Edouard Detaille ”Tableaux et dessins de guerre” Jean Baptiste Édouard Detaille (1848-1912) was a French Academic painter and military artist noted for his precision and realistic detail. Detaille studied with Ernest Meissonier and employed a technique of literal exactitude based on that of his teacher. He served in the French Army in the Franco-Prussian War of 1870-1871 and became the official painter of the battles. He is famous for his portraits of soldiers and depictions of military manoeuvres, military uniforms and general military life. He was born at Paris October 5 1848. With Alphonse de Neuville and Ernest Meissonier are one of the most important “Peintres de guerre” of France. Detaille, like his friend de Neuville, specialised in military painting, especially celebrating the dramatic era of Franco-Prussian war of 1870-1871. Likewise, Detaille’s soldiers associate reminiscences of the glorious French past : the victorious soldiers of the Revolution and Napoleonic Empire with his great victory as Austerlitz and Wagram, but neither are neglected their comrades of the Restoration, whose white flag also carried the day in the Trocadero or Algiers, nor the “1870 soldiers “ of Reichshoffen, under a hail of bullets, or the survivors of Gravelotte, gloriously vanquished Very famous his epical table called “The dream” . Also his paintings of the Franco-German War : The Defence of Champigny, paint in the 1879 made him famous. Detaille also painted some portraits and non military subjects and was a gifted actor. Detaille dead in Paris the December ,23 1912.
Les rencontres qui furent a l'origine de ce recueil ont tente de faire le point sur les sources, la nature, la portee et la posterite de l'oeuvre de Boece (c. 480-c. 524), et d'informer sur le developpement, le renouvellement et l'actualisation des recherches menees sur et autour de ce penseur. Un tel desir de bilan interdisciplinaire, qui fut dicte par l'ampleur meme de sa production et de ses centres d'interet, a conduit a elargir le plus possible le champ des competences, en lui faisant couvrir les quatres rubriques traditionnelles de la science boecienne que sont "trivium" (grammaire, dialectique, rhetorique), "quadrivium" (arithmetique, musique, geometrie, astronomie), theologie et philosophie. La mise au point des actes n'a en rien modifie cette orientation conceptuelle. L'envergure de Boece fut exceptionnelle a la fois par sa situation historique et par la portee de son ideal. La premiere, qui le place a la charniere de l'Antiquite et du Moyen Age, lui valut les apellations de dernier des Romains et premier des Scolastiques, ou encore de fondateur du Moyen Age. Le second, qui vise a transmettre au monde latin l'ensemble de l'heritage grec alors connu, fut le seul de cette importance dans l'Occident medieval. L'une et l'autre necessitant des tentatives regulieres de mise a jour, cette publication ne pouvait tendre vers un autre objectif que celui de manifester les avancees scientifiques obtenues dans chacun des domaines de connaissance retenu, en dependance toujours etroite avec les reseaux tisses par l'histoire evenementielle. Celle qui est ici proposee ambitionne donc de sensibiliser aux avancees que l'investigation n'a cesse d'enregistrer ces vingt-cinq dernieres annees en matiere de transmission des savoirs et de traditions textuelles, mises au service d'une apprehension toujours plus affinee du role et d'influence de la pensee boecienne.
Edouard Vuillard (1868-1940), one of the most admired post-impressionist artists, is best-known for his small easel paintings and their charming portrayals of everyday life. However, a major part of his work during his early life was the painting of large decorative panels in the Parisian homes of wealthy private patrons, produced between 1892 and 1912. These panels - some fifty in total - have been little studied, due principally to the inaccessibility of many of them and the impossibility of their being included in exhibitions.
Manet, a founding father of modernism, is one of the towering figures of 19th-century art. In this volume, Carol Armstrong looks closely at Manet's works to uncover a view not only of the artist but also of modernity itself. As she places his art within frameworks of colour, the feminine Other (the Manette in Manet), and consumerism, Armstrong seeks to expand and revise our understanding of this artist as a painter of modern life.
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