Thematische Bibliographien / Malmaison

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  2. Dissertationen
  3. Bücher
  4. Buchteile
  5. Konferenzberichte

Auswahl der wissenschaftlichen Literatur zum Thema „Malmaison“

Autor: Grafiati
Veröffentlicht am 29. Juni 2021
Zuletzt aktualisiert am 24. Januar 2023

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Zeitschriftenartikel zum Thema "Malmaison"

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Blasi, Ivan. „Sandoz Headquarters - Office Complex Novartis, Rueil-Malmaison, 1962-1968, by Martin Burckhardt and Bernard-Henri Zehrfuss“. Designing Modern Life, Nr. 46 (2012): 87. http://dx.doi.org/10.52200/46.a.3r27ae68.

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Agnès Cailliau, Chair of docomomo France alerted docomomo International that the original Headquarters and Laboratories of Sandoz were going to be completely demolished. After writing letters to the Mayor of Rueil-Malmaison and to Novarti’s President, the pharmaceutical company answered that their previous Basel intervention was an example of their care for heritage, that the structure of the building in Rueil-Malmaison had not aged well and did not live up to the company’s standards and that the project of architect Patrick Berger was in line with their heritage policy.
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Vial, Charles-Éloi. „Joséphine et les leçons d’histoire de Malmaison“. Revue de la BNF 53, Nr. 2 (2016): 173. http://dx.doi.org/10.3917/rbnf.053.0173.

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Hilger, Horst. „Kostümentwurf von Léon Bakst zum Ballett „L’Après-midi d’un faune“ für Vaslav Nijinsky“. WLBforum 20, Nr. 2 (15.10.2018): 42–43. http://dx.doi.org/10.53458/wlbf.v20i2.222.

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Der russisch-französische Maler und Bühnenbildner Léon Bakst (eigentlich: Leib-Chaim Israilewitsch Rosenberg), der am 9. Mai 1866 in Grodno (heute: Weißrussland) geboren und am 27. Dezember 1924 in Rueil-Malmaison (Frankreich) gestorben ist, zählt zu den größten und besten Kostüm- und Bühnenbildnern, die die Ballett-Welt kennt.
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Johns, C. M. S. „Empress Josephine's collection of sculpture by Canova at Malmaison“. Journal of the History of Collections 16, Nr. 1 (01.05.2004): 19–33. http://dx.doi.org/10.1093/jhc/16.1.19.

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Włodarczyk, Zofia, und Agnieszka Perzanowska. „Decorative values of selected cultivars of climbing roses (Rosa L.) with regard to thermal conditions“. Acta Agrobotanica 60, Nr. 1 (2012): 135–42. http://dx.doi.org/10.5586/aa.2007.016.

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In the years 2004-2006 in Kraków, phenological observations of climbing roses were conducted in order to determine the length and dates of their flowering period. The diameters of their flowers were also compared. Eight flowering repeating cultivars were selected for the experiment: 'Climbing Souvenir de la Malmaison', 'Dortmund', 'Golden Showers', 'Goldstern', 'New Dawn', 'Parade', 'Sympathie' and 'White New Dawn'. During the studies, the shrub roses were not artificially watered in order to create conditions similar to those prevailing in public green areas. It was observed that irrespective of the air temperature pattern in a given year, the studied cultivars did not bloom before 15 June. In 2006 high temperatures (above 20<sup>o</sup>C), which continued throughout the whole flowering period, caused its shortening, and the interval between the first and the next flowering in the season lasted longer than in the previous years. In the years 2004-2006, the cultivar 'New Dawn' bloomed the longest. In 2005 the studied cultivars produced larger flowers than the next year. The cultivars 'Dortmund' and 'White New Dawn' were characterised by the smallest diameter of flowers, whereas 'Climbing Souvenir de la Malmaison', 'Golden Showers' and 'Parade' were marked by the largest diameter.
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Sultan, R. A. „Fields of training in the Laser Platform of Rueil-Malmaison“. Lasers in Medical Science 4, S1 (März 1989): 397–99. http://dx.doi.org/10.1007/bf02276709.

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La Viet, Hong, Ha Chu Duc, Huyen Tran Thi Thanh, Lam Le Thi und Hong Mai Thi. „Propagation of Rosa “souvenir de la malmaison” by tissue culture techniques“. Journal of Science Natural Science 64, Nr. 3 (März 2019): 133–40. http://dx.doi.org/10.18173/2354-1059.2019-0016.

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Pépin, Jean Louis, Nathalie Raymond, Olivier Lacaze, Nathalie Aisenberg, Jérôme Forcioli, Eric Bonte, Arnaud Bourdin, Sandrine Launois, Renaud Tamisier und Nicolas Molinari. „Heat-moulded versus custom-made mandibular advancement devices for obstructive sleep apnoea: a randomised non-inferiority trial“. Thorax 74, Nr. 7 (03.05.2019): 667–74. http://dx.doi.org/10.1136/thoraxjnl-2018-212726.

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RationaleCustom-made mandibular advancement devices (MADs) are reported as providing higher efficacy rates compared with thermoplastic heat-moulded MADs but at the price of higher costs and treatment delays.ObjectiveTo determine whether a thermoplastic heat-moulded titratable MAD (ONIRIS; ONIRIS SAS, Rueil Malmaison, France) is non-inferior to a custom-made acrylic titratable MAD (TALI; ONIRIS SAS, Rueil Malmaison, France) for obstructive sleep apnoea (OSA).MethodsWe conducted a multicentre, open, randomised controlled trial of patients with OSA refusing or not tolerating continuous positive airway pressure (CPAP). Participants were randomly assigned to a thermoplastic heat-moulded titratable device or a custom-made acrylic device for 2 months with stratification by centre and OSA severity. The non-inferiority primary outcome was a ≥50% reduction in apnoea–hypopnoea index (AHI) or achieving AHI <10 events/hour at 2 months. The non-inferiority margin was preset as a difference between groups of 20% for the primary outcome in the per-protocol analysis.Main resultsOf 198 patients (mean age 51 [SD, 12] years; 138 [72.6%] men; mean body mass index 26 [SD, 2.7] kg/m2; mean AHI 26.6/hour [SD, 10.4]), 100 received TALI and 98 ONIRIS. In per-protocol analysis, the response rate was 51.7% in the TALI group versus 53.6% in the ONIRIS group (absolute difference 1.9%; 90% CI: 11% to 15%, within the non-inferiority margin). Effectiveness was the same for severity, symptoms, quality of life and blood pressure reduction. Patients in ONIRIS group reported more side effects and adherence was slightly better with TALI.ConclusionIn patients with OSA refusing or not tolerating CPAP, the thermoplastic heat-moulded titratable MAD was non-inferior in the short-term to the custom-made acrylic MAD.Trial registration numberNCT02348970.
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van Zanten, Agnès, Maria Amália de Almeida Cunha und Ceres Leite Prado. „A escolha dos outros: julgamentos, estratégias e segregações escolares“. Educação em Revista 26, Nr. 3 (Dezember 2010): 409–33. http://dx.doi.org/10.1590/s0102-46982010000300021.

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As escolhas familiares dos estabelecimentos escolares mantêm uma relação estreita com a segregação escolar. Apoiando-se sobre as pesquisas realizadas em Rueil-Malmaison, Nanterre, Vincennes e Montreuil, este artigo procura analisar as operações mentais e práticas que conduzem os pais a construir certos grupos sociais como "diferentes de si": pelo estabelecimento de relações entre essa concepção e as reflexões, os objetivos e os valores referentes à escolaridade de seus filhos, fazendo disso o motivo principal do abandono de certos estabelecimentos de ensino. Paralelamente, serão exploradas as operações do mesmo tipo que levam à construção de outros grupos como "próximos de si" e a concebê-los como recursos sociais que facilitam a construção de estratégias pela sua capacidade de realizar certos julgamentos, certas informações e certos meios de ação.
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Londero, Carlo. „Assenze/presenze“. Polisemie 1 (03.04.2020): 85–97. http://dx.doi.org/10.31273/polisemie.v1.608.

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Maxime Cella (Rueil-Malmaison, France, 1980 - Udine, Italy, 2019) was a poet and translator. He began publishing his first poems in 2009 and in 2011 the booklet Dieci poesie (‘Ten Poems’) was released. This essay offers a purely formalistic reading of the posthumously published Foss’io colui (‘Were I the one who’). After analysing the metrical aspects of the poem, the paper looks at the function of the “step verses” in order to evaluate its effect on versification and on the setting of the mise en page, which will be further examined in light of rhymes’ suffixes. Before concluding on a note on the vocalic phonosymbolism of the poem, the paper will then bring to light its dense phonic plot, from which Cella’s poetic awareness and ability can be clearly observed.
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Dissertationen zum Thema "Malmaison"

1

Chevallier, Bernard. „Malmaison, le domaine des origines a 1904“. Paris 4, 1987. http://www.theses.fr/1987PA040112.

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La premiere mention de malmaison remonte a 1244; la seigneurie reste dans la meme famille de 1390 a 1763. Le chateau est construit vers 1610 par christophe perrot, conseiller au parlement de paris, puis agrandi en 1686-1687 par le president barentin. Vers 1780, m. Le couteulx fait ajouter deux ailes sur la cour. La demeure est achetee en 1799 par josephine bonaparte, et transformee en maison elegante par percier et fontaine; elle sera le cadre des nombreux sejours qu'y fit le premier consul de 1800 a 1802. Les architectes morel, puis thibault et vignon construiront dans le parc une serre chaude, une bergerie, un chalet suisse et une laiterie. L'arrivee de berthault en 1805 marque le debut de la creation des jardins qui feront le renommee de malmaison; on y trouve une riviere, un lac, de nombreux rochers, un temple de l'amour, une grotte, etc. Berthault ajoute a la maison une galerie pour abriter les collections de l'imperatrice, puis il renouvelle entierement le decor de la chambre a coucher et du salon de josephine (1811-1812). Apres le divorce, elle se retire a malmaison ou elle meurt en 1814. Son fils, le prince eugene, conserve le domaine, mais sa veuve le vend en 1828 a un banquier suedois auquel succede la reine marie-christine d'espagne. En 1861, napoleon iii rachete le domaine de sa grand-mere et y ouvre un premier musee en 1867. L'etat vend malmaison a un promoteur en 1877; le parc est loti et le chateau sauve de la ruine par le philanthrope osiris, qui le restaure, puis l'offre a l'etat en 1904
The first mention of the word "malmaison" dates from 1244; the land belongs to the same family from 1390 to 1763. The castle is built about 1610 by christophe perrot, a parliament councillor of paris; then it is enlarged in 1686-1687 by president barentin. About 1780, m. Le couteulx adds two wings in the courtyard. In 1799, the mansion is bought by josephine bonaparte who transforms it into an elegant house thanks to the architects percierand fontaine; malmaison becomes the place where the prime consul often stays between 1800 and 1802. The architects morel, then thibault and vignon build in the park, a hot greenhouse, a sheepfold, a swiss chalet and a milk-house. With the arrival of berthault en 1805, begins the period of creating gardens which will make malmaison famous; one can see a river, a lake, lots of rocks, a love temple, a grotto, etc. Berthault builds a galery to enable the empress to display her works of art collections; the he makes a completely new decoration in josephine's bed-room and drawingroom (1811-1812). After her divorce, she retires to malmaison where she dies in 1814. Prince eugene, her son, keeps the property, but his widow sells it in 1828 to a swedish banker who, at his turn, will sell it to marie-christine queen of spain. In 1861, napoleon iii buys his grand-mother's estate back to create a museum in 1867. Malmaison is sold by the state in 1877 to a promoter; the park is parcelled out, but the castle is kept from ruin in 1896 by the philanthropist osiris who restores and offers it to the french state in 1904
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Chevallier, Bernard. „Malmaison le domaine des origines à 1904 /“. Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37603908b.

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Guinard, Laurent. „Essai d'analyse anthropologique comparative de trois territoires urbains : (la cité F. Schneider à Paris, la cité des Fouilleuses à Rueil-Malmaison, le quartier de Cergy-Saint-Christophe)“. Paris 5, 1991. http://www.theses.fr/1991PA05H077.

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A partir de 3 enquêtes de terrain effectuées dans le cadre de commandes officielles de 1986 à 1989, nous avons réalisé un travail comparatif selon les approches suivantes : urbanistique, sociologique et anthropologique de 3 "quartiers-cites" localises en région parisienne. Il s'agit de la cite F. Schneider (360 logements, 730 habitants), de la cite des fouilleuses (900 logements, 2640 habitants) et du quartier de Cergy-st-Christophe (12 000 habitants et 5000 logements vers 1986). A chaque fois, nous avons tenté d'identifier ce qui était spécifique et ce qui était commun à nos ensembles respectifs. Les éléments spécifiques (architecture, équipements, aspect conjoncturel) restent mineures au regard des traits communs observes : isolement social, désœuvrement de jeunes, racisme, vandalisme et pauvreté. Ces termes ne doivent pas occulter de la complexité sociale observée sur place. En effet, fixer une image univoque pour chaque quartier et même chaque habitant rencontre serait une simplification grossière. Ce travail de terrain nous a ainsi amené à nous interroger sur la pertinence de notions utilisées aujourd'hui : "ethnie", "identité" se révèlent fort peu opérant pour caractériser la situation sociale en France. L’anthropologie permet le décryptage de ces notions
Based on three investigations "on ground", in framework of offices orders, between 1986 and 1989, a comparative work has been done with the followings dimensions : town-planning, sociological and anthropological. It concerns the social block "f. Schneider" (360 flats, 730 residents), "les fouilleuses" (900 flats, 2640 residents) and a district of Cergy-Pontoise : "Cergy-St-Christophe" (5 000 flats and houses, 12 000 residents in 1986). Every time, we have tried to identify what was specific and what was common at each respective unity. The specifics elements (architecture, urbans equipements, locals circumstances) have a light determination on social life, opposite to the observed common patterns : poverty, racism, social loneliness, idleness of young people. . . . These terms must not mask social complexity observed in each locality. As a matter of fact to determine an univocal image would be a glaring blunder simplification. This work "on ground" obliged us to interrogate about judiciousness of some terms used today as "ethnic group", "ghetto", "identity". . . The seem a bad application to explain social situation of France. Anthropology allows a good deciphering of these notions
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Gombert, Philippe. „Pragmatisme, éducation, nouvelles classes moyennes : le cas des associations de parents d'élèves“. Paris, Institut d'études politiques, 2006. http://www.theses.fr/2006IEPP0042.

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L’histoire des associations de parents d’élèves entretient un lien étroit avec le développement des classes moyennes, notamment à partir des années 1970. Ces catégories sociales vont, en effet, par leurs styles de vie, leur rapport à l’éducation et leur mode de militantisme, largement contribuer à faire émerger la question du partenariat. Dans ce travail, je propose de revenir sur ces changements, à partir d’une étude de cas sur les fractions privées des classes moyennes et supérieures dans une commune de la banlieue Ouest parisienne
The Topic of my research deals with the connection between the Parent’s Associations and the ideological transformations of society. It deals, more precisely, with the system of values which is promoted by new middle classes and the way in which these classes are involved in the educational process. With this research, I try to demonstrate that the new middle classes promote a new ideology, which I call pramgatism
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Bozouls, Lorraine. „"Pour vivre heureux, vivons cachés" : pratiques résidentielles, styles de vie et rapports de genre chez les classes supérieures du pôle privé“. Thesis, Paris, Institut d'études politiques, 2019. http://www.theses.fr/2019IEPP0033.

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Au croisement de la sociologie des classes sociales et de la sociologie urbaine, cette thèse porte sur le pôle privé des classes supérieures, davantage doté en capital économique que culturel et résidant dans les espaces homogènes de la banlieue résidentielle aisée. Elle analyse le rôle du quartier et celui du logement dans la formation et la reproduction de cette fraction de classe et apporte ainsi une contribution à la compréhension des mécanismes de ségrégation. Elle s’appuie sur une enquête localisée dans les quartiers les plus aisés de deux communes de la banlieue parisienne (Rueil-Malmaison et Saint-Maur-des-Fossés), où ont été conduits soixante entretiens avec des propriétaires de maisons. Plus de deux tiers des ménages enquêtés ont un patrimoine immobilier estimé supérieur à un million d’euros et appartiennent donc aux 3 % des ménages les plus dotés de France. Les ménages enquêtés choisissent un quartier marqué par son entre-soi, qui assure des conditions favorables de reproduction sociale. Ils s’investissent à l’échelle locale dans les relations de sociabilité et dans des entreprises de patrimonialisation, dont ils tirent des ressources en termes de capital social, symbolique et économique. De plus, les ménages sont investis dans un mouvement de privatisation, qui se traduit par leur goût pour la propriété immobilière et par leur repli sur l’espace domestique, qui pèse principalement sur les femmes, dont beaucoup sont femmes au foyer. Enfin, cette privatisation est également synonyme d’un éloignement vis-à-vis des services publics, visible notamment à travers la prise en charge de leur sécurité, qui s’accompagne parfois d’un mouvement de fermeture résidentielle
At the crossroads of the sociology of social classes and the urban sociology, this thesis focuses on the private pole of upper classes, defined as the one having more economic than cultural capital and living in homogeneous spaces of the well-off residential suburbs. It analyses the role of both the neighborhood and the house in the formation and reproduction of this class fraction and thus contributes to the understanding of segregation mechanisms. It is based on a survey conducted in the wealthier districts of two municipalities in the Parisian suburbs (Rueil-Malmaison and Saint-Maur-des-Fossés) where sixty interviews with homeowners were conducted. More than two thirds of the households surveyed have an estimated property of more than one million euros and therefore belong to the 3% of the most affluent households in France. The households surveyed choose a neighborhood marked by its entre-soi, which ensures favorable conditions for social reproduction. They invest locally in social relationships and heritage enterprises, from which they extract resources in terms of social, symbolic and economic capital. In addition, the households surveyed are invested in a privatization movement, which results in a strong taste for real estate ownership and in their withdrawal into the domestic sphere, which mainly affects women, many of whom are housewives. Finally, this privatization is also synonymous with a distance from public services, visible through the management of their security, which is sometimes accompanied by a movement of residential closure
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af, Klinteberg Kristina. „Diadem och identitet : En studie kring identiteter i kejsarinnan Josephines pärl- och kamédiadem“. Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-438810.

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This paper, on the identities shown in one of the cameos in Empress Josephine’s pearl and cameo diadem, has first of all focused on the mythological characters, and thereafter raised the question if these are to be seen as an allegory for people from the time. The process of identi-fication has followed the three levels in Panofsky’s method for analysing art, where the first and second levels consist of already known material from the Bernadotte Library, Royal Palace in Stockholm and the jeweller house of Chaumet (former Nitot et Fils) in Paris.                      To decipher both the mythological individuals and the possible allegories, that is the third level, the iconology itself, the thoughts and methods of  Göran Hermerén on the rise and fall of allegories along with Leora Auslander’s solutions using visuals comparisons, when no written material is available, have provided the academic framework for the study.                                When comparing the cameo with pieces of art from the time, the subject fits the description of the Roman mythology’s love goddess Venus and her son Cupid, the lovechild fathered by Mars. Moving on to allegories, well-known material shows that Emperor Napoleon was keen to be portrayed as the god of war Mars and Empress Josephine as Venus.  A portrait of special interest to the study, a rather private painting by Parent from 1807, which is probably still unknown to most people, shows how Josephine is depicted with a recently deceased grandchild, a young boy how was also the nephew of Napoleon’s, a close relative to them both, and in the line of  succession to the throne, while Napoleon still was Emperor. This picture has an expression which is close to the one of Venus and Cupid, and it is also made to look like a cameo. These portraits were known at the time when Napoleon gave the diadem to Josephine in 1809.                                                       Among portraits from the Napoleonic era, there has earlier only been one known painting, even if in two examples, where the diadem is shown. It is a miniature of Empress Josephine, a work from her final period at Malmaison, 1814. However, another miniature picturing the daughter Hortense in the very same piece of jewellery, from 1812, has now become known. In both these examples, the depicted cameo has a hight measuring only millimetres, why a discussion on the execution and the rendering has to be done with restraint. But in the daughter´s portrait there is a certain attempt to show the outlines of the central cameo that differs from the later painting of the Empress. This may be an indication of how much more important it was for the daughter to relay the picture of her mother and the memory of her son, in 1812, than it was for Josephine in 1814, after the divorce, probably after the fall of Napoleon too, when she was no longer his Venus, and there was no longer a throne for any of her grandsons to inherit.         Therefore, in short, the chosen methods give the answer that the mythology depicted is a scene of Venus and her son Cupid, and the allegorical interpretation of Venus is the Empress herself. The child in shape of Cupid here, may well be read as one of her daughter’s sons, at the time a much longed-for heir to the throne of Napoleon I.
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af, Klinteberg Kristina. „Ett diadem och dess ikonografi : En studie av kejsarinnan Josephines pärl- och kamédiadem i porträtt mellan 1812 och 2010“. Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-438793.

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The main purpose of this study of a pearl and cameo diadem, given by Napoleon to his first wife Josephine in 1809, is to follow its representation in portraiture from Paris in 1812 to Stockholm in 2010, and explore how the iconography develops during these 200 years. From the earlier years, the diadem is found only in miniatures, then after coming to the new royal family in Sweden, the Bernadottes, it is given a role of an heirloom representing history and families in grand paintings, arriving to the present well-known wedding hairpiece, covered by modern media, where the diadem is more of a crown than the open, forehead-covering piece of fashion jewellery it was during the Napoleonic era in France. The portraits from 1812, 1814, 1836, 1837, 1877, 1976, 2000/2003 and 2010 also portray a development of the female role model of its time. Just like the hair piece attains an iconography which comprises not only the highest dress codes but also a possibility of status transformation for the people involved in ceremony, the role of the country’s First Lady is about to change into a higher, more egalitarian position of present days.
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Mathis, Véronique. „Louis Lafitte : un peintre d'histoire de la Révolution à la Restauration“. Thesis, Normandie, 2020. http://www.theses.fr/2020NORMR081.

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Louis Lafitte (1770-1828) a tenu toute sa vie à se présenter, avec fierté, comme peintre d’histoire, ce que sa formation artistique justifie pleinement. Après un apprentissage chez le graveur Gilles-Antoine Demarteau, il entre dans l’atelier de Jean-Baptiste Regnault, concurrent et rival de celui de Jacques Louis David dans les années 1780. Présenté par ce maître, il est inscrit à l’Académie royale de peinture, sculpture et architecture en 1784 ; son cursus y est honorable : première médaille au quartier d’octobre 1788, et surtout grand prix de peinture, lors de sa première participation au concours en 1791. Ce parcours d’excellence lui vaut une place à l’Académie de France à Rome, mais il ne peut guère profiter de ce privilège, la situation politique de la France ne trouvant pas grâce aux yeux du gouvernement romain. La population supporte de plus en plus mal la présence française et en janvier 1793, c’est l’explosion ; le Palais Mancini siège de l’Académie est incendié, les pensionnaires dispersés. Tous rentrent plus ou moins rapidement en France ; certains comme Lafitte iront se réfugier à Florence jusqu’à la rupture de la neutralité de la Toscane en octobre 1793. De retour en France, commence une période paradoxale : pensionnaire de la République sur le papier jusqu’en septembre 1800, il en perçoit les modestes indemnités, compte peut-être sur un nouveau séjour romain qui ne viendra pas, mais ne parvient pas à « faire la peinture » à laquelle il aspire, faute d’obtenir un atelier, malgré des demandes répétées. Il n’entre pas non plus dans le cénacle des artistes sollicités régulièrement par les gouvernements successifs, mais il donne parfois de timides signes d’assentiment au régime en place, de l’an II jusqu’à l’Empire où il bénéficie alors de commandes officielles plus importantes, comme le simulacre de l’Arc de triomphe de l’Etoile pour le mariage de Napoléon et Marie-Louise. Son ralliement enthousiaste à la Restauration montre sans doute le vrai visage de Lafitte quant à ses affinités politiques. Il en résulte une place très officielle de dessinateur du Cabinet du Roi, qui conclut avec panache une carrière dont le parcours est souvent difficile à reconstituer. La plus grande partie de sa vie, il n’est pas dans la lumière, car faute de clients publics, il s’est tourné très vite vers une clientèle privée, que son titre de peintre d’histoire, inlassablement mis en avant, n’a pas manqué d’attirer et que ses réels talents de dessinateur ont fixé. On lui demande surtout des travaux en rapport avec les goûts du temps, décors intérieurs pompéiens, ou portraits, tous objets qui malheureusement n’ont que très exceptionnellement laissé des traces. Son crayon sûr et incisif travaille pour les graveurs d’estampes, avec des morceaux célèbres comme les figures du calendrier républicain, ainsi que pour les éditeurs de belles éditions illustrées, dont les lecteurs de l’époque sont friands. On pense notamment à la luxueuse édition Didot de Paul et Virginie, orchestré de bout en bout par Bernardin de Saint Pierre lui-même. Il s’est taillé dans ce dernier domaine une réputation telle, qu’il est resté comme un illustrateur de livres pour une part non négligeable d’auteurs du XIXe siècle. Il n’a pas manqué non plus d’être intéressé par les arts appliqués et de fournir des dessins aussi bien pour de l’orfèvrerie que pour des papiers peints ; des objets de luxe, produits en petit nombre certes, mais industriellement quand même, qui montre un artiste ne dédaignant pas les demandes d’une société de consommation exigeante. Comme on le voit, il ne fait pas œuvre de peintre d’histoire ; mais ce parcours très diversifié, faisant feu de tout bois, montre une adaptation originale à la situation nouvelle que rencontrent les artistes dans une période particulièrement troublée. Elle permit à Louis Lafitte, peintre d’histoire, sinon d’atteindre la gloire, au moins de vivre correctement de son art
All his life Louis Lafitte (1770-1828) insisted on introducing himself, with pride, as a history painter, a statement which his artistic training fully justified. After an apprenticeship with the engraver Gilles-Antoine Demarteau, he was the pupil of Jean-Baptiste Regnault, a competitor and rival of Jacques Louis David's in the 1780s. Introduced by his master, he was enrolled at the Royal Academy of Painting, Sculpture and Architecture in 1784; his studies there were honourable: first medal in October 1788, and above all the grand prize in painting, when he first took part in the competition in 1791. This course of excellence earned him a place at the Académie de France in Rome, but he could hardly take advantage of this privilege, as the political situation in France was not acceptable to the Roman authorities. The population could not stand the French presence and in January 1793, it was mayhem; the Mancini Palace, the seat of the Academy, was burnt down and the residents dispersed. All of them returned to France more or less quickly; some, like Lafitte, took refuge in Florence until the neutrality of Tuscany was ruptured in October 1793. On his return to France, a period of uncertainty began: an official resident of the Republic until September 1800, he received modest compensation. His desire to return to Rome was unfulfilled as was his aspiration to become a history painter, as he was unable to obtain a studio, despite repeated requests. Nor did he enter the cenacle of artists regularly solicited by successive governments, but he sometimes gave timid signs of assent to the regime in power, from the year II to the Empire, where he received more important official commissions, such as the simulacrum of the Arc de Triomphe de L'Etoile for the wedding of Napoleon and Marie-Louise. His enthusiastic rallying to the Restoration undoubtedly shows the true face of Lafitte's political affinity. The result was a very official position as draughtsman in the King's Cabinet, which concluded his artistic career which is often difficult to reconstruct. For most of his life, he was not in the limelight, lacking public clients, he very quickly turned to a private clientele, which he obtained by using his title of a history painter. He was mainly asked to paint works in line with the tastes of the time, Pompeian interior decorations, or portraits, which we have little trace of today. A skilled draughtsman, he worked for print engravers, producing famous pieces such as figures from the republican calendar, but also for publishers of refined illustrated editions, very appreciated by the readers of the time. One thinks, in particular, of the luxurious Didot edition of Paul and Virginie, directed from beginning to end by Bernardin de Saint Pierre himself. In the publishing field, he earned such a reputation that he remained a book illustrator for a large number of 19th-century authors. He was also interested in the applied arts and provided drawings for both the goldsmiths and wallpaper trade. These were luxury objects, produced in small numbers but mechanically manufactured. As an artist, Louis Lafitte accepted the demands of consumer society, his eclectic career showed his constant ability to adapt during the revolution and although he is not remembered as a history painter, he succeeded in making a living from his trade
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Bücher zum Thema "Malmaison"

1

Hubert, Gérard. Malmaison. Paris: Éditions de la Réunion des musées nationaux, 1989.

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Servais, J. C. Malmaison. Tournai: Casterman, 1985.

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3

Armstrong, Fiona. Port of call: [Malmaison Hotel]. [S.l.]: Homes & Interiors Scotland, 2004.

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4

Das Schloß Malmaison bei Paris. Herrsching: Pawlak, 1989.

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5

Malmaison: Château et domaine des origines à 1904. Paris: Ministère de la culture, de la comunication, du Bicentenaire et des Grands Travaux, Editions de la Réunion des museés nationaux, 1989.

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6

Lack, H. Walter. Jardin de la Malmaison: Ein Garten für Kaiserin Josephine. München: Prestel, 2004.

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7

Petru, Groza. A börtön homályában: Malmaison, 1943-1944 telén. Budapest: Gondola, 1986.

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8

Les roses de Malmaison: Incomparable Joséphine : roman. Paris: Pygmalion/Gérard Watelet, 1999.

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9

Musée national des châteaux de Malmaison et de Bois Préau (France). Malmaison et l'Egypte: Musée national des châteaux de Malmaison et Bois-Préau, 15 avril-31 juillet 1998. Rueil-Malmaison, France]: Musée national des châteaux de Malmaison & Bois-Préau, 1998.

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10

Nicole, Hubert, und Réunion des musées nationaux (France), Hrsg. Musée national des châteaux de Malmaison et de Bois Préau: Guide. Paris: Ministère de la culture et de la communication, Editions de la Réunion des musées nationaux, 1986.

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Buchteile zum Thema "Malmaison"

1

Hughes, Matthew, und William J. Philpott. „Malmaison — The ‘Bite and Hold’ Battle“. In The Palgrave Concise Historical Atlas of the First World War, 74–75. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230504806_37.

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2

Devine, Marion. „Case Study of the Malmaison Hotel Group“. In Talent Management, 184–99. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230233522_15.

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3

„MALMAISON“. In Witnessing Romania's Century of Turmoil, 213–25. Boydell & Brewer, 2017. http://dx.doi.org/10.2307/j.ctvb6v6k6.34.

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4

„‘A Masterpiece of Tactics’: The Battle of Malmaison“. In The French Army's Tank Force and Armoured Warfare in the Great War, 94–122. Routledge, 2016. http://dx.doi.org/10.4324/9781315558004-10.

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5

„3 A Créole Empress: Joséphine at Malmaison (1799–1810)“. In Marie-Antoinette’s Legacy, 169–230. Amsterdam University Press, 2022. http://dx.doi.org/10.1515/9789048552634-007.

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6

Taylor-Leduc, Susan. „Introduction: Spatial Legacies“. In Marie-Antoinette’s Legacy. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463724241_intro.

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Queen Marie-Antoinette and empresses Joséphine, Marie-Louise, and Eugénie are commonly perceived as profligate garden patrons pursuing ostentatious pleasures at the Petit Trianon, Versailles, and Malmaison. This book disrupts this narrative, arguing instead that their gardens were liminal zones at the epicenter of court societies, venues where each patron demonstrated her agency and cultural clout. Drawing upon scholarship in spatial, sensorial, and cultural memory studies, this book situates these four patrons and their picturesque gardens at the forefront of French garden history.
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Taylor-Leduc, Susan. „A Créole Empress“. In Marie-Antoinette’s Legacy. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463724241_ch03.

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In 1799, Joséphine de Beauharnais, recently married to General Napoléon Bonaparte, negotiated the purchase of Malmaison, a country house located twelve kilometers outside Paris. For the next fifteen years, Joséphine transformed her garden into an extensive working farm and center dedicated to botanical study. Debunking the perception that Joséphine entertained a nostalgic passion for the fruits and flowers of her native Martinique, Chapter 3 argues that she crafted a sophisticated program that supported Napoléon’s colonial ambitions in the Atlantic and the Pacific. Joséphine commissioned lavish folio botanical illustrations of her collections, creating a paper legacy of her accomplishments that was critical for following generations of women gardeners, illustrators, and artists.
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8

Taylor-Leduc, Susan. „The Imperial Picturesque“. In Marie-Antoinette’s Legacy. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463724241_ch04.

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When Empress Joséphine accepted the dissolution of her marriage to Emperor Napoléon in December 1809, she became the first and only divorced Empress of France. Napoléon married the eighteen-year-old Marie-Louise, Marie-Antoinette’s grandniece, on April 1, 1810. From 1810 to 1814, Napoléon continued to support Joséphine’s garden patronage at Malmaison while installing Marie-Louise at the Petit Trianon. The emperor thus sustained a competitive garden culture between his spouses while pursuing his own agenda at imperial sites. For all three patrons, recalling Marie-Antoinette’s legacy at the Petit Trianon was an entangled memory, both personal and political, that conditioned the dissemination of the picturesque garden style.
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9

Taylor-Leduc, Susan. „Empress Eugénie“. In Marie-Antoinette’s Legacy. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463724241_ch05.

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At the Universal Exposition of 1867, Empress Eugénie sponsored two temporary exhibitions at the Petit Trianon and Malmaison dedicated to the memory of Marie-Antoinette and Joséphine, respectively. Scholarship dedicated to Eugénie’s restoration projects has primarily focused on the decorative interiors and eclipsed any discussion of the adjoining gardens. This chapter argues that Eugénie aligns herself with her illustrious predecessors, hoping to restore their reputations in this arena. Inspired by her mentor and founder of the commission to preserve historic monuments, Prosper Merimée, she inaugurated a new concept of living patrimony. Eugénie’s patronage was coincident with Napoleon III’s public park movement, suggesting her restorations claimed the historic picturesque as a space of female agency.
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10

Vuillemin, Jean E., Patrice Bertin, Didier Roncin, Mark Shand, Hervé H. Touati und Philippe Boucard. „Programmable Active Memories: Reconfigurable Systems Come of Age Manuscript received July 5, 1994; revised October 26, 1994. This work was done at Digital Equipment Corporation's Paris Research Laboratory (DECPRL, 92500 Rueil-Malmaison, France) from 1988 to 1994. Publisher Item Identifier S 1063-8210(96)02081-1.“ In Readings in Hardware/Software Co-Design, 611–24. Elsevier, 2002. http://dx.doi.org/10.1016/b978-155860702-6/50057-0.

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Konferenzberichte zum Thema "Malmaison"

1

Wu, Angela, Mohammad Alzuabi und Volker Sick. „Large-Eddy Simulations with Conjugate Heat Transfer of a Reacting Flow in an Internal Combustion Engine.“ In Proposed for presentation at the Large-Eddy Simulations for Energy Conversion in Electric and Combustion Engines held June 16-18, 2021 in Rueil-Malmaison, France. US DOE, 2021. http://dx.doi.org/10.2172/1872707.

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