View allAll Photos Tagged Adolphe
Jean-Charles Adolphe Alphand was the 'directeur des travaux de la ville de Paris' (director of works for the city of Paris) and credited as the father of green spaces in the city. This monument dedicated to his memory is located on Avenue Foch, a particularly green street that connects the Arc de Triomphe with the Bois de Boulogne.
cma-modern-european-art:
Rest, William Adolphe Bouguereau , 1879, Cleveland Museum of Art: Modern European Painting and Sculpture
One of the most celebrated academic painters of his time, Bouguereau underscores the moral virtues of the Italian peasants in this painting by depicting the dome of St. Peter’s in the distance. The idealized figures and their triangular grouping recall the Holy Family paintings by Renaissance master Raphael 400 years earlier. The painting was purchased directly from the artist by Cleveland banker and philanthropist Hinman B. Hurlbut in July 1879.
Size: Framed: 204 x 156 x 15 cm (80 5/16 x 61 7/16 x 5 7/8 in.); Unframed: 164.5 x 117.8 cm (64 ¾ x 46 3/8 in.)
Medium: oil on fabric
via Tumblr ift.tt/338VpDM
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Contact : photos [at] handisport.org
Pascal-Adolphe-Jean Dagnan-Bouveret.
Les Bretonnes au Pardon.
France, 1887.
Oil on canvas.
In the late 1880s, naturalism reached the height of its popularity. The interest surrounding themes associated with the detailed depiction of the rural world explains the enormous success achieved by this objective composition at the 1889 Salon, where it received an award.
An ethnographic representation of pious customs, the painting evokes the ceremony of the Pardon, an indulgence granted by the Church to the faithful, and serves as a pretext for casting an analytical gaze at a world struggling to resist the changes of the end of the century. At the time, Brittany was the focus of particular attention from artists working in various movements and one of the most stimulating counterpoints to this painting was created by Gauguin.
Photographs taken by Dagnan-Bouveret in Rumengol and successive attempts at creating portraits of isolated models contributed to the end result of the painting. The final work, brought together by the painter in his studio, is therefore the result of a considerable amount of prior effort and a complex process of scenic arrangement.
Source: gulbenkian.pt/museu/en/works_museu/les-bretonnes-au-pardon-2
Laurent wauquiez, michel barnier visitent l'institut de formation par alternance, adolphe chauvin a osny (95)
Adolphe Bridge a double-decked arch bridge in Luxembourg City in the Grand Duchy of Luxembourg September 1983
Europe Europa
Belgique België Belgium Belgien Belgica
Bruxelles Brussel Brussels Brüssel Bruxelas
Boulevard Adolphe Max
On the coach in Vieux Lyon. Quai Romain-Rolland. Shortly the coach would drop us off, and our group would go on a guided walking tour of Vieux Lyon.
The coach just went over the Pont Bonaparte (after leaving Place Bellecour on the other side of the bridge).
Avenue Adolphe Max
Parc Saint-Georges
Café de la Bibliothèque seen to the left.
Vintage Romanian postcard. Alida Valli and Maria Denis in Le due orfanelle (Carmine Gallone, 1942), based on the classic stage play by Eugène Cormon and Adolphe d'Ennery.
Strikingly beautiful actress Alida Valli (1921-2006) was Italy’s Sweetheart of the early 1940s. She fascinated audiences not only with her flawless porcelain face, her dark, voluptuous hair and her green, expressive eyes but also with her ability to simultaneously hide and reveal a character's thoughts and emotions. In a career that spanned seven decades, she appeared in more than 110 films including such classics as The Third Man and Senso.
María Denis (1916 - 2004) was one of the most popular stars of the Italian cinema under the Fascist rule. Very successful were her telefoni bianchi-films and melodramas of the 1930s and 1940s. Charges of collaboration tarnished her career after the war.
The musician John Ella when in Paris visited Adolphe Sax and his wife. (Picture: a variant of others known).
The Adolphe ran aground in Newcastle harbour in 1904. The Stockton breakwall later incorporated it in its construction.
Baltimore is a city full of fascinating monuments. You can tell much about any cities history from its monuments. Maryland was a divided state during the Civil War. Much of the state supported the Confederacy although Maryland never secceeded from the Union. This is the only Civil War monument in Baltimore dedicated to the Union. One the opposite corner of the Wyman Park Dell you will find the monument to Robert E. Lee and Stonewall Jackson of the Confederacy.
The statue was created by Adolphe A. Weiman and was dedicated in 1909. The monument depicts a Union soldier striding forward with the Goddess Victory to his right and the Goddess Bellona (War) to his left. Behind Bellona rises a fig tree.
Pascal-Adolphe-Jean Dagnan-Bouveret.
Les Bretonnes au Pardon.
France, 1887.
Oil on canvas.
In the late 1880s, naturalism reached the height of its popularity. The interest surrounding themes associated with the detailed depiction of the rural world explains the enormous success achieved by this objective composition at the 1889 Salon, where it received an award.
An ethnographic representation of pious customs, the painting evokes the ceremony of the Pardon, an indulgence granted by the Church to the faithful, and serves as a pretext for casting an analytical gaze at a world struggling to resist the changes of the end of the century. At the time, Brittany was the focus of particular attention from artists working in various movements and one of the most stimulating counterpoints to this painting was created by Gauguin.
Photographs taken by Dagnan-Bouveret in Rumengol and successive attempts at creating portraits of isolated models contributed to the end result of the painting. The final work, brought together by the painter in his studio, is therefore the result of a considerable amount of prior effort and a complex process of scenic arrangement.
Source: gulbenkian.pt/museu/en/works_museu/les-bretonnes-au-pardon-2
Maker: Adolphe Bilordeaux (1807-1872)
Born: France
Active: France
Medium: photolithograph
Size: 7.5" x 9.5"
Location: France
Object No. 2015.244p
Shelf: N-4
Publication: Histoire Générale de Paris. La Seine aux âges antéhistoriques par E. Belgrand, Inspecteur général des Ponts et Chaussées, Directeur des Eaux et des Egouts de la ville de Paris. Planche de Paléontologie, Paris, 1889, pl 66
Other Collections:
Provenance: Tableaux Modernes & Contemporains - Sculptures - Photos, Marc-Arthur Kohn, October 16, 2020, Lot 209
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
Manchester Art Gallery.
Hansom Cab at All Saints, Manchester.
By Adolphe Valette (1876-1942).
Oil on jute, 1910.
An atmospheric, smog-filled, winter scene of a hansom cab parked on Grosvenor Square (All Saints). The street is Oxford Road, Manchester, seen from the corner of Devonshire Street. The cab and horse, parked at the curb to the left of the scene, are in profile. To the right, the horse has its head lowered to the ground as it feeds from a nosebag and has a small blanket draped over its back. A male figure stands on the back of the cab, leaning on its roof. Several figures make their way along the pavement between the cab and a wall crowned with an iron railing fence, beyond which are the silhouettes of bare trees standing in the grounds of the twin-towered Scottish Presbyterian Church (now demolished), its hazy form visible against a darkening sky.
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.
Verso of:
Albert Jean Adolphé (American, Pa., 1865-1940)
Portrait of a Father and Son, after Anthony van Dyke
Oil on panel
14 1/8 x 9 3/8 inches
Painted in Paris, at the Louvre, c. 1897-1901
Signed and inscribed, upper right: Albt. Jean Adolphé, Paris
Notes:
In her essay in the catalogue accompanying the 2001 exhibition, "To Paris and Back: Albert Jean Adolphé -- An Artist's Journey" at the Berman Museum of Art, Ursinus College, Pamela Potter-Hennessey notes that Albert Jean Adolphé was born "Albert John Adolph" in Philadelphia in February 1865, and except for a brief period of study in Europe at the turn of the century (c.1897-1901), he lived and worked in Philadelphia his entire life. This painting is one of the rare surviving works from his years in Paris. It is a copy Adolphé' made of a painting by Anthony van Dyck, "Portrait of a Father With His Son (also called Portrait of Guillaume Richardot and His Son," located in the Louvre Museum.
Potter-Hennessey explains the raison d'être of the practice of replicating the Old Masters: "Through the controlled process of copying directly from the paintings, Adolphé and thousands of others learned from the masters of the past, while dreaming that their own works might one day be hung for inspection by a new generation."
John Ella and Adolphe Sax were at Hector Belioz's wedding, other guests including Meyerbeer, etc.
For an article by me on J.Ella and family, go to THE HECTOR BERLIOZ WEBSITE. The article I have dedicated to Mary Webb who was very special in J.Ella's private life.
www.hberlioz.com/others/RElla.htm
Also for further pictures go to:
www.leicestershirevillages.com/leicester/gallery.html?use...
"historica; nostalgica".
Adolphe-William Bouguereau
La Rochelle, France, 1825-1905
The Water Girl or Young Girl Going to the Spring, 1885
Oil on canvas
63 1/8 x 28 7/8 in (160.3 x 73.3 cm)
For our day in port at Cannes, Mike and I began by hiking up to Musée de la Castre -- once a hilltop fortress and now a museum at the heart of Cannes' Le Suquet district.
The museum's collections are grouped by themes, including a Pictorial Journey (Voyage Pittoresque) that features paintings of landscapes, seascapes, views of Cannes, Impressionism, and Fauvism.
Here, you can see a couple of works from the museum's Verduta of Cannes collection -- a view of Cannes from the shore and an evening stroll by Adolphe Fioupou. A few details on the paintings as listed on their placards, as well as an overview of the Verduta of Cannes collection as outlined in the museum's brochure:
Adolphe FIOUPOU
(Le Cannet 1824-1899)
Panorama of Cannes From the Shore
Oil on Canvas
1860
Adolphe FIOUPOU
(Le Cannet 1824-1899)
Evening Walk on les Allées
Oil on Canvas
1862
Verduta of Cannes
Venice's 18th century painters, such as Canaletto and Guardi, made famous a genre -- the topographical view, or verduta -- that they exported throughout Europe. It was a painted souvenir of great quality that gave wealthy visitors a reminder of the city's architectural beauty. Paintings of this type stood out for the precision of the urban landscapes and the accuracy and minuteness of the architectural details or scenes depicted. In 19th century Cannes, where the winter visitors stopped off on their way to Italy, or stayed to cure their ills in the sun, the minor masters of the coast -- Fioupou, Contini, and Buttura foremost among them -- set to work to compose pictures of modest proportions, easy to pack in traveling trunks. Their paintings portrayed the holiday sights of Cannes: the view from Le Suquet, the Croisette promenade, the boat quay, and so on. The golden evening light and the Mediterranean vegetation depicted in them summon up an almost oriental image of Cannes, turning the town into one of the possible gateways to the Orient, much yearned after at the time.
THE HISTORY OF MAISON POMMERY
THE MIRACLE OF LOUISE (1857/1922)
After making a fortune in the wool industry, in 1856, Mr Pommery was in fragile health and decided to retire from business and enjoy a quiet life. His son Louis was no longer a child. Mr Pommery and his wife did not have any special plans. They simply wanted to enjoy a well-deserved retirement. But destiny had other things in store for them… Madame Pommery discovered she was expecting a child, at the age of 38. This miraculous pregnancy, more than 17 years after her first, would change their lives forever. To provide for his baby daughter, Mr Pommery decided to go back into business. But the wool industry was in crisis. However, the champagne trade was booming.
In the inventory on 31 December 1856, all of Pommery’s wines were grands crus. The company changed its name, but it gained great strengths and talents. Henry Vasnier, the 24-year-old financial and administrative director, and Adolphe Hubinet, the 23-year-old business director, joined the team. When Mr Pommery died on 18 February 1858, his wife looked at baby Louise, who was not even a year old, and mustered up the strength to set out on an incredible journey. With this same pride, passion, and emotion, we are trying to reproduce Madame Pommery’s miracle, which we have given the sweet name of Louise.
A SMART WOMAN WITH A BIG HEART AND A STRONG WILL
In 1857, the wool industry was in crisis, and Mr Pommery moved into the champagne trade to provide for his infant daughter. He died a year later in February 1858. The rest is history: the young widow Pommery took over the champagne business and led it on to success and glory.
Louise Pommery grew up to be a gentle, attractive, and discerning young woman. She married the count and future marquis Guy de Polignac in 1875. In 1890, upon their mother’s death, Louis and Louise took over management of the company, while Henry Vasnier remained director. It was a painstaking effort for Madame Pommery to acquire the estate’s first 18 hectares. Louis Pommery and his sister, the Marquise of Polignac, gradually bought up the other 282 hectares.
A SPECIAL CUVÉE INSPIRED BY A GREAT FIGURE IN CHAMPAGNE
Cuvée Louise, an extremely pure champagne, was created in 1979. Pommery’s prestige cuvée is faithful to the high standards of the woman who inspired it, made from the best plots of vines that are jealously kept for this wine alone.
In the tradition of Pommery Nature 1874, Louise is a prestige Cuvée with extremely low sugar content. Behind this apparent simplicity, there are unique processes at play, used at every stage of winemaking, so that Cuvée Louise can take the time to embody the quintessence of Pommery style.
I AM MADAME POMMERY…
‘I resolved to continue with the business and take over for my husband… ’
In 1858, the determined young widow set out to conquer the national and international markets. She had no qualms about shaking up the rules of corporate management. She was one of the first people in business to lay out a system for promoting luxury products, including style, branding, communication, and public relations. She invented Pommery’s brand image.
This businesswoman used her fortune to good ends, setting up the first pension fund and a social security system for her employees. She also founded the orphanage in Reims and its maternity fund. Through these actions, she invented the corporate code of conduct.
William Adolphe Bouguereau (1825–1905), Idyll: Family from Antiquity, 1860. oil on canvas. 23 1/2 x 19 in. Collection of Wadsworth Atheneum Museum of Art, Hartford, CT. Gift of Charles E. Gross in memory of his brother W. H. Gross, 1913.1.
Obj. No. 2008.100
William-Adolphe Bouguereau (French, 1825-1905)
Battle of the Centaurs and the Lapithae (Bataille des Centaures contre les Lapithes), 1852
Oil on canvas
49"H x 68⅝"W
124.46 cm x 174.31 cm
Image must be credited with the following collection and photo credit lines:
Virginia Museum of Fine Arts, Richmond. Arthur and Margaret Glasgow Fund.
Photo: Travis Fullerton © Virginia Museum of Fine Arts