12,934 research outputs found
Perret e Michelucci:gli inganni della percezione
No full textConfronto e relazioni tra l'opera di Giovanni Michelucci e quella di Auguste Perret, in particolare il testo indaga l'influenza che la chiesa a Raincy di Perret ha avuto nella realizzazione della chiesa a Larderello di Michelucci
Fonds Annie-Hélène Dufour – Espaces en Provence : Banon. Rue du jet d'eau (Cliché Perret - Edit. Roman)
No full textPhotocopie de carte-postale avec indications du titre (Banon. Rue du jet d'eau), du photographe (Cliché Perret) et de l'éditeur (Edit. Roman). Dufour, Annie-Hélène. L'Arbre familier en Provence. Edisud, 2001. 109
De Moulins à Sindanglaya (Java). Itinéraire d’un peintre orientaliste : Marius Perret (1851-1900)
No full textUn corpus varié comprenant notamment des sources épistolaires, des sources officielles et des articles de presse contemporains, permet non seulement de retracer lʼitinéraire individuel de Marius Perret, mais aussi de mettre en lumière comment à travers son activité artistique et son appartenance à divers réseaux de sociabilité, il est un acteur de la grande histoire avant de sʼéteindre à Java en 1900. Né à Moulins en 1851, il suit les cours de lʼÉcole des Beaux-Arts de Paris au début des années 1880. Après avoir abandonné des études de médecine, Perret débute sa carrière de peintre orientaliste par un séjour en Algérie, en particulier dans le sud, de 1884 à 1887. Cʼest ensuite le Sénégal (1890-1891) où il se joint à une expédition militaire, puis la Tunisie (milieu de 1896). Lʼannée 1889 ouvre une décennie de participation à des expositions en France et à lʼétranger, événements qui lui valent une certaine notoriété. Par ailleurs, dès le milieu des années 1870, il contribue activement à lʼillustration de revues et œuvres littéraires. Perret fréquente ainsi des milieux parisiens variés (Faculté de Médecine, École des Beaux-Arts, éditeurs, élite moulinoise de Paris comprenant en particulier son mentor Aimé Laussedat, la Société des Peintres Orientalistes et les peintres de son voisinage). En participant aux grands Salons annuels, ainsi quʼà des expositions internationales, Perret sʼaffirme comme serviteur du redressement de la nation après la défaite de 1870, tout en revendiquant une place dans la lignée des peintres orientalistes. Avide de vulgariser la geste coloniale, cʼest en Asie du Sud-Est quʼil effectue son dernier séjour à partir du début de 1899 (Vietnam, Cambodge) avant de décéder, très probablement de maladie, en septembre 1900 à Java, où sa tombe était encore visible 90 ans plus tard.Various sources including in particular private letters, official sources and contemporary press articles, allow to reconstruct the individual journey of Marius Perret, and shed light on how, through his artistic activity and his participation in various networks of sociability, he was part of the grand narrative of the country before dying in Java in 1900.Born in Moulins in 1851, Perret studied at the École des Beaux-Arts in Paris in the early 1880s. After giving up medical studies, he began his career as an orientalist painter with a journey in Algeria, particularly in the south, from 1884 to 1887. Then came Senegal (1890-1891), where he took part in a military expedition, and Tunisia (mid-1896). The year 1889 opened a decade of participation in exhibitions in France and abroad, events which earned him a certain notoriety. In addition, from the mid-1870s, he actively contributed to the illustration of magazines and literary works. Perret thus frequented various Parisian circles (Faculty of Medicine, School of Fine Arts, publishers, the Moulins elite from Paris including in particular his mentor Aimé Laussedat, the Society of Orientalist Painters and painters from his neighborhood). By taking part in major annual Salons, as well as in international exhibitions, Perret asserted himself as a servant of the recovery of the nation after the defeat of 1870, while claiming a place in the lineage of the Orientalist painters.Eager to popularize the colonial sphere, he made his last trip in Southeast Asia from the beginning of 1899 (Vietnam, Cambodia) before dying, very probably of illness, in September 1900 in Java, where his grave was still visible 90 years later
Le Petit Perret des Fables 2 d'après Jean de la Fontaine: Les Fables en Couleurs
No full textI have long been fascinated by what Pierre Perret has done with the fables. After discovering his 1990 "Le Petit Perret," I found only one of the "toys" produced after his characters, the heron on his fishing boat. I also found four publications from 1994: one apparently dedicated to La Fontaine and four pamphlets presenting particular fables. I have long wondered if there was not a follow-up to "Le Petit Perret." It is thus a pleasure to find this "Petit Perret 2." By the way, finding the book inspired me to check on YouTube to see if "Les Fables Géometriques" show up there. Sure enough, thirteen of them popped right up, and I enjoyed FS, a seven-minute cartoon, three minutes of which was an introduction of the "L'Orchestre Fou," a musical crowd of geometric shapes. "Le Petit Perret 2" again presents La Fontaine's fables -- ten of them -- and the emphasis here is on color. A picture after each fable breaks down the colors involved in a geometric scene from the fable. The fox in FG has a ladder truck to try to get the grapes (26-27)! The moral asks why one would spend time on grapes full of sulfates and stuffed with seeds! A favorite of mine here is the heron out on his boat (38-43). The lobster and her daughter are the summit of geometric engineering (44-49). The two roosters are motorcyclists stopping at "ChickInn," where a gorgeous roller-skating waitress delivers burgers and fries on skates (56-61). What fun!This is a hardbound book (hard cover)Language note: FrenchPierre Perre
Le Petit Perret des Fables 3 d'après Jean de la Fontaine: Les Fables en Chiffres
No full textI have long been fascinated by what Pierre Perret has done with the fables. After discovering his 1990 "Le Petit Perret," I found one of the "toys" produced after his characters, the heron on his fishing boat. I also found several publications from 1994. Then I found "Le Petit Perret 2" (1991), presenting ten of La Fontaine's fables in terms of their colors. Now, to my delight, I find "Le Petit Perret 3," with its emphasis on numbers. Each story gets six pages. The first pair of pages has some text with a large image and a smaller symbol. The second pair narrates the fable to its end, with a two-line moral. The third page is the unique element here: a retelling or commentary through numbers, from 1 to 10 respectively. The ingenuity here is as impressive as the artistry in constructing the images. Be ready for some creative developments of the fables. For example, in "Rat and Elephant" (22-27), is it a cat or a pair of elephant bookends that crush an impudent rat? Do not miss the engaging figures in "Discord" (52-57). FK (58-63) may be the most appealing visually: a mushroom and two spheres together make up a frog! Moral: "Be nice to your inferior teacher; you might get one that pulls your ears!" "The Owner and the Gardener" (64-69) involves tanks and planes destroying a lovely garden. This book is another delight!This is a hardbound book (hard cover)Language note: FrenchPierre Perre
Logements rue Franklin
No full textLateral bays, upper portion, general view, from south; "This apartment building with which Perret established his reputation is to be regarded as one of the canonical works of 20th-century architecture, not only for its explicit and brilliant use of the reinforced concrete frame (the Hennebique system) but also for the way in which its internal organization was to anticipate Le Corbusier's later development of the free plan. Perret deliberately made the apartment partition walls nonstructural throughout and their partial removal would have yielded an open space, punctuated only by a series of free-standing columns. As it is, each floor is organized with the main and service stairs to the rear (each with its own elevator) the kitchen to one side and the principal rooms to the front. These last are divided up from left to right into rooms assigned to smoking, dining, living, sleeping and reception..." p 116. Source: Frampton, Kenneth; Modern architecture, 1851-1945, New York: Rizzoli, 1983 (0847805069) (accessed 7/9/2008
Scale and cutaway models of Logements rue Franklin
No full textCutaway view of the layout of one apartment floor, showing center setback and rear entrance; Models of the apartment house built 1902-1904 at 25 bis rue Franklin. The gallery of modern and contemporary architecture models in the museum opened in 2007. "This apartment building with which Perret established his reputation is to be regarded as one of the canonical works of 20th-century architecture, not only for its explicit and brilliant use of the reinforced concrete frame (the Hennebique system) but also for the way in which its internal organization was to anticipate Le Corbusier's later development of the free plan. Perret deliberately made the apartment partition walls nonstructural throughout and their partial removal would have yielded an open space, punctuated only by a series of free-standing columns. As it is, each floor is organized with the main and service stairs to the rear (each with its own elevator) the kitchen to one side and the principal rooms to the front. These last are divided up from left to right into rooms assigned to smoking, dining, living, sleeping and reception..." p 116. Source: Frampton, Kenneth; Modern architecture, 1851-1945, New York: Rizzoli, 1983 (0847805069) (accessed 8/3/2013
Carta de Jacques Perret a Antonio Tovar Llorente. Nogent-sur-Marne (Francia), 11 de junio de 1954
No full text[ES] Carta de Jacques Perret, profesor de la Facultad de Letras de la Universidad de París (Francia), a Antonio Tovar Llorente pidiéndole la dirección de H. Drexler, porque está estudiando su libro "Hexameterstudien" que se publicó en la colección "Theses et studia philologica salmanticensia" y le pregunta si ya se ha publicado la continuación de este libro en la revista "Emérita"
Prantsusmaa. Reincy kirik. A. Perret
No full textTekst negatiivi ümbrikul: A. Perret. Eglise à Raincy. Tempel: Sellek
Formation professionnelle et technologies numériques. Comprendre les dynamiques d'apprentissage en jeu
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