Academic literature on the topic 'Palais Pompéien (Paris, France)'
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Journal articles on the topic "Palais Pompéien (Paris, France)"
Alon, Noam. "Anticorps." Journal of Curatorial Studies 10, no. 2 (October 1, 2021): 281–84. http://dx.doi.org/10.1386/jcs_00049_7.
Full textWilliford, Christa. "A Computer Reconstruction of Richelieu's Palais Cardinal Theatre, 1641." Theatre Research International 25, no. 3 (2000): 233–47. http://dx.doi.org/10.1017/s0307883300019696.
Full textErlande-Brandenburg, Alain. "Le palais des rois de France à Paris par Philippe le Bel." Comptes-rendus des séances de l année - Académie des inscriptions et belles-lettres 151, no. 1 (2007): 183–94. http://dx.doi.org/10.3406/crai.2007.92182.
Full textKselman, Thomas. "Funeral Conflicts in Nineteenth-Century France." Comparative Studies in Society and History 30, no. 2 (April 1988): 312–32. http://dx.doi.org/10.1017/s0010417500015218.
Full textSanchez, Clément, and Jean-Pierre Vairon. "Back to France to Celebrate the Century-Old IUPAC: The 47th IUPAC World Chemistry Congress & 50th General Assembly." Chemistry International 41, no. 2 (April 1, 2019): 2–3. http://dx.doi.org/10.1515/ci-2019-0201.
Full textRönnbäck, Fredrik. "Republic of Fakes: Art in the Service of Truth in Postwar France." October, no. 175 (2021): 9–25. http://dx.doi.org/10.1162/octo_a_00414.
Full textBarker, Sara. "Translating Tempests and Tremblements: Natural Disasters, News, and the Nation in Early Modern England and France." Renaissance and Reformation 43, no. 2 (September 28, 2020): 183–212. http://dx.doi.org/10.33137/rr.v43i2.34796.
Full textHenry-Gobet, Aude. "De la province de Normandie à la Ville Éternelle. Les élèves de l'École de dessin de Rouen à Rome au XVIIIe siècle." Studiolo 6, no. 1 (2008): 145–65. http://dx.doi.org/10.3406/studi.2008.1215.
Full textHemmings, F. W. J. "Fires and Fire Precautions in the French Theatre." Theatre Research International 16, no. 3 (1991): 237–49. http://dx.doi.org/10.1017/s0307883300015005.
Full textFranceschini, Anna. "Enfin le cinéma! Arts, images, spectacles en France (1833 –1907), ed. by Dominique Païni, Paul Perrin, Marie Robert, Paris: Musée d’Orsay / Réunion des Musées Nationaux –Grand Palais, 2021, pp. 331." Cinéma & Cie. Film and Media Studies Journal 22, no. 38 (June 27, 2022): 145–47. http://dx.doi.org/10.54103/2036-461x/17979.
Full textDissertations / Theses on the topic "Palais Pompéien (Paris, France)"
Plum, Gilles. "Les palais des Beaux-Arts et le pont Alexandre III : un ensemble architectural et urbain en 1900, entre éclectisme et renouveau classique." Paris 4, 1995. http://www.theses.fr/1995PA040199.
Full textThe Grand Palais and the Petit Palais, first named the Palais des Beaux-Arts, were built with the pont Alexandre III for the Paris exhibition of 1900. These were not ephemeral realization, but the chief attraction of 1900: permanent monuments like the best known of Paris. The operation was a success for the general public. But historians of architecture quickly consider these monuments as school projects put here without reflection. Nevertheless, that's not what seems to show the important existing archives
Lenoir-Quintard, Magalie. "Entretenir un monument gothique sous l'Ancien Régime : la Sainte Chapelle du Palais." Paris, EPHE, 2007. http://www.theses.fr/2007EPHE499A.
Full textAt the end of teh XVIIIth century, the Sainte Chapelle of Paris was in a rather disconcerting state: although an essential monument binding the french monarchy to the holy relics of the Passion, thus offering both the relics and their royal protector to the common worship of the french people, the building and its decorations were in a surprisingly severe condition. The present analysis of the maintenance and embellishments made to the Sainte Chapelle between the end of the middle-ages and 1795 is therefore restoring an essential part of its history, through a study of general repairs and daily maintenance operations carried on the structure itself, as well as on its decoration, furniture and liturgical ornaments. The methodology used mixing institutional analysis, identification of economic trends and review of artistic evolutions could be applied to the other monuments of the french "Ancien Regime". It provides interesting insights on the role of dedicated personnel buildings, part of an institution distorting the allocation of funds at the expense of the monument's maintenance. It provides also useful hints on the evolution of medieval monuments, suffering from the vicissitudes of time and changing esthetical taste. The incomes dedicated to the Sainte Chapelle and the efforts made to maintain and embellish the monument finally reveal an already existing sense of heritage. A more thorough appraisal has yet to be made of its influence in medieval and modern architecture
Pitor, Adrien. "L’espace du Palais. Étude d’un enclos judiciaire parisien de 1670 à 1790." Electronic Thesis or Diss., Sorbonne université, 2019. http://www.theses.fr/2019SORUL089.
Full textThis research is dedicated to the Palais de Paris from the 1670s to the 1790s. Located on the Ile de la Cité, the Palais is a former royal residence which houses a set of buildings and yards with a variety of functions. It comes across as both the canonical quarter of the Sainte Chapelle and as a hand-made and half-luxury commercial point. It also hosts a collection of courts, some of prime importance, starting with the Parlement and the Chambre des Comptes. Understanding how these different functions coexist, oppose or cooperate is at the centre of our research. We will analyse those various relationships in the legal enclosure corresponding to the territorial jurisdiction of the bailliage du Palais and see how this territory is taken up by its inhabitants and by all Parisians. Our approach, essentially spatial, is based on a corpus of plans, sections and elevations that allowed to carry out graphic and cartographic renditions and to assess architectural transformations throughout the eighteenth century. It also relies upon the funds of the bailliage du Palais and of the Attorney General of Parlement. We are considering the internal structure of accommodation, shops and courts (courtrooms, boardrooms, prosecutor's office, tribunal registry, refreshment bars) as well as the points of contact between the various jurisdictions (Grande Salle, Conciergerie). It is also about placing the Palais in its urban context through the analysis of its social composition and the practices specific to this territory. The public use of the Palais implies specific forms of supervision and leads to the development of a particular culture
Pitor, Adrien. "L’espace du Palais. Étude d’un enclos judiciaire parisien de 1670 à 1790." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL089.
Full textThis research is dedicated to the Palais de Paris from the 1670s to the 1790s. Located on the Ile de la Cité, the Palais is a former royal residence which houses a set of buildings and yards with a variety of functions. It comes across as both the canonical quarter of the Sainte Chapelle and as a hand-made and half-luxury commercial point. It also hosts a collection of courts, some of prime importance, starting with the Parlement and the Chambre des Comptes. Understanding how these different functions coexist, oppose or cooperate is at the centre of our research. We will analyse those various relationships in the legal enclosure corresponding to the territorial jurisdiction of the bailliage du Palais and see how this territory is taken up by its inhabitants and by all Parisians. Our approach, essentially spatial, is based on a corpus of plans, sections and elevations that allowed to carry out graphic and cartographic renditions and to assess architectural transformations throughout the eighteenth century. It also relies upon the funds of the bailliage du Palais and of the Attorney General of Parlement. We are considering the internal structure of accommodation, shops and courts (courtrooms, boardrooms, prosecutor's office, tribunal registry, refreshment bars) as well as the points of contact between the various jurisdictions (Grande Salle, Conciergerie). It is also about placing the Palais in its urban context through the analysis of its social composition and the practices specific to this territory. The public use of the Palais implies specific forms of supervision and leads to the development of a particular culture
Galletti, Sara. "Marie de Médicis et le Palais du Luxembourg." Paris 4, 2004. http://www.theses.fr/2003PA040273.
Full textThe history of the Luxembourg Palace, the first Royal Palace ever built in Paris following a unitary design, had not been the object of a complete monograph since 1904-1910-11. Unpublished or not completely exploited archival sources bring a better understanding of its project and of its economical planning between 1611 and 1615, as well as further knowledge on the building construction - left incomplete in 1631 after the Queen's definitive exile - under its different directors, Salomon de Brosse, Jacques Lemercier and , for the garden, Tommaso Francini. For the first time the interior distribution of the Queen's apartment is also clarified, thus revealing the similarities, despite the differences of the architectural setting, with the Queen's apartment in the Louvre. Suburban Parisian residence built by a Florentine princess, the architecture of the Luxembourg is completely original one, the result of the creative mixture of French and Italian traditions. Dedicated to the couple once formed by Maria de' Medici and Henri IV -as shown by the iconography of the sculpted and painted decorations - the Palace cannot be simplistically interpreted : other that "house" referred to in 1611, the Queen has built a memorial Palace, so that nobody, within the contemporary political context, can forget the source of her authority and power
Milovanovic, Nicolas. "L'iconographie des grands décors monarchiques (1653-1683) : De la fin de la Fronde à la mort de Colbert." Paris 4, 2003. http://www.theses.fr/2003PA040022.
Full textMonarchical french painted ceilings realized between the end of the "Fronde" (1653) and the death of Colbert (1683) are numerous, from the Louvre apartments to the Hall of Mirrors at Versailles. From a formal point of view, there is a triple unification: structural, iconographical and ornamental, with a hierarchy of the subjects and a submission of the ornaments to the themes of the decorations. All programs are founded on metaphor: either enigmatic, when the beholder has an active part to play, or emblematic, when the meaning is given precisely by a text. The meaning remains always part of a system, where the supremacy of the king is related to the benefits the subjects get from it. The careful composing of the iconographical programs implies that the meaning is part of the "esthetic significance" i. E. , that is the part the authors wanted the beholder to perceive on an esthetic level
González, Llovera Wilbert de Jesús. "Histoire critique du Musée National d'Ethnographie : des origines jusqu'au Musée des Arts et Traditions Populaires." Paris 1, 2002. http://www.theses.fr/2002PA010537.
Full textPerraut, Aurélie. "Recherches sur le monde universitaire parisien au XIVe siècle : l’architecture des collèges." Paris 4, 2007. http://www.theses.fr/2007PA040090.
Full textThe architecture of parisian colleges was a reflection of the religious, intellectual and social context linked to the University’s presence in the capital of the Capetian Kingdom still asserting itself. The Fourteenth century was a turning-point of the college pattern spreading in Paris, thanks to the king and his political circle’s involvement. College buildings displayed great pragmatism due to the Left Bank peculiar urbanization along with signs of royal and religious models reception. The Sainte-Chapelle and mendicant experiments were undoubtedly the main inspiration for parisian colleges. Combining all these influences produced a dissimilar group of structures, from spacious convent to simple burgess house. As most medieval colleges have been destroyed, a multiple approach - based on archeological evidence and records researches - revealed itself necessary to understand their architecture in its whole complexity
Mele, Giampiero. "Della geometria una regola per il disegno delle chiese medievali tra XII e XIV secolo." Paris 8, 2004. http://www.theses.fr/2004PA082617.
Full textMonnin-Tonetti, Lucette. "Le cahier des charges au Palais Garnier (1879-1914) : grandeur et misères du grand opéra." Thesis, Besançon, 2013. http://www.theses.fr/2013BESA1026.
Full textThroughout the 19th century Paris remained by a cultural and artistic point of view a tropism at the heart of Europe, in particular thanks to big french opera which was accoding the specialists of the question a major political art from 1820 till 1870 ; so that the opera of Paris became the first Euopean stage. Given that, in 1879 the Republic of the opportunist was not only going to prime a radical turning point in the french political life but also to fix number of elements which belong of our current political scene. So, it seemed to us interesting to ask us one hand, if the big French opera at the end of the 19th century and more exactly from 1879 till 1914 remained a representative musical genre with regard to the artistic realities and on the other hand, if it always joined one a historical and political perspective either on the contrary it had become an old-fashioned archetype ? For that purpose, we are attached in a critical study of the various specifications which legally the big opera of Paris, even if the musical genre is previous is it true a little of these, before interesting us in the esthetics itself of the latter. Then, secondly we chose to bring the light the financial implications of the artistic compagny at the heart of the IIIth Republic, by estimating the part of the opera of Paris with the regard of the otherbordering frendh-speaking theaters. It is a socialcritical study of determined genre by the Institution which reflects is that we dedicated ouselves while demonstrating that the IIIth Republic had comitted the Institution in heavy contraints governed by a specifications which bound the Opera of Paris to the State, at a period of political stability
Books on the topic "Palais Pompéien (Paris, France)"
Bon, François. Petit Palais. Paris: Cercle d'art, 2005.
Find full textPlum, Gilles. Le Grand Palais: L'aventure du Palais des beaux-arts. Paris: Réunion des musées nationaux, 1993.
Find full textGatulle, Georges. Petite histoire du Palais Bourbon. Bordeaux: Elytis, 2011.
Find full textColas, Raymond. Du palais du roi au palais de justice: L'histoire du palais de la cité (360-1439). [New Haven, Conn.?]: V. Pitts, 1999.
Find full textQuoniam, Pierre. Le Palais du Louvre. Paris, France: Nathan, 1988.
Find full textMonneret, Jean. Le Grand Palais. Paris: Râeunion des musâees nationaux, 2006.
Find full textStéphanie, Quantin, and Potton Jean-François 1951-, eds. Le palais Cambon. Paris: Documentation française, 2012.
Find full textMayer, Bénédicte, and Laurent Thion. Palais de Chaillot: Palais Art déco. Paris: Mare & Martin, 2018.
Find full textSaint-Geours, Y. Le grand palais: Monument-capitale. Paris: Gallimard, 2009.
Find full textParis, France Bibliothèque Nationale. Paris au coeur: Entre Palais-Royal et Bourse. Paris: Bibliotèque nationale, 1985.
Find full textBook chapters on the topic "Palais Pompéien (Paris, France)"
Weiss, Piero. "Lully Is Granted A Monopoly On Opera In French." In Opera, 39–43. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780195116373.003.0008.
Full textWinner, Matthias. "The Orb as the Symbol of the State in the Pictorial Cycle by Rubens Depicting the Life of Maria de’ Medici." In Iconography, Propaganda, and Legitimation, 63–86. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198205500.003.0004.
Full textWeiss, Piero. "The War Of The Buffoons." In Opera, 106–14. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780195116373.003.0017.
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