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"A young girl defending herself against Eros" (Joven defendiéndose de Eros) por William Adolphe Bouguereau (1825 - 1905). Pintada en 1880.
Maker: Adolphe Braun (1812-1877)
Born: France
Active: France
Medium: cdv back
Size: 4" x 2.25"
Location: France
Object No. 2013.754b
Shelf: E-16-NAPO
Publication: :
Other Collections:
Notes: TBAL
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Maker: André Adolphe Eugène Disdéri (1819-1889)
Born: France
Active: France
Medium: albumen print
Size: 4.1' X 2.5'
Location: France
Object No. 2014.829
Shelf: E-16-NAPO
Publication:
Other Collections: GEM
Notes: TBAL
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
William-Adolphe Bouguereau was one of the most successful painters of his day at the end of the 19th century. Reviled by the up-and-coming Impressionists, Bouguereau instead followed the patterns of Raphael, inevitably depicting idealized females (frequently nude, sometimes erotic) in natural or pastoral settings. This, one of his less provocative paintings, nevertheless is not very subtle in suggesting the loss of childhood innocence.
Palace of the Legion of Honor, Lincoln Park, San Francisco, California
Pays : France 🇫🇷
Région : Grand Est (Alsace)
Département : Bas-Rhin (67)
Ville : Strasbourg (67000)
Quartier : Ellipse insulaire
Adresse : Rue Adolphe-Seyboth
Fonction : Logements
Construction : ≈1800
Niveaux : R+4
Hauteur : ≈15.00 m
Maker: Adolphe Terris (1820-1900)
Born: France
Active: France
Medium: albumen print
Size: 2.25" x 4"
Location: France
Object No. 2014.576a
Shelf: E-18-T
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 William Bouguereau oil paintings, art reproduction, art gallery.
Angel Oil Painting Art Co,.Ltd.
Add:17B,JiAnGe,BaoLong Mansion,BuJi
ShenZhen,518112 China
Email: xj8cn@yahoo.com angel@angeloilpainting.com
Tel:86-13928408619
Fax:86-755-28281991
Adolphe Otto SELIGMANN
(Karlsruhe, 1862 - Quimper, 1928)
Ferme aux trois arbres
Huile sur toile, 46 x 65 cm
Don, 2014
PONT-AVEN Musée de Pont-Aven
L’artiste d’origine germanique arrive à Concarneau en 1891 et se fixe dans ce port finistérien pendant plusieurs années. En 1901, il est au Pouldu en Clohars-Carnoët avec sa femme Marie Nicot, originaire de Douarnenez. Il vit au Pouldu jusqu’en 1914 et côtoie Adolphe Beaufrère qui pratique l’eau-forte comme lui. On perd ensuite sa trace au début de la Grande guerre.
Contemporain des membres de l’École de Pont-Aven, il travaille sur les mêmes sites que Gauguin, Slewinski, Meijer de Haan, Filiger. Ainsi, ces deux œuvres représentent des motifs appréciés et représentés par ces derniers. La Ferme aux trois arbres est une vue de la ferme de Kernévénas, située au Pouldu, que l’on identifie par ces arbres penchés très caractéristiques. Quant à la toile Chaumière d’Héléna au Pouldu, elle témoigne de l’intérêt de Seligmann pour cet édifice isolé, situé non loin de l’océan, un lieu qui a également inspiré Sérusier. Seligmann est plus connu comme graveur que comme peintre.
Dossier de presse du musée pour la réouverture après travaux, mars 2016 :
www.aphg.fr/IMG/pdf/dp-pontaven.pdf
webmuseo.com/ws/musee-pont-aven/app/collection/record/525...
Maker: Louis-Adolph Humbert de Molard (1800-1874)
Born: France
Active: France
Medium: modern gelatin silver print
Size: 7" x 9 1/2"
Location:
Object No. 2016.935
Shelf: E-25
Publication:
Other Collections:
Provenance: Texbraun Galerie
Notes: Baron Louis Adolphe Humbert de Molard, born in Paris on October 30, 1800 and died on March 17, 1874, was a French pioneer of photography. From the beginning of the 1840s, Baron Humbert de Molard became interested in the first photographic techniques. He is one of those wealthy amateurs who were passionate about this emerging art. After the death of his first wife, he remarried in 1843 with Henriette Renée Patu, miniaturist designer and lithographer, who owned land in Lagny-sur-Marne. From 1843 to 1850, he produced a series of daguerreotypes but gradually favored the calotype technique , which he experimented with from 1844. He was partly trained by his friend Hippolyte Bayard . He used other techniques, such as albumen printing and wet collodion . He came into contact with Abel Niépce de Saint-Victor to try to improve certain processes and then became the defender of the development techniques promoted by Gustave Le Gray. His productions have remarkable pictorial qualities and reveal a great mastery of the technical stages (lighting, emulsion, development). He staged activities related to the peasant world, as well as several gender figures, helped by his steward and model named Louis Dodier. In 1854, he was a founding member of the Société française de photographie and sought to promote various techniques of development on paper from negatives and resigned in 1864 for health reasons. He published his research between 1851 and 1866 in the journal La Lumière, which was for a time the bulletin of the Société héliographique de Paris. (Source: Wikipedia)
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Manchester Art Gallery.
Albert Square, Manchester.
By Adolphe Valette (1876-1942).
Oil on jute, 1910.
An atmospheric, smog-filled view of Albert Square, Manchester, seen from the southwest side. In the foreground is the dark figure of a man, wearing a cloth cap and knee-length coat, pushing a handcart, his figure silhouetted against the wet cobbles. Overhead is a grid of cables. On the far side of the street, to the right of the scene, is parked a hansom cab beneath the statue of Gladstone - the horse feeds from a nose-bag as the driver also rests; behind the statue looms the hazy silhouette of part of the Town Hall. To the left of the scene, a group of figures congregate around a motorcar parked beneath the Albert Memorial and the statue of Oliver Heywood to the right. Beyond are the forms of figures making their way across the square, illuminated with street lights, seen against a further background of the extremely hazy surrounding buildings.
This view of Albert Square outside Manchester Town Hall is viewed from the south-west side. The statues are from left to right: the Albert Memorial, Oliver Heywood and William Gladstone. At the time the Town Hall was entirely covered in a velvet coat of soot. Valette has captured a moment in history as a horse-drawn carriage shares the square with a motor car – a new and very modern appearance at the time and a strangely rare occurrence in early twentieth century art. The cellar man pushing his barrow loaded with cases of wine is sometimes believed to be a character who worked for Willoughby’s wine merchants. The dark silhouette of the figure and his rounded working boots became trademark features of Valette’s pupil, Lowry.
Adolphe Valette was born in 1876 in the industrial town of St Etienne, and came to England in 1904. He settled in Manchester and studied at the Manchester School of Art and taught there from 1906 to 1920. Amongst his students was LS Lowry.
When Valette was an art student in France, the Impressionist movement was at its height. By the end of the 19th century art galleries and collectors all over Europe were buying paintings by Monet, Renoir and others. When Valette arrived in Manchester he brought first hand knowledge of Impressionist painting with him which he was able to share with his students, including LS Lowry. ‘Forain, Monet, Degas and the French Impressionists were his gods’, as one of his students put it.
It was between 1908 and 1913 that he completed his major Impressionist Manchester cityscapes. In 1908 he produced his first Manchester painting depicting Manchester Ship Canal. He fully understood the Impressionist practice of painting en plein air, capturing an immediate visual impression of a scene and rendering the exact effect of light.
Soon after his arrival in Manchester, Valette enrolled as a student in the evening classes at the Municipal School
of Art at All Saints, now part of Manchester Metropolitan University. His talent was quickly recognised and he was encouraged to apply for the position of Master of Painting and Drawing. He accepted this post ‘on the condition that he should teach the pupils by actually painting with them.
In 1928 Valette left Manchester, due to ill health and following the death of his mother. He moved permanently to Blace in the Beaujolais region of France, settling in a cottage which he inherited from his mother and where he had spent many holidays.
The half track was the brainchild of Adolphe Kegresse, a Frenchman who had already gained some experience of all terrain vehicles by converting the small luxury fleet of Tsar Nicholas II to cope with the harsh Russian winters. On his return to France, Kegresse collaborated with fellow countryman Jacques Hinston to design a new type of bogey. The Kegresse was quickly put into production at Andre Citroen's factory in Paris and the revolutionary half track was at the cutting edge of motorised exploration during the 1920s.
Under the skillfull guidance of adventurers such as Georges-Marie Haardt, the Citroen became the first vehicle to cross the barren wastes of the Sahara. The following year, several Citroen half Tracks followed up this spectacular feat by traversing the length and breadth of Africa on a trip known as the La Croisiere Noir. Commercially, the Kegresse was used for a variety of tasks including pulling canal barges and hauling parties of skiers up mountainsides. Skis could be fitted tot he front wheels in wintry conditions and a snow plough was also a popular option.
The original MK a and B2 versions were equipped with a 1500cc, four cylinder inline four stroke water cooled engines. On some military versions the superstructure was cut back or even discarded in favour of a canvas roof. This ade the vehicle useful for a variety of tasks including as a gun carriage, a mobile radio truck and an officer's staff car.
Of particular interest was the high and low range gearbox. This was a pioneering development and a forerunner of the type that would eventually be used in the first Land Rover after World War Two.
This particular Kegresse has been in the same family for over 60 years. The vehicle was originally supplied new to Arthur Bell Distillers in Pitlochry in 1929. It was used to ferry guests out to the local grouse moor.
Its top speed is in the region of 25mph. The vehicle has a maximum payload of 0.7 Tons and the ground clearance is just under 12 inches.
The mechanics of this vehicle are still in their original condition - a testiment to the ruggedness and reliability of the Citroen. The body has undergone a few modifications, including a roof and timber sides.
Pascal Adolphe Dagnan-Bouveret - After Church in the Fields - 1887 at Corcoran Art Gallery Washington, DC
This image was scanned from a photograph in the Newcastle and Hunter District Historical Society archives which are held by Cultural Collections at the University of Newcastle, Australia.
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Catalog #: 09_01009
Title: Adolphe Heri DuBois Special Collection Photo
Additional Information: N.S. 11 airship on ground viewed from the rear, Adolphe Heri DuBois served during World War I,
Corporation Name: N.S. (North Sea) class
Tags: Adolphe Heri DuBois Special Collection Photo, N.S. (North Sea) class
Repository: San Diego Air and Space Museum Archive
Steel engraving from History of the French Revolution 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 790 pages 26cm x 17.5cm.
Pont Adolphe is a stunning arch bridge over the Pétrusse valley, connecting Luxembourg city centre with the Gare district. Designed by Paul Séjourné, a Frenchman, and Paul Rodange, a Luxembourger, and built between 1900 and 1903, its plans were audacious for that day and age; at 84.65m, the central span was to be the largest stone arch in existence.
More info:
- en.wikipedia.org/wiki/Adolphe_Bridge (in English)
- www.gouvernement.lu/salle_presse/actualite/2005/08/04wise... (in French)
I wish I had an ultra-wide-angle lens there...
Best viewed Large, On Black.
The "Ellamang" was an iron screw steamer, 946/495 tons. #74903. Built Scotland, 1876; reg. Sydney, 63/1877. Length 232 ft. After useful service, was dismantled, filled with sand, and sunk at the Newcastle breakwater, February 1905.
Information thanks to 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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Maker: André Adolphe Eugène Disdéri (1819-1889)
Born: France
Active: France
Medium: albumen print
Size: 4.1' X 2.5'
Location: France
Object No. 2014.839
Shelf: B-2
Publication: Elizabeth Anne McCauley, A.A.E. Disderi and the Carte de Viste Portrait Photograph, Yale University Press, New Haven, 1985, fig 82
Francois Boisjoly, Repertoire de Photographies Parisiens du XiXe Siecle, Les Editions de L'Amateur, Paris, 2009, p 101
Other Collections:
Notes: Ristori Tamberlick Alboni Gardoni Grisi Mario Borghi Mamo Beaucarde Penco Grazziani Nantier Didiee Angelini
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Catalog #: 09_01007
Title: Adolphe Heri DuBois Special Collection Photo
Additional Information: N.S. 11 airship in flight, Adolphe Heri DuBois served during World War I,
Corporation Name: N.S. (North Sea) class
Tags: Adolphe Heri DuBois Special Collection Photo, N.S. (North Sea) class
Repository: San Diego Air and Space Museum Archive
July 29/22
22-628877
Europe2022Trip
Belgium
Brussels/Bruxelles Belgium
Europe Catch All
Europe Street View
Europe Heritage Structure
A View Heritage Structures Lining Boulevard Adolphe Max Being Gutted With The Building Façade Being Save
imagem original by www.flickr.com/photos/scoutress/234892787/
texture by www.flickr.com/photos/34053291@N05/3996426950/in/pool-tex...
homenagem to William Adolphe Bouguereau
Timothee Adolphe of France in the men's 400m T11
2021.06.02 World Para Athletics European Championships Bydgoszcz 2021
Photo by Tadeusz Skwiot
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 and Hume Greenfield.
Published by A.Fullerton, London, Edinburgh & Dublin. Four volumes,. half leather binding, this volume 685 pages 26cm x 17.5cm.
William-Adolphe Bouguereau, a French painter, used mythological themes, making modern interpretations of classical subjects, with an emphasis on the female human body. In his own time, Bouguereau was considered to be one of the greatest painters in the world. During the 19th century Bouguereau began exploring the subject of the secularized Madonna and Child. Although his renowned Charity, Birth of Venus, and The Martyr's Triumph are perhaps the best known of his paintings for this style, Song of the Angels has been widely acclaimed as his greatest. What is striking about this painting is the casual pose of the Virgin Mary and the artlessness of the Child. This is more a mother and son relationship, which was a reoccurring theme in Bouguereau's works. The angels also lend a sense of reality to the painting. As the trio plays a lullaby, they really seem human and not heavenly images. The three angels and the Madonna were painted after the likeness of the American artist, Elizabeth Jane Gardner, who would later become his wife. Bouguereau's mastery of flesh tones made him renowned during the Victorian period. Art history records mention that his works exhibit flesh tones, "beyond which, in texture, color and flexibility, skill of technique can no further go." This is seen in the definition and tones of each figure's skin, as the figures seem to come alive to the human eye. The original Bouguereau masterpiece, Song of the Angels, is part of Forest Lawn’s permanent collection and is on display in the Forest Lawn Museum in Glendale, California.
Source: Forest Lawn Museum
www.requestaprint.net/forestlawn/itemdetail2.php?work_id=1
www.getty.edu/visit/events/bouguereau.html
www.artrenewal.org/artworks/la-vierge-aux-anges/william-a...
Adolphe William Bouguereau oil paintings, art reproduction, art gallery.
Angel Oil Painting Art Co,.Ltd.
Add:17B,JiAnGe,BaoLong Mansion,BuJi
ShenZhen,518112 China
Email: xj8cn@yahoo.com angel@angeloilpainting.com
Tel:86-13928408619
Fax:86-755-28281991
Maker: André Adolphe Eugène Disderi (1819-1889)
Born: France
Active: France
Medium: albumen print
Size: 4 1/8 × 11 1/8 in
Location: France
Object No. 2021.113f
Shelf: C-62
Publication: Mr. Disderi, Windsor Castle, Twenty-nine Photographic Views of the interior of WindsorCastle, Photographed by the Gracious Permission of Her Majesty The Queen, London, 1867
Other Collections: The Getty
Provenance:
Notes: André-Adolphe-Eugène Disdéri (1819 - 1889) a self-taught daguerreotypist, researched and improved upon the existing collodion-on-glass negative process, which he outlined in his first publication, Manuel Opératoire de Photographie sur Collodion Instantané, 1853. That same year, he returned to Paris and opened the largest studio in Paris, which spread across two floors. It was there that he introduced his carte-de-visite portraits which were a great financial success. For the 1855 Paris Exposition Universelle, he formed the Société du Palais de l'Industrie and obtained the rights to photograph all the products and works of art exhibited at the Exposition. Eder writes "Disdéri was considered the outstanding portrait photographer of his time in Paris. Napoleon III appointed him court photographer. In 1861, he instructed French officers in photography under orders from the minister of war. Disdéri's popularity is best shown by the fact that his character was introduced in 1861 as a star attraction on the stage of a small vaudeville theater in Paris by a realistic representation featuring his bald head and tremendous beard."
(Source: Andrew. Cahan)
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William Adolphe Bouguereau
French, 1825-1905
Detail from: The Broken Pitcher
1891
Oil on canvas
Signed and dated lower left: W-BOVGBEREAV-1891
Well known as a defender of conservative, academic values in 19th-century art, Bouguereau rose to prominence in the 1850a. An influential teacher at the Ecole des Beaux-Arts, his work displays the idealism and decorative quality typical of paintings shown at the official Salon. Influenced by Italian Renaissance masters during his stay in Italy, he became a superb draftsman who produced works with a smooth and refined surface finish that contrasts sharply with the naturalism of his Barbizon and Impressionist contemporaries.
Peasant imagery, particularly young and pretty peasant girls, obsessed 19-century artists. However, The Broken Pitcher is based on a famous 18th-century composition of the same title by Jean-Baptiste Greuze. The sexual symbolism of the broken pitcher is made more explicit by the girl’s plaintive expression. Bouguereau’s sentimentality softens the harsh realities of peasant life, portrayed more brutally and honestly by Gustave Courbet and Jean-Franҫois Millet.
Gift of M. H. de Young
To the M.H. de Young Memorial Museum
53162
From the placard: San Francisco Legion of Honor Art Museum
SKA698
Stereobild av trädgården, Palais Longchamp, Marseille.
Stereo image. View of Palais Longchamp, Marseille.
Photo: Jean César Adolphe Neurdein 1860-1867.
A Maze in Corn
St. Adolphe, Manitoba
Don't use this image on websites, blogs or other media without explicit permission.
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Maker: Adolphe Braun (1812-1877)
Born: France
Active: France
Medium: carbon print
Size 9 in x 11.4 in
Location: France
Object No. 2014.090
Shelf: C-10
Publication: Francois Boisjoly, Repertoire de Photographies Parisiens du XiXe Siecle, Les Editions de L'Amateur, Paris, 2009, p 83
Other Collections:
Notes: TBAL
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Catalog #: 09_01001
Title: Adolphe Heri DuBois Special Collection Photo
Additional Information: N.S. 11 airship on ground, showing engines and gondola, Adolphe Heri DuBois served during World War I,
Corporation Name: N.S. (North Sea) class
Tags: Adolphe Heri DuBois Special Collection Photo, N.S. (North Sea) class
Repository: San Diego Air and Space Museum Archive