View allAll Photos Tagged Adolphe
As I was travelling from Port Stephens to Sydney I stopped off at Stockton and came across this wreck by chance.
It was the middle of the day, so I tried some long exposures from the breakwater. The back half of the wreck was underwater creating what I thought was an interesting effect.
Some history from Wikipedia:
The Adolphe was a sailing ship that was wrecked at the mouth of the Hunter River in New South Wales, Australia, in 1904. The ship is now the most prominent of several wrecks on what is now the Stockton breakwall, which protects Newcastle harbour. The rescue of the ship’s crew has gone down in local maritime history as one of the most remarkable in local waters.
Bouguereau, William Adolphe
Nationality: French
(France, La Rochelle, 1825 – France, La Rochelle, 1905)
DATE: 1888
ACQUISITION: Uriburu, Francisco
GENRE: biblical
SUPPORT: On canvas
DIMENSIONS: 203 x 250 cm.
Museo Nacional de Bellas Artes, Buenos Aires, Argentina
The Museum's Web site offers the following commentary about this work:
During the last quarter of the 19th Century, every month of May would bring extensive accounts of the Salon de Paris that frequently appeared in the Buenos Aires press, written by Argentinean correspondents or translated from European newspapers, judging which works among the five thousand on exhibit were the most important.
In an art culture that was often literary first and only later visual, the Salon’s grandes machines (derisive label applied to academic paintings at the time) were the object of laudatory or negative reviews that could be corroborated at times once the works themselves had actually arrived in Argentina. This was precisely the case for Bouguereau’s Premier Deuil (The First Mourning).
In a public letter to his friend Manuel Láinez—the Director of El Diario newspaper—Carlos Gorostiaga spared no praise in emphasizing that this was a painting that one could not look at without “feeling the impact of a powerful sense of grief […] everything in it is natural: light and shadow. There is not one strong color; nothing, absolutely nothing. This is undoubtedly why it overflows with naturalness, and truth floods in” (1). In this way, the “photographic” skill, veracity and immediate legibility (2) that Bouguereau sought to capture were effective on this observer, who found an “expression of life” in the sorrow the painting contained.
On the opposite end of the scale, an anonymous critic from El Censor pointed out what many detractors were observing at the time with regard to academic painting, its artificial quality: “El primer luto (The First Mourning) resembles a group of mechanical figures, Adam and Eve weep over the lifeless body of Abel; they constitute a group without life, their nude bodies look more like ivory than human flesh”.
All this led Buenos Aires’ readers to prefigure the painting on the basis of the written word; its arrival took place a few years later, and it appeared before the public in a resounding exhibition in the context of a benefit show organized with works offered by the principal local collectors. In this situation, Eduardo Schiaffino, who was not particularly fond of academic art, couldn’t help pointing out the elegant manner in which the painter had resolved the theme’s presentation: “in this beautiful group there is foreshortening, torsion and detailing in which its sculptural grace is made evident”
The First Mourning was a well-loved theme during the 19th Century, since it allowed for a deployment of pained bodies in a significant drama from biblical history, and it was a long-term undertaking for Bouguereau.
Though it was signed in 1888, he had been involved in its development since 1885, as a sketch pertaining to the Bibliothèque de l’Institut de France attests, and at that date the positions of the bodies that make up this Pietà had already been established, almost identical to the final result.
The grande machine he exhibited, along with a Baigneuse (Bather) at the 1888 Salon, recalled the pyramidal composition utilized during the Renaissance by both Michelangelo and Raphael; in fact, the artist was frequently called the “French Raphael”.
The group’s suffering is contained and staged. The greatest focus of the pain is the weeping mother’s face, but this is also veiled, unseen behind her hands. The handling of flesh tones also alludes to the classical tradition: the man is darker skinned, the woman, lighter, almost ivory-toned. The body of the dead boy is handsome, with an idealized beauty that omits any sign of the violence perpetrated by Cain. The drama is evoked only by the blood stain seen on the ground. It is one of the few spots of contrasting color in a painting dominated by earth tones. In the background, the altar with the smoking offering made by Abel, the cause of his brother’s anger, remits to the events recently transpired (Gen. 4:1-16). The smoke mixes in with the storm clouds that cover the sky, evidencing the episode’s origin and its tragic outcome.
Bouguereau sent this work along with a group of paintings he had produced over the past few years to the 1889 Exposition Universelle.
Through his habitually life-size figures, each work represented a different facet of his production, such as scenes of the Virgin (L’Annonciation (The Annunciation), 1888), young women surrounded by little angels (Chansons du printemps (Songs of Spring), 1889), putti (L’amour vainqueur (Cupid Vanquished), 1886), bathers (7), biblical history (Jésus-Christ rencontre sa mère (Jesus Meets His Mother), 1888) and also large, complex mythological compositions (La jeunesse de Bacchus (The Youth of Bacchus), 1884).
At this moment, Bouguereau was one of France’s most celebrated artists. He also enjoyed unprecedented commercial success, which turned his case into a veritable market “phenomenon”, above all in the United States and England (9). His career was further solidified year after year at the Académie des Beaux-Arts, which was an inevitable endorsement on top of the enormous fascination his paintings produced among bourgeois buyers in both the Old and the New Worlds. These may be a few of the keys to understanding why his work became an object of desire for his Argentinean buyer, Francisco Uriburu, during the final decade of the 19th Century.
Source: www.bellasartes.gob.ar/en/the-collection-highlights/2770
========================================================
En el último cuarto del siglo XIX, era frecuente en la prensa argentina encontrar cada mes de mayo extensos récits del Salón de París, escritos por corresponsales argentinos o traducidos de periódicos europeos, que juzgaban las obras más importantes entre las más de cinco mil exhibidas. En una cultura artística que muchas veces primero fue literaria y luego visual, las grandes machines del Salón eran objeto de laudatorias o negativas reseñas que a veces podían corroborarse cuando la obra efectivamente llegaba al país. Así sucedió con El primer duelo de Bouguereau.
En una carta pública a su amigo Manuel Láinez –director de El Diario– Carlos Gorostiaga no ahorraba elogios al destacar que este era un cuadro que no se podía mirar sin “sentir el choque de una fuerte impresión de dolor […] todo es en el natural: luz y sombra. Ni un solo tinte fuerte; nada, absolutamente nada. Es sin duda por eso que rebosa de naturalidad, que inunda de verdad” (1). De este modo, la destreza “fotográfica” y la verosimilitud y legibilidad inmediata (2) buscadas por Bouguereau habían sido efectivas en este observador que hallaba en el dolor contenido de esta pintura una “expresión de vida”.
Desde la vereda opuesta, un anónimo crítico desde El Censor señalaba lo que muchos detractores observaban entonces en la pintura académica, su artificialidad: “El primer luto, parece un conjunto de figuras mecánicas, Adán y Eva lloran sobre el cuerpo exánime de Abel; constituyen un grupo sin vida, sus cuerpos desnudos parecen de marfil más que de carne humana” (3). Todo hacía que los lectores de Buenos Aires prefiguraran esta pintura desde la letra escrita; su arribo se concretó unos años después, y tuvo una resonada exhibición pública en 1893 en el contexto de una exposición benéfica organizada en base a obras cedidas por los principales coleccionistas locales. En este medio, Eduardo Schiaffino, quien no era particularmente amante del arte académico, no pudo dejar de señalar el modo elegante en que el pintor había resuelto el tema: “hay en este hermoso grupo escorzos, flexiones y detalles en que la gracia escultural es evidente”.
El primer duelo, temática cara al siglo XIX ya que permitía el despliegue de los cuerpos dolientes en este significativo drama vinculado a la historia bíblica, fue una empresa de largo aliento para Bouguereau.
Firmado en 1888, desde fines de 1885 estuvo involucrado en su desarrollo, y tal como demuestra un croquis perteneciente a la Bibliothèque de l’Institut de France, ya para esta fecha las posiciones de los tres cuerpos que forman esta Pietà estaban planteadas casi igual a su resultado final (6). La grande machine exhibida, junto a una Baigneuse, en el Salón de 1888 remitía en su composición al esquema piramidal utilizado en el Renacimiento tanto por Miguel Ángel como por Rafael, de hecho el artista fue frecuentemente llamado el “Rafael francés”.
El dolor del grupo está contenido, escenificado. El foco mayor de pesar, el rostro de la madre llorosa, está también velado, al ser cubierto por las manos. El manejo de las carnaciones alude asimismo a la tradición clásica: el hombre más moreno, la mujer más clara, casi marfileña. El cuerpo del muerto es bello, con una belleza idealizada que omite cualquier signo de la violencia perpetrada por Caín. El drama está evocado por la mancha de sangre sobre el suelo. Es uno de los pocos focos de color contrastante en una pintura dominada por los tonos tierra. En el fondo, el altar con la ofrenda humeante realizada por Abel, aquella que había causado la ira de su hermano, remite a la historia reciente (Gen. 4, 1-16). El humo se mezcla con las nubes de un cielo tormentoso dando cuenta del origen del episodio y su trágico desenlace.
Bouguereau envió esta obra, junto a un conjunto de pinturas realizadas en los últimos años, a la Exposición Universal de 1889. Cada una de ellas representaba, con sus habituales figuras de tamaño natural, las distintas vertientes de su producción como las escenas de la Virgen (L’Annonciation, 1888), las jóvenes rodeadas de angelillos (Chansons du printemps, 1889), los putti (L’amour vainqueur, 1886), las bañistas (7), la historia bíblica (Jésus-Christ rencontre sa mère, 1888) y también grandes y complejas composiciones mitológicas (La jeunesse de Bacchus, 1884).
Para este momento, Bouguereau era uno de los artistas más célebres de Francia (8). Gozaba además de un éxito de mercado sin precedentes que convirtió su caso en un verdadero “fenómeno” comercial sobre todo en Estados Unidos e Inglaterra (9). Su carrera, cimentada año tras año en la Academia, era un aval inapelable al que se sumaba la gran fascinación que despertaba su pintura entre las burguesías adquisidoras del Viejo y del Nuevo Mundo. Estas pueden ser algunas de las claves para entender por qué esta obra se transformó en un objeto de deseo para su adquisidor argentino, Francisco Uriburu, en la última década del siglo XIX.
The Library of Congress
I claim no rights other than colorizing this image if you wish to use let me know and always give due credit to The Library of Congress I have no commercial gain in publishing this image.
Title
The bathers
Contributor Names
Bouguereau, William Adolphe, 1825-1905, artist
Detroit Publishing Co., copyright claimant
Detroit Publishing Co., publisher
Created / Published
c1905.
Subject Headings
- Women
- Nudes
- Beaches
Format Headings
Dry plate negatives.
Paintings--Reproductions.
Genre
Dry plate negatives
Paintings--Reproductions
Notes
- Photograph of a painting.
- Image on videodisc possibly laterally reversed.
- Detroit Publishing Co. no. 029445.
- Gift; State Historical Society of Colorado; 1949.
Medium
1 negative : glass ; 8 x 10 in.
Call Number/Physical Location
LC-D416-29445 [P&P]
Source Collection
Detroit Publishing Company photograph collection (Library of Congress)
Repository
Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA hdl.loc.gov/loc.pnp/pp.print
Digital Id
det 4a26484 //hdl.loc.gov/loc.pnp/det.4a26484
Library of Congress Control Number
2016817343
Reproduction Number
LC-DIG-det-4a26484 (digital file from original)
Rights Advisory
No known restrictions on publication.
Language
English
Online Format
image
Description
1 negative : glass ; 8 x 10 in.
LCCN Permalink
Central Photography. E. Courret company. Adolphe Dubreuil, successor art nouveau façade inaugurated by Adolphe Dubreuil in 1905a in Lima's UNESCO designated historic centre.
In 1863, French brothers Achilles and Eugène Courret founded "Central Photography", one of the most important photo studios in Lima at 19th century.
Since its establishment, the Courret studio developed a prolific activity, that lasted until 1935; studio portrait was its greatest standard.
From 'Street Life in London', 1877, by John Thomson and Adolphe Smith
The subject of the accompanying illustration is a vendor of cough lozenges and healing ointment. He was originally a car-driver employed by a firm in the city, but had to leave his situation on account of failing sight. His story, told in his own words, is as follows :-
"First of all I had to leave my place on account of bad sight. It was brought on by exposure to the cold. Inflammation set in the right eye and soon affected the left. The doctors called it ‘atrophy.' I went to St. Thomas's Hospital for nine months, to St. George's Hospital, and to Moorfields Opthalmic Hospital. From St. Thomas's Hospital I was sent to the sea-side at the expense of the Merchant Taylors' Company. No good came of it all, and at last I was so blind that I had to be led about like a child. At that time my wife worked with her needle and her hands to keep things going. She used to do charing during the day and sewing at night, shirt-making for the friend of a woman who worked for a contractor. She got twopence-halfpenny for making a shirt, and by sitting till two or three in the morning could finish three shirts at a stretch. I stood at a street corner in the New Cut selling fish, and had to trust a good deal to the honesty of my Customers, as I could not see.
"At this time I fell in with a gentleman selling ointment, he gave me a box, which I used for my eyes. I used the ointment about a month, and found my sight gradually returning. The gentleman who makes the ointment offered to set me up in business with his goods. I had no money, but he gave me everything on trust. It was a good thing for both of us, because I was a sort of standing advertisement for him and for myself.
"I now make a comfortable living and have a good stock. When the maker of the ointment started he carried a tray; now he has three vans, and more than fifty people selling for him.
"I find the most of my customers in the street, but I am now making a private connexion at home of people from all parts of London. The prices for the Arabian Family Ointment, which can be used for chapped hands, lips, inflamed eyes, cuts, scalds, and sores, are from a penny to half-a-crown a box. Medicated cough lozenges a halfpenny and a penny a packet."
For the full story, and other photographs and commentaries, follow this link and click through to the PDF file at the bottom of the description
Source: en.wikipedia.org/wiki/Luxembourg
Luxembourg, officially named the Grand Duchy of Luxembourg, is a landlocked country in Western Europe. It is bordered by Belgium to the west and north, Germany to the east, and France on the south. Its capital and most populous city, Luxembourg City, is one of the four institutional seats of the European Union and hosts several EU institutions, notably the Court of Justice of the European Union, the highest judicial authority in the EU.
As part of the Low Countries, Luxembourg has close historic, political, and cultural ties to Belgium and the Netherlands. Luxembourg's culture, people, and languages are greatly influenced by France and Germany: Luxembourgish, a Germanic language, is the only recognized national language of the Luxembourgish people and of the Grand Duchy of Luxembourg; French is the sole language for legislation; and both languages along with German are used for administrative matters.
With an area of 2,586 square kilometres (998 sq mi), Luxembourg is Europe's seventh-smallest country. In 2024, it had a population of 672,050, which makes it one of the least-populated countries in Europe, albeit with the highest population growth rate; foreigners account for almost half the population. Luxembourg is a representative democracy headed by a constitutional monarch, Grand Duke Henri, making it the world's only remaining sovereign grand duchy.
The County of Luxembourg was established in the 11th century as a state within the Holy Roman Empire. Its ascension culminated in its monarch, Henry VII, becoming the Holy Roman Emperor in the 14th century. Luxembourg came under Habsburg rule in the 15th century, and was annexed by France in the 18th century. Luxembourg was partitioned three times, reducing its size. Having been restored in 1815 after the defeat of Napoleon, it regained independence in 1867 after the Luxembourg Crisis.
Luxembourg is a developed country with an advanced economy and one of the world's highest PPP-adjusted GDPs per capita, per the IMF and World Bank. It also ranks highly in terms of life expectancy, human development, and human rights. The historic city of Luxembourg was declared a UNESCO World Heritage Site in 1994 due to the exceptional preservation of its vast fortifications and historic quarters. Luxembourg is a founding member of the European Union, OECD, the United Nations, NATO, and the Benelux. It served on the United Nations Security Council for the first time in 2013 and 2014.
Source: en.wikipedia.org/wiki/Luxembourg_City
Luxembourg (Luxembourgish: Lëtzebuerg; French: Luxembourg; German: Luxemburg), also known as Luxembourg City (Luxembourgish: Stad Lëtzebuerg or d'Stad; French: Ville de Luxembourg; German: Stadt Luxemburg or Luxemburg-Stadt), is the capital city of Luxembourg and the country's most populous commune. Standing at the confluence of the Alzette and Pétrusse rivers in southern Luxembourg, the city lies at the heart of Western Europe, situated 213 km (132 mi) by road from Brussels and 209 km (130 mi) from Cologne. The city contains Luxembourg Castle, established by the Franks in the Early Middle Ages, around which a settlement developed.
As of 31 December 2024, Luxembourg City has a population of 136,208 inhabitants, which is more than three times the population of the country's second most populous commune (Esch-sur-Alzette). The population consists of 160 nationalities. Foreigners represent 70.4% of the city's population, whilst Luxembourgers represent 29.6% of the population; the number of foreign-born residents in the city rises steadily each year.
In 2024, Luxembourg was ranked by the IMF as having the highest GDP per capita in the world at $140,310 (PPP), with the city having developed into a banking and administrative centre. In the 2019 Mercer worldwide survey of 231 cities, Luxembourg was placed first for personal safety, while it was ranked 18th for quality of living.
Luxembourg is one of the de facto capitals of the European Union (alongside Brussels, Frankfurt and Strasbourg), as it is the seat of several institutions, agencies and bodies, including the Court of Justice of the European Union, the European Court of Auditors, the Secretariat of the European Parliament, the European Public Prosecutor's Office, the European Investment Bank, the European Investment Fund, the European Stability Mechanism, Eurostat, as well as other European Commission departments and services. The Council of the European Union meets in the city for three months annually.
Additional Foreign Language Tags:
(Luxembourg) "لوكسمبورج" "卢森堡" "Luxemburg" "לוקסמבורג" "लक्ज़म्बर्ग" "ルクセンブルク" "룩셈부르크" "Люксембург" "Luxemburgo"
(Luxembourg City) "مدينة لوكسمبورغ" "卢森堡市" "Luxembourg-Ville" "Luxemburg-Stadt" "לוקסמבורג סיטי" "लक्ज़मबर्ग शहर" "ルクセンブルク市" "룩셈부르크 시티" "Люксембург" "Ciudad de Luxemburgo"
The Manneken Pis replica in Colmar is a unique symbol of friendship and solidarity between Colmar and Brussels. Donated by Adolphe Max, a former mayor of Brussels, after World War I, this gesture recognized the shared suffering and resilience during the war. Located at the corner of Rue des Marchands and Grand Rue, the statue is a faithful reproduction of the famous Brussels figure, adding charm and whimsy to Colmar’s streets – Colmar, Alsace Region, France
Visita micamara.es/belgica/, para conocer lugares de interés de
Bélgica.
Navega en micamara.es/ para
disfrutar de arte, historia, folclore, fauna y flores de más países del
mundo.
Vladimir Lenin's car, modified by Adolphe Kegresse in 1922.
On display in Gorky Museum, Russia.
Beautiful chrome silver coating by Chrome Block City:
www.bricklink.com/store.asp?p=Aurimax
Thank You Auri !
Vladimir Lenin's car, modified by Adolphe Kegresse in 1922.
On display in Gorky Museum, Russia.
Beautiful chrome silver coating by Chrome Block City:
www.bricklink.com/store.asp?p=Aurimax
Thank You Auri !
Vladimir Lenin's car, modified by Adolphe Kegresse in 1922.
On display in Gorky Museum, Russia.
Beautiful chrome silver coating by Chrome Block City:
www.bricklink.com/store.asp?p=Aurimax
Thank You Auri !
Postcard with a picture of a painting done by William Adolphe Bouguereau (1825 - 1905) in 1891 called Petite Bergere (A Little Shepherdess). Sent to a Postcrossing member in Finland.
Maker: Adolphe Godard (1817-1883)
Born: France
Active: Italy/France
Medium: salted paper print from a wet collodion negative
Size: 6 3/4 in x 9 in
Location:
Object No. 2021.269
Shelf: B-15
Publication:
Other Collections:
Provenance: Robert Hershkowitz, Gary Edwards Gallery, 2021
Rank: 750
Notes: Adolphe Godard (1817-1883) was born in Bernay and began photographing in the French Pyrenees in the mid-1850s. The first landscape photographer to work in Isère, he also took views of Grenoble and Uriage. He became a member of the Société Française de Photographie in 1854. He opened a studio in Genoa in 1856, deposited a series of views of Genoa and Pisa at the Bibliothèque Nationale of Paris in 1857, and exhibited at the 1861 exhibition of the Société Française de Photographie . He produced large format views, stereoscopic views and carte d’vistes of Italian cities including Genoa, Pisa, Rome and Naples, some published with an editorial label "I travel to Italy". In 1862 he was commissioned to document the zinc and lead mines of Monteponi. Between 1860 and 1866 he worked in partnership with the Genoese photographer Giovanni Battista Caorsi (1829- 1900) and continued activity in Genoa as the Etablissement Photographique Adolphe Godard until 1871. By 1880 Godard was living in Aix-en-Provence.
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Through the window of a local music shop. The saxophone was developed in 1846, by Adolphe Sax, a Belgian instrument maker, flautist, and clarinetist working in Paris. While still working at his father's instrument shop in Brussels, Sax began developing an instrument with the projection of a brass instrument and the agility of a woodwind. He wanted it to overblow at the octave, unlike the clarinet, which rises in pitch by a twelfth when overblown. An instrument that overblew at the octave, would have identical fingering for both registers.
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/
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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 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.
From 'Street Life in London', 1877, by John Thomson and Adolphe Smith
…How different is the Covent Garden of to-day, with its bustle and din, its wealth and pauperism, its artifices, its hot-house flowers and forced fruit, its camellias with wire stems, its exotics from far-off climes, to "the fair-spreading pastures," measuring, according to the old chronicle, some seven acres in extent, where the Abbots of Westminster buried those who died in their convent. In those days vegetables were not only sold here but grew on the spot; and the land, now so valuable, was considered to be worth an annual income of £6 6s. 8d., when given by the Crown to John RusselI, Earl of Bedford, in 1552…
…When death takes one of the group away, a child has generally been
reared to follow in her parents' footsteps; and the" beat" in front of the church is
not merely the property of its present owners, it has been inherited from previous
generations of flower-women. Now and then a stranger makes her appearance,
probably during the most profitable season, but as a rule the same women may be
seen standing on the spot from year' s end to year's end, and the personages of the
photograph are well known to nearly all who are connected with the market…
For the full story, and other photographs and commentaries, follow this link and click through to the PDF file at the bottom of the description
From 'Street Life in London', 1877, by John Thomson and Adolphe Smith
"Recruiting in London is almost exclusively circumscribed to the district stretching between the St. George's Barracks, Trafalgar Square, and Westminster Abbey. Throughout London it is known that all information concerning service in the army can be obtained in this quarter, and intending recruits troop down to this neighbourhood in shoals, converging, as the culminating point of their peregrinations, towards the celebrated public-house at the corner of King Street and Bridge Street. It is under the inappropriate and pacific sign-board of the 'Mitre and Dove' that veteran men of war meet and cajole young aspirants to military honours. Here may be seen
every day representatives of our picked regiments.
[...]
The most prominent figure in the accompanying photograph, standing with his back to the Abbey, and nearest to the kerb stone, is that of Sergeant Ison, who is always looked upon with more than ordinary curiosity as the representative of the 6th Dragoon Guards, or Carbineers – a regiment which of late has been chiefly distinguished for having included in its ranks no less a person than Sir 'Roger Tichborne himself! To the Carbineer's right we have the representatives of two heavy regiments, Sergeant Titswell, of the 5th Dragoon Guards, and Sergeant 'Badcock, of the 2nd Dragoons, or Scots Greys; the latter is leaning against the corner of the public-house. Close to him may be recognized the features of Sergeant Bilton, of the Royal Engineers, while Sergeant Minett, of the 14th Hussars, turns his head towards Sergeant McGilney, of the 6th Dragoons, or Enniskillen, whose stalwart frame occupies the foreground. This group would not, however, have been complete without giving a glimpse at Mr. Cox, the policeman, to whose discretion and pacific interference may be attributed the order which is generally preserved even under the most trying circumstances at the 'Mitre and Dove.'"
For the full story, and other photographs and commentaries, follow this link and click through to the PDF file at the bottom of the description
Willian-Adolphe Bouguereau
French
Jeune Bergère, 1868
oil on canvas
Bouguereau was intensely collected by Americans of the Gilded Age and he is part of many American Museum collections. At one time looked down by the Art Mafia he has gained new respect among the public.
The Royal Ballet: Giselle 2021 (Osipova & Clarke)
The most famous ballet of the Romantic era and a significant work in The Royal Ballet’s repertory: Peter Wright’s hallmark production of Giselle returns to the Royal Opera House 4 Nov - 3 Dec 2021 with a special digital stream on 3 Dec and on demand for 30 days.
Company: The Royal Ballet
Choreography: Marius Petipa after Jean Coralli
Music: Adolphe Adam Edited by Lars Payne
Scenario: Théophile Gautier after Heinrich Heine
Production: Peter Wright
Additional choreography: Peter Wright
Designer: John Macfarlane
Original lighting: Jennifer Tipton
Lighting re-created by David Finn
Cast
Giselle: Natalia Osipova
Albrecht: Reece Clarke
Queen of the Willis: Mayara Magri
photo © Foteini Christofilopoulou | All rights reserved | For all usage/licensing enquiries please contact www.foteini.com
By kind permission of the Royal Opera House
From 'Street Life in London', 1877, by John Thomson and Adolphe Smith:
"At the corner of Church Lane, Holborn, there was a second-hand furniture dealer, whose business was a cross between that of a shop and a street stall. The dealer was never satisfied unless the weather allowed him to disgorge nearly the whole of his stock into the middle of the street, a method which alone secured the approval and custom of his neighbours. As a matter of fact, the inhabitants of Church Lane were nearly all what I may term “street folks” – living, buying, selling, transacting all their business in the open street. It was a celebrated resort for tramps and costers of every description."
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The Adolphe Bridge (Luxembourgish: Adolphe-Bréck, French: Pont Adolphe, German: Adolphe-Brücke) is a double-decked arch bridge in Luxembourg City, in southern Luxembourg. The bridge provides a one-way route for road traffic across the Pétrusse, from Boulevard Royal, in Ville Haute, to Avenue de la Liberté, in Gare. Its upper deck is 153 m in length and carries two lanes of road traffic, and two pedestrian footpaths. Its lower deck, opened in 2018, suspended beneath the upper deck, is 154 m in length, and carries a dedicated bidirectional bicycle path, with access provided for pedestrian use.[1] As of 13 December 2020, following the completion of the second phase of the construction of the city's new tramline, the bridge carries bidirectional tram traffic on its upper deck.[2]
The Adolphe Bridge has become an unofficial national symbol of sorts, representing Luxembourg's independence, and has become one of Luxembourg City's main tourist attractions. The bridge was designed by Paul Séjourné, a Frenchman, and Albert Rodange, a Luxembourger, and was built between 1900 and 1903. Its design was copied in the construction of Walnut Lane Bridge in Philadelphia, the United States.[3]
The bridge was named after Grand Duke Adolphe, who reigned Luxembourg from 1890 until 1905, and was the first monarch to hold the title not in personal union with another. Although it is now over 100 years old, it is also known as the New Bridge (Luxembourgish: Nei Bréck, French: Nouveau pont, German: Neue Brücke) by people from Luxembourg City. The 'old bridge' in this comparison is the Passerelle, which was built between 1859 and 1861.
Conversion to a double-decked bridge
In concordance with the reintroduction of trams in Luxembourg, major redesign and renovation work occurred between 2014 and 2017, with a temporary bridge constructed parallel operating in the interim.[1] The Adolphe Bridge was widened and reinforced to accommodate the new tramlines installed on its upper-deck.[1] Additionally, a 154 m long and 4 m wide lower deck was suspended beneath the existing deck, between the arches of the bridge, to act as dedicated bidirectional bicycle path and footpath.[1][7] Bicycle-friendly sloped approaches were dug on the western side of both ends of the bridge, and an additional stairwell was added on the eastern side of the Ville Haute approach.[1]
"Women and saxophones" (bronze and bluestone,detail 1994)
Dinant Belgium
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Adolphe Menzel représente l'intérieur d'une usine en noir et blanc. Le laminoir à vapeur au centre, est source de lumière et impose sa domination sur les femmes et les hommes, jeunes et moins jeunes, qui expriment toute la pénibilité du travail et l'horreur des conditions de vie qu'engendre la révolution industrielle. Les détails sont remarquables. En bas à droite, le regard particulièrement douloureux et expressif d'une femme interpelle l'observateur et semble le regarder comme un intrus.
Adolphe Menzel represents the interior of a black and white factory. The steam mill in the center, is a source of light and imposes its domination on women and men, young and old, who express all the hardness of work and the horror of living conditions that engenders the industrial revolution. The details are remarkable. At the bottom right, the particularly painful and expressive look of a woman challenges the observer and seems to regard him as an intruder.