View allAll Photos Tagged Adolphe
William-Adolphe Bouguereau (1825–1905)
Two Sisters, 1901
Oil on canvas
Wriston Center Arts Center, Appleton, Wisconsin
Taine, Hippolyte-Adolphe. Histoire de la littérature anglaise. Tome 3. Paris: L. Hachette, 1863.
p. 161-162. archive.org/details/histoiredelalit05taingoog/page/n171/m...
books.google.com/books?id=-iSLbc4CIx8C&pg=PA356&l...
Passez au second, ce même tour reparait; on dirait qu'ils se sont copiés l'un l'autre. Parcourez un troisième : même diction, nièmes apostrophes, même façon de poser l'épithète et d'arrondir la période. Feuilletez toute la troupe ; avec de petites différences personnelles, ils semblent tous coulés dans un seul moule : l'un est plus épicurien, l'autre plus moral, l'autre plus mordant; mais partout régnent le langage noble, la pompe oratoire, la correction classique.
Le substantif marche accompagné de l'adjectif, son chevalier d'honneur; l'antithèse équilibre son architecture symétrique; le verbe, comme chez Lucain ou Stace, s'étale, flanqué de chaque côté par un nom garni de son épithète ; on dirait que le vers a été fabriqué à la machine, tant la facture en est uniforme ; on oublie ce qu'il veut dire ; on est tenté d'en compter les pieds sur ses doigts; on sait d'avance quels ornements poétiques vont le décorer.
“[T]he substantive is accompanied by its adjective, its knight of honour; antithesis balances the symmetrical architecture; the verb, as in Lucan or Statius, is displayed, flanked on each side by a noun decorated by an epithet; one would say that the verse had been fabricated by a machine, so uniform is the make; we forget what it means; we are tempted to count the feet on our fingers; we know beforehand what poetical ornaments are to embellish it.”
Taine comes tantalizingly close to describing the golden line phenomenon in Lucan and Statius and compares it to the drab monotony of English poets in the Augustan Era. Taine’s judgment here seems less based upon his own study of Lucan or Statius but upon his familiarity of Dryden’s assessment of them in his description of the golden line in the preface to the Sylvae.
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, held at the Berman Museum of Art, Ursinus College, author 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), in the collection of 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."
Maker: Auguste-Adolphe Bertsch (1813-1871)
Born: France
Active: France
Medium: handwritten caption
Size: 5.1" x 5.1"
Location:
Object No. 2017.857b
Shelf: B-39
Publication:
Other Collections:
Provenance:
Notes:
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
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. 2024.1134ab
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
This image forms part of the digitised photographs of the Ross and Pat Craig Collection. Ross Craig (1926-2012) was a local historian born in Stockton and dedicated much of his life promoting and conserving the history of Stockton, NSW. He possessed a wealth of knowledge about the suburb and was a founding member of the Stockton Historical Society and co-editor of its magazine. Pat Craig supported her husband’s passion for history, and together they made a great contribution to the Stockton and Newcastle communities. We thank the Craig Family and Stockton Historical Society who have kindly given Cultural Collections at the University of Newcastle, NSW, Australia, access to the collection and allowed us to publish the images. Thanks also to Vera Deacon for her liaison in attaining this important collection.
Please contact Cultural Collections at the University of Newcastle, NSW, Australia, if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.
Some of the images were scanned from original photographs in the collection held at Cultural Collections, other images were already digitised with no provenance recorded.
You are welcome to freely use the images for study and personal research purposes. Please acknowledge as “Courtesy of the Ross and Pat Craig Collection, University of Newcastle (Australia)" For commercial requests please consider making a donation to the Vera Deacon Regional History Fund.
These images are provided free of charge to the global community thanks to the generosity of the Vera Deacon Regional History Fund. If you wish to donate to the Vera Deacon Fund please download a form here: uoncc.wordpress.com/vera-deacon-fund/
If you have any further information on the photographs, please leave a comment.
Photos courtesy of Mert Erdem and Michael Wilson —
River and State was commissioned by the ICOA Chamber Orchestra, Daniel Feng, Conductor, as part of their New World/New Music series. The piece is in honor of the 125th anniversary of Antonin Dvorak's 9th Symphony, From the New World, and was premiered at the Bohemian National Hall in NYC. The accompanying composition is Dvorshock by Bruce Adolphe - also commissioned by the ICOA. The premiere of River and State featured a live performer, Laura King-Pazuchowski, on stage with the orchestra, interacting with the VR environment we developed. This video was captured from within the VR environment used during the performance. The music is a live recording of Dvorshock.
Our concept for this virtual cinema performance is about the promise of a new world, its unlimited potentials, personal freedoms and inevitable progress, and how technology has always played a role in these fantasies.
Our performer, Laura King-Pazuchowski traversed the membrane of our shared environment of lived experience and the fantasy of virtual, illimitable, dream-space.
The VR environment features renderings of Lower Manhattan, Inwood Hill Park, Ellis Island, and an amalgam of different Subway stations. The piece is also inspired by observing flash floods on certain Manhattan streets built above drained streams. whose resulting chaos suggest the transposed, consistent presence of foundational forces occluded by the trappings of contemporary material culture.
The Tulips are a reference to the Tulip tree of Inwood Hill Park where the initial meeting, and subsequent purchase of Manhattan from the Native population occurred. The tree died in the 1933. The sculpture of the Tulips encountered during the capsule scene is a rendering of a currently infamous Jeff Koons sculpture that has a connection to the Statue of Liberty.
The metronome seen at the beginning on the shore returns in the final scene as a monument sized rendering of Man Ray's "Indestructible Object". The character in front of the metronome in the final scene is a rendering of the performance artist.
video and additional information on mayarouvelle.com
River and State was commissioned by the ICOA Chamber Orchestra, Daniel Feng, Conductor, as part of their New World/New Music series. The piece is in honor of the 125th anniversary of Antonin Dvorak's 9th Symphony, From the New World, and was premiered at the Bohemian National Hall in NYC. The accompanying composition is Dvorshock by Bruce Adolphe - also commissioned by the ICOA. The premiere of River and State featured a live performer, Laura King-Pazuchowski, on stage with the orchestra, interacting with the VR environment we developed. This video was captured from within the VR environment used during the performance. The music is a live recording of Dvorshock.
Our concept for this virtual cinema performance is about the promise of a new world, its unlimited potentials, personal freedoms and inevitable progress, and how technology has always played a role in these fantasies.
Our performer, Laura King-Pazuchowski traversed the membrane of our shared environment of lived experience and the fantasy of virtual, illimitable, dream-space.
The VR environment features renderings of Lower Manhattan, Inwood Hill Park, Ellis Island, and an amalgam of different Subway stations. The piece is also inspired by observing flash floods on certain Manhattan streets built above drained streams. whose resulting chaos suggest the transposed, consistent presence of foundational forces occluded by the trappings of contemporary material culture.
The Tulips are a reference to the Tulip tree of Inwood Hill Park where the initial meeting, and subsequent purchase of Manhattan from the Native population occurred. The tree died in the 1933. The sculpture of the Tulips encountered during the capsule scene is a rendering of a currently infamous Jeff Koons sculpture that has a connection to the Statue of Liberty.
The metronome seen at the beginning on the shore returns in the final scene as a monument sized rendering of Man Ray's "Indestructible Object". The character in front of the metronome in the final scene is a rendering of the performance artist.
video and additional information on mayarouvelle.com
Europe Europa
Belgique België Belgium Belgien Belgica
Bruxelles Brussel Brussels Brüssel Bruxelas
Boulevard Adolphe Max
Timothee Adolphe and his guide Charles Renard and Jeffrey Lami win and celebrate their Silver Medal in Para Athletics Men's 100m T11 and 400m T11 during the Medal Party of the Paralympic Games Paris 2024, at Club France, La Grande Halle de la Villette, in Paris, France, on September 05, 2024, Photo Vincent Curutchet / KMSP || 001887_0094 SPORT ATHLETISME CELEBRATION GAMES JEUX PARIS 2024 PARALYMPICS 2024
A very atmospheric scene, detail.
Taken from the cover of ‘Elgar – Falstaff, Symphonic Study, & Cockaigne Overture’ LP, by the London Philharmonic Orchestra conducted by Vernon Handley; in the JPS Master Series on the Classics For Pleasure label 1984.
Pierre Adolphe Valette 1876–1942, French Impressionist painter nowadays acclaimed for his urban views of Manchester, England, also tutor to L. S. Lowry.
Cut for Nicki in 2013, ref no 157. Nicki's description of her jigsaw:
"“On the Rocky Beach” by William Adolphe Bouguereau (Sur la Greve) 385 piece 2 layer puzzle part interlocking and part push fit within an interlocking border. Complete.
This is a brilliant piece of craftsmanship in a puzzle. With no guide picture, the title does not give any indication of the final finished subject matter. The plethora of muted colours do not
help either. The only real starting point is to separate out the thicker 6mm pieces from the thinner 4mm pieces each eventually assembling as two challenging puzzles. The overall size of the puzzle is 11” x 16” with the girls standing about 15 ½” high. The raised layer is interlocking. The background is push fit within an interlocking border. Neither puzzle is easy thanks to superb colour-line cutting of every colour break plus the odd tricks of fake corners in internal edge pieces as can be seen in the photographs.
The puzzle is the work of the talented Devon cutter Rob Garner who traded under the name of Amber Puzzles. Sadly Rob is now retired and with his retirement, the Puzzle World has lost one of its finest modern day cutters who had an unsurpassed skill for colour line cutting. His trademark “heart” and signed “R” are present."