Academic literature on the topic 'Art dealers – France – Paris'
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Journal articles on the topic "Art dealers – France – Paris"
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Silverman, Willa Z. "“The Most Passionate of All”." Journal of Japonisme 3, no. 1 (December 4, 2018): 1–51. http://dx.doi.org/10.1163/24054992-00031p01.
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Known primarily as a jeweler in the vanguard of Art nouveau and an important collector of the Impressionists, Henri Vever (1854-1942), as his private diaries make clear, was also a foremost connoisseur of Japanese art in fin-de-siècle France, “the most passionate of all,” to Edmond de Goncourt. Well-connected to networks of dealers, museum officials, publications, and sites of sociability such as the dîners japonais, Vever figures among the most prominent members of a second wave of Parisian enthusiasts of Japanese art, active from approximately 1880 to 1900. Under the tutelage of the Japanese art dealers Hayashi Tadamasa and Siegfried Bing and the fine art printer Charles Gillot, Vever constituted a renowned collection of not only Japanese prints but also other art objects previously disregarded by collectors. Vever’s multiple and intersecting identities as luxury craft producer, leading member of professional associations, art historian and critic, collector, and Republican mayor placed him at the forefront of efforts to legitimate the collection and appreciation of Japanese art in France. His diaries also underscore the connections between the worlds of Japanese and Impressionist art collectors, and between proponents of japonisme and Art nouveau. Further, they highlight the importance of the 1900 Paris Exposition universelle as a triumphant moment for japonisme in France, just as they signal the shift on the part of some japonisants, at the same time, from Japanese art towards the decorative arts of the Islamic world.
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De Kinkelder, Marijke C. "Franciscus Hamers, dozijnschilder in Antwerpen." Oud Holland - Quarterly for Dutch Art History 118, no. 3-4 (2005): 203–12. http://dx.doi.org/10.1163/187501705x00349.
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AbstractIn I987 a painting with illegible signature was shown at the RKD. When in spring 2002 a painting with similar signature came alight at a Paris art-dealer, it proved possible to read the signature correctly and identify the artist as the Antwerp-based Franciscus Hamers, only known through his membership of the guild in I674. Several other paintings could be attributed to him either on stylistic grounds or by recognising the characteristic signature. The paintings presented here show that he proved to be what was known in the seventeenth century as 'dozijnschilder' (lit: dozen painter), assembling his works by imitating, borrowing and copying from examples by other artists, notably Haarlem painters such as Pieter van Laer, Philips Wouwerman and Nicolaes Pietersz. Berchem. This proved to be a typical feature of the artistic climate in the I670s in Antwerp when economic recession forced many artists to produce paintings and copies by the dozen for art-dealers such as Guillaume Forchondt and Bartholomeus Floquet who then exported these paintings to France, Austria, Spain and Portugal.
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Koopstra, Anna. "De Antwerpse 'witter ende paneelmaker' Melchior de Bout (werkzaam 1625/26-1658): leverancier van 'ready-made' panelen voor de Parijse markt." Oud Holland - Quarterly for Dutch Art History 123, no. 2 (2010): 108–24. http://dx.doi.org/10.1163/003067212x13397495480826.
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AbstractOn the back of several paintings on panel in the oeuvre of Willem Kalf, the panelmakers mark of Melchior de Bout has been found. Like his father Philip, De Bout was registered in Antwerp as a 'witter ende paneelmaker'. He thus seems to have specialised in producing panels that were covered, on both sides of the wooden support, with a preparatory (ground) layer consisting of chalk and glue. Occasionally, an imprimatura was also applied. De Bout's 'ready-made' panels were not only used by Willem Kalf, but also by Sebastian Stosskopf, Charles Le Brun, Jacques Linard, Lubin Baugin and Willem van Aelst. Since these artists were all working in Paris around the middle of the seventeenth century, it seems justified to conclude that for a certain time, the Antwerp panel maker specifically produced his panels for distribution in the French capital. The popularity of the panels of this highly specialised Antwerp panelmaker illustrates the strong appeal that the dynamic art market in Paris had for artists, art dealers and buyers from France and abroad.
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Coman, Sonia. "The Bracquemond-Rousseau Table Service of 1866." Journal of Japonisme 1, no. 1 (January 4, 2016): 17–40. http://dx.doi.org/10.1163/24054992-00011p03.
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Inspired by Japanese art and French eighteenth-century porcelain, the Rousseau-Bracquemond ceramic table service of 1866 blurred the line between the decorative and the fine arts. Exhibited at the 1867 World’s Fair in Paris, the service met with exceptional critical and commercial success. This paper focuses on the Rousseau-Bracquemond service to propose that cross-cultural encounters unsettled hierarchical relationships among media in nineteenth-century France. Through a visual and historiographical analysis of this case study, the paper offers a re-evaluation of the interrelationships among ceramics and modern painting. Challenging Eurocentric art historical narratives, the paper explores how the Rousseau-Bracquemond service connected Japonisme, historicism, and Republican thought. Politically charged and technically innovative, the service exemplified a new type of cross-media collaborations among a network of artists, dealers, critics, and collectors. At the intersection of ornament and realism, their radical work marked a major change in the relation between art and design.
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Sullivan, Edward J. "Francisco Oller and France: New Perspectives." Nineteenth Century Studies 33, no. 1 (December 1, 2021): 242–55. http://dx.doi.org/10.5325/ninecentstud.33.0242.
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Abstract Francisco Oller was one of the most distinguished and influential artists to emerge from the Caribbean in the mid-nineteenth century. Often referred to as the painter of Puerto Rico, he is most noted for his depictions of everyday life on the island, landscapes, still lifes, portraits, and history paintings. However, his four lengthy journeys to Spain and France throughout his life indelibly marked his artistic production. This essay reconsiders the impact of French art on Oller. It deals with two heretofore unstudied paintings (both in private collections). A tabletop still life with peonies and other flowers reminds us of his interest in Henri Fantin-Latour and his contemporaries in Paris. Oller’s small but panoramic landscape of the pilgrimage shrine to Our Lady of Lourdes in southern France opens up questions regarding the artist’s own religious leanings and his interest in depicting public spaces.
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Vernyhor, Dmytro. "The Ukrainian Star of World Ballet." Diplomatic Ukraine, no. XX (2019): 794–98. http://dx.doi.org/10.37837/2707-7683-2019-54.
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The article deals with the life and career path of Serge Lifar, a Ukrainian world-class dancer, choreographer, theorist of choreography, historian and reformer of the 20thcentury ballet, Honorary President of the UNESCO International Dance Council. Serge Lifar was a prolific artist, choreographer and director of the Paris Opéra Ballet, one of the most preeminent ballet companies in Western Europe. Attention is drawn to the fact that pedagogical activity constituted a significant part of Lifar’s work. In 1947, he founded the French Academy of Dance, from 1955 he taught his-tory and theory of dance at Sorbonne University, having developed his own system of ballet dancers’ training and authored more than 20 works on ballet. In the same year, he was recognized as the best dancer and choreographer in France and was awarded the ‘Golden Shoe’. In 1957, he became the founder and rector of the Paris University of Dance. The author emphasizes that Lifar’s creative heritage is huge. He choreographed more than 200 ballets and wrote 25 books on dance theory. Serge Lifar trained 11 ballet stars. Serge Lifar’s style, which he called choreographic neoromanticism, determined the ways of development of the European ballet art of the second half of the 20th century. At the age of 65, Lifar showed his talent as a visual artist. His heritage includes more than a hundred original paintings and drawings, the main plot of which is ballet, dance, and movement. In 1972–1975, exhibitions of his works were held in Cannes, Paris, Monte Carlo and Venice. His yet another passion was books. It all began with Serhii Diahiliev’s personal archive, which included a collection of theatrical paintings, scenery and a library. Lifar bought it from the French government for a one year’s salary at the Grand Opera. In the USSR, Lifar’s name was concealed. Only in 1961, did he and his wife visit it for the first time as the Soviet authorities did not allow him to stage any ballet in the USSR. He always felt he was Ukrainian and ardently promoted the history and culture of his people. In honour of the outstanding countryman, the Serge Lifar International Ballet Competition and the festival ‘Serge Lifar de La dance’ have been held since 1994 and 1995, accordingly. Keywords: cultural diplomacy, art of artistic vision of choreography, Serge Lifar International Ballet Competition.
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Petropoulos, Jonathan. "Art Dealer Networks in the Third Reich and in the Postwar Period." Journal of Contemporary History 52, no. 3 (July 27, 2016): 546–65. http://dx.doi.org/10.1177/0022009416637417.
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This article discusses art dealers who trafficked in looted art during the Third Reich and how they re-established networks and continued their trade in the postwar period. I argue that these dealers worked within a series of overlapping networks. A primary network was centered in Munich, with dealers such as Dr. Bruno Lohse (Göring’s art agent in Paris during the war); Maria Almas Dietrich, Karl Haberstock, Walter Andreas Hofer, and Adolf Wüster. These individuals worked closely with colleagues in Austria, Switzerland, and Liechtenstein (states contiguous with Bavaria) in the postwar years. Many of the individuals in outer appendages of the networks had not been complicit in the Nazis’ plundering program, yet they trafficked in looted works and formed dealer networks that extended to Paris, London, and New York. Both the recently discovered Gurlitt cache – over 1400 pictures located in Munich, Salzburg, and Kornwestheim – and the annotated Weinmüller auction catalogues help illuminate aspects of these networks. Art dealers played a key role in the looting operations during the Third Reich and in the transfer of non-restituted objects in the postwar period. The current generation of the profession may be the key to advancing our understanding of a still incomplete history.
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Grimsted, Patricia Kennedy. "Nazi-Looted Art from East and West in East Prussia: Initial Findings on the Erich Koch Collection." International Journal of Cultural Property 22, no. 1 (February 2015): 7–60. http://dx.doi.org/10.1017/s0940739115000065.
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Abstract:The article contrasts long-suppressed details of German art seizures during the Second World War from Ukrainian state museums and Western Jewish dealers, ordered to Königsberg by Erich Koch, Gauleiter of East Prussia and Reich Commissar of Ukraine. While most of the art from Kyiv was destroyed by retreating Germans when the Red Army arrived (February 1945), here we investigate “survivors.” Initial provenance findings about the collection Koch evacuated to Weimar in February 1945 reveal some paintings from Kyiv. More, however, were seized from Dutch and French Holocaust victims by Reichsmarschall Hermann Göring and his cohorts, including Jewish dealers Jacques Goudstikker (Amsterdam) and Georges Wildenstein (Paris). Many paintings deposited in Weimar disappeared west; others seized by Soviet authorities were transported to the Hermitage. These initial findings draw attention to hitherto overlooked contrasting examples of patterns of Nazi art looting and destruction in the East and West, and the pan-European dispersal of important works of art.
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Piran McClary, Richard. "Calouste Gulbenkian, His Mīnāʾī Ware, and the Changing Islamic Art Market in the Early Twentieth Century." Muqarnas Online 37, no. 1 (October 6, 2020): 325–43. http://dx.doi.org/10.1163/22118993-00371p13.
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Abstract This article aims to provide a clearer understanding of the emerging market for Islamic art in the early decades of the twentieth century through a study of the changing purchasing habits of one European collector, Calouste Gulbenkian, and specifically his acquisition of mīnāʾī ware. Such an approach allows for a coherent, focused study that engages with the leading dealers, agents, and auction houses of the time. These were located primarily in Paris and, to lesser extent, New York and London, in the key period during which the Islamic art market became a major part of the broader art and antiquities business. The main focus is on the shift from buying newly excavated fragmentary material from Armenian dealers to purchasing seemingly complete, but heavily restored, bowls from established collections sold at the leading auction houses. Each of the pieces in Gulbenkian’s collection of mīnāʾī ware is examined in detail, and a new taxonomic classification is presented for this well known, but still poorly understood, class of Islamic ceramics.
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Buysse, Daniel, G. ran Hajak, Patrick L. vy, Thomas Roth, and Forum Scientific Committee. "The art of good sleep, Paris, France, September 2004." Sleep Medicine 6 (January 2005): S1—S2. http://dx.doi.org/10.1016/s1389-9457(05)80001-2.
Full textDissertations / Theses on the topic "Art dealers – France – Paris"
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Jouves, Barbara. "La conservation et la restauration des tableaux des collections privées à Paris (1789-1870)." Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H070.
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Préoccupés par la conservation de leurs collections de peintures, les amateurs d’art parisiens font appel, entre 1789 et 1870, aux restaurateurs de tableaux, ces derniers relevant d’une profession qui, à la même époque, se définit indépendamment de celles du marchand, de l’expert ou même du peintre. Si le restaurateur intervient sur les œuvres du particulier, il joue, par ailleurs, pour l’amateur, un rôle de guide dans sa connaissance, voire dans son apprentissage, des procédés picturaux. Progressivement, cette prise en compte de la matérialité de l’œuvre contribue à intégrer le collectionneur au sein des commissions muséales en tant que conseiller, avant qu’il n’acquière un statut privilégié au musée à partir des années 1860 par le legs de ses œuvresConcerned about the conservation of their art collections, in the years between 1789 and 1870, Parisian amateurs called upon the services of painting restorers, who, at that time, belonged to a profession considered quite separate from that of art dealer, expert or even painter. While the restorer worked on paintings belonging to private collectors, he also acted as a guide for the latter, broadening their knowledge of Ŕ or even teaching them about Ŕ pictorial techniques. This understanding of the materiality of artworks gradually contributed to collectors being invited into museum committees as advisors, before they acquired a privileged status in museums, from the 1860s onwards, by bequeathing their collections
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Le, Morvan Marianne. "Berthe Weill (1865-1951) : sourcière méconnue de l'art moderne." Thesis, Bourgogne Franche-Comté, 2017. http://www.theses.fr/2017UBFCH036.
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Cette thèse ambitionne de définir le rôle de la marchande d’art Berthe Weill dans l’avènement de l’art moderne. À l’origine du baptême d’un nombre considérable d’artistes plus tard couronnés par le marché, son patrimoine demeure méconnu et en grande partie oublié. Occupant à la fois un statut de mécène et de découvreuse, de médiatrice et d’éditrice, elle initia à l’ouverture de son commerce en 1901 une impulsion vers la jeune peinture alors encore dépourvue de représentant. Pionnière féministe, elle usa des moyens de communication à sa disposition pour diffuser ses opinions, osant un usage véritablement politique de ses cimaises et de ses colonnes. Cette étude vise à mieux appréhender sa position dans la hiérarchie du marché de l’art moderne, en observant le contexte sociétal qui encouragea et brida ses initiatives. En quarante ans de carrière, cette femme issue d’une famille juive pauvre traversa les deux guerres mondiales, en s’imposant comme une personnalité incontournable de la vie culturelle parisienne. Sans fonds préexistant auquel se référer, des archives relatives à la Galerie B.Weill ont été entièrement reconstituées, permettant un premier bilan validant son rôle de pivot dans la carrière d’artistes majeurs de la première moitié du XXe siècle. A travers le truchement de ces archives sont soulevées des problématiques plus larges liées à la discipline de la recherche de provenance : sur les questions d’authentification, mais aussi sur les spoliations antisémites durant l’Occupation et la difficulté d’accès aux données marchandes malgré les mesures légales en place pour garantir la probité du patrimoineThe ambition of this thesis is to define the role of the art merchant Bethe Weill, in the birth of modern art. Behind the discovery of a considerable number of artists who were later crowned with success by the market, her legacy remains misunderstood and mostly forgotten. In her multiple roles as sponsor and discoverer, mediator and editor, she initiated, with the opening of her gallery in 1901, a drive toward new painting, a movement until then bereft of a spokesperson. A feminist pioneer, she used all the means of communication at her disposal to disseminate her opinions, daring to make her gallery walls and columns a site for political statements. This study hopes to elucidate her position in the hierarchy of the modern art market, looking at the societal context which encouraged or restrained her initiatives. In a career spanning forty years, this woman from a poor Jewish family lived through two world wars and established herself as a major figure in Parisian cultural life. Without a pre-existent archival foundation to which one might refer, the archives relating to the B. Weill Gallery had to be entirely reconstructed, giving initial results which validate her pivotal role in the careers of major artists of the first half of the twentieth century. Through the intermediary of these archives larger issues are raised in connection to research on provenance: questions of authentication, but also on Anti-Semitic spoliations during the Occupation and the difficulty of access to market data in spite of the legal measures in place to guarantee patrimonial probity
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Reynard, Tony. "How do art dealers document sales transactions? : a case study in Paris /." Thesis, May be available electronically:, 2005. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.
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Thesis (J.S.M.)--Stanford University, 2005.Submitted to the Stanford Program in International Legal Studies at the Stanford Law School, Stanford University. "May 2005." Includes bibliographical references. Also available online.
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Harkett, Daniel. "Exhibition culture in Restoration Paris." View online version; access limited to Brown University users, 2005. http://catalog.hathitrust.org/api/volumes/oclc/73488260.html.
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Thesis (Ph.D.)--Brown University, 2005.Vita. Thesis advisor: Kermit S. Champa. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 271-289).
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Lee, You-Sook. "L'activité picturale à Paris en 1945." Université Marc Bloch (Strasbourg) (1971-2008), 1996. http://www.theses.fr/1996STR20045.
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En 1945 l'activite picturale s'est vivement amplifiee. Dans l'ambiance particuliere de reouverture du musee du louvre et des galeries, les tendances modernes et classiques sont toutes bien accueillies. Parmi les expositions, la tendance de l'art abstrait a le vent en poupe. Les jeunes artistes travaillent sous l'influence du fauvisme et du cubisme, de leurs aines matisse et picasso. Les principaux peintres de cette deuxieme generation de l'art abstrait sont alors bazaine, esteve et lapicque, qui exposent a la galerie louis carre, jean fautrier avec sa serie des otages a la galerie de rene drouin, et les participants a l'exposition de l'art concret ou s'affirme l'abstraction geometrique. L'emergence de l'abstraction lyrique a paris en 1945 resulte a la fois du cubisme, du fauvisme et du surrealisme, dont les recherches et les apports sont ressaisis en de nouvelles formes par les jeunes peintres abstraitsIn 1945 the artistic activity has briskly amplified. In the particular reopening atmosphere of the museum of the louvre and galleries, classic and modern trends are all well welcomed. Among exhibitions, the tendency of the abstract art has the wind in stern. The young artists work under the influence of the fauvism and the cubism, their elders matisse and picasso. The main painters of this second generation of the abstract art are then bazaine, esteve and lapicque, that expose to the gallery louis carre, john fautrier with its series of otages to the gallery of rene drouin, and participants to the exhibition of the concrete art where is asserting the geometrical abstraction. The emergence of the lyrical abstraction to paris in 1945 results at once from the cubism, the fauvism and the surrealism, whose researches and contributions are recaptureed in new forms by the young abstract painters
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Benoist, Jacques. ""Le Sacré Cœur de Montmartre" : spiritualité, art et politique (1870-1923)." Paris 4, 1991. http://www.theses.fr/1990PA040155.
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La basilique du Sacré-Cœur a toujours été l'objet de nombreuses contestations. Pour les comprendre, il faut demander à ses promoteurs quelles étaient leurs intentions. Traumatisés par les évènements de 1870 tant en France qu'à Rome, ils promettent en décembre 1870-janvier 1871 de construire une église en l'honneur du cœur du christ par souscription nationale pour obtenir de dieu le salut de la France et la délivrance du souverain pontife. Leur initiative est déclarée d'utilité publique par l'assemblée nationale. Paul Abadie devient leur architecte. La lente édification du monument s'accompagne de la création d'un pèlerinage ou une adoration perpétuelle s'établit rapidement. La décoration récapitule dans la pierre la vision du monde des constructeurs. Les contestations et les contestataires de l'entreprise, d'hier et d'aujourd'hui, retiennent longuement l'attention, mais sont contestés à leur tourThe basilica of the sacred heart has always been the target of numerous criticisms. These cannot be understood without investigating the promoters' intentions. Under the shock of the event of 1870 in Rome as well as in France, they pledged in December 1870-January 1871 to build a church dedicated to the heart of Christ thanks to a national subscription, so as to obtain from god both salvation for France and liberation for the Holy Father. The national assembly granted their initiative the public interest status. Paul Abadie became their architect. During the slow building of the monument, pilgrimages and perpetual adoration began rapidly. The decoration expressed in the stone the builders' vision of the world. The critics and the criticisms of times past and present have long held general attention but are now being criticized themselves
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Saou-Dufrêne, Bernadette Nadia. "Art et médiatisation : le cas des grandes expositions inaugurales du Centre Georges Pompidou (Paris-New York, Paris-Berlin, Paris-Moscou)." Grenoble 3, 1998. http://www.theses.fr/1998GRE39026.
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Cette these traite de la mediatisation de l'art a travers le cas des expositions inaugurales du centre g. Pompidou : paris-new york, paris-berlin, paris-moscou. Elle envisage d'abord l'entree de l'exposition dans l'ere des medias a travers l'examen de l'evolution du concept d'exposition jusqu'aux expositions inaugurales de beaubourg : exposition-ostentation, exposition-vente, exposition-forum, exposition + elargie ; des institutionspilotes que sont le moma de new york et le stedelijk museum d'amsterdam. Dans le cadre des sciences de l'information et de la communication, elle s'interroge sur les conditions auxquelles une exposition peut etre consideree comme une mediatisation de l'art. L'etude de la mise en place d'un dispositf mediatique est l'objet de notre deuxieme partie. Elle commence par l'analyse des elements favorables a l'institutionnalisation du type de mediation que constitue la culture dont les expositions inaugurales sont le manifeste. Elle degage ensuite les deux caracteres principaux du dispositif mediatique comme configuration combinant logique de l'offre, de l'usage, logique technique, logique sociale : le role joue par la programmation et le type de museographie en jeu dans les expositions inaugurales pour forger tant l'identite du centre georges pompidou que la competence du public. La mise en place d'un dispositif mediatique entraine une reorganisation des fonctions du musee autour de l'activite d'exposition : developpement de la fonction de recherche, reglage du dispositif sur le public, instauration d'une dialectique entre deux formes de territorialites, locale et circulatoire. Elle envisage pour finir l'exportation du modele beaubourg et son adaptation tant en france qu'a l'etranger, dans des institutions publiques ou privees.
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Sar, Pich-Chenda. "Les artistes américains à Paris (1900-1914)." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040142.
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Dès la fin du 19ème siècle jusqu’à la première guerre mondiale, les artistes américains se sont rendus à Paris dans le but de parfaire leur parcours artistique dans les écoles et académies d’art dont regorgeait la capitale française. Au début du 20ème siècle, alors que Paris assiste avec enthousiasme et émotion à la naissance de l’art moderne, la communauté américaine de tradition conversatrice connait de profonds changements qui vont affecter à jamais le visage de la communauté elle-Même, le développement de l’art moderne dans un Paris marqué par l’internationalisme, et le futur de l’histoire de l’art américain pour de longues années. Cette étude se propose de revenir sur ces années cruciales pour les artistes outre-Atlantique souvent négligés des études portant sur cette époque. Ces artistes tissèrent des relations amicales et professionnelles importantes avec les principaux acteurs parisiens et contribuèrent pleinement au développement et à l’essor de l’art moderne aussi bien en France qu’aux Etats-UnisFrom the end of the 19th century until the First World War, American artists travel to Paris to attend the numerous art schools and official academies in order to build and refine their career. At the beginning of the 20th century, while Paris gives birth to modern art, the American community who was artistically conservative, is subject to many changes that will alter the course of modern art in Paris along with the future of American art. This study goes back to these crucial years and focuses on these artists who lived in Paris at a very special time, when the French capital was an international center for the arts. These artists are often neglected and underestimated, yet they dealt with the main artists of the time and played their
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Rolland, Juliette. "Pour tout l'art de Dieu : contribution à une sociologie picturale des églises parisiennes pendant l'ère paroissiale." Paris 5, 2003. http://www.theses.fr/2003PA05H061.
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Du, Crest Xavier. "Paris-Constantinople (1851-1949) : un siècle de relations artistiques entre la France et la Turquie." Strasbourg 2, 2006. http://www.theses.fr/2006STR20055.
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A Constantinople entre 1851 et 1949, le décorateur Charles Séchan (1803-1874) au palais de Dolmabahçe (1851-1859), le peintre Pierre Désiré Guillemet (1827-1878) à la cour du sultan (1865-1878), l’archéologue André Joubin (1868-1944) au Musée Impérial Ottoman (1893-1898), le journaliste et salonnier Régis Delbeuf (1854-1911) dans les colonnes du Stamboul (1901 et 1902) et le peintre Léopold Lévy (1882-1966) à l’Académie des Beaux-Arts d’Istanbul (1936-1949), auxquels il faut ajouter l’érudit levantin Adolphe Thalasso (1857-1919) et sa critique de l’art turc en France, sont les premiers et les principaux ambassadeurs de l’art et de la culture française sur les rives du Bosphore. Les archives (familiales, nationales, etc. ) et autres sources imprimées comme la presse française de Turquie donnent à lire leur rôle prépondérant dans ce siècle de relations artistiques entre la France et la Turquie, désormais fondées sur la connaissance mais encore, grâce au dialogue, sur la reconnaissanceIn Constantinople between 1851 and 1949, the decorator Charles Séchan (1803-1874) at the Dolmabahçe Palace (1851-1859), the painter Pierre Désiré Guillemet (1827-1878) at the sultan’s court (1865-1878), the archeologist André Joubin (1868-1944) at the Ottoman Imperial Museum (1893-1898), the journalist Régis Delbeuf (1854-1911) in the Stamboul (1901 and 1902) and the painter Léopold Lévy (1882-1966) at the Fine-Arts Academy of Istanbul (1936-1949), without forgetting the Levantine scholar Adolphe Thalasso (1857-1919) and his critic of the Turkish art in France, are the leading ambassadors of French art and culture on the Bosphore banks. The archives (private, public, etc. ) and other printed sources like the french press of Turkey show their predominant role in this century of artistic relations between France and Turkey, now based on knowledge but also, with dialog, on acknowledgement
Books on the topic "Art dealers – France – Paris"
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Maillol, Musée. 21, rue La Boétie: Picasso, Matisse, Braque, Léger... Paris: Connaissance des arts, 2017.
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Maillol, Musée. 21 rue La Boétie: D'après le livre d'Anne Sinclair. Vanves: Hazan, 2017.
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Mordoch, Lelia. Is art an antidepressant?: 21 years in the life of a gallery. Paris, France: Editions Galerie Lélia Mordoch, 2011.
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Sebbag, Monique. Galerie Mouradian 41, rue de Seine: De Max Ernst à Merlier. Cinisello Balsamo, Milano: Silvana editoriale, 2018.
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Pauline, Guéna, ed. La saga Maeght. Paris: Robert Laffont, 2014.
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Bradford, Barbara Taylor. A sudden change of heart. New York: Dell, 1999.
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1953-, Thomson Richard, Heugten Sjraar van, Van Gogh Museum Amsterdam, and Musée d'Orsay, eds. Theo van Gogh, 1857-1891: Art dealer, collector, and brother of Vincent. Amsterdam: Van Gogh Museum, 1999.
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Bradford, Barbara Taylor. A sudden change of heart. New York: Doubleday, 1999.
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Bradford, Barbara Taylor. A Sudden Change of Heart. Glasgow: HarperCollins, 2010.
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Bradford, Barbara Taylor. A sudden change of heart. New York: Doubleday, 1999.
Find full textBook chapters on the topic "Art dealers – France – Paris"
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Considine, Liam. "Disaster in Paris." In American Pop Art in France, 13–38. New York, NY : Routledge, 2020. | Series: [Routledge research in art history]: Routledge, 2019. http://dx.doi.org/10.4324/9780367140168-2.
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Challis, David M. "Moving Mountains: Paris-Based Dealers and the Economics of Translocation." In Pioneers of the Global Art Market. Bloomsbury Visual Arts, 2020. http://dx.doi.org/10.5040/9781501342790.ch-004.
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Stoddard, Whitney S. "The Cathedral of Paris." In Art and Architecture in Medieval France, 137–46. Routledge, 2018. http://dx.doi.org/10.4324/9780429494130-15.
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Schneider, Annedith. "A Turk in Paris." In Turkish immigration, art and narratives of home in France. Manchester University Press, 2016. http://dx.doi.org/10.7765/9781526100610.00011.
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Vere, Bernard. "Oval balls and cubist players: French paintings of rugby." In Sport and modernism in the visual arts in Europe, c.1909-39. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781784992507.003.0004.
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The third chapter deals with the wholesale importation of a British team sport, rugby, into France. Led by Baron de Coubertin, the founder of the Olympics, who was the referee in the first French championship, its adoption by the French was a self-conscious response to defeat in the Franco–Prussian War. Choosing rugby over the more proletarian soccer, an haute-bourgeois and aristocratic elite played rugby at Paris’ most exclusive clubs, a moment reimagined by Henri Rousseau. But rugby could not be confined to these environs for long, and by the time of Delaunay’s The Cardiff Team, with its press photograph source, the sport was included alongside aeroplanes, the Eiffel Tower and advertising as a cipher of all that was modern in the Paris of 1913. Also on view at that year’s Salon des Indépendants was another picture of rugby, The Football Players, cementing the sport as a theme for salon cubism. During the First World War, rugby was celebrated by French nationalists as a sport that had trained its participants to become heroes on the battlefield. This, I surmise, is what led André Lhote to produce his cubist paintings of rugby during and after the conflict.
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Schneider, Annedith. "A Turk in Paris: Karagöz’s cultural and linguistic migration." In Turkish Immigration, Art and Narratives of Home in France, 77–91. Manchester University Press, 2016. http://dx.doi.org/10.7228/manchester/9781784991494.003.0005.
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"Netherlandish Art in France: A History of Taste and Money across Three Centuries." In Revolutionary Paris and the Market for Netherlandish Art, 405–32. BRILL, 2017. http://dx.doi.org/10.1163/9789004276758_006.
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Adelson, Robert. "Founding a workshop." In Erard, 9–18. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197565315.003.0003.
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Having obtained a crucial royal protection that allowed them to compete freely with their Parisian rivals, the Erard brothers concentrated on enlarging their workshop in order to meet the growing demand for their pianos—not only in Paris, but throughout France. The firm hired numerous skilled workers from German-speaking Europe, enticing them by offering a good salary and a stable contract. The success of the Erard firm depended on recruiting, training, and supervising their numerous employees, and stocking their workshops with great quantities of specialised raw materials for instrument manufacture. The Erards developed relationships with musical instrument dealers, musicians, and music teachers as an important way to extend their instrument-building empire across Europe.
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Pérès, Cécile. "Compulsory Portion in France." In Comparative Succession Law, 78–107. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198850397.003.0004.
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This chapter deals with the réserve héréditaire in the French law of succession. In the presence of descendants or, failing that, a surviving spouse, French law limits the deceased’s freedom to dispose of his or her property by will or gifts. A person’s estate is notionally divided into two parts: the quotité disponible, which he or she may freely dispose of, and the réserve héréditaire, which the law transfers to certain designated heirs. The réserve héréditaire of the French Civil code is the fruit of a long historical tradition stemming from both Roman law and customary law. It has constantly adapted to the evolution of society. That evolution continues today. The Act of 23 June 2006 had made the réserve héréditaire evolve in a more liberal direction. However, the foundations of the réserve héréditaire – particularly with regard to descendants – remain solid and unchallenged.
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Shilton, Siobhán. "Identity and ‘Difference’ in French Art: El Seed’s Calligraffiti from Street to Web." In Post-Migratory Cultures in Postcolonial France, 239–56. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781786941138.003.0014.
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The attempts to ban the burkini on numerous beaches in the summer of 2016 highlight the extent of fears of visual signifiers of Arabo-Muslim ‘difference’ in public spaces in France. Given these anxieties, the positive reception of El Seed’s ‘calligraffiti’ – combining graffiti and Arabic calligraphy – in Paris might seem surprising. Focusing on El Seed’s work, this chapter asks how art can encourage dialogue and tolerance between cultures and communities in local – particularly Parisian – contexts and in a globalised frame. How does El Seed bring Arabic writing, a visual signifier of ‘difference’, into the public spaces of the French capital? How does he use public sites within and beyond France? How does the digital online presence of his multi-sited ephemeral work signal new means of evoking cultural identity and of interpolating diversely located spectators?
Conference papers on the topic "Art dealers – France – Paris"
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Rocaciuc, Victoria. "Book graphics in the creation of the plastic artist Liudmyla Kozhokar." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.11.
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The fine arts artist Liudmyla Kozhokar had professional studies in Ukraine: the Arts Studio in Kherson (1975–1978) and the Ukrainian Polygraphic Institute „I. Fyodorov” in Lvov (1978–1983). Since 1984, Liudmyla Kozhokar participates in fine art exhibitions in Chisinau and abroad. Since then, the artist has collaborated with various Moldovan publishing houses, combining publishing with teaching in the field of fine arts. Since 1999 Liudmyla Kozhokar is a full member of the UAP of the Republic of Moldova, and since 2001 – a member of the A.I.A.P. UNESCO, Paris, France. Liudmyla Kozhokar’s works are in the collections of the National Art Museum of Moldova and in private ones in Romania, the Republic of Moldova, France, USA, Iraq, Italy, Germany, Japan, England, etc. The graphic designer illustrated books of different kinds: ABC books, textbooks, children’s stories, encyclopedic literature, etc. Liudmyla Kozhokar perceives each graphic book separately, finding new plastic formulas and stylistic methods, delving into the text and studying it to the last sentence.
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Braun, I. M. "THE SWISS MAGDALENIAN PORTABLE ART AND SUPRA-REGIONAL PARALLELS." In Знаки и образы в искусстве каменного века. Международная конференция. Тезисы докладов [Электронный ресурс]. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-94375-308-4.8-9.
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The Upper Paleolithic in Switzerland is so far only known by the Magdalenian (ca. 18000 12000 BP). Only in seven of the about fifty Magdalenian sites known in Switzerland pieces of portable art were found (Braun, 2019). The most well-known Swiss site where portable art was found is the Kesslerloch. According to Hneisen (1993) Swiss Magdalenian portable art can be divided into two groups: engravings and figurative sculpture. Some of them are decorated either with signs or animal figures. The engravings are mostly on rein-deer antlers, but also on bones, stone and jet. The majority of the engravings are on objects of utility as btons percs, spear points and other tools. In addition to figurative themes such as animals and a possible animal-human representation, there are mainly signs and other ornamental patterns (Bosinski, 1982 Braun, 2019 Hneisen, 1993). The term figurative sculptures is used to describe objects of utility, some of which are sculpted, such as spear thrower ends decorated with horse heads, so-called spindle-shaped sculptures and very stylized female statuettes. Apart from a musk ox head from the Kesslerloch, no other animal sculptures have yet been found in Switzerland. The figurative sculptures are less frequent than the engravings (Bosinski, 1982 Braun, 2019 Hneisen, 1993). Numerous works of portable art in Switzerland are similar to works of portable art of Southwest France and of the French Pyrenees, as f.i. the sculptured spearthrowers (Bandi, Delporte, 1984 Bosinski, 1982 Braun, 2019 Garrod, 1955 Leesch et al., 2019 Stodiek, 1993). But there are also characteristic features which are typical of Swiss and South German portable art, as f.i. the use of jet. Fig. 1. Kesslerloch. Spear thrower ends decorated with horse heads (Guyan, 1944). Электронная библиотека ИА РАН: https://www.archaeolog.ru/ru/el-bib 9 Bandi, H.-G., Delporte, H. (1984). Propulseurs dcors en France et en Suisse. Elments de Pr- et Protohistoire europenne. Hommage Jacques-Pierre Millotte, 203211. Annales littraires de lUniversit de Besanon. Paris: Les Belles Lettres. Bosinski, G. (1982). Die Kunst der Eiszeit in Deutschland und der Schweiz Bonn: Habelt. Braun, I. M. (2019). Ausgewhlte Beispiele der Kleinkunst des Sptglazials aus der Schweiz und berregionale Parallelen. In Floss, H. (Ed.), Das Magdalnien im Sdwesten Deutschlands, im Elsass und in der Schweiz (pp. 277296). Kerns: Tbingen. Garrod, D. A. E. (1955). Paleolithic Spear-Throwers. Proceedings of the Prehistoric Society, 21, 2135. Guyan, W. U. (1944) Eine Speerschleuder vom Kesslerloch. Zeitschrift fr Schweizerische Archologie und Kunstgeschichte, 6, 7584. Hneisen, M. (1993). 4.7. Die Kunst des Jungpalolithikums der Schweiz. In Le Tensorer, J.-M., Niffeler, U. (Hrsg.), SPM I Die Schweiz vom Palolithikum bis zum frhen Mittelalter. Band 1: Palolithikum und Mesolithikum (pp. 187199). Basel: Schweizerische Gesellschaft fr Ur- und Frhgeschichte. Leesch, D. Bullinger, J., Mller, W. (2019). Vivre en Suisse Le Magdalnien. Basel: Archologie Schweiz. Stodiek, U. (1993). Zur Technologie der jungpalolithischen Speerschleuder Eine Studie auf der Basis archologischer, ethnologischer und experimenteller Erkenntnisse. Tbingen: Archaeologica Venatoria (Tbinger Monographien zur Urgeschichte, Band 9).
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Vinoche, O., and G. Rodriguez. "Experimental Feedback on Sodium Loop Decommissioning at the CEA." In 10th International Conference on Nuclear Engineering. ASMEDC, 2002. http://dx.doi.org/10.1115/icone10-22764.
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The aim of this paper is to present experimental feedback on sodium loop dismantling techniques at the CEA (The French Atomic Energy Commission) and to offer recommendations for the decommissioning of Fast Breeder Reactor secondary sodium loops. This study is divided into several parts which correspond to the different stages of a dismantling system. It is based on acquired CEA decommissioning experience which primarily concerns the following: the decommissioning of RAPSODIE (France’s first Fast Breeder Reactor), the PHENIX reactor secondary loop replacement, the sodium loop decommissioning carried out by the Laboratory of Sodium Technologies and Treatment, and several technical documents. This paper deals with the main results of this survey. First, a comparison of 8 pipe-cutting techniques is made, taking into account speed in cutting, reliability, dissemination, fire risk due to the presence of sodium, cutting depth, and different types of waste (empty pipes, sodium-filled pipes, tanks...). This comparison has led us to recommend the use of an alternative saw or a chain saw rather than the use of the plasma torch or grinder. Different techniques are recommended depending on if they are on-site, initial cuttings or if they are to be carried out in a specially-designed facility referred to hereafter as “the cutting building”. After the cutting stage, the sodium waste must be processed with water to become an ultimate stable waste. Four treatment processes are compared with different standards: speed, cost, low activity adaptability and “large sodium quantity” adaptability. Recommendations are also made for reliable storage, and for the general dismantling system organization. Last, calculations are presented concerning a complete dismantling facility prototype capable of treating large amounts of sodium.