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Hippolyte Carnot n’a ni la gloire de son père, "l’organisateur de la victoire" de l’An II, ni le renom de son frère, l’inventeur de la thermodynamique, ni le destin tragique de son fils, président de la République assassiné en 1894. Il reste méconnu alors que sa vie couvre presque tout un siècle (1801-1888) et que son oeuvre et son influence sont considérables. À travers révolutions, coups d’État, monarchies, empires ou républiques, guerres et procès, ce ministre de l’Instruction publique de 1848, ami de Victor Hugo et de Jules Ferry, est en effet un bâtisseur et un inspirateur. Il participe à tous les combats pour les libertés publiques et privées, jette les bases de la formation des professeurs et de l’école gratuite et obligatoire, y compris maternelle, crée l’ancêtre de l’ENA et défend les causes les plus avancées (scolarisation des filles, suffrage universel, lutte contre l’esclavage et abolition de la peine de mort). Philosophe et journaliste, mémorialiste et ministre, franc-maçon et croyant, exilé politique et député, sénateur et membre de l’Académie, il incarne le XIXe siècle. La redécouverte d’une grande figure de notre panthéon républicain.
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Street photography is perhaps the best-loved and most widely known of all photographic genres, with names like Cartier-Bresson, Brassai and Doisneau familiar even to those with a fleeting knowledge of the medium. Yet, what exactly is street photography? From what viewpoint does it present its subjects, and how does this viewpoint differ from that of documentary photography? Looking closely at the work of Atget, Kertesz, Bovis, Rene-Jacques, Brassai, Doisneau, Cartier- Bresson and more, this elegantly written book, extensively illustrated with both well-known and neglected works, unpicks Parisian street photography's affinity with Impressionist art, as well as its complex relationship with parallel literary trends and authors from Baudelaire to Philippe Soupault. Clive Scott traces street photography's origins, asking what really what happened to photography when it first abandoned the studio, and brings to the fore fascinating questions about the way the street photographer captures or frames those subjects - traders, lovers, entertainers - so beloved of the genre. In doing so, Scott reveals street photography to be a poetic, even 'picturesque' form, looking not to the individual, but to the type; not to the 'reality' of the street but to its 'romance'
77.03 --- 77.041.7 --- fotografie --- fotografietheorie --- straatfotografie --- Frankrijk --- Parijs --- fotografie en schilderkunst --- negentiende eeuw --- twintigste eeuw --- Collard Hippolyte-Auguste --- Kertész André --- Doisneau Robert --- Wols --- Lartigue Jacques-Henri --- Renoir Auguste --- Manet Edouard --- Bovis Marcel --- Caillebotte Gustave --- Bucquet Maurice --- Izis --- Pissarro Camille --- Atget Eugène --- Krull Germaine --- Seeberger Frères --- Brassaï --- Colomb Denise --- Nègre Charles --- 77.01 --- 77.046 --- 77.041.7 Fotografie van het dagelijks leven. Narratieve fotografie --- Fotografie van het dagelijks leven. Narratieve fotografie --- 77.03 Documentaire fotografie --- Documentaire fotografie --- Photography --- Street photography --- History. --- Atget, Eugène, --- Cartier-Bresson, Henri, --- Cityscape photography --- Outdoor photography --- Bresson, Henri Cartier-, --- Atget, Jean-Eugène,
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Documentatie in woord en beeld over achttien Vlaamse schilders van moderne kunststromingen uit de periode 1880-1960.
Painting --- Graphic arts --- Sculpture --- Smet, de, Leon --- Minne, George --- Smet, de, Gustaaf --- Permeke, Constant --- Tytgat, Edgard --- Claus, Emile --- Vantongerloo, Georges --- Sidaner, le, Henri Eugène Augustin --- Magritte, René --- Berghe, van den, Frits --- Wouters, Rik --- Ensor, James --- Servaes, Albert --- Daeye, Hippolyte --- Degouve de Nuncques, William --- Velde, Van de, Henry --- Brusselmans, Jean --- Delvaux, Paul --- Groeninge Museum [Bruges] --- anno 1800-1999 --- Belgium --- modernisme --- Groeningemuseum Brugge --- 1885 - 1960 --- 19de eeuw --- 20ste eeuw --- Groeningemuseum (Bruges, Belgium) --- Catalogs --- Art [Belgian ] --- 20th century --- Exhibitions --- 19th century --- Modernism (Art) --- Schilderijen --- Modernisme (cultuur) --- Belgium. --- Belgique --- België --- Bélgica --- Royaume de Belgique --- Belgii︠a︡ --- Kingdom of Belgium --- Koninkrijk van België --- Königreich Belgien --- Bèlgia --- Koninkryk van België --- Königriich Belgie --- Koninkrijk België --- Belgice --- Belgice Cynerīce --- بلجيكا --- Baljīkā --- مملكة بلجيكا --- Mamlakat Baljīkā --- Belchica --- Reino de Belchica --- Belghia --- Vãsilia di Belghia --- Royômo de Bèlg·ique --- Bélxica --- Reinu de Bélxica --- Bilkiya --- Bilgasuyu --- Bilhika Qhapaqsuyu --- Belçika --- Belçika Krallığı --- Бельгия --- Бельгия Короллеге --- Belʹgii︠a︡ Korollege --- Бельгія --- Belʹhii︠a︡ --- Каралеўства Бельгія --- Karaleŭstva Belʹhii︠a︡ --- Belhika --- Bäigien --- Kinigraich Bäigien --- Belgija --- Kraljevina Belgija --- Белгия --- Regne de Bèlgica --- Бельги --- Belʹgi --- Belgické království --- Gwlad Belg --- Teyrnas Gwlad Belg --- Belgien --- Kongeriget Belgien --- Bélgii Bikéyah --- Belgiska --- Kralojstwo Belgiskej --- Belgia Kuningriik --- Βέλγιο --- Velgio --- Βασίλειο του Βελγίου --- Vasileio tou Velgiou --- Reino de Bélgica --- Belgio --- Reĝlando Belgio --- Belgujo --- Belgika --- Belgje --- Belgjo --- Belgjiche --- Bheilg --- Ríocht na Beilge --- Velg --- Reeriaght ny Belg --- Belgiya --- Rìoghachd na Beilge --- Belʹjmudin Nutg --- Pelekiuma --- Regno del Belgio --- בלגיה --- Belgiyah --- ממלכת בלגיה --- Mamlekhet Belgiyah --- Belgijskô --- Pow Belg --- Ruwvaneth Belgek --- Ububiligi --- Ububirigi --- Igihugu cyʼUbubirigi --- Ubelgiji --- Ufalme wa Ubelgiji --- Belezi --- Nsi ya ntotila ya Belezi --- Bèljik --- Beljika --- Beļgeja --- Beļg̓ijas Karaliste --- Belsch --- Kinnekräich Belsch --- Belgijos Karalystė --- Belsj --- Keuninkriek Belsj --- Beldjym --- Belga Királyság --- Белгија --- ベルギー --- Berugī --- modernisme. --- Groeningemuseum Brugge. --- 1885 - 1960. --- 19de eeuw. --- 20ste eeuw.
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