27,224 research outputs found
Silva (don Philippe de)
No full textDon Philippe de Silva (Felipe de Silva) (†1644) est le fils de don Juan de Silva (1528-1601), comte de Portalegre, ambassadeur à Madrid du roi Sébastien de Portugal (1557-1578), et de dona Filipa de Silva. Brillant homme de guerre, il est placé par le roi Philippe IV en 1635 à la tête de son armée du Roussillon ((Voir le mémoire que le duc d’Halluin adresse à Richelieu au début septembre 1635, et le courrier qu’il adresse au cardinal-ministre le 12 novembre, dans Marie-Catherine Vignal Soul..
Ivan A. Schulman, Génesis del modernismo. Martí. Nájera. Silva. Casal.
No full textLaffranque Marie. Ivan A. Schulman, Génesis del modernismo. Martí. Nájera. Silva. Casal.. In: Bulletin Hispanique, tome 70, n°3-4, 1968. pp. 559-563
Ivan A. Schulman, Génesis del modernismo. Martí. Nájera. Silva. Casal.
No full textLaffranque Marie. Ivan A. Schulman, Génesis del modernismo. Martí. Nájera. Silva. Casal.. In: Bulletin Hispanique, tome 70, n°3-4, 1968. pp. 559-563
Nurse Marie Petty giving physical examination to Alberto T. Silva
No full text''Mrs. Marie Petty, city health nurse, examining job applicant Alberto T. Silva. Physical examinations are being given at the Health Dept. for 20 positions open in the San Antonio fire and police departments. 140 applications have been filed.'
Les yeux de la mémoire: the paintings of Maria Helena Vieira da Silva 1930-1946
No full textElectronic version excludes images for which permission has not been granted by the rights holderThis thesis examines the figurative work of Portuguese-born artist Maria Helena Vieira da Silva (1908-1992) completed between 1930 and 1946, in the cities of Paris, Lisbon and Rio de Janeiro.
This thesis divests Vieira’s work of the persistent formalist framework from within which her artistic production has thus far been examined. Unlike any previous study, it explores the artist’s paintings through specific themes, subjects and forms of expression. By uncovering these narrative premises, we are able to re-assess the overall significance and contribution of Vieira’s pre-war work to her post-war oeuvre. Moreover, the interpretative framework that develops from this account re-draws Vieira’s position within the modernist canon; contrary to prevalently held views, her work ceases to be autonomous from its cultural field. The historical awareness embedded in the artist’s choice of subjects and themes captures the significance of the moment in history in which these paintings were completed. Yet, a contextual examination of Vieira's work in relation to the major streams of thought of the twentieth century reflects its elusive aesthetic nature.
Each chapter examines specific themes and subjects. The first three chapters explore Vieira’s use of memory and the imagination through the expression of the child-like and the naïve, as ways to escape the mimesis of traditional painting. The introduction of these images alters the third person narrative quality of her work by bringing the artist’s perceptions to the forefront of her artistic production. The following three chapters explore Vieira’s subjective spatial quality, either through the use of linear formations of space, memory as projected on to urban landscapes, or simply by using her own image, in its numerous forms, as a spatial signifier.
Moreover, in identifying Vieira’s choice of themes and forms of expression, this study observes the cross-roads of creativity that modernism inspired, disclosing the richness and plurality of sources involved in the production of painting, including literature, print-making and film
Marie-Hélène Piwnik : Échanges érudits dans la Péninsule ibérique (1705-1767), 1987
No full textDiniz Silva-Mansuy Andrée. Marie-Hélène Piwnik : Échanges érudits dans la Péninsule ibérique (1705-1767), 1987. In: Dix-huitième Siècle, n°22, 1990. Voyager, explorer. pp. 535-536
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Heeled shoes
No full textPair of shoes of Reptile skin with brown leather trim shoe upper and throat line; brown leather lacing closure, stacked leather block heels
Left shoe: "Marie Leavell"
Right shoe: "Silva of Fiorentina / Made in Italy
Umberto Eco: De Bibliotheca, traduit de l'italien par E. Deschamps-Pria, frontispice de M.-H. Vieira da Silva. Caen, L'Echoppe, 1986, 31 p.
No full textLecoq Anne-Marie. Umberto Eco: De Bibliotheca, traduit de l'italien par E. Deschamps-Pria, frontispice de M.-H. Vieira da Silva. Caen, L'Echoppe, 1986, 31 p.. In: Revue de l'Art, 1986, n°74. p. 74
Umberto Eco: De Bibliotheca, traduit de l'italien par E. Deschamps-Pria, frontispice de M.-H. Vieira da Silva. Caen, L'Echoppe, 1986, 31 p.
No full textLecoq Anne-Marie. Umberto Eco: De Bibliotheca, traduit de l'italien par E. Deschamps-Pria, frontispice de M.-H. Vieira da Silva. Caen, L'Echoppe, 1986, 31 p.. In: Revue de l'Art, 1986, n°74. p. 74
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