Sunday, March 15, 2009
Is Percocet As Dangerous As Darvocet
Demoiselles d'Avignon
Jean-Paul Laurens (Fourquevaux, 1838 Paris, 1921) painter and sculptor and illustrator French. Study in the school of fine arts of Toulouse in 1854. Acquired a scholarship to study in Paris where he met Leon Cogniet in 1860. In the art studio Cogniet met his future wife Madeleine Willemsens in 1869 with whom he had two sons, Paul Albert Laurens (1870-1934) and Jean-Pierre Laurens (1875-1932). 
was one of the last exponents of the French academic style of history painting. His works were usually based on historical facts and religious, by which he wanted to express his anti-clericalism and his opposition to the monarchy. She is known with his painting Le Pape Formosa et Etienne VII (Pope Formoso and Stephen VII) during the exhibition
Hall of Paris organized by the academy of Fine Arts France in 1870. His technical expertise and erudicón were much admired in the Third French Republic will appoint a knight of the Legion of Honor in 1874 and won great popularity with his display at the Paris Universal Exhibition in 1878, but in later years was his realistic technique seen as too academic. He was professor of Wulstan Charles Rupert Bunny, John Collier, Ludwig Deutsch, Francois Flameng, Frederick Carl Frieseke, Thomas Cooper Gotch, William Samuel Horton, Lawton Silas Parker, Ella Ferris Pell, Maurice Brazil Prendergast, Louis Ritman and
Venezuelan painters Frederick Brant, Emilio Boggio and Arturo Michelena at the Academie Julian. Michelena propel to present his book "The Sick Child" at the Paris Salon in 1887. Reach its highest prestige when he was called to replace Jean-Louis-Ernest Meissonier as a member of the Academy of Fine Arts, Paris (Academie des beaux-arts) in 1891. Return to Toulouse and take the direction of the school of fine arts in this city in 1893. 
representation of the process the body of Pope Stephen VII Formoso and painted by Laurens in 1870. When was recognized as a great artist by the government of the Third Republic French (Troisième Republique), won several state commissions. His first job was for the City of Paris and, soon after, a mural for the Palace of the Legion of Honor (1874-1876). A series on the life of St. Genevieve in the P
Anteon Paris, Mort de Sainte Genevieve (St. Genevieve's death), other work for Capitol Touluose in the Hall of Distinguished. Also, some decorations for the Odeon Theatre (1887-1888). Was also a noted illustrator, mainly for the drawings he made for temps des recits mérovingiens (Memories of the Merovingian tempos) Agustin Thierry. Many of his designs and drawings were used by manufacturers of carpets in the Manufacture des Gobelins (Gobelins manufacture) in Paris. He received the Grand Cross (Grand-Croix) of the Legion of Honor in 1900. 
was one of the founding members of the Society of French Artists in 1882, participated in the organization of the Paris Motor Show, where he exhibited several of his paintings, his latest work, "Miners" (1904) and "disaster" ( 1905), were exhibited at the Salon. Die in his Paris studio on March 23, 1921.
was one of the last exponents of the French academic style of history painting. His works were usually based on historical facts and religious, by which he wanted to express his anti-clericalism and his opposition to the monarchy. She is known with his painting Le Pape Formosa et Etienne VII (Pope Formoso and Stephen VII) during the exhibition Hall of Paris organized by the academy of Fine Arts France in 1870. His technical expertise and erudicón were much admired in the Third French Republic will appoint a knight of the Legion of Honor in 1874 and won great popularity with his display at the Paris Universal Exhibition in 1878, but in later years was his realistic technique seen as too academic. He was professor of Wulstan Charles Rupert Bunny, John Collier, Ludwig Deutsch, Francois Flameng, Frederick Carl Frieseke, Thomas Cooper Gotch, William Samuel Horton, Lawton Silas Parker, Ella Ferris Pell, Maurice Brazil Prendergast, Louis Ritman and
Venezuelan painters Frederick Brant, Emilio Boggio and Arturo Michelena at the Academie Julian. Michelena propel to present his book "The Sick Child" at the Paris Salon in 1887. Reach its highest prestige when he was called to replace Jean-Louis-Ernest Meissonier as a member of the Academy of Fine Arts, Paris (Academie des beaux-arts) in 1891. Return to Toulouse and take the direction of the school of fine arts in this city in 1893.  representation of the process the body of Pope Stephen VII Formoso and painted by Laurens in 1870. When was recognized as a great artist by the government of the Third Republic French (Troisième Republique), won several state commissions. His first job was for the City of Paris and, soon after, a mural for the Palace of the Legion of Honor (1874-1876). A series on the life of St. Genevieve in the P
Anteon Paris, Mort de Sainte Genevieve (St. Genevieve's death), other work for Capitol Touluose in the Hall of Distinguished. Also, some decorations for the Odeon Theatre (1887-1888). Was also a noted illustrator, mainly for the drawings he made for temps des recits mérovingiens (Memories of the Merovingian tempos) Agustin Thierry. Many of his designs and drawings were used by manufacturers of carpets in the Manufacture des Gobelins (Gobelins manufacture) in Paris. He received the Grand Cross (Grand-Croix) of the Legion of Honor in 1900. 
was one of the founding members of the Society of French Artists in 1882, participated in the organization of the Paris Motor Show, where he exhibited several of his paintings, his latest work, "Miners" (1904) and "disaster" ( 1905), were exhibited at the Salon. Die in his Paris studio on March 23, 1921. 
Tuesday, March 3, 2009
M Jak Miłość Dvd
In the spring of 1907, "I just turned exactly one hundred years, Paul Picasso created "Girls of Avignon", the box that gave rise to cubism and influential began a revolution in the arts. He was twenty years. Avignon was a street in Barcelona where there was a notorious brothel, but it was also the way in which Picasso used to buy its colors, drawing paper, watercolors, while residing in that city. Picasso frequented in those days the Ethnographic Museum in Trocadero, later called the Museum of Man, was fascinated by African and Polynesian masks. Many of his acquaintances bought these costumes in the shop of Père Sauvage, in the Rue de Rennes. Constituted a huge impact on pupil the painter who, until then, had gathered in the universe images of acrobats and circus performers miserable or was immersed in the sentimental atmosphere of the blues and pinks that more adequately express their emotions. Originally Picasso tried to picture the central figure was a sailor, frequent protagonist in the life of the brothel, surrounded by prostitutes. This representation of sailor found in many of the preparatory sketches of the painting. Also featured a basket of fruit from which women were eating. In the final version of the ocean and fruit disappeared. 
Until then, the artists painted what they saw from that picture to represent painters spend what they conceive. It is no longer obvious, as reflected by the senses, the brain is what counts, perceptive intuition, the reality thought is valid, not the context provided. That's the big shock that triggers Picasso, comparable only to the seizure effervescent Cezanne created when proved that the artwork is a part of nature seen through a temperament. As André Malraux said, throughout the history of the nineteenth century had weakened the imagination. The desire to chart a sustainable manner the fact of political or military, (vg. Napoleon in campaign or the portraits of illustrious heads of state) not allow the expansion of the free fantasy or creative. Operating end of the century emancipation of forms.
Cezanne died in 1906, the following year broke the seditious cry of "The Girls of Avignon." The master of Provence was instrumental in the construction of the eye that would see the cubism and all else would follow. Previous Picasso that period elapses for a period of great hardship. You have to sell paintings and drawings to be paid soup boullabaise. " But the art dealer Ambroise Vollard appears in his studio one afternoon and bulk buying everything you see there and paid two thousand francs, a fabulous sum in that time. With that money gives Picasso a dream return to their home country, lives in the countryside, Gosol near Andorra. Fernande, his wife, he is less savage, brighter, more lively, it is clear "irradiation happy."
return is
these roots with the strain of origin when he painted "The Girls of Avignon." that time is of the famous portrait of Gertrude Stein, shaped like a marble block, a commanding presence, monumental and dense. From there comes the comment: "not like" and Picasso's famous response, "and will look". Stein is time after the hair cut and Picasso in the street and screams of surprise: "What has happened!" "Why?" explores the writer. "You're not my picture!" When he finishes "The Girls of Avignon" Max Jacob one of them says, "is like my grandmother." Since then, close friends call the picture "Max's grandmother." Who named the picture with its present name was André Salmon. Picasso always said that this name was irritated, but did nothing to change it.
The experimental creative audacity and Picasso created "Girls of Avignon" a dividing line in time and gave birth to a new school building. Picasso said to begin a painting is a kind of murder of the beautiful, we must reject many temptations aesthetic and destroy the work redoing it many times. He added: "Success is the result of findings rejected."
Picasso never wanted to sell because he saw this work unfinished. For many years only his close friends were able to appreciate it. It was Jacques Doucet, who managed to buy in 1920. Was exposed only once in Europe at the Petit Palais in 1937. Today is one of the most prestigious paintings of the Museum of Modern Art in New York and his fame comes from being the work of creation ended and gave a birth to another.
Until then, the artists painted what they saw from that picture to represent painters spend what they conceive. It is no longer obvious, as reflected by the senses, the brain is what counts, perceptive intuition, the reality thought is valid, not the context provided. That's the big shock that triggers Picasso, comparable only to the seizure effervescent Cezanne created when proved that the artwork is a part of nature seen through a temperament. As André Malraux said, throughout the history of the nineteenth century had weakened the imagination. The desire to chart a sustainable manner the fact of political or military, (vg. Napoleon in campaign or the portraits of illustrious heads of state) not allow the expansion of the free fantasy or creative. Operating end of the century emancipation of forms. 
Cezanne died in 1906, the following year broke the seditious cry of "The Girls of Avignon." The master of Provence was instrumental in the construction of the eye that would see the cubism and all else would follow. Previous Picasso that period elapses for a period of great hardship. You have to sell paintings and drawings to be paid soup boullabaise. " But the art dealer Ambroise Vollard appears in his studio one afternoon and bulk buying everything you see there and paid two thousand francs, a fabulous sum in that time. With that money gives Picasso a dream return to their home country, lives in the countryside, Gosol near Andorra. Fernande, his wife, he is less savage, brighter, more lively, it is clear "irradiation happy." return is
these roots with the strain of origin when he painted "The Girls of Avignon." that time is of the famous portrait of Gertrude Stein, shaped like a marble block, a commanding presence, monumental and dense. From there comes the comment: "not like" and Picasso's famous response, "and will look". Stein is time after the hair cut and Picasso in the street and screams of surprise: "What has happened!" "Why?" explores the writer. "You're not my picture!" When he finishes "The Girls of Avignon" Max Jacob one of them says, "is like my grandmother." Since then, close friends call the picture "Max's grandmother." Who named the picture with its present name was André Salmon. Picasso always said that this name was irritated, but did nothing to change it.
The experimental creative audacity and Picasso created "Girls of Avignon" a dividing line in time and gave birth to a new school building. Picasso said to begin a painting is a kind of murder of the beautiful, we must reject many temptations aesthetic and destroy the work redoing it many times. He added: "Success is the result of findings rejected."
Picasso never wanted to sell because he saw this work unfinished. For many years only his close friends were able to appreciate it. It was Jacques Doucet, who managed to buy in 1920. Was exposed only once in Europe at the Petit Palais in 1937. Today is one of the most prestigious paintings of the Museum of Modern Art in New York and his fame comes from being the work of creation ended and gave a birth to another. 
Sunday, February 22, 2009
My Baby Is Eight Months And Cries For No Reason
Carolus-Duran. (Lille, 1837-Paris, 1917) Umberto Boccioni
Carolus-Duran. (Lille, 1837-Paris, 1917). French painter. Son of an innkeeper, was formed in Lille with François Souchon, a disciple of David. First established in Paris in 1853, made copies in the Louvre and met through Astruc, old friend, Courbet. Trabaría after the Swiss Academy friendship with Fantin-Latour and known to Manet and Berthe Morisot, who also joined by an intimate friendship. Between 1862 and 1866 was in Rome thanks to a pension from the City of Lille. The medal he got at the Salon of 1866 with the killer (Palais des Beaux-Arts, Lille), bought by the state allowed him to travel to Spain, where he lived between 1866 and 1868. The success achieved in the Salon of 1869 with the lady of the glove (Musée d'Orsay, Paris), a portrait of his wife, allowed to settle permanently in Paris, where he continued to forward a brilliant career as a portraitist and got all kinds of distinctions, although the price of getting lost in a painting 
surface increasingly characterized by virtuosity and deceptive ease. Like other artists of his time, it is likely that the interest of Carolus-Duran English painting came from their attendance at the 1850, the realistic Parisian circles. In any case, seems to have actually discovered in Rome at the Velázquez portrait of Pope Innocent X (Galleria Doria Pamphilj, Rome), who copied the oil and, apparently, always carried a photograph. His stay in Spain, the news barely have lasted despite more than two years, which could be encouraged by the comments he made Astruc and Manet, who had been in Madrid in previous years, must be seen as " a trip to Velázquez ", which must have been copied repeatedly, although
name only appears on the register of copyists del Prado between 10 and December 19, 1866. It known copies of The Jester Don Diego de Acedo, "El Primo" (Senate, Paris) and a Calabacillas The Fool (1879, Ministère des Finances, Paris), but we know that Gautier had another one Nain barbu (probably Don Sebastian de Morra) and the traces found in his paintings further show that due to several more. Moreover, from his stay in Madrid, Carolus-Duran's admiration for Velázquez practice gained exclusive characters. It appears to justify their claims to be the legitimate successor of Velazquez at the time, boasted a distant English ancestry and was fond of saying identifying with the teacher, "Velázquez and me." On the other hand, the repeated advice to his students was always the same: "Velázquez, Velázquez, Velázquez studied relentlessly." The traces of it in his own paintings are limited, however, some portraits taken in Spain, as the portrait of the painter Mathias Moreno (Palais des Beaux-Arts, Lille), in which he adopts a pose similar to that of Velazque z 
and Las Meninas in Madrid earned him a third-class medal at the National Exhibition of Fine Arts in 1866, his own Self Portrait (1867, Prado, cataloged in the Museum as a portrait of Matías Moreno) chromaticity close to Velazquez, and some other facts and in France in the years immediately after his return. Among these, the portrait of Hector Brame child (1871, private collection), which literally followed the pose of Prince Baltasar Carlos as Hunter, Velázquez, and used a subtle range of grays, browns and greens, is 
perhaps the closest to the spirit of the master and one of the few who used his teachings in the modern sense. Instead, the lady of the glove, a picture in which the spatial and chromatic treatment of the portraits Velázquez is used to revitalize, "modernized", the academic tradition elegant portrait, already showed, despite being made just after his return from Spain, the limitations of his approach to Velázquez. His work as a teacher at L'Atelier des élèves de Monsieur Carolus-Duran, which opened in spring 1873 and in which they formed, among others, Stevenson (author of a groundbreaking paper on Velázquez, published in 1895, which presented to it as the father of modern painting) and Sargent (who, following in his footsteps, came to Madrid in 1879 to study the works of Seville), would, however, basic appreciation of English painting in the last third nineteenth century. 
surface increasingly characterized by virtuosity and deceptive ease. Like other artists of his time, it is likely that the interest of Carolus-Duran English painting came from their attendance at the 1850, the realistic Parisian circles. In any case, seems to have actually discovered in Rome at the Velázquez portrait of Pope Innocent X (Galleria Doria Pamphilj, Rome), who copied the oil and, apparently, always carried a photograph. His stay in Spain, the news barely have lasted despite more than two years, which could be encouraged by the comments he made Astruc and Manet, who had been in Madrid in previous years, must be seen as " a trip to Velázquez ", which must have been copied repeatedly, although 
name only appears on the register of copyists del Prado between 10 and December 19, 1866. It known copies of The Jester Don Diego de Acedo, "El Primo" (Senate, Paris) and a Calabacillas The Fool (1879, Ministère des Finances, Paris), but we know that Gautier had another one Nain barbu (probably Don Sebastian de Morra) and the traces found in his paintings further show that due to several more. Moreover, from his stay in Madrid, Carolus-Duran's admiration for Velázquez practice gained exclusive characters. It appears to justify their claims to be the legitimate successor of Velazquez at the time, boasted a distant English ancestry and was fond of saying identifying with the teacher, "Velázquez and me." On the other hand, the repeated advice to his students was always the same: "Velázquez, Velázquez, Velázquez studied relentlessly." The traces of it in his own paintings are limited, however, some portraits taken in Spain, as the portrait of the painter Mathias Moreno (Palais des Beaux-Arts, Lille), in which he adopts a pose similar to that of Velazque z 
and Las Meninas in Madrid earned him a third-class medal at the National Exhibition of Fine Arts in 1866, his own Self Portrait (1867, Prado, cataloged in the Museum as a portrait of Matías Moreno) chromaticity close to Velazquez, and some other facts and in France in the years immediately after his return. Among these, the portrait of Hector Brame child (1871, private collection), which literally followed the pose of Prince Baltasar Carlos as Hunter, Velázquez, and used a subtle range of grays, browns and greens, is 
perhaps the closest to the spirit of the master and one of the few who used his teachings in the modern sense. Instead, the lady of the glove, a picture in which the spatial and chromatic treatment of the portraits Velázquez is used to revitalize, "modernized", the academic tradition elegant portrait, already showed, despite being made just after his return from Spain, the limitations of his approach to Velázquez. His work as a teacher at L'Atelier des élèves de Monsieur Carolus-Duran, which opened in spring 1873 and in which they formed, among others, Stevenson (author of a groundbreaking paper on Velázquez, published in 1895, which presented to it as the father of modern painting) and Sargent (who, following in his footsteps, came to Madrid in 1879 to study the works of Seville), would, however, basic appreciation of English painting in the last third nineteenth century. 
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