View allAll Photos Tagged Adolphe
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.
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
Maker: Adolphe Braun & Cie. (French, Active 1876 - 1889)
Title: Pont du Gard
Date: ca. 1882
Medium: Carbon print
Adolphe - Charles Adam
Giselle
direttore: Barry Francisco Pérez
coreografia: Mats Ek
scene e costumi: Marie Luise Ekman
luci: Jorgen Janson
direttore del Corpo di Ballo: Giuseppe Carbone
Barbara Stanwyck, Adolphe Menjou, William Holden, Lee J. Cobb, and Joseph Calleia, directed by Rouben Mamoulian.
A Dinant nacque nel 1814 Adolphe Sax (Antoine Joseph Sax), costruttore di strumenti musicali ed inventore del sassofono.
Maker: Adolphe Braun (1812-1877)
Born: France
Active: France
Medium: albumen print
Size: 2.25" x 4"
Location: Switzerland
Object No. 2013.351a
Shelf: E-17-B
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. 2017.704
Shelf: B-2
Publication:
Other Collections:
Provenance: photo-discovery
Rank: 12
Notes: Marie Joseph Louis Adolphe Thiers (15 April 1797 – 3 September 1877) was a French statesman and historian. He was the second elected President of France, and the first President of the French Third Republic.
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Maker: André Adolphe Eugène Disdéri (1819-1889)
Born: France
Active: France
Medium: albumen print
Size: 2 1/16 in x 3 3/8 in
Location: France
Object No. 2024.1134g
Shelf: J-5.5
Publication:
Other Collections:
Provenance: Catawiki
Rank:
Notes: According to McCauley Galerie des contemporains could either be purchased in volumes of 25 biographies or assembled by subscribers. Disdéri reached an agreement with the editor Zacharias Dollingen in which Dollingen hired journalists to provide the biographical notices which would accompany Disdéri's photographs.
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)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Rudolph Valentino The Sheik still with Adolphe Menjou. Posted by The Rudolph Valentino Society (http://rudolphvalentino.org and therudolphvalentinofilmfestival.com)
A head by Piot is always pleasant to come upon in our galleries, and they have several times made their way to out shores (England). There is nothing meretricious about them; the model is always well chosen for something beside mere regularity of features. We become interested in the personality of the artist's sitters.
So wrote Clarence Clark in his Art and Artists of Our Time in 1905, highlighting the attractive powers of the figures by Étienne-Adolphe Piot. Piot’s images evoked the beautiful and feminine nature of the nineteenth century woman. He relied on his dark backgrounds to highlight the sitter, infusing the paintings with a mood created by the sitter’s facial expressions, whether it was a bashful smile, a glance over a shoulder, or a look of reserved dignity. Philip Hook describes this period of painting in his Popular 19th Century Painting (Woodbridge: Antique Collector’s Club, 1986) and explains that:
For the first time, large numbers of pictures were painted whose sole raison d’être was the depiction of such beauty; not so much in the form of specific portraiture, but more as an homage to feminine beauty in its own right…Painters of beauties spread their net far and wide, to lay before an eager public examples from many different nationalities and social classes…A new sort of feminine beauty was perceived to have been invented by Parisian painters from about 1860 onwards.
Piot did not restrict his imagery to the female form. He also completed many works with children, a significant development as childhood imagery became very popular at a time when people involved with the education of children began to question just what it meant to be a child. Piot’s work, in all of their delicate radiance nevertheless addressed many of the interests and desires prevalent during the nineteenth century.
Étienne-Adolphe Piot was born in Digoin, France, often mistaken for Dijon as both cities are located in the Bourgogne region of Eastern France. His birthdate is unknown. What writings are available on Piot, however few, note that he was born in 1850. These accounts may confuse his first Salon entry with his birth date, which, therefore, should be placed somewhere within the 1820s. Before his start at the Salon in 1850, Piot came to Paris and began studying under Léon Cogniet. Clarence Clark explains further that “Piot came to Paris with the rest of the ambitious ones, and found out Cogniet, the good teacher who, besides winning a sterling reputation for himself, helped so many young artists to a career.”
At the Salon of 1850, when he began exhibiting, Piot showed Portrait de l’Auteur; dessin (Portrait of the Artist; drawing). In the years before 1876 he exhibited under the name Adolphe Piot, though after 1876 he went by Adolphe, Adolphe-Étienne, and Étienne-Adolphe Piot. For the first nineteen years of his public career, he exhibited mainly female portraits of his specific patrons at the Salons. It was not until the 1870 Salon that Piot began to exhibit works outside of portraiture. Clarence Clark describes some of these titles, which range from Abandonée (The Abandoned), Coquetterie (Coquetry), and La Lettre (The Letter):
We find in the Salon catalogues a list of these fanciful titles, together with a number of portraits into which, as is easy to conjecture from the head we copy, the artist would put a mingled grace and sincerity of expression not always found in these works.
Throughout his entire Salon period he remained a pupil of Léon Cogniet. In 1883 he became a membe r of the Société des Artistes Français, and later became a Membre Perpétuel (life-time member). Piot also received an honorable mention in 1890 for his work submitted to the 1889 Exposition Universelle.
It is not known when Piot died, though his last Salon entry is most likely 1909. Either Piot died at a very old age, or he began his Salon career at a very young age. The length of his Salon entries is exhausting and creates a sense of mystery. Some intriguing questions remain to be answered. Was Étienne-Adolphe the son of Adolphe Piot? Was he exhibiting similar works and working under the same master? Any works pre-1876 would be attributed to Adolphe Piot, and those after 1890 can be attributed to Étienne-Adolphe Piot, if they are indeed two separate artists. The interim period is questionable as the artists, or artists, never exhibited together at one Salon, suggesting that it is, as history says, one artist, instead of two. But this sense of confusion in the names of the painter, and the possibility that he had a son who worked with him or who continued his style of creativity, awaits further clarification.
Regardless of these issues, works linked to the name of Adolphe Piot subscribe to the portrayal of the fashionable creation of childlike innocence, both in his youthful sitters and females alike. In this, even when depicting the lower classes, Piot infused his pictures with a sense of elegant humanity and picturesque refinement that appealed to bourgeois Aesthetic taste which was in the ascendancy during this part of the nineteenth century.
A beautiful lithograph depicting the Battle of Vera Cruz by Carl Nebel. Engraving for lithograph by Adolphe Jean-Baptiste Bayot 1851.
William Adolphe Bouguereau French, 1876.
I like this picture because unlike most pieta scenes the virgin looks like someone who has just lost the thing that is most precious to her, her son. The artist too had lost a son, to whom this painting is dedicated.
Maker: Adolphe Bilordeaux (1807-1872)
Born: France
Active: France
Medium: photolithograph
Size: 7.5" x 9.5"
Location: France
Object No. 2015.244o
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 61
Other Collections:
Provenance: Tableaux Modernes & Contemporains - Sculptures - Photos, Marc-Arthur Kohn, October 16, 2020, Lot 209
Notes: TBAL
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For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: André Adolphe Eugène Disdéri (1819-1889)
Born: France
Active: France
Medium: daguerreotype - stereo
Size: 3 3/8 in x 6 7/8 in
Location: France
Object No. 2024.1209
Shelf: B-2
Publication:
Other Collections:
Provenance: Michael Lehr 19th Century Photographic History auction, Sept. 21, 2004, lot 260
Rank: 900
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)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
no 38-44 (et no 29-31 rue de Berri) : Immeuble Washington Plaza : Immeuble de bureaux de 60 000 m² construit entre 1929 et 1932 à l'emplacement de l'hôtel de Casa-Riera et de ses jardins pour la société Shell par les architectes Lucien Bechmann (1880-1968) et Roger Chatenay qui voulaient transposer à l'échelle parisienne un building d'affaires new-yorkais. La vaste galerie commerciale qui reliait la rue Washington et la rue de Berri est aujourd'hui fermée au public. (Wikipedia)
Photo ID - 23631, Year - 1926, Film Title - SOCIAL CELEBRITY, Director - MAL ST CLAIR, Studio - PARAMOUNT, Keywords - 1926, LOUISE BROOKS, HAIRSTYLING, ADOLPHE MENJOU, MAL ST CLAIR
A typical urban landscape in Luxembourg city. This bridge, called Adolphe bridge links the two parts of the city.
Dansaert | Place Saint-Géry
Covered market built in Flemish neo-renaissance style.
Arch. Adolphe Vanderheggen
1882.
It closed in 1977.
After big renovation, an information centre dedicated to Brussels heritage opened there in 1999 ; the building and the surroundings are now one of the busiest place of the city.
Here the old fountain from Abbaye of Grimbergen erected here in 1767, long before the covered market was built around it.
Caleb and Connie Quanbeck served as missionaries in Madagascar from 1926-1972 for the Lutheran Free Church and The American Lutheran Church.
Caleb Quanbeck slides, 1940s-1980s.
ELCA Archives
http//www.elca.org/archives
Pré-Flyer: Adolphe (USA Import/Lille) Alex'l (Freaks'ion/Châlon) Bount (Laplage/Paris) Cedr'x (Lab Rok/Avignon) Dale Cooper (LaVibe/Dijon) Dave Clarke (Skint/UK) D'Jamency (Orbital Space/Lyon) Fred D (Electropole) Fx 909 (Asphalte/Paris) Jack de Marseille (Wicked Music) Hardmakz (Striking Wave/Grenoble) Joshua (Striking Wave/Blois) Justin Robertson (Nuphonic/UK) Le Lutin (Meta 4/Toulouse) Manu le Malin (Bloc 46/Paris) Mc Cla (Asphalte/Paris) Oxia (Goodlife/Grenoble) Pat Maori's (La Rosière/Montpellier) Pierre Kaspar (Teknet) Smokin Beats (SMR/UK) Stéphane d'Elisium (X-Record/Marseille) Tonio (Kobayashi/Paris) Umek (Recycled Loops/SLO) Vitalic (Gigolo/Citizen/Dijon) Volta (Asphalte/Paris) ... & many more
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Grapevine Garden Club
Adolphe-William Bouguereau, Peasant Woman,1869
Shown: Jean François Millet, The Sower,1850
Photo: Stephen Grebinski