Pline commenté par Eugène Delacroix

1921 ◽  
Vol 65 (3) ◽  
pp. 261-269
Author(s):  
Théophile Homolle
Keyword(s):  
Eugene Delacroix

City of Dust

2017 ◽  
Author(s):  
Sally McKee
Keyword(s):  
Faculty Members ◽  
Eugene Delacroix ◽  
Work Done

This chapter argues that in neither of the profiles appearing in the Bordeaux does Dede claim to have matriculated at the Conservatory of Paris, but he does identify his teachers. The musicians he named lend weight to the possibility that his talent caught the attention of the faculty. To the author of an article, which appeared in L'Artiste de Bordeaux, Dede named three faculty members with whom he studied in Paris in the late 1850s. He began with the composer Adolphe Adam, who died the same year, but not before recommending Dede to the composer Jacques-Fromental Halévy. Meanwhile, in 1855, a year before Dede began studying with him, Eugene Delacroix wondered how the man got any work done.

scholarly journals Delacroix contre Girodet: réflexions autour d’un poème méconnu

2020 ◽  
Vol 1 ◽  
pp. 207-221
Author(s):  
Chiara Savettieri
Keyword(s):  
Eugene Delacroix ◽  
Poetic Work

This article focuses on a somewhat neglected satirical poetic work by Eugène Delacroix, devoted to the painting Pygmalion and Galatea by Anne-Louis Girodet (first exhibited at the 1819 Salon). The text dates back to 1824, the year of both Géricault’s and Girodet’s deaths. After analysing the text and its context, the author explores a new interpretative hypothesis: the work could well be seen as a reaction Delacroix developed against anti-romantic neoclassical positions that, on the occasion of Girodet’s funeral, were fiercely expressed by Gros and Gérard.

scholarly journals La evidencia científica, el saber acreditado y la narrativa académica de la pandemia

2020 ◽  
Vol 9 (3) ◽  
pp. 166-168
Author(s):  
Oswaldo Rodríguez
Keyword(s):  
Eugene Delacroix

La segunda edición del Congreso Nacional de Ciencia y Tecnología (CONACIETI) organizado por la Universidad Tecnológica Centroamericana (UNITEC), fue celebrado desde la virtualidad el pasado 22 y 23 de octubre. Se contó con la presencia del reconocido científico hondureño-británico Doctor Sir Salvador Moncada como conferencista internacional en la inauguración de este importante evento académico-científico. Dicho evento sirvió de vitrina para la presentación y foro de discusión en torno los trabajos de investigación en las distintas áreas temáticas provenientes de la comunidad científica hondureña. La disertación del Dr. Moncada sirve de base para el desarrollo de estas líneas, colocando el foco de atención en la narrativa académico-científica relacionada con la pandemia por COVID-19. Este artículo no aspira a un estado del arte sobre la temática, pero si trazar a mano alzada, líneas reflexivas en torno a un aspecto importante y que se desprende de los planteamientos que ha hecho el Dr. Moncada en su intervención, los cuales bien pudieran resumirse en una de sus más interesantes frases: “la evidencia científica es absolutamente necesaria, especialmente cuando hay vidas humanas en juego”. Esta aseveración bien puede ser análoga en su sentido y significado a la imagen plasmada por Eugène Delacroix en 1830 La liberté guidant le peuple (La libertad guiando al pueblo). La orientación que ofrece el dato proveniente del saber y el hacer acreditado se iza como bandera en momentos de extrema crisis mundial, donde la articulación de las políticas públicas entre los estados-naciones y los pueblos ha sucumbido como castillo de naipes, salvo muy honrosas excepciones.

I WILL NOT LET YOU GO UNLESS YOU TEACH ME THE TANGO: SALLY POTTER'S THE TANGO LESSON

2003 ◽  
Vol 11 (1) ◽  
pp. 98-112
Author(s):  
Ulrike Vollmer
Keyword(s):  
Sense Of Self ◽  
Role Reversal ◽  
Biblical Story ◽  
Eugene Delacroix ◽  
The Relationship ◽  
Relational Contexts

This paper explores Sally Potter's film The Tango Lesson and the story of Jacob's fight with the angel that features in it. The Tango Lesson is not only about the tango and the relationship between the characters Sally and Pablo but also about their search for what it means to feel like a Jew. On this search, Sally and Pablo embody in a tango pose Jacob's fight with the angel as painted by Eugène Delacroix. This pose and the biblical story behind it act as a key to understanding the relationship between Sally and Pablo. In this paper, I show how Sally resembles Jacob and Pablo the angel of both the biblical story and Delacroix's painting. But I also argue that a role reversal takes place in Potter's film; that Pablo can be Jacob and Sally his angel. The experiences of being blessed and hurt as well as the importance of being remembered shape not only Sally's but also Pablo's life. To feel Jewish, I conclude, does not mean to be Jewish through birth or through belonging to a congregation but to search for a sense of self through a relationship. On this search, the ability to play different roles in different relational contexts is essential.

The Hand of Chopin: Documents and Commentary

2017 ◽  
Author(s):  
Jean-Jacques Eigeldinger
Keyword(s):  
Anatomical Studies ◽  
Eugene Delacroix ◽  
Artistic Career

This chapter presents reproductions of four studies of hands that have been attributed to Maurice Sand-Dudevant. If these drawings—or even a single one of them—indeed portray the hand of Chopin, at present they are the only ones known to have been made during the pianist's lifetime. Whatever the case, these drawings were done early in Maurice's artistic career, when he studied with Eugène Delacroix and copied many anatomical studies, especially those of hands. Finding them gathered in this way suggests that all the drawings were based on the same model, as seen through certain details—especially the shape of the fingernails, which are cut short.

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