Paris, France : Passage Jouffroy, Passages des Panoramas : Christmas Noël in the streets of Paris
Passage Jouffroy is located in Paris Passage Jouffroy
General information
Type Covered passage
Address 10 Boulevard Montmartre - 9 rue de la Grange-Batelière
Town or city Paris
Country France
Coordinates 48.872549°N 2.342141°ECoordinates: 48.872549°N 2.342141°E
Technical details
Floor area 140 by 4 metres (459 by 13 ft)
The Passage Jouffroy is a covered passage of Paris, in the 9th arrondissement. It runs between the Boulevard Montmartre to the south and the rue de la Grange-Batelière to the north.
Description
The Passage Jouffroy is a covered walkway in the south of the 9th arrondissement of Paris, on the border with the 2nd arrondissement. It begins in the south between 10 and 12 boulevard Montmartre, and ends in the north at 9 rue de la Grange-Batelière.
Each passage is about 140 metres (460 ft) long and 4 metres (13 ft) wide. About 80 metres (260 ft) from its entrance on the Boulevard Montmartre, the passage makes a right angle turn and runs west for a few metres before descending some stairs. It then continues in a northerly direction to its outlet on the rue Grange-Batelière. This was imposed by the irregular pattern of the three plots on which the passage was built. This last part of the passage is particularly narrow, leaving room only for the corridor and a shop.
The Passage des Panoramas opens as a continuation of the passage Jouffroy on the other side of the Boulevard Montmartre. The Passage Verdeau does the same on the other side, after crossing the street from the Grange Batelière.
The passage is covered by a canopy of metal and glass. An ornate clock stucco overlooks the alley. The floor is paved with a geometric pattern composed of white, gray and black squares. The exit from the musée Grévin is located inside the Passage Jouffroy.
History
The Passage Jouffroy was built in 1845 along the line of the Passage des Panoramas in order to capitalize on the popularity of the latter. A private company was formed to manage it, headed by Count Felix de Jouffroy-Gonsans (1791-1863), who gave his name to the passage, and M. Verdeau, who gave his name to the passage that was built as a further extension, the passage Verdeau. The passage was built by architects François Destailleur and Romain de Bourges.
The Passage Jouffroy represents an important stage in the technological evolution of the 19th century and the mastery of iron structures. It is the first Parisian passage built entirely of metal and glass. Only the decorative elements are wooden. It is also the first passage heated by the ground.
In the early 1880s Arthur Meyer, founder of the newspaper Le Gaulois, joined the cartoonist Alfred Grévin to create a gallery of wax figures on a property adjacent to the passage. It was inaugurated on 10 January 1882 and has since taken the name of the musée Grévin. The exit of the museum, decorated with a montage of various characters, is in the passage and contributes in large part to its success. The museum includes a hall of mirrors that was originally housed in the Palais des mirages designed by Eugène Hénard for the Exposition Universelle (1900).
In 1974 the passage was registered as a French historical monument. The passage was completely renovated in 1987 and regained its original paving.
Transport
The closest Metro stations are Grands Boulevards (lines 8 and 9), 100 metres (330 ft) to the east up the Boulevard Montmartre, and Richelieu-Drouot on the same lines 130 metres (430 ft) to the west.
Wikipedia
BOULLE RESTORATION
hamiltonhavers.com, Restoration of marquetry, boulle, ivory, tortoiseshell, pietra dura, mother of pearl, straw marquetry, marble, malachite and lapis lazuli on furniture, clock cases and objects. For museums, historic houses and private collectors worldwide.
Places to see in ( Paris - France ) Musee Picasso Paris
Places to see in ( Paris - France ) Musee Picasso Paris
The Musée Picasso is an art gallery located in the Hôtel Salé in rue de Thorigny, in the Marais district of Paris, France, dedicated to the work of the Spanish artist Pablo Picasso. The hôtel particulier that houses the collection was built between 1656 and 1659 for Pierre Aubert, seigneur de Fontenay, a tax farmer who became rich collecting the gabelle or salt tax (the name of the building means salted). The architect was Jean Boullier from Bourges, also known as Boullier de Bourges; sculpture was carried out by the brothers Gaspard and Balthazard Marsy and by Martin Desjardins. It is considered to be one of the finest historic houses in the Marais.
The mansion has changed hands several times by sale or inheritance. The occupants have included the Embassy of the Republic of Venice (1671), then François de Neufville, duc de Villeroi; it was expropriated by the State during the French Revolution; in 1815 it became a school, in which Balzac studied; before housing the Ecole Centrale des Arts et Manufactures in 1829. It also housed the municipal École des Métiers d'Art. It was acquired by the City of Paris in 1964, and was granted historical monument status in 1968. The mansion was restored by Bernard Vitry and Bernard Fonquernie of the Monuments Historiques in 1974–1980.
The Hotel Salé was selected for the Musée Picasso after some contentious civic and national debate. A competition was held to determine who would design the facilities. The proposal from Roland Simounet was selected in 1976 from amongst the four that were submitted. Other proposals were submitted by Roland Castro and the GAU (Groupement pour l'Architecture et l'Urbanisme), Jean Monge, and Carlo Scarpa. For the most part, the interior of the mansion (which had undergone significant modifications) was restored to its former spacious state.
In 1968, France created a law that permitted heirs to pay inheritance taxes with works of art instead of money, as long as the art is considered an important contribution to the French cultural heritage. This is known as a dation, and it is allowable only in exceptional circumstances. Dominique Bozo, a curator of national museums, selected those works that were to become the dation Picasso. This selection was reviewed by Jean Leymarie and ratified in 1979. It contained work by Picasso in all techniques and from all periods, and is especially rare in terms of its excellent collection of sculptures. Upon Jacqueline Picasso's death in 1986, her daughter offered to pay inheritance taxes by a new dation. The collection has also acquired a number of works through purchases and gifts.
Picasso once said I am the greatest collector of Picassos in the world. He had amassed an enormous collection of his own work by the time of his death in 1973, ranging from sketchbooks to finished masterpieces. The Musée Picasso has over 5,000 works of art by Picasso including 3,700 works on paper, ceramics, sculptures in wood and metal, and paintings. This is complemented by Picasso's own personal art collection of works by other artists, including Cézanne, Degas, Rousseau, Seurat, de Chirico and Matisse. It also contains some Iberian bronzes and a good collection of African art, by which Picasso was greatly inspired. The museum also contains a large number of works that Picasso painted after his seventieth birthday.
( Paris - France ) is well know as a tourist destination because of the variety of places you can enjoy while you are visiting Paris . Through a series of videos we will try to show you recommended places to visit in Paris - France
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Hotel Chopin - Le Passage Jouffroy - Paris
Hotel Chopin as seen in the Film Mon Homme
My Man (French: Mon Homme) is a 1996 French drama film written and directed by Bertrand Blier. It was entered into the 46th Berlin International Film Festival where Anouk Grinberg won the Silver Bear for Best Actress.
The Passage Jouffroy is a covered walkway in the south of the 9th arrondissement of Paris, on the border with the 2nd arrondissement. It begins in the south between 10 and 12 boulevard Montmartre, and ends in the north at 9 rue de la Grange-Batelière.[1]
Each passage is about 140 metres (460 ft) long and 4 metres (13 ft) wide. About 80 metres (260 ft) from its entrance on the Boulevard Montmartre, the passage makes a right angle turn and runs west for a few metres before descending some stairs. It then continues in a northerly direction to its outlet on the rue Grange-Batelière. This was imposed by the irregular pattern of the three plots on which the passage was built. This last part of the passage is particularly narrow, leaving room only for the corridor and a shop.
The Passage des Panoramas opens as a continuation of the passage Jouffroy on the other side of the Boulevard Montmartre. The Passage Verdeau does the same on the other side, after crossing the street from the Grange Batelière.
The passage is covered by a canopy of metal and glass. An ornate clock stucco overlooks the alley. The floor is paved with a geometric pattern composed of white, gray and black squares. The exit from the musée Grévin is located inside the Passage Jouffroy.
History[edit]
The Passage Jouffroy was built in 1845 along the line of the Passage des Panoramas in order to capitalize on the popularity of the latter. A private company was formed to manage it, headed by Count Felix de Jouffroy-Gonsans (1791-1863), who gave his name to the passage, and M. Verdeau, who gave his name to the passage that was built as a further extension, the passage Verdeau. The passage was built by architects François Destailleur and Romain de Bourges.
The Passage Jouffroy represents an important stage in the technological evolution of the 19th century and the mastery of iron structures. It is the first Parisian passage built entirely of metal and glass. Only the decorative elements are wooden. It is also the first passage heated by the ground.
In the early 1880s Arthur Meyer, founder of the newspaper Le Gaulois, joined the cartoonist Alfred Grévin to create a gallery of wax figures on a property adjacent to the passage. It was inaugurated on 10 January 1882 and has since taken the name of the musée Grévin. The exit of the museum, decorated with a montage of various characters, is in the passage and contributes in large part to its success.[citation needed] The museum includes a hall of mirrors that was originally housed in the Palais des mirages designed by Eugène Hénard for the Exposition Universelle (1900).[3]
In 1974 the passage was registered as a French historical monument. The passage was completely renovated in 1987 and regained its original paving.
Camera: Canon 100d
Lense: Canon EF 24-105mm f/4.0 L IS USM Lens
Paris - June 2015
Saumur France
I created this video with the YouTube Slideshow Creator (
Louis Janmot.
Janmot was born in Lyon of Catholic parents who were deeply religious. He was extremely moved by the death of his brother in 1823 and his sisters in 1829. He became student at the Royal College of Lyon where he met Frederic Ozanam and other followers of his philosophy professor, Abbe Noirot. In 1831 he was admitted to the École des Beaux-Arts de Lyon and a year later, he won the highest honor, the Golden Laurel. In 1833, he came to Paris to take painting lessons from Victor Orsel and Jean-Auguste-Dominique Ingres. With other Lyon painters, he entered the Society of St. Vincent de Paul. In 1835, he went to Rome with Claudius Lavergne, Jean-Baptiste Frenet and other students and met Hippolyte Flandrin.
After his return to Lyon in 1836, Janmot would attract the attention of critics of the Salon de Paris in conducting large-scale paintings with religious inspiration such as The Resurrection of the son of the widow of Nain (1839) or Christ in Gethsemane (1840). After 1845, he attracted the interest of Charles Baudelaire with his painting Flower of the Fields that allowed him to access to the Salon of 1846. Theophile Gautier was impressed by his Portrait of Lacordaire (1846). But the failure of his Poem of the Soul at the Universal Exhibition of 1855 disappointed him. In December of that year he married Leonie Saint-Paulet, from a noble family in Carpentras.
In 1856, Janmot obtained a commission to paint a fresco (since destroyed) representing the Last Supper for the church of St. Polycarp. Other orders followed, including the decoration of the dome of the Church of St. Francis de Sales and for the town hall that had been renovated by his friend the architect T. Desjardins. He was then appointed professor at the École des Beaux-Arts.
Surprisingly, Janmot moved to Paris in 1861 after having been promised a commission for the Church of St. Augustine, but this project was abandoned three years later. In experiencing significant family and financial problems, Janmot accepted a professorship at the Dominican School of Arcueil. At that time, in his home in Bagneux, he made many portraits of the members of his family (only photographs are currently available).
After the birth of her seventh child in August 1870, his wife died in Bagneux. While the Prussian troops approached and occupied his home, he fled to Algiers with his stepfather and made landscape paintings. He returned in June of the following year in Paris and led a solitary life. His house in Bagneux had been looted. In 1878, he produced a fresco in the chapel of the Franciscans in the Holy Land, but this work was followed by any further order.
Faced with family and increasing financial problems, Janmot came to Toulon, and despite some orders (new Portrait of Lacordaire (1878, Museum of Versailles), Rosaire (Saint-Germain-en-Laye, 1880), Martyrdom of St. Christine (Solliès-Pont, 1882), he lived a retired life. He finished the second part of the Poem of the Soul that the patron and former industrial Félix Thiollier was willing to publish.
In 1885, Janmot married a former student, Antoinette Currat, and returned to Lyon. He made charcoal drawings on the theme of the underworld, which can be regarded as a kind of continuation of the Poem of the Soul, including Purgatory (1885) and The End of Time (1888). In 1887 was published in Lyon and Paris an over 500-page book entitled Opinion of an artist on art and includes articles previously written by Janmot. He died five years later at the age of 78.
Janmot has been seen as a transitional figure between Romanticism and Symbolism, prefiguring the French part of the Pre-Raphaelite Brotherhood; his work was admired by Puvis de Chavannes, Odilon Redon, and Maurice Denis.
Like Jean-Hippolyte Flandrin, another painter from Lyon and student of Ingres, Janmot carried out many commissions for church decorations. In his paintings the immaculate finish of Ingres was combined with a mysticism that has parallels in the work of his contemporaries the Nazarenes and the Pre-Raphaelites.
His most significant work, a cycle of 18 paintings and 16 drawings, with verse, called Poem of the Soul, occupied him for 40 years.
First part : the paintings
1. Génération divine
2. Le Passage des âmes
3. L’Ange et la mère
4. Le Printemps
5. Souvenir du ciel
6. Le Toit paternel
7. Le Mauvais Sentier
8. Cauchemar
9. Le Grain de blé
10. Première Communion
11. Virginitas
12. L’Échelle d’or
13. Rayons de soleil
14. Sur la Montagne
15. Un Soir
16. Le Vol de l’âme
17. L’Idéal
18. Réalité
Naissance de la sculpture gothique
En 15 ans, l'Île-de-France réinvente l'art de la sculpture. Laissez-vous émerveiller par les statues-colonnes de la cathédrale de Chartres ou les chapiteaux peuplés de figures du cloître de Saint-Denis !
L'exposition Naissance de la sculpture gothique. Saint-Denis, Paris, Chartres 1135 - 1150 est à voir jusqu'au 7 janvier 2019 au musée de Cluny, musée national du Moyen Âge.
Gothic Art - 9 French Painting
Nineth video about the Gothic Art serie. Any doubt? Send me a message.
Historia del Arte:
Land of the Art:
Gothic flourishes in the second half of the XII century and comes till the Renaissance (in Italy until the XV century). It was born in northern France, and little by little was spreading and imposing itself on Romanesque. It is called so by the Goths, as a derogatory term.
The Renaissance people named them with the term of Goth due that they wanted to come back to the roman classicism. Gothic is consecuence of the new society with economic prosperity and the bourgeoisie. In XIII century, Francisco of Asis establishes the franciscans and Saint Domingo establishes the dominics. They are two mendicant orders, who lived in poverty. The monastic orders were lost in nature, in monasteries. There were epidemics of plague, famines, wars...
XIII Century.
This is the century of windows and miniatures in manuscripts. The painting in windows is of rich brilliant colors. Use of blue, green, red and yellow. Figures of great size. As examples I put Chartres, Bourges, Reims and Troyes. I didn’t put example of miniatures because it is in chapter 14, but I can name the Psalter of Blanche of Castile.
XIV Century.
First tables of the prmitive frenchs.
Portrait of John the Good.
Wilton Diptych, or diptych of Richard II.
Très Riches Heures du Duc de Berry: by the Limbourg brothers, it is the only miniature work I will post here, due to his great quality as painting itself. It is a book of hours: a collection of prayers to be said at the canonical hours.
Altar for Philiph the Bold: by Broederlam. The left panel represents the Annunciation and Visitation. Right panel represents the Presentation of Jesus and the Flight to Egypt.
Last Communion and Martyrdom of Saint Denis: by Henri Bellechose.
XV Century.
Flemish influence.
Melun Diptych: by Jean Fouquet. It represents to his protector, Etienne Chevalier, kneeling the Virgin of Milk. The portrait of Charles VII is also of he.
Annunciation of Aix: of sienese influence.
Pieta of Villeneuve-les-Avignon: of crude realism.
Coronation of the Virgin: by Enguerrand Charonton.
Virgin of Mercy: by Enguerrand Charonton.
Master of Moulins: so is known Jean Hey, who did the Moulins Triptych, that represents Peter II Bourbon, the duchess Anne and her daughter Susan, kneeling before a Virgin surrounded with angels. He did also many portaits, and I selected the one of Margaret of Austria and Charles II Bourbon.
Music: Se madame je puis veir by Guillaume Dufay
Photos taken in Google images.
No copyright infringement intended.
French art | Wikipedia audio article
This is an audio version of the Wikipedia Article:
French art
00:01:04 1 Historic overview
00:01:13 1.1 Prehistory
00:04:31 1.2 Celtic and Roman periods
00:06:42 1.3 Medieval period
00:06:50 1.3.1 Merovingian art
00:08:02 1.3.2 Carolingian art
00:10:48 1.3.3 Romanesque art
00:13:29 1.3.4 Gothic
00:17:26 1.4 Early Modern period
00:18:57 1.4.1 Baroque and Classicism
00:22:54 1.4.2 Rococo and Neoclassicism
00:28:16 1.5 Modern period
00:28:25 1.5.1 19th century
00:32:36 1.5.2 20th century
00:36:24 2 French and Western Art museums of France
00:36:35 2.1 In Paris
00:37:33 2.2 Near Paris
00:38:08 2.3 Outside Paris
00:38:17 2.3.1 Major museums
00:41:27 2.3.2 Other museums
00:42:28 2.4 Textile and tapestry museums
00:43:05 3 Vocabulary
00:43:57 4 See also
00:44:21 5 References and further reading
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The only true wisdom is in knowing you know nothing.
- Socrates
SUMMARY
=======
French art consists of the visual and plastic arts (including architecture, woodwork, textiles, and ceramics) originating from the geographical area of France. Modern France was the main centre for the European art of the Upper Paleolithic, then left many megalithic monuments, and in the Iron Age many of the most impressive finds of early Celtic art. The Gallo-Roman period left a distinctive provincial style of sculpture, and the region around the modern Franco-German border led the empire in the mass production of finely decorated Ancient Roman pottery, which was exported to Italy and elsewhere on a large scale. With Merovingian art the story of French styles as a distinct and influential element in the wider development of the art of Christian Europe begins.
France can fairly be said to have been a leader in the development of Romanesque art and Gothic art, before the Renaissance led to Italy becoming the main source of stylistic developments until France matched Italy's influence during the Rococo and Neoclassicism periods and then regained the leading role in the Arts from the 19th to the mid-20th century.
Claus Sluter: Puits de Moïse / Mosesbrunnen / Well of Moses in Dijon
Mosesbrunnen in Dijon. Respektive: Moses, David, Jeremia, Zacharias (Sacharja), Daniel und Jesaja, mit den korrespondierenden Engeln (gegen den Uhrzeigersinn).
Dia-Show erstellt mit Youtube. According to Susie Nash, I should have started with King David and Jeremia, because from that place the monks looked up to Christ on the cross.
Text:
藝苑掇英 Maurice Esteve 莫里斯·埃斯特維 (1904-2001) Art Informel French
tonykwk39@gmail.com
Maurice Estève, (2 May 1904, Culan (Cher) - 29 June 2001), was a French painter.
Maurice Estève was born in the French town of Culan (Département Cher) on 2 May 1904. In 1913 he moved to Paris with his parents, where he soon began his education as an artist. Estève worked for a year as designer in a textile factory in Barcelona 1923. During his visits to the Louvre in the 1920s, Estève was particularly impressed by the painters Jean Fouquet and Paolo Uccello. Among the modern artists, Paul Cézanne had the greatest influence on Estève.
Maurice Estève was largely self-educated, having only attended the free studio of the Académie Colarossi in 1924, where he tried to constructively implement of his motifs according to the model of Georges Braque and Fernand Léger, thus creating a kind of Cubist Fauvism.
Estève began to move away from realism in 1928, and was influenced in the following years by Léger, Matisse and Bonnard. His first one-man exhibition was given at the Galerie Yvangot, Paris, 1930. He worked as assistant to Robert Delaunay on huge decorative panels for the 1937 Paris International Exhibition. In the 1940s his stylized figure, still-life and landscape compositions with strong colors gradually became completely abstract, with tight-knit interlocking shapes in rich, bold colors. Has made a number of watercolors and collages, and designed stained glass in 1957 for a church at Berlincourt in the Bernese Jura.
Estèves extensive work was not limited to the genre of painting. He was also active in collage, textile design and murals. Estèves avoided the extrovert circles of Avant-garde but still belonged to the core of the artists who brought about the breakthrough of École de Paris after 1945.
Maurice Estèves took part in the Venice Biennale in 1954. His œuvre, just like the works of his art colleagues Riopelle and Bazaine, established a new pictoral language: Lyrical abstractions with the aim of depicting form and color with an almost poetic attitude. His works have established themselves in many well-known museums and collections around the world.
Maurice Estève died on 29 June 2001 at the age of 97 in his home town of Culan.
莫里斯·埃斯特維 MauriceEstève，（1904年5月2日，Culan（雪兒-2001年6月29日），是法國畫家。
莫里斯·埃斯特維於1904年5月2日出生於法國小鎮Culan（DépartementCher）。1913年，他與父母一起搬到了巴黎，在那裡他很快開始了他的藝術教育。 1923年，Estève在巴塞羅那的一家紡織工廠擔任設計師一年。在20世紀20年代訪問盧浮宮期間，Estève對畫家Jean Fouquet和Paolo Uccello留下了深刻的印象。在現代藝術家中，保羅塞尚對Estève影響最大。
莫里斯·埃斯特維基本上受過自學，僅在1924年參加了AcadémieColarossi的免費工作室，他試圖根據Georges Braque和FernandLéger的模型建設性地實施他的主題，從而創造出一種立體派野獸派。
1928年埃斯泰夫開始擺脫現實主義，並在接下來的幾年裡受到了雷格，馬蒂斯和波納德的影響。他的第一個一人展覽於1930年在巴黎的Galerie Yvangot展出。他曾在1937年巴黎國際展覽會的巨大裝飾面板上擔任Robert Delaunay的助理。在20世紀40年代，他的風格化的身材，靜物和風景作品逐漸變得完全抽象，緊密相連的形狀豐富，大膽的色彩。曾於1957年為伯爾尼汝拉的柏林考古教堂設計了一些水彩畫和拼貼畫，並設計了彩色玻璃。
埃斯特維廣泛的工作不僅限於繪畫類型。他還積極參與拼貼，紡織品設計和壁畫。埃斯特維斯避開了前衛派的外向派，但依然屬於1945年以後帶來巴黎高等學院突破的藝術家的核心。
莫里斯·埃斯特維於1954年參加了威尼斯雙年展。他的作品，就像他的藝術同事Riopelle和Bazaine的作品一樣，建立了一種新的圖像語言：抒情抽象，用幾乎詩意的態度描繪形式和色彩。他的作品已經在世界各地眾多知名的博物館和收藏館中建立起來。
莫里斯·埃斯特維於2001年6月29日在家鄉Culan去世，享年97歲。
Cathedral of Notre-Dame, Former Abbey of Saint-Rémi and ... (UNESCO/NHK)
The outstanding handling of new architectural techniques in the 13th century, and the harmonious marriage of sculptural decoration with architecture, has made Notre-Dame in Reims one of the masterpieces of Gothic art. The former abbey still has its beautiful 9th-century nave, in which lie the remains of Archbishop St Rémi (440--533), who instituted the Holy Anointing of the kings of France. The former archiepiscopal palace known ...
Source: UNESCO TV / © NHK Nippon Hoso Kyokai
URL:
Lancement des Clubs Prof Dino, enchère de la caricature
Caricature, Prof Dino, Club, Enfants, Longueuil, Roland-Therrien, Épluchette de blé d'inde, hot dog, structures gonflables, cadeaux, inscription, accueil, Garderie les Trésors d'Ali Baba, Brûlerie Café Crème, Église de l'espoir, fête de quartier, Bellerive, famille Coqueliquot, Lafontaine, Maquilleuse professionnelle.
French architecture | Wikipedia audio article
This is an audio version of the Wikipedia Article:
French architecture
00:00:35 1 History
00:00:43 1.1 Gallo-Roman
00:02:12 1.2 Pre-Romanesque
00:04:05 1.3 Romanesque
00:07:31 1.4 Medieval
00:09:48 1.5 Renaissance
00:11:11 1.6 Baroque
00:13:52 1.7 Rococo
00:15:15 1.8 Neoclassicism
00:17:28 1.9 Early French Colonial Architecture
00:18:49 1.10 Second Empire
00:19:47 1.11 Beaux Arts
00:20:39 1.12 Art Nouveau & Art Deco
00:20:42 1.13 Modernist and Contemporary
00:21:33 2 Regional architecture
00:21:48 2.1 Provincial
00:22:28 2.2 Normandy
00:23:24 3 Overseas architecture
00:23:56 4 America
Listening is a more natural way of learning, when compared to reading. Written language only began at around 3200 BC, but spoken language has existed long ago.
Learning by listening is a great way to:
- increases imagination and understanding
- improves your listening skills
- improves your own spoken accent
- learn while on the move
- reduce eye strain
Now learn the vast amount of general knowledge available on Wikipedia through audio (audio article). You could even learn subconsciously by playing the audio while you are sleeping! If you are planning to listen a lot, you could try using a bone conduction headphone, or a standard speaker instead of an earphone.
You can find other Wikipedia audio articles too at:
You can upload your own Wikipedia articles through:
The only true wisdom is in knowing you know nothing.
- Socrates
SUMMARY
=======
French architecture ranks high among France's many accomplishments. Indications of the special importance of architecture in France were the founding of the Academy of Architecture in 1671, the first such institution anywhere in Europe, and the establishment in 1720 of the Prix de Rome in architecture, a competition of national interest, funded by the state, and an honor intensely pursued. If the first period of France's preeminent achievement was the Gothic, and the second, the eighteenth century, the longer tradition of French architecture has always been an esteemed one.
Claude Monet. Le déjeuner / The Lunch - circa 1873
Claude Monet
Le déjeuner : panneau décoratif
vers 1873
huile sur toile
H. 160,0 ; L. 201,0 avec cadre H. 180,9 ; L. 222,2 cm
musée d'Orsay, Paris, France
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藝苑掇英 Esteve Maurice 斯特維·莫里斯 (1904-2001) Art Informel French
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Maurice Estève, (2 May 1904, Culan (Cher) - 29 June 2001), was a French painter.
Maurice Estève was born in the French town of Culan (Département Cher) on 2 May 1904. In 1913 he moved to Paris with his parents, where he soon began his education as an artist. Estève worked for a year as designer in a textile factory in Barcelona 1923. During his visits to the Louvre in the 1920s, Estève was particularly impressed by the painters Jean Fouquet and Paolo Uccello. Among the modern artists, Paul Cézanne had the greatest influence on Estève.
Maurice Estève was largely self-educated, having only attended the free studio of the Académie Colarossi in 1924, where he tried to constructively implement of his motifs according to the model of Georges Braque and Fernand Léger, thus creating a kind of Cubist Fauvism.
Estève began to move away from realism in 1928, and was influenced in the following years by Léger, Matisse and Bonnard. His first one-man exhibition was given at the Galerie Yvangot, Paris, 1930. He worked as assistant to Robert Delaunay on huge decorative panels for the 1937 Paris International Exhibition. In the 1940s his stylized figure, still-life and landscape compositions with strong colors gradually became completely abstract, with tight-knit interlocking shapes in rich, bold colors. Has made a number of watercolors and collages, and designed stained glass in 1957 for a church at Berlincourt in the Bernese Jura.
Estèves extensive work was not limited to the genre of painting. He was also active in collage, textile design and murals. Estèves avoided the extrovert circles of Avant-garde but still belonged to the core of the artists who brought about the breakthrough of École de Paris after 1945.
Maurice Estèves took part in the Venice Biennale in 1954. His œuvre, just like the works of his art colleagues Riopelle and Bazaine, established a new pictoral language: Lyrical abstractions with the aim of depicting form and color with an almost poetic attitude. His works have established themselves in many well-known museums and collections around the world.
Maurice Estève died on 29 June 2001 at the age of 97 in his home town of Culan.
埃斯特維·莫里斯 Esteve ，（1904年5月2日-2001年6月29日），是法國畫家。
埃斯特維·莫里斯MauriceEstève於1904年5月2日出生於法國小鎮Culan（DépartementCher）。1913年，他與父母一起搬到了巴黎，在那裡他很快開始了他的藝術教育。 1923年，Estève在巴塞羅那的一家紡織工廠擔任設計師一年。在20世紀20年代訪問盧浮宮期間，Estève對畫家Jean Fouquet和Paolo Uccello留下了深刻的印象。在現代藝術家中，保羅塞尚對Estève影響最大。
埃斯特維·莫里斯基本上受過自學，僅在1924年參加了Académie Colarossi的免費工作室，他試圖根據Georges Braque和FernandLéger的模型建設性地實施他的主題，從而創造出一種立體派野獸派。
1928年埃斯泰夫開始擺脫現實主義，並在接下來的幾年裡受到了雷格，馬蒂斯和波納德的影響。他的第一個一人展覽於1930年在巴黎的Galerie Yvangot展出。他曾在1937年巴黎國際展覽會的巨大裝飾面板上擔任Robert Delaunay的助理。在20世紀40年代，他的風格化的身材，靜物和風景作品逐漸變得完全抽象，緊密相連的形狀豐富，大膽的色彩。曾於1957年為伯爾尼汝拉的柏林考古教堂設計了一些水彩畫和拼貼畫，並設計了彩色玻璃。
埃斯特維 廣泛的工作不僅限於繪畫類型。他還積極參與拼貼，紡織品設計和壁畫。埃斯特維斯避開了前衛派的外向派，但依然屬於1945年以後帶來巴黎高等學院突破的藝術家的核心。
埃斯特維·莫里斯於1954年參加了威尼斯雙年展。他的作品，就像他的藝術同事Riopelle和Bazaine的作品一樣，建立了一種新的圖像語言：抒情抽象，用幾乎詩意的態度描繪形式和色彩。他的作品已經在世界各地眾多知名的博物館和收藏館中建立起來。
埃斯特維·莫里斯於2001年6月29日在家鄉Culan去世，享年97歲。
Bordeaux | Wikipedia audio article
This is an audio version of the Wikipedia Article:
00:01:27 1 History
00:07:32 2 Geography
00:08:22 2.1 Climate
00:09:33 3 Economy
00:10:00 3.1 Wine
00:11:51 3.2 Others
00:13:06 3.3 Major companies
00:13:44 4 Population
00:15:08 5 Politics
00:20:55 5.1 Municipal administration
00:21:45 5.2 Mayors of Bordeaux
00:22:05 6 Education
00:22:14 6.1 University
00:23:26 6.2 Schools
00:25:29 6.3 Weekend education
00:25:51 7 Main sights
00:26:46 7.1 Buildings
00:29:47 7.2 Contemporary architecture
00:30:41 7.3 Museums
00:31:37 7.4 Parks and gardens
00:31:58 7.5 Pont Jacques Chaban-Delmas
00:32:40 7.6 Shopping
00:33:18 8 Culture
00:33:46 9 Transport
00:33:55 9.1 Road
00:35:39 9.2 Rail
00:37:34 9.3 Air
00:37:52 9.4 Trams, buses and boats
00:39:23 9.5 Taxis
00:39:35 9.6 Bordeaux Public Transportation Statistics
00:40:20 10 Sport
00:42:28 11 Notable people
00:42:37 12 International relationship
00:42:46 12.1 Twin towns and sister cities
00:42:58 12.2 Partnerships
00:43:06 13 See also
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SUMMARY
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Bordeaux (French pronunciation: [bɔʁdo] (listen); Gascon Occitan: Bordèu [buɾˈðɛw]) is a port city on the Garonne in the Gironde department in Southwestern France.
The municipality (commune) of Bordeaux proper has a population of 252,040 (2016). Together with its suburbs and satellite towns, Bordeaux is the centre of the Bordeaux Métropole. With 1,195,335 in the metropolitan area, it is the sixth-largest in France, after Paris, Marseille, Lyon, Toulouse, and Lille. It is the capital of the Nouvelle-Aquitaine region, as well as the prefecture of the Gironde department. Its inhabitants are called Bordelais (for men) or Bordelaises (women). The term Bordelais may also refer to the city and its surrounding region.
Being at the center of a major wine-growing and wine-producing region, Bordeaux remains a prominent powerhouse and exercises significant influence on the world wine industry although no wine production is conducted within the city limits. It is home to the world's main wine fair, Vinexpo, and the wine economy in the metro area takes in 14.5 billion euros each year. Bordeaux wine has been produced in the region since the 8th century. The historic part of the city is on the UNESCO World Heritage List as an outstanding urban and architectural ensemble of the 18th century. After Paris, Bordeaux has the highest number of preserved historical buildings of any city in France.
Première Pièce : Suivez 4 YouTubers dans notre Escape Game - Google France
Première Pièce : Suivez 4 YouTubers dans notre Escape Game - Google France. Première Pièce : 4 YouTubers dans l'Escape Game de Google France. Les Questions Cons, Chakeup, Les Express'ions et Philm ont 40 minutes pour venir à bout de Première Pièce, l'escape game de Google France. Il devront faire preuve de curiosité et d'esprit d'équipe afin de résoudre toutes les énigmes. Parviendront-ils à accomplir leur mission dans le temps imparti ?
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How it began - a BBC interview
Here's a radio interview we gave the BBC about starting out in stained glass and about the interest and passion of it all
Dr. Lindsay Cook: Restoring Notre-Dame: A Look at the Digital Scans That Could Help
Dr. Lindsay Cook, Visiting Assistant Professor of Art, Vassar College
Starting in 2010, the late architectural historian Andrew Tallon used 3-D laser scanning technology and high-resolution panoramic photography to create a near-complete digital record, inside and out, of Notre-Dame of Paris, one of the world’s most celebrated structures. Professor Cook presents an overview of Tallon’s achievement and discusses its contribution to the rebuilding of this beloved cathedral in the wake of the tragic fire of April 2019.