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Artykuły w czasopismach na temat "Nantes (France). Musée Dobrée"
Mercier, Jérôme. "Nantes (Loire-Atlantique). Musée Dobrée". Archéologie médiévale, nr 50 (30.12.2020): 205–6. http://dx.doi.org/10.4000/archeomed.36376.
Pełny tekst źródłaAndre, Sità. "Nantes (Loire-Atlantique). Manoir de la Touche – Musée Dobrée". Archéologie médiévale, nr 41 (1.12.2011): 208. http://dx.doi.org/10.4000/archeomed.11851.
Pełny tekst źródłaBooton, Diane E. "Hand-me-downs: the (re)use of relief metalcuts by brothers Étienne Larcher at Nantes and Jean Du Pré at Paris". Bulletin du bibliophile N° 354, nr 2 (2.01.2011): 238–66. http://dx.doi.org/10.3917/bubib.354.0046.
Pełny tekst źródłaPerin, Patrick, i Gildas Salaün. "Une empreinte inédite de l’anneau sigillaire de Childéric Ier conservée au Musée Dobrée à Nantes". Bulletin de la Société Nationale des Antiquaires de France 2008, nr 1 (2015): 111–19. http://dx.doi.org/10.3406/bsnaf.2015.11988.
Pełny tekst źródłaSantrot, Jacques. "Quatre autels votifs gallo-romains de la vallée de Luchon au musée Dobrée -Nantes (Loire-Atlantique)". Aquitania : une revue inter-régionale d'archéologie 17, nr 1 (2000): 275–83. http://dx.doi.org/10.3406/aquit.2000.1313.
Pełny tekst źródłaMartens, Didier. "Un triptyque du Maitre malinois de la Gilde de saint Georges au Musée Dobrée de Nantes". Acta Historiae Artium 44, nr 1 (1.11.2003): 171–81. http://dx.doi.org/10.1556/ahista.44.2003.1-4.20.
Pełny tekst źródłaMORGAN, LLEWELYN. "DOMITIAN THE SECOND?" Greece and Rome 53, nr 2 (27.09.2006): 175–84. http://dx.doi.org/10.1017/s001738350600026x.
Pełny tekst źródłaPelé-Meziani, Charlène, Aymeric Raimon, Jean-Yves Mevellec i Elodie Guilminot. "Experimental Study of Chalconatronite: From Its Identification to the Treatment of Copper Alloy Objects". Heritage 7, nr 6 (1.06.2024): 2866–79. http://dx.doi.org/10.3390/heritage7060135.
Pełny tekst źródłaRozprawy doktorskie na temat "Nantes (France). Musée Dobrée"
Parpoil, Catherine. "Patrimonisation d'une collection : le legs de la collection Raoul de Rochebrune (1849-1924) au musée Dobrée, Nantes (1930)". Montpellier 3, 2007. http://www.theses.fr/2007MON30018.
Pełny tekst źródłaThe Raoul Rochebrune’s legacy (1849-1924) is a collection of 1024 pieces, representing a large period from prehistory to XIX° century. It is mainly focused on European cutting weapons and harnessing pieces, with historical or heraldry characteristics, assigned to medieval period. Developed around the nucleus transmitted by his father O. De Rochebrune (1824-1900), the collection of this aristocrat from Vendée and fortunate amateur is the picture of a life lead in harmony with : his time, participating to the rediscovery of chivalry times and emergence of national archaeology, the private collection phenomenon which appears in France during the XVIII th. Century, his social position as a provincial notable whose castle de la Court, at St-Cyr-en Talmondais (Vendée), contains the results of his various researches. Since 1930, this collection has never been globally studied. Belonging to a specific domain, this corpus is qualified as original because of : the inventor’s personality, investigating the historicity and publishing his discoveries, his capacity to ask for the best experts’ advices, the disparity of the collection, the origin of the pieces, the documentation coming with, the collection process oriented –since 1986- to transmission. This work prove today the interest for a precise analysis of the context in which that unique French amateur’s collection’s has been organised. The thesis integrate the reasoned catalogue of the collection, constituted by pieces which became rare and not very studied outside the art market
Barreteau, Frédérique-Edwige. "La pratique et le goût d'un collectionneur d'estampes à Nantes, durant la seconde moitié du XIXème siècle : Thomas Dobrée (1810-1895)". Rennes 2, 2007. http://www.theses.fr/2007REN20010.
Pełny tekst źródłaThomas Dobrée (1810-1895), heir to a family of Nantes traders, gathered a collection of three thousand two hundred and fifty five prints from XVe to XIXe centuries mainly schools of North, with a predilection for the French school of the XVIIe century and a passion for Dürer and Rembrandt. These engravings in their majority were acquired at the time of the auction sales of the Drouot hotel and abroad of 1850 to 1880, via merchants of reputations : Vignères, Clément and Loizelet. Dobrée was in competition famous amateurs such as Dutuit, Rothschild, Behague, etc. The force of the Nantes funds lies in the great quality of works obtained, in their prestigious sources and the richness of the handwritten sources preserved within the five hundred catalogues of auction sales, some annotated, present in the invaluable library of the Dobrée museum. These new data make it possible to understand the mechanisms of the formation of a collection of engravings during the second half of the XlXe century, by putting forward the practice of an amateur and the tastes which chaired its choices and to confront them with those of its contemporaries
Barbedor, Isabelle. "Le musée, une histoire d'art entre l'histoire de l'art et l'histoire du goût, Angers – Nantes -Rennes (1790-1990) : peintures et sculptures XVIIIe - XIXe siècles". Rennes 2, 1993. http://www.theses.fr/1993REN20017.
Pełny tekst źródłaThe purpose of this thesis is to study the evolution of the relationships between art and art gallery, starting from the example of paintings and sculptures of XVIIIe and XIXe centuries, preserved in the art galleries of Angers, Nantes and Rennes. Its purpose is to show how the creation of the art gallery, regarded as a place of preservation and study, concerns and transforms the finality of art, by opening for it, an artificial space which inaugurates modernity. The first part is devoted to the period of emergence of the art gallery, which is characterised by the transition from private collections to public collections. It includes the study of the confiscations of revolutionary period and the attributions of works of art by the state and their influence on the art gallery, during the first part of the XIXe century. The second part is devoted to the study of the function and the using of art gallery, between 1850 and 1918. It describes relationships of the principal actors of art gallery (state, town, collector, artist) with art and their influence on this public space which becomes one of the symbols of urban world by securing the durability of its own cultural traditions. The third part presents the art gallery and its relationships with art history which appears as a new operator of the museal world. It shows, how art history substituted to the artist himself, inaugurates a new relation with art and modernity
Książki na temat "Nantes (France). Musée Dobrée"
Touchefeu, Odette, i Dominique Frère. Corpus vasorum antiquorum: France : Nantes--Musée Dobrée. [Paris]: Académie des inscriptions et belles-lettres, 1997.
Znajdź pełny tekst źródłabeaux-arts, Nantes (France) Musée des. Le Musée des beaux-arts de Nantes. Paris: Musées et monuments de France, 1991.
Znajdź pełny tekst źródłaCollange-Perugi, Adeline. Musée d'arts de Nantes: Le guide des collections. Gand: Snoeck, 2017.
Znajdź pełny tekst źródłaSantrot, Marie Hélène, Ágota H. Szilasi i Chantal Hémon. Utazó vázák: Görög és etruszk kincsek Franciaországból : Loire-Atlantique megyei Dobrée Múzeum (Nantes) kiállítása : Dobó István Vármúzeum Eger, 2008. május 15-november 2. Nantes: Musée départmental Dobrée, 2008.
Znajdź pełny tekst źródłaBlandine, Chavanne, red. Guide des collections: Musée des beaux-arts de Nantes. Nantes: Musée des beaux-arts de Nantes, 2008.
Znajdź pełny tekst źródłaJouzeau, Marie-Hélène, Pascal Prunet i Jean-François Bodin. Château des ducs de Bretagne-Musée d'histoire de Nantes. Nantes: Château des ducs de Bretagne-Musée d'histoire de Nantes, 2007.
Znajdź pełny tekst źródłaNantes (France). Musée des beaux-arts, red. Inquiétantes étrangeté: [exposition, Nantes], 4 novembre 2011-15 janvier 2012, Musée des beaux-arts de Nantes, Chapelle de l'Oratoire. Paris: Artlys, 2011.
Znajdź pełny tekst źródłaRossi, Paul Louis. Visiteur du clair et de l'obscur. Nantes: Musée des beaux-arts de Nantes, 2004.
Znajdź pełny tekst źródłaCollange-Perugi, Adeline. Flamands et hollandais: La collection du Musée des beaux-arts de Nantes ; suivi du Catalogue raisonné des peintures flamandes, hollandaises, allemandes et espagnoles du XVe au XVIIIe siècle. Cinisello Balsamo, Milan: Silvana editoriale, 2015.
Znajdź pełny tekst źródłaRousseau, Vincent. De Dufy à Chaissac: La peinture moderne au Musée des beaux-arts de Nantes. Paris: Réunion des musées nationaux, 2000.
Znajdź pełny tekst źródłaCzęści książek na temat "Nantes (France). Musée Dobrée"
Azzi, Clothilde, Martin Jaillet i Mathilde Naar. "Annexe 6. Inventaire des objets de la collection Alphonse Robert conservés au musée Dobrée de Nantes". W De Corinthe à la rue d'Ulm, 200–208. Hermann, 2022. http://dx.doi.org/10.3917/herm.azzi.2022.01.0200.
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