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Antoine-Joseph Sax, bekend als Adolphe Sax, was een Belgische bouwer van muziekinstrumenten. Zijn grootste bekendheid heeft hij te danken aan zijn uitvinding van de saxofoon.
Geboren: 6 november 1814, Dinant, België
Antoine-Joseph "Adolphe" Sax (Dinant 6 November 1814 – 7 February 1894) was a Belgian inventor and musician who invented the saxophone in the early 1840s, patenting it in 1846. He also invented the saxotromba, saxhorn and saxtuba, and redesigned the bass clarinet in a fashion still used to the present day. He played the flute and clarinet.
I was out the other evening and I stopped by this gorgeous view of the Pétrusse valley and the recently re-opened Adolphe bridge.
I love that time of the day when it is getting dark but there is still some light. In photography we call such time the blue hour. The Autumn colours really are reaching their peak in Luxembourg.
Antoine-Joseph Sax, bekend als Adolphe Sax, was een Belgische bouwer van muziekinstrumenten. Zijn grootste bekendheid heeft hij te danken aan zijn uitvinding van de saxofoon.
Geboren: 6 november 1814, Dinant, België
Antoine-Joseph "Adolphe" Sax (Dinant 6 November 1814 – 7 February 1894) was a Belgian inventor and musician who invented the saxophone in the early 1840s, patenting it in 1846. He also invented the saxotromba, saxhorn and saxtuba, and redesigned the bass clarinet in a fashion still used to the present day. He played the flute and clarinet.
À la fin du XVIIIe siècle, sous le régime révolutionnaire français, l’église gothique de la fin du Moyen Âge qui avait remplacé l'église primitive est rasée. À son emplacement, la Ville de Bruxelles aménage une place publique au centre de laquelle est installée une fontaine, surmontée d’un obélisque datant de 1767, récupérée de la cour de l’abbaye de Grimbergen.
Œuvre de l’architecte Adolphe Vanderheggen, le bâtiment est inauguré en 1882. Le bâtiment de style néorenaissance flamande est un remarquable exemple architectural de la conception de halles. L’intérieur, qui inclut l’ancienne fontaine, comportait quatre rangées de doubles étals de pierre bleue. La structure de l’édifice est métallique.
Malgré un classement du bâtiment en 1987 et plusieurs tentatives de réaffectation commerciales ou culturelles sans lendemain, il faut plus de vingt ans pour que les halles bénéficient d’une réhabilitation définitive.
Depuis 1999 les Halles Saint-Géry sont occupées par un centre d’information consacré au patrimoine bruxellois et à la qualité de vie de ses habitants. De nombreuses expositions et différents évènements y sont organisés.
Le quartier Saint-Géry revitalisé, est aujourd’hui un des endroits de la capitale où le nombre de tables en terrasse au mètre carré est le plus élevé. L'ambiance détendue du quartier en fait un des lieux les plus fréquentés et les plus agréables de la capitale.
At the end of the eighteenth century, under the French revolutionary regime, the Gothic church of the late Middle Ages that had replaced the original church was razed. At the location, the City of Brussels landscape a public square in the center of which is installed a fountain topped by an obelisk dating from 1767, recovered from the courtyard of the Abbey of Grimbergen. Designed by architect Adolf Vanderheggen, the building was inaugurated in 1882. The Flemish Renaissance Revival style building is a remarkable architectural example of the design of halls. The interior, which includes the old fountain had four rows of double stalls blue stone. The structure of the building is metal.
Despite a ranking of the building in 1987 and several commercial or cultural reassignment attempts without a future, more than twenty years it takes for the halls have a final rehabilitation. Since 1999 the Halles Saint-Gery is occupied by a dedicated information center in Brussels heritage and quality of life of its inhabitants. Many exhibitions and various events are organized. The Saint-Gery neighborhood revitalized, today is one of the places in the capital where the number of square meter terrace tables is highest. The relaxed atmosphere of the neighborhood makes it one of the busiest places and the most pleasant of the capital.
Die Adolphe-Brücke im Zentrum der Stadt Luxemburg wurde 1900-1903 errichtet. Sie galt zu dieser Zeit als größte Steinbogenbrücke der Welt. Der große Doppelbogen hat eine Spannweite 85 Metern. -
The Adolphe-Bridge was built between 1900 and 1903 in the center of Luxembourg City. It was considered the largest double arch bridge in the world at the time. The large double arch has a wingspan of 85 meters.
Adolphe-Félix Cals (Paris 17 octobre 1810 - Honfleur 3 octobre 1880) - Cliffs near Dieppe (1862) - exhibition “Monet and the Impressionists in Normandy. Masterpieces from the Peindre en Normandie Collection "- Palazzo Mazzetti (Asti)
“Monet e gli impressionisti in Normandia" La mostra ripercorre, a partire dai primi decenni dell’Ottocento, i momenti più importanti di questa corrente artistica.
L’impressionismo è un movimento pittorico nato a Parigi nella seconda metà dell’800. Nasce ufficialmente il 15 aprile 1874 in occasione della mostra tenuta nello studio del fotografo Nadar da un gruppo di artisti respinti dal Salon di Parigi, il tempio della pittura ufficiale. La mostra ha un esito disastroso e provoca feroci polemiche. Ispirandosi al titolo del dipinto Impression, soleil levant di Claude Monet, il critico d’arte Louis Leroy defisce ironicamente questi pittori impressionisti. Gli impressionisti lasciano gli atelier per lavorare all’aperto nelle campagne, nelle periferie, nelle piazze. Utilizzano cavalletti portatili e colori a olio in tubetti, fabbricati per la prima volta in questi anni. Lo scopo è cogliere l’impressione visiva della realtà; da qui la necessità di un’esecuzione rapida, senza disegno preliminare, senza ritocchi e sfumature. Il fondamento della tecnica impressionista è lo studio della luce e del colore; per conferire la massima luminosità ai dipinti gli impressionisti accostano direttamente sulla tela i colori puri; aboliscono l’uso del nero per realizzare le ombre, che vengono rese combinando diversi colori. Spesso gli impressionisti rappresentano il medesimo soggetto in diversi momenti del giorno per mostrare come la luce, nel suo continuo divenire, trasformi cose e colori.
"Monet and the Impressionists in Normandy" The exhibition traces the most important moments of this artistic movement starting from the first decades of the nineteenth century.
Impressionism is a pictorial movement born in Paris in the second half of the 19th century. It was officially born on April 15, 1874 on the occasion of the exhibition held in the studio of the photographer Nadar by a group of artists rejected by the Paris Salon, the temple of official painting. The exhibition has a disastrous outcome and causes fierce controversy. Inspired by the title of the painting Impression, soleil levant by Claude Monet, the art critic Louis Leroy ironically defines these impressionist painters. The Impressionists leave the ateliers to work outdoors in the countryside, in the suburbs, in the squares. They use portable easels and oil paints in tubes, manufactured for the first time in these years. The aim is to capture the visual impression of reality; hence the need for rapid execution, without preliminary drawing, without retouching and nuances. The foundation of the Impressionist technique is the study of light and color; to give maximum brightness to the paintings, the Impressionists put pure colors directly on the canvas; they abolish the use of black to create shadows, which are made by combining different colors. Often the Impressionists represent the same subject at different times of the day to show how light, in its continuous evolution, transforms things and colors.
Nîmes (Gard) - Musée des Beaux-Arts - "Lyssia" (Alfred-Adolphe-Edouard Lepere, 1827-1904).
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Marbre, 1858.
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fr.wikipedia.org/wiki/Mus%C3%A9e_des_beaux-arts_de_N%C3%A...
Stoclet huis
Bankier en kunstverzamelaar Adolphe Stoclet gaf in 1905 Josef Hoffmann – een van de belangrijkste architecten van de Weense Secessie-beweging – de opdracht dit huis te bouwen. Het huis en de tuin werden voltooid in 1911 en hun strakke geometrie betekende een keerpunt in de Art Nouveau en een voorbode van de Art Deco en de Moderne Beweging in de architectuur.
Bron: whc.unesco.org/fr/list/1298/
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Palais Stoclet
Le Palais a été conçu en 1905 à la demande du banquier et collectionneur Adolphe Stoclet par l'un des chefs de file du mouvement artistique de la Sécession viennoise, l'architecte Josef Hoffman. Ce dernier a pu travailler sans limite financière ou esthétique.
Avec leur géométrisme épuré, le palais et le jardin (terminés en 1911) marquent un changement radical au sein de l'Art nouveau, changement qui annonce l'Art déco et le mouvement moderniste en architecture.
Le Palais Stoclet est une des réalisations les plus abouties de la Sécession viennoise.
Source: whc.unesco.org/fr/list/1298/
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Stoclet House
When banker and art collector Adolphe Stoclet commissioned this house from one of the leading architects of the Vienna Secession movement, Josef Hoffmann, in 1905, he imposed neither aesthetic nor financial restrictions on the project. The house and garden were completed in 1911 and their austere geometry marked a turning point in Art Nouveau, foreshadowing Art Deco and the Modern Movement in architecture.
Source: whc.unesco.org/fr/list/1298/
Adolphe Bridge (Luxembourgish: Adolphe-Bréck) is an arch bridge in Luxembourg City, in southern Luxembourg. The bridge takes road traffic across the Pétrusse, connecting Boulevard Royal, in Ville Haute, to Avenue de la Liberté.
Le pont Adolphe franchit la Pétrusse dans la capitale du Grand-Duché de Luxembourg entre le boulevard Royal et l'avenue de la Liberté.
Il dipinto originale è di Adolphe Bouguereau, si intitola Irène ed è del 1897.
Elaboration created for : Play to game
of Magnificent Manipulated Masterpieces Group.
Adolphe-Félix Cals (Paris 17 octobre 1810 - Honfleur 3 octobre 1880) - Sunset in Honfleur (1875) - exhibition “Monet and the Impressionists in Normandy. Masterpieces from the Peindre en Normandie Collection "- Palazzo Mazzetti (Asti)
“Monet e gli impressionisti in Normandia" La mostra ripercorre, a partire dai primi decenni dell’Ottocento, i momenti più importanti di questa corrente artistica.
L’impressionismo è un movimento pittorico nato a Parigi nella seconda metà dell’800. Nasce ufficialmente il 15 aprile 1874 in occasione della mostra tenuta nello studio del fotografo Nadar da un gruppo di artisti respinti dal Salon di Parigi, il tempio della pittura ufficiale. La mostra ha un esito disastroso e provoca feroci polemiche. Ispirandosi al titolo del dipinto Impression, soleil levant di Claude Monet, il critico d’arte Louis Leroy defisce ironicamente questi pittori impressionisti. Gli impressionisti lasciano gli atelier per lavorare all’aperto nelle campagne, nelle periferie, nelle piazze. Utilizzano cavalletti portatili e colori a olio in tubetti, fabbricati per la prima volta in questi anni. Lo scopo è cogliere l’impressione visiva della realtà; da qui la necessità di un’esecuzione rapida, senza disegno preliminare, senza ritocchi e sfumature. Il fondamento della tecnica impressionista è lo studio della luce e del colore; per conferire la massima luminosità ai dipinti gli impressionisti accostano direttamente sulla tela i colori puri; aboliscono l’uso del nero per realizzare le ombre, che vengono rese combinando diversi colori. Spesso gli impressionisti rappresentano il medesimo soggetto in diversi momenti del giorno per mostrare come la luce, nel suo continuo divenire, trasformi cose e colori.
"Monet and the Impressionists in Normandy" The exhibition traces the most important moments of this artistic movement starting from the first decades of the nineteenth century.
Impressionism is a pictorial movement born in Paris in the second half of the 19th century. It was officially born on April 15, 1874 on the occasion of the exhibition held in the studio of the photographer Nadar by a group of artists rejected by the Paris Salon, the temple of official painting. The exhibition has a disastrous outcome and causes fierce controversy. Inspired by the title of the painting Impression, soleil levant by Claude Monet, the art critic Louis Leroy ironically defines these impressionist painters. The Impressionists leave the ateliers to work outdoors in the countryside, in the suburbs, in the squares. They use portable easels and oil paints in tubes, manufactured for the first time in these years. The aim is to capture the visual impression of reality; hence the need for rapid execution, without preliminary drawing, without retouching and nuances. The foundation of the Impressionist technique is the study of light and color; to give maximum brightness to the paintings, the Impressionists put pure colors directly on the canvas; they abolish the use of black to create shadows, which are made by combining different colors. Often the Impressionists represent the same subject at different times of the day to show how light, in its continuous evolution, transforms things and colors.
This 1916 Monument to Faith on the Place d’Armes near the Château Frontenac was designed by Rev. Adolphe Garneau. The architect was David Ouellet. No mention of a sculptor.
The bronze was poured in France.
Le monument-fontaine de style néogothique commémore les 300 ans de l’établissement de la foi chrétienne au Canada, avec l’arrivée des missionnaires récollets en 1615. La statue personnifie la Foi tenant une croix ainsi qu’une palme, récompense divine.
Maker: Adolphe Block (1829-1903)
Born: France
Active: France
Medium: albumen print
Size: 3 1/2 in x 7 in
Location: France
Object No. 2022.518
Shelf: E-14-B
Publication:
Other Collections:
Notes: Adolphe Block (1829-1903) was a noted photographer who became a prolific publisher of stereoviews, especially "tissues" which were albumen photographs printed on thin paper backed by another thin sheet containing spots of color. When backlit, the dull albumen print becomes a colorful image. Nos Mondaines were tissue views of women in provocative poses, though usually full clothed.
French tissue stereocard techniques were developed by J.L. Tardieu in 1853. Tissue stereocards consist of a print on translucent paper mounted on a card cut to frame the print and often with a tissue added . The image could be tinted and the tint visible when lit from behind as a transparency. The tissue format of stereocards were available commercially by 1855. The largest amount of tissue stereocards were produced between 1858 and 1875. Many tissue stereocard producers are still unidentified. Many are marked only by initials such as these which are marked B.K. Photos and J.M.
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HAPPY EASTER
The Flagellation of Our Lord Jesus Christ (1880)
Painting by William-Adolphe Bouguereau (1825-1905)
HDR by Me
Image & Notice of Use from: commons.wikimedia.org/wiki/File:William-Adolphe_Bouguerea...
_-_The_Flagellation_of_Our_Lord_Jesus_Christ_(1880).jpg){kind=link}
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John 20:14-18
"They have taken my Lord away," she said, "and I don't know where they have put him." At this, she turned around and saw Jesus standing there, but she did not realize that it was Jesus.
"Woman," he said, "why are you crying? Who is it you are looking for?"
Thinking he was the gardener, she said, "Sir, if you have carried him away, tell me where you have put him, and I will get him."
Jesus said to her, "Mary."
She turned toward him and cried out in Aramaic, "Rabboni!" (which means Teacher).
Jesus said, "Do not hold on to me, for I have not yet returned to the Father. Go instead to my brothers and tell them, 'I am returning to my Father and your Father, to my God and your God.' "
Mary Magdalene went to the disciples with the news: "I have seen the Lord!" And she told them that he had said these things to her.
Wright Archive collection
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Carte de Visite photograph of a young woman, late 1800s.
Photograph by James Frederick Lowrie who traded under the name of F Valery and operated a studio in The Parade, Beckenham, England. Lowrie was born in 1853 and died in his other studio at Victoria Chambers, High Street, Bromley, in May 1906 from a heart attack.
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The carte de visite, (visiting card), abbreviated CdV or CDV, was a type of small photograph which was patented in Paris, France by photographer André Adolphe Eugène Disdéri in 1854, although first used by Louis Dodero. It was usually made of an albumen print, which was a thin paper photograph mounted on a thicker paper card. The size of a carte de visite is 54.0 mm (2.125 in) × 89 mm (3.5 in) mounted on a card sized 64 mm (2.5 in) × 100 mm (4 in). In 1854, Disdéri had also patented a method of taking eight separate negatives on a single plate, which reduced production costs. The Carte de Visite was slow to gain widespread use until 1859, when Disdéri published Emperor Napoleon III's photos in this format. This made the format an overnight success. The new invention was so popular it was known as "cardomania" and it spread throughout Europe and then quickly to America and the rest of the world.
Each photograph was the size of a visiting card, and such photograph cards were traded among friends and visitors. Albums for the collection and display of cards became a common fixture in Victorian parlors. The immense popularity of these card photographs led to the publication and collection of photographs of prominent persons.
By the early 1870s, cartes de visite were supplanted by "cabinet cards," which were also usually albumen prints, but larger, mounted on cardboard backs measuring 110 mm (4.5 in) by 170 mm (6.5 in). Cabinet cards remained popular into the early 20th century, when Kodak introduced the Brownie camera and home snapshot photography became a mass phenomenon.
Source Wikipedia: en.wikipedia.org/wiki/Carte_de_visite
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This is my first Red Camellia this year (2022) and the rains really beat it up but I think it is so nice to have a bit of color...