, 2286/1467 tons. #96673. Built at Sunderland, Great Britain, 1889; reg. London. Lbd 290 x 38, x 20 ft. Captain Mars. Ashore on the Oyster Bank, near the buoy marking the remains of the "Cawarra", 10 September 1894. The lifeboat was called and eventually the complement of 29 was rescued. A decade later the "Adolphe" stranded on her remains and when the breakwater was extended a few years later she disappeared under the boulders.
Information thanks to the Encyclopedia of Australian Shipwrecks oceans1.customer.netspace.net.au/newcastle-main.html
This image was scanned from the original glass positive. It is from a collection of glass lantern slides of Newcastle and coastal shipping, c.1870-c.1940, and was presented by Mr. E. Braggett to the University of Newcastle on October, 1975. It is held by Cultural Collections at the University of Newcastle, NSW, Australia.
This image can be used for study and personal research purposes. If you wish to reproduce this image for any other purpose you must obtain permission by contacting the University of Newcastle's Cultural Collections.
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Wasatch Polygamy Porter .. Taken on October 12, 2018
Artwork is a compilation of several
William-Adolphe Bouguereau paintings.
The Birth of Venus (1879), The abduction of Psyche (1875),
Wet Cupid (1891), Youth (1893) and others.
en.wikipedia.org/wiki/William-Adolphe_Bouguereau
www.flickr.com/photos/30496606@N05/14131543242/in/photoli...
www.wasatchbeers.com/polygporter.html
www.dailymail.co.uk/news/article-7242521/Sale-Polygamy-Po...
William-Adolphe Bouguereau
Young Gypsies.
1879
Oil on canvas
"Bouguereau loved to exalt the poor. A gypsy mother, holding her young child in her arms, stands on an elevated plane with a backdrop of nearly only sky. They stand so high in fact, that in the distance the ocean can be seen all the way to the horizon, symbolizing that even though the gypsies’ social status is low, they have just as much right to stand as tall and as proud. The figures both look down on the viewer, further emphasizing their elevated state. The dignity of the lower classes was a favorite theme of Bouguereau's that he depicted in many of his works. The mother and child are both beautiful showing that there modest clothing has no impact on their beauty."
-- by Kara Ross
"Modernist ideologues love to say that Bouguereau was irrelevant to his times because he wasn’t one of the impressionists who were carving out the path to abstract expressionism. Nothing could be further from the truth. A child of the recent French and American Revolution, Bouguereau along with many artists and writers of the day, believed in the breakthroughs of Enlightenment thought: Democracy, the Rights of men, “Liberté, Egalité, Fraternité”. Not only wasn’t it true that he was irrelevant, but nothing could have been more relevant, than works like this that ennobled and elevated ordinary people and peasants. And what better way then to take the lowest of the low in society, the Gypsies, and to raise them to the heavens? They are both beautiful without being overly pretty; 'real' and 'ideal' at the same time."
aka The Virgin with angels or The Queen of the angels by William-Adolphe Bouguereau (1825-1905)
Ravensburger No 15 882 9
1008 pieces, used and complete
50 x 70 cm
19.6 x 27.5 in
59,936/100,000
100K PROJECT 2018
Puzzle number 74
Although the pieces themselves were of good quality, they fitted together very loosely, which rather spoiled enjoyment of this beautiful image.
From 'Street Life in London', 1877, by John Thomson and Adolphe Smith:
“The men employed on the water carts work according to the state of the weather. Thus, in summer under a hot dry wind, they emerge at early morning from the vestry yards and radiate over the parishes. During wet weather some are employed in cleansing the roads, others in carting materials for the contractors who supply the building trade. These are the hands who find constant employment under one master at weekly wages ranging from eighteen to twenty-three shillings. In justice to the contractors, I must express my admiration of the carts, men, and horses used in this branch of road labour.
“The accompanying illustration is a fair specimen of the modern water-cart and its accessories. The cart is, I believe, protected by a patent, and is assuredly of the most novel construction. The horse is typical of the class of animal used for the work - large and powerful, so as to stand the strain of incessant journeyings two and fro, and of the weight of water in the tank. The man is a fair type of his class, being attired in a manner peculiar to watering-men. Beyond the ability to groom and manage a well-fed docile horse, nothing approaching skilled labour is required. He sits on his perch all day long, only descending when it is necessary to refill his cart at the hydrants.”
For the full story, and other photographs and commentaries, follow this link and click through to the PDF file at the bottom of the description
Tissue stereoview from the series "Les Théatres de Paris" made by B.K. (Adolphe Block) 1860s/1870s. (Anaglyph conversion)
In this view, it is obvious that all the figures are made of clay or plaster. The same face and pose of some of the dancers in the foreground.
Since the colouring of tissue views is only visible by illumination from the reverse (otherwise it looks like a normal b/w photograph), I have made a sandwich from a normal scan and a backlit photograph. Furthermore I had to crop the anaglyph because of non-matching areas.
Membres de la succursale de Waltham/Boston, Massachusetts en 1910. De gauche à droite, première rangée: Calixte Léger, Philippe Vienneau, Philippe Landry, Ferdinand Cormier, William Doucet.
Deuxième rangée: Philias M. Belliveau, Donat S. Cormier, Philias Belliveau, Axime LeBlanc.
Troisième rangée: Maurice Bourque, Clarence F. Cormier, Jean H. LeBlanc, Dominique Belliveau et Adolphe Cormier.
Members of the branch in Waltham/Boston, Massachusetts, in 1910 (left to right): First row: Calixte Léger, Philippe Vienneau, Philippe Landry, Ferdinand Cormier, William Doucet.
Second row: Philias M. Belliveau, Donat S. Cormier, Philias Belliveau, Axime LeBlanc.
Third row: Maurice Bourque, Clarence F. Cormier, Jean H. LeBlanc, Dominique Belliveau and Adolphe Cormier.
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Visit: www.thecanadianencyclopedia.ca/en/article/the-deportation...
From the canadian encyclopedia's website:
Soldiers rounding up terrified civilians, expelling them from their land, burning their homes and crops ‒ it sounds like a 20th century nightmare in one of the world's trouble spots, but it describes a scene from Canada's early history, the Deportation of the Acadians.
The Acadians had lived on Nova Scotia’s territory since the founding of Port-Royal in 1604. They established a small, vibrant colony around the Bay of Fundy, building dykes to tame the high tides and to irrigate the rich fields of hay. Largely ignored by France, the Acadians grew independent minded. With their friends and allies the Mi' kmaq, they felt secure, even when sovereignty over their land passed to Britain after 1713 (see Treaty of Utrecht).
In 1730 the British authorities persuaded the Acadians to swear, if not allegiance, at least neutrality in any conflict between Britain and France. But over the years the position of the Acadians in Nova Scotia became more and more precarious. France raised the stakes by building the great fortress of Louisbourg on Cape Breton Island. In 1749 the English countered this threat by establishing a naval base at Halifax. In 1751 the French built Fort Beauséjour on the Isthmus of Chignecto and the English responded with Fort Lawrence, a stone's throw away.
While previous British governors had been conciliatory towards the Acadians, Governor Charles Lawrence was prepared to take drastic action. He saw the Acadian question as a strictly military matter. After Fort Beauséjour fell to the English forces in June 1755, Lawrence noted that there were some 270 Acadian militia among the fort's inhabitants ‒ so much for their professed neutrality.
In meetings with Acadians in July 1755 in Halifax, Lawrence pressed the delegates to take an unqualified oath of allegiance to Britain. When they refused, he imprisoned them and gave the fateful order for deportation.
Lawrence had strong support in his Council from recent immigrants from New England, who coveted Acadian lands. Traders from Boston frequently expressed wonder that an "alien" people were allowed to possess such fine lands in a British colony. On Friday, September 5, 1755 Colonel John Winslow ordered that all males aged 10 years and up in the area were to gather in the Grand-Pré Church for an important message from His Excellency, Charles Lawrence, the Lieutenant-Governor of Nova Scotia. The decree that was read to the assembled and stated in part: "That your Land & Tennements, Cattle of all Kinds and Livestocks of all Sorts are forfeited to the Crown with all other your effects Savings your money and Household Goods, and you yourselves to be removed from this Province."
It was a New Englander, Charles Morris, who devised the plan to surround the Acadian churches on a Sunday morning, capture as many men as possible, breach the dykes and burn the houses and crops. When the men refused to go, the soldiers threatened their families with bayonets. They went reluctantly, praying, singing and crying. By the fall of 1755 some 1,100 Acadians were aboard transports for South Carolina, Georgia and Pennsylvania.
Lawrence urged his officers not to pay the least attention "to any remonstrance or Memorial from any of the inhabitants." When Colonel John Winslow read the deportation order, he admitted that although it was his duty, it was "very disagreeable to my nature, make and temper." In a phrase that would not be out of place in many more recent atrocities he added "But it is not my business to animadvert, but to obey such orders as I receive."
Some Acadians resisted, notably Joseph Beausoleil Brossard, who launched a number of retaliatory raids against the British troops. Many escaped to the forests, where the British continued to hunt them down for the next five years. A group of 1,500 fled for New France, others to Cape Breton and the upper reaches of the Peticoudiac River. Of some 3,100 Acadians deported after the fall of Louisbourg in 1758, an estimated 1,649 died by drowning or disease, a fatality rate of 53 per cent.
Between 1755 and 1763, approximately 10,000 Acadians were deported. They were shipped to many points around the Atlantic. Large numbers were landed in the English colonies, others in France or the Caribbean. Thousands died of disease or starvation in the squalid conditions on board ship. To make matters worse, the inhabitants of the English colonies, who had not been informed of the imminent arrival of disease-ridden refugees, were furious. Many Acadians were forced, like the legendary Evangeline of Longfellow's poem, to wander interminably in search of loved ones or a home.
Although the Acadians were not actually shipped to Louisiana by the British, many were attracted to the area by the familiarity of the language and remained to develop the culture now known as "Cajun."
Back in Nova Scotia, the vacated Acadian lands were soon occupied by settlers from New England. When the Acadians were finally allowed to return after 1764, they settled far from their old homes, in St Mary's Bay, Chéticamp, Cape Breton, Prince Edouard Island and the north and east of present-day New Brunswick.
The expulsion proved to have been as unnecessary on military grounds as it was later judged inhumane. Lawrence's lack of imagination played as big a part as greed, confusion, misunderstanding, and fear.
The migrations of the Acadians to a new Acadia continued into the 1820s. Throughout the ordeal they maintained their sense of identity, as indeed they do today ‒ a remarkable demonstration of human will in the face of cruelty. (From the Canadian encyclopedia's website)
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French postcard. Théâtre du Chatelet, Paris. Le Tour du Monde en 80 jours. 18th tableau. Le Naufrage. - Sur l'Epave - En vue de Liverpool.
Play by Adolphe and D'Ennery and Jules Verne, after Verne's eponymous novel, written in 1873-1874, and first performed 7 November 1874 at the Théâtre de la Porte-Saint-Martin in Paris. Despite the enormous investments, even a real elephant was involved, the play was a giant success. People were queuing around the block to see how one could travel the whole world in eighty days, and in the case of the play, within the time span of just a few hours. From 1874 to the start of WWII, the play was constantly restaged and with great success. The version of this card must date from the early 1900s, while he first staging at the Chatelet dates of 1887, where it remained a crowd-puller for years.