View allAll Photos Tagged oeillets
CaryophyllacĆ©e de 20-50 cm aux feuilles linĆ©aires, les caulinaires Ć base trĆØs engainante (soudĆ©es sur 5-15mm). Fleurs groupĆ©es en tĆŖte terminale trĆØs dense, entourĆ©es de bractĆ©es coriaces. Calice cylindrique de 1,5-2 cm, gĆ©nĆ©ralement pourpre foncĆ©. PĆ©tales munis d'un onglet Ć©troit, Ć limbe rose pourprĆ©, barbu dessus et dentĆ©. Capsule cylindrique s'ouvrant par 4 dents.
Le nom scientifique du genre vient des mots grecs dios : dieu et anthos : fleur, l'Oeillet Ć©tant consacrĆ© au dieu Jupiter Ć cause de sa beautĆ©. Quant au nom franƧais, le petit oeil est une allusion Ć la forme et la couleur des fleurs (cf. H Coste, P Fournier, P Jauzein et O Nawrot).
Vue d'un marais salant, avec ses canaux latĆ©raux appelĆ©s fares qui sont des bassins dāĆ©vaporations ou aires de dĆ©cantation et les oeillets, lieux de rĆ©colte du sel.
Papier: ARTOZ, divers
Tampon: Aladine + encre Chalk Colorbox "lipstick red"
Perforatrice: CARL
Pochoirs: Coluzzle
Oeillet: Artemio
Maria et Vincent - Maria Lorton sur ses 102 ans dĆ©die ce plant d'oeillet blanc Ć tous ses arriĆØres petits enfants.
Group of anonymous painters active in Solothurn, Bern, Baden and Zurich between 1479 and 1510, whose works are signed with two red and white carnations. The altarpiece of the high altar of the church of the Cordeliers, in Fribourg, from a Basel workshop established in Solothurn, is their oldest achievement, and the most important.
In the years 1480-1490, they are mainly found in Bern, where several large commissions were executed (frescoes, altarpieces), probably by two workshops. If the work of the latter is rooted in the Basel tradition, the later works of the workshops of Baden and Zurich attest to different stylistic influences (as with Hans Leu the Elder). Many elements seem to indicate that the carnation became the symbol of a generation of painters aware of their membership of the Confederation and anxious to differentiate their production from that of neighboring countries. At the dawn of the modern era, these artists, who dealt exclusively with religious subjects, manifest the pride of high-level craftsmanship in works of traditional craftsmanship, while remaining anonymous according to custom. medieval.