Dominique de Font-Reaulx Knihy

A splendid volume showcasing Gustave Courbet, the renowned reviver of nineteenth-century French art, whose lifelike images captivate a diverse audience.

Much of the debate over sustainable development revolves around how to balance the competing demands of economic development, social well-being, and environmental protection. "Jobs vs. environment" is only one of the many forms that such struggles take. But what if the very terms of this debate are part of the problem? 'Reimagining Livelihoods' argues that the "hegemonic trio" of economy, society, and environment not only fails to describe the actual world around us but poses a tremendous obstacle to enacting a truly sustainable future.0In a rich blend of ethnography and theory, 'Reimagining Livelihoods' engages with questions of development in the state of Maine to trace the dangerous effects of contemporary stories that simplify and domesticate conflict. As in so many other places around the world, the trio of economy, society, and environment in Maine produces a particular space of "common sense" within which struggles over life and livelihood unfold. Yet the terms of engagement embodied by this trio are neither innocent nor inevitable. It is a contingent, historically produced configuration, born from the throes of capitalist industrialism and colonialism. Drawing in part on his own participation in the struggle over the Plum Creek Corporation's "concept plan" for a major resort development on the shores of Moosehead Lake in northern Maine, Ethan Miller articulates a rich framework for engaging with the ethical and political challenges of building ecological livelihoods among diverse human and nonhuman communities

Eugène Delacroix moved to rue de Furstenberg on December 28, 1857, abandoning the studio on rue Notre-Damede-Lorette, as it was too far from the Saint-Sulpice church, which he had been commissioned to decorate in 1847. Seriously ill, the artist wanted to finish his work at any cost, but he was no longer able to make a long journey every day. So he was happy to find, through his friend the color merchant and painting restorer Etienne Haro, a quiet and airy accommodation, relatively close to Saint-Sulpice. Once installed, Delacroix often expressed in his journal and in letters his contentment about his new residence: "My home is decidedly charming [...] The sight of my little garden and the laughing aspect of my studio always give me a feeling of pleasure." Eugene Delacroix lived in this apartment until his death on August 13, 1863. After his death, various tenants occupied the place until the question of whether or not to destroy the workshop arose. It was then that some painters and historians--including Maurice Denis, Paul Signac, André Joubin, Raymond Escholier, and Dr. Viau--had the idea to form the Society of Friends of Eugène Delacroix and prevent this sacrilegious destruction. In 1971, his former residence became a national museum that houses works that span Delacroix's career--including paintings, drawings, engravings, correspondence, travel artifacts from Morocco, and souvenirs from his private life.

Photographie unique, à la fois positive et négative, obtenue sur une plaque de métal, le daguerréotype, à la clarté vive et miroitante, possède une esthétique particulière. L'exactitude des lignes et le rendu précis des détails séduisirent l'Académie des sciences et bientôt un public de plus en plus large. La collection du musée d'Orsay, une des plus riches au monde, grâce à la variété des sujets, permet de découvrir les conditions du développement et de la diffusion rapide, mais éphémère, de l'invention de Daguerre. Cet ouvrage reproduit, parfois pour la première fois, les dernières acquisitions venues enrichir la collection.

Delacroix. Objets dans la peinture, souvenir du Maroc présente les objets rapportés par Delacroix de son voyage en Afrique du Nord en 1832 au regard d'ouvres - peintures, dessins et gravures - où il avait choisi de les représenter. L'ouvrage permet ainsi, en mettant en valeur cette part insigne de la collection permanente du musée Delacroix, d'étudier la part réaliste et fantasmagorique de l'ouvre orientaliste de l'artiste.Dès avant son voyage au Maroc, Delacroix avait, comme bien des jeunes artistes de son époque, réalisé des ouvres à l'inspiration orientale, pour lesquelles il avait acquis, sur le marché parisien, accessoires, objets et vêtements qui créèrent un premier ensemble, auquel vinrent s'ajouter les objets achetés au Maroc. Et si ce voyage fut, pour ce jeune homme ébloui, l'occasion de concevoir des centaines de croquis et d'aquarelles " sur le vif ", il revint tout au long de sa carrière, jusqu'à sa mort en 1863, à ces sujets orientaux où, au souvenir du Maroc, se mêlait une vision imaginaire et sensible nourrie par la littérature et la musique de son temps. Aussi ces objets que l'artiste avait rassemblés dans son atelier doivent-ils être interrogés autant comme des souvenirs du Maroc que comme les signes de son attachement à un imaginaire oriental.Sous la direction de Dominique de Font-Réaulx, directrice du musée national Eugène Delacroix. Avec des textes de Dominique de Font-Réaulx, Stéphane Guégan, conservateur au musée d'Orsay, Emmanuel Hecre, Christine Peltre, Marie-Pierre Salé, conservateur en chef au département des Arts graphiques du musée du Louvre. "Objects in the painting, the Morocco souvenir" November 5, 2014-February 2, 2015 at the Musée Eugène Delacroix

Maurice Denis’s esteem for Eugène Delacroix is well known and has often been discussed: Denis celebrated his predecessor for both his painting and his writing. He also admired Delacroix’s stance as an artist dedicated to a personal ideal, and in the early 1920s he set off to North Africa, in Delacroix’s footsteps.Denis played a crucial role in saving Delacroix’s last studio and creating the Musée Delacroix. He was president of the first Société des Amis d’Eugène Delacroix (Friends of Eugène Delacroix association) and succeeded in rallying to the cause the greatest painters of the 1920s, among them Henri Matisse, Edouard Vuillard, and Paul Signac. The significance of his commitment to Delacroix’s oeuvre has never been gone into, except tangentially.Drawing on the connections between the Musée Delacroix and the Maurice Denis archives, this project will help foreground the painters’ respective oeuvres and underscore the influence, in the early 20th century, of the Delacroix corpus on artists born after his death. It will also offer, after the renovation of Delacroix’s apartment and a fresh interpretative approach, a new vision of the museum and its early years.Based on close study and analysis of the Musée Delacroix archives, the exhibition will also present major works by Denis in interaction with those of Delacroix.