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La Maison du Philosophe

This is a building constructed with recycled materials Girardon impasse in the district of Montmartre.

However, it is stylistically in sharp contrast with the houses in the Maquis of Montmartre, mostly huts and shacks. La Maison du Philosophe

consists of two parts, without any comfort, and petite balconies overlooking the wasteland below.
those who live, he used to sit in the balcony absorbed in thought, is this behavior of the individual owners that the building was named after him.
And soon he too was defined as "the philosophe du Maquis."

Unfortunately the whole tower was dismantled in the first half of the nineteenth century to make way for construction of new palaces, remains, however, to show a semblance of its achievement in ceramic tile artist Poulbot in Rue Darémont.
Other artists such as Maurice Utrillo the represented several times in their production.

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Givet: Belgian authorities require information on the incinerator project! Demonstrators

The last November 8, several members took advantage of a Walloon public meeting of the Walloon government commission in charge of Environment, Spatial Planning and Mobility to ask questions of the minister Philip Henry on the proposed construction of an incinerator Givet and the possible consequences that would result for the Belgian population residing nearby. In the absence of official information from the authorities French, the minister had pledged to request from the Prefect of the Ardennes, which was quickly done and brought him back a letter sent on December 20 . Alas, except for the announcement of Belgian municipalities DOISCHE and Hastières will be consulted during the public inquiry because of their location within 3 kilometers of the planned incinerator, the missive does prefectural contained only generalities already appeared in the press!

Insufficient for the tough member of Beauraing Jean-Claude Maene , who asked the January 18 a second oral question to Philip Henry in which, after recalling that Givet is in the heart of Wallonia, he asked for "real information ", " greater transparency "and the participation of municipalities and Houyet Beauraing public inquiry in relation to their location in the winds ... and in the absence of a satisfactory response is preparing to ask a third at the meeting of the Committee of the Walloon Environment to be held on March 1 . Obstinacy welcome since it led the Minister Philippe Henry to send another letter to the Prefect of the Ardennes, which you can read below, in which he expressed the wish Walloon government to participate in the evaluation process environmental impact and therefore calls accurate description of the project, elements of the environment likely to be affected and a timetable for the proceedings .

(for easier reading of the document, you can enlarge it by left clicking)

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Doctor fever

Among the most bizarre of the Venetian Carnival masks, the Plague Doctor is recognizable by the long nose like the beak of a stork.

Originally, this was not a mask but rather to serve as protection for so-called Doctors of the Plague, who came in contact with the sick of this terrible disease. This disease killed half the population of Venice during the two epidemics which ravaged Europe in 1576 and 1630. The Plague Doctors

inclusion of herbs in the beak masks, wore glasses and touched the lepers and their clothes with only a wooden stick. All these means of protection were considered essential to avoid being infected.

http://www.innvenice.com/Maschere-Veneziane.htm

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Hector Guimard

Lyon, March 10, 1867 - New York, May 20, 1942

E 'was a French architect, the main exponent of Art Nouveau in France.

the international dependency of Art Nouveau, Guimard ago figure of sniper isolated leaves no disciple behind him, nor any school, and why it has long been tempted to regard it as a secondary player in this movement - lack of seed that contrasts with the extraordinary formal and typological profusion of his architectural and decorative work, where the architect provides the best of himself in about fifteen years of extraordinary creative activity.

From his studies of architecture, Guimard is sensitized to the theories of Eugène Emmanuel Viollet-le-Duc, which laid the foundations, since 1863, the future structural principles of Art Nouveau. The conversion of Guimard style itself is by its most detailed: it is during a trip to Brussels, where he visits the Tassel of Victor Horta. The realization of the most emblematic of this age, the Castel Béranger (1898), illustrates this moment of transition that saw the shock between these two legacies: the medieval-inspired geometric volumes of the great work spreading the organic line in profusion "in whiplash imported from Belgium.

Guimard Castel Beranger made famous overnight and then allowed him numerous commissions to refine his research increasingly aesthetic - the harmony and continuity of style in particular (a principal ideal of Art Nouveau), which led to an almost totalitarian conception of the interior decoration, culminating in 1909 with the hotel Guimard (wedding present to his rich American wife) where oval rooms are furnished with period furniture, an integral part of the building.

If the shaft of light right in Victor Horta is a given rather absent in his work (except late Hôtel Mezzaro example, in 1910), Guimard drug leads, however, spatial experiences, the volumes of his buildings in particular: Home Coilliot and its curious double-facade (1898), the villa and its beautiful Bluette The volumetric harmony (1899), and especially the Castel Henriette (1899) and Castel d'Orgeval (1905), radical manifestations of a "flat-free" vigorous and asymmetrical, twenty-five years before the theories of Le Corbusier. The symmetry is not proscribed, the splendid hotel Nozal, in 1905, incorporating the provision of a rational plan in the framework proposed by Viollet-le-Duc.

Innovations There are also structural, as in this extraordinary concert hall Humbert de Romans (1901), where a complex structure breaks up sound waves to get to perfect acoustics. Or, similarly, as in Hotel Guimard (1909), where the narrowness of the lot allows the architect to reject any function carries on the external walls and deliver all the interior layout, different from one floor to another.

Toccatutto brilliant, Guimard is also a precursor of industrial standardization, insofar want to spread the new art on a grand scale. On this floor knows a real success - despite the scandals - with its famous Metro entrances in Paris, flexible constructions the triumphant ornament structural principle of Viollet-le-Duc. The idea is taken - but with less success - in 1907 with a catalog of cast iron elements applicable to architecture: the artistic castings style Guimard. Date back to 1911, the Hôtel Mezzaro and apartment buildings of the Rue Agar.

As for the overall architectural framework, the conception of its intrinsic works of art carry the same ideal of formal continuity (which allows you to combine all the practical functions into a single body, as with the Vase of Binelles of 1903) and linear, as in the design of its furniture, from the graceful and harmonious silhouette.

His inimitable stylistic vocabulary proceeds of a particular plant organicism attractive, while remaining resolutely on the side of abstraction. Mouldings and nervous movements invest so much stone that the wood in the pot, it creates real Guimard abstract compositions that fit with the same freedom to the window (Hôtel Mezzaro, 1910), the ceramic panel (home Coilliot, 1898), iron Forged (Castel Henriette, 1899), the painted paper (Castel Beranger, 1898) or tissues (Hotel Guimard, 1909).

But despite this firework of innovations and demonstrations in many areas, the world quickly deviates from Guimard: less work, is the man who irritates. And, honorable representation of Art Nouveau, is himself a victim of contradictions related to the ideals of the movement: his most perfect creations are financially inaccessible to the greatest number, and reverse its attempts at standardization are hurt her very personal vocabulary. It is completely forgotten when it expires in 1942 in New York, where he was exiled for fear of the war (his wife was Jewish).

After many destructions, explorers blocks (the first "hectorologi") leave to the rediscovery of the artist and his universe to the years 1960-1970 with patience and reconstitute its history. If the key has been done in this field, that is, one hundred years after the "magnificent gesture" Art Nouveau "(Le Corbusier), most of the buildings Hector Guimard remain inaccessible to the public, and that a "Museum Guimard" has not yet been opened in France.

http://it.wikipedia.org/wiki/Hector_Guimard

portal entrance to the Castel Béranger

access the Metro stop Pasteur

Access the Abbesses Metro stop

sketch for the cover of the magazine "Revue d'Art"

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Alvin Langdon Coburn

Boston 1882 - Colwyn Bay 1966

E 'was an American photographer.
Coming from a family of industrialists, and came to photography for the involvement of a distant cousin, FH Day, which began in 1900 to Pictorialism and helped him to exhibit in London.

The following year, in Paris, he studied under the guidance of Edward Steichen , after opening a studio in New York in 1905 he returned to London where he made many portraits of intellectuals who would later be collected in Men of mark two volumes (1913, Men of success) and More Men of Mark (1922; Other successful men).
Thanks to the studies conducted from 1907 to 1909 on the technique of etching, was only able to print from the plates of his collections dedicated to London (1909) and New York (1910). Already these early works mark a passing pictorial aesthetics in favor of a cutting-edge research, particularly evident in the path of the Grand Canyon 26 views appeared in the magazine Camera Work (1911) or semi-abstract composition entitled Urban Octopus (1912).
In 1917 his research led to the extreme symbolist adhering to the vortex, a movement founded in England by E. And W. Pound Lewis, in this period are the so-called vortografi, images obtained before placing a prism lens with reflective surfaces which implemented a breakdown of cubist forms. Driven by a strong spiritual tension, Coburn in 1919 was affiliated to the Freemasons, relegating the photo in the background.

http://www.sapere.it/enciclopedia/Coburn, Alvin + + Langdon.html

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Martín Rico y Ortega

El Escorial , Madrid, 1833 - Venice , 1908

It is a English painter , mostly landscape .

He studied at the Escuela de Bellas Artes de San Fernando , with his master Genaro Pérez Villamil . E 'was also a disciple of his brother Bernard with whom he worked as designer and engraver , becoming artistic director of magazine "The Ilustración Española y Americana".

In 1854 began his travels in Europe : Paris, Switzerland, England , Italy .

Throughout his artistic production you can see a continuous evolution from an initial realistic way to a full-blown impressionism .
L ' influence of Turner and Ruysdael led him to paint landscapes increasingly humanized . His relationship with Mariano Fortuny makes Ortega deepen painting step reaching tones and brighter Impressionists. One of his most works notes is titled "Las lavanderas.

In 1907 published his book memories of "Recuerdos de mi vida" , dedicated to his friend landscape Aureliano de Beruete .

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28 October: disproportionate sentences for example!

After a hearing that lasted almost 10 hours , the high court in Charleville-Mezieres delivered its verdict 8 against the demonstrators continued to broken windows and / or violence towards law enforcement during the demonstration against the "reform" of pensions which took place Oct. 28: a hundred hours of community service for one of the accused, 3 to 8 months in prison stay for another 6 and 1 year in prison for the last! Justice is thus done for supporters of the ruling power and the retrograde of all kinds which that dream of a return to economic practices, social and political nineteenth century.

But when one remembers the method worthy of an organized crime operation used to stop the 8 protesters pursued, knowing the speed with which the investigation was conducted, so it takes months or even years for the appearance of a rogue boss and especially when you look at the sentences , one can legitimately ask what justice is? From the made on behalf of the French people who mass was in the street on October 28 and whose claims have not been taken into account or that the orders of a vengeful power willing to criminalize social action to defuse the advance of other challenges?

ask the question is to answer it! That is why the MRC 08 wishes to reiterate its support to the 8 protesters condemned and now wishes the appeal hearing to be held in Reims takes place in a climate neutral and serenity who apparently failed to Charleville Mezieres. If justice decried his last time in our country for making decisions challenged, will have a chance to redeem himself in the eyes of public opinion Ardennes. This would be a shame she does not grasp and leaves the image of an institution which, as in the fable by Jean de la Fontaine warned makes white or black as they are powerful or miserable .. .

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Élie-Anatole Pavil

1873-1948

Élie Pavil arrived in France in 1892 from his home Black Sea of Odessa, Ukraine .
already carry with them some works at home, Pavil entered to 'Académie Julian where his teacher William Bouguereau , figurative painter of great renown .

Pavil was greatly influenced by the style of his teacher, but differs from that soon acquire a knowledge of Impressionist Renoir, Monet and Sisley.
He moved later in Morocco, on the coast of North Africa where painted a large number of landscapes and scenes of everyday life of Mediterranean .

was one of the artists represented in " Show of artists French "of 1905 and exhibited at the Salon des Independents and the Salon d'Automne.

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The grand crue de la Seine , 1910

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Serafino Macchiati

One of the brightest and most worthy representatives of the colony Italian art in France at the turn of the nineteenth century is also a great artist from the Marches, valid illustrator interesting literary events in the heat of the century publishing.

This is Seraphim Stained, painter and illustrator Camerino unjustly forgotten and neglected by critics, who, after beginning the hardships at home, gather widespread support in France where, thanks to the encouragement of Victor Grubicy and Giacomo Balla (which I do a portrait in 1900), it will have to find the ideal setting to give an original expressive language, managing to gain a highly important role of art in the context of European painting and graphics. Although
early in his career, some critics call it "Ferrara", was born in Camerino Serafino Macchiati January 17, 1860, but throughout the first place, and less fortunate, the first part of his artistic activity in Bologna and then to Rome.
Self-taught, will be in Bologna, where he attended the free school of the nude under the guidance of Luigi Busi, the local promoter to nineteen Macchiati debut in 1879 with a small canvas. He moved to Rome where he triumphed at the time the genre painting, impatient academic circles, not to yield to the prevailing taste bad, they "review" the illustration, with which it will get a quick and lasting success. So a happy
incursion in challenging environments Milanese publishing the early twentieth century: if the first cartoon made for some volumes of the publisher Sonzogno and Cordelia's Christmas Tales (1886) and The song of the children of Henry Fiorentino (1888), both published by Treves are still enough evidence debut stereotyped as weak as the design and workmanship, will be the series of drawings in two years of collaboration, between 1894 and 1895, will be published in La Tribuna Illustrated, "which will provide an opportunity to begin to assert their own personality, revealing how easy illustrator of modernity.

In Paris, where he moved in 1898 at the invitation Lemerre publisher who asked him to explain "Crime d'amour" by Paul Bourget (first of a dozen books that explain to Marcel Prevost, Armand Blanc, Edmond Rostand), Serafino Macchiati can better define your figure and iconographic gain in a short time the most extensive reputation, always working to improve their style.
These novels to contemporary subject and environment world find in him a fine and brilliant performer: the artistic personality of Macchiati states especially in the refined elegance of the sign and the reduction in authoritative exquisite vignettes in black and white scenes of social life and characterized by graceful figures consummate skill in the layout, in the sense of movement and live in a decorative style that never degenerates into affectation.
His illustrations are small masterpieces for the spirit that animates the scene, to penetrate the nature of the figures, the naturalness of the attitudes and expressions in the variety of types and in their secure identification, reveal the constant observation and analytical from the truth.
Apart from illustrating the participation of the Divine Comedy to the publisher Alinari of Florence (1902), the beginning of the century, all production will be allocated to foreign clients: in addition to the Parisian publishers Lemerre, Laffitte, Hachette, Arthema Fayard, will work with French magazine Figaro Illustré "," Je sais tout, "" Lectures pour tous "and German" Illustrierte Zeitung ". The French public
widely appreciated his skills as an artist full: Parisian high society as an illustrator, art director (Cyrano de Bergerac) and excellent painter of landscapes and portraits, which moves with passion at all times free from the commitments of the designer.
and the predilection for painting is not unjustified, given that allows him to make a series of works of recognized value and well executed: mostly portraits and landscapes of poetic and dreamy tone. The document participation in Biennials of 1901 and 1907 and, most significantly, the retrospective dedicated to him in the same venue in 1922.
Young and the height of his fame, Stained died in Paris Dec. 12, 1916, suffering from a sudden disease, leaving the Italian critics regret not recognize him at home the fame that his objective was the value of insurance, as is clear from the obituary on the "Emporium" in January 1917.
's time to discover an artist from the Marches and attractive complex, somewhat neglected, both for short and an artistic life that has found its apex outside the Marche, is the tendency not to fully appreciate the value of the illustrators.
So it seems only right to pay the debt contract with a Marches of international renown, at the very moment when the taste is now also open to those aspects of art traditionally considered 'minor', to finally recognize the absolute Serafino Macchiati modernity and an awareness of art making, in perfect keeping with the spirit of his time.

http://www.identitasibillina.com/rivista_n1/pagine_rivista_ita/da_cam_a_parigi.html

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Fère-en-Tardenois, December 8, 1864 - Montfavet, October 19, 1943

E 'was a French sculptor. She was the sister of the writer and diplomat Paul Claudel.

"The French sculptor Rodin, one of the greatest artists of his era, who left suggestions Michelangelo, emphasizing the" unfinished ", was able to create impressionistic creations sometimes symbolist sometimes of rare power, that is expressed on Camille Claudel, his model and muse, then a student: "He has a deeply personal nature, which attracts the grace but refused to temper the wild." "Yeah

twelve shows strong interest in sculpture and began with the technique of modeling and his works are of such a level that leaves his father who goes to Paris at the 'Académie Colarossi , where it will be a student of the master Alfred Boucher. Eighteen has exhibited at the Salon and immediately know Rodin at the time already quarantunenne.

Between Rodin and Claudel was born a bond that went beyond lovemaking to trespass in the common work with mutual influences though Rodin had a previous relationship with Rose Beuret sealed by the birth of a son just a couple of years younger than Claudel. Rose Beuret had gotten used to the frequent adventures of Rodin and the latter had no intention of leaving for a stable relationship with Camille. From this it is easy to deduce that the relationship between Rodin and Claudel was very complex and troubled.

Rodin "tells" the evolution of his love for the many drawings that Claudel is allocated at the Rodin Museum in Paris: these designs have a significant erotic content, as well as some of the same work that Camille are based on a kamasutra that Kalidasa was reviewed and revised in a period estimated at the turn of the fourth and fifth century BC
Camille Claudel summarizes this set of feelings in the bronze "La Valse" from 1891, which is a waltz in which the passion of love shines through without any delay and Camille who runs after a fleeting adventure with Claude Debussy. The purpose of this brief love affair with Claude Debussy Rodin was so jealous of him to leave Rose Beuret, which Rodin did and a year later, in 1892, Rodin closed permanently the relationship with Camille.

One of the most famous sculptures of Claudel both in style and grandeur is the large bronze "L'Âge Mûr" of which there is a version in plaster and a bronze.
Camille Claudel was abandoned by Rodin, which had become her lover, Rodin but still tried to help the ex-lover, making them to commission a sculpture, "L'Âge Mur" ("The Mature Age"), in 1895 and requestversions put on display in 1899 as gypsum never delivered to the customer. It was not until 1902 that Captain Tissier made it to the bronze at his own expense. The Rodin sculpture group is calling itself the "undecided" between his first mate, who later married, and Camille in the sculptural group that is symbolized by the figure who tries to keep the "old" lover who now is turning toward his future wife showing however, a touch of hesitation.

http://it.wikipedia.org/wiki/Camille_Claudel

La Valse

L 'Âge Mûr