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[ "A medal which depicts Édouard Le Danois", "" ]

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[ "https://upload.wikimedia.org/wikipedia/commons/8/86/Edouard_le_Danois.jpg", "https://upload.wikimedia.org/wikipedia/commons/b/b9/D%C3%BCrer_-_Rhinoceros.jpg" ]

[ "Édouard Le Danois (8 April 1887, Brest – 11 June 1968, Saint-Germain-en-Laye) was a French zoologist specialising in marine life. He described many species of fish." ]

[ "Édouard Le Danois" ]

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[]

[ "View of the Parc naturel régional d'Armorique, founded by Le Jeune in 1969.", "The new townhall of Dinéault, dedicated by Le Jeune in 1979." ]

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[ "https://upload.wikimedia.org/wikipedia/commons/b/b9/View_along_Monts_d%27Arr%C3%A9e_1.jpg", "https://upload.wikimedia.org/wikipedia/commons/c/c1/Din%C3%A9ault_%2829%29_Mairie.JPG" ]

[ "Édouard Le Jeune (20 February 1921 – 9 April 2017) was a French World War II veteran and politician. He was the mayor of Dinéault from 1953 to 1989, and a senator for Finistère from 1971 to 1998. He was the founding president of the Parc naturel régional d'Armorique.", "Édouard Le Jeune was born on 20 February 1921 in Berrien, France. In 1943, after the Germans had invaded France during World War II, he joined the French Resistance. After the war, he was awarded the Resistance Medal and the Cross of the resistance volunteer combatant.", "Le Jeune first joined the Union of Democrats and Independents – UC, and later the Union for French Democracy. He served as the mayor of Dinéault from 1953 to 1989. He dedicated a new townhall in 1979. He established the Parc naturel régional d'Armorique in 1969, and he served as its founding president. He served as a member of the French Senate, where he represented Finistère from 1971 to 1998.\nLe Jeune received the Legion of Honour in 1999.", "Le Jeune married a native of Dinéault, Marie-Thérèse, in 1951. He died on 9 April 2017 in Dinéault. His funeral was held at the Church in Dinéault on 13 April 2017.", "\"Dinéault. Décès d'Édouard Le Jeune, figure politique du Finistère\". Ouest-France. April 11, 2017. Retrieved April 13, 2017.\n\"Dinéault. Décès d'Édouard Le Jeune l'homme du Centre-Finistère\". Le Télégramme. April 13, 2017. Retrieved April 13, 2017.\n\"LE JEUNE Edouard\". French Senate. Retrieved April 13, 2017." ]

[ "Édouard Le Jeune", "Early life", "Career", "Personal life and death", "References" ]

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[ "Portrait of Aldégonde Bathilde Mallet (1815)" ]

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[ "https://upload.wikimedia.org/wikipedia/commons/0/03/Li%C3%A9nard_Portrait_de_Ald%C3%A9gonde_Bathilde_Mallet.jpg" ]

[ "Jean Auguste Édouard Liénard (1779 in Paris – 10 February 1848 in Lille) was a French painter. He signed his works E.Liénard or J.Liénard.\nA student of Regnault, Isabey and David, and worked for a long time as a painter of miniatures and portraits in Lille, where he succeeded François Watteau in 1823 as professor at the école des arts. He also worked for the Manufacture nationale de Sèvres from 1828 to 1833. His own students included Victor Mottez.", "Works by Liénard" ]

[ "Édouard Liénard", "External links" ]

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[ 18143 ]

[ "Edouard Lock" ]

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[ "https://upload.wikimedia.org/wikipedia/commons/3/3c/Edouard_Lock.jpg" ]

[ "Édouard Lock (born March 3, 1954 in Morocco) is a Canadian dance choreographer and the founder of the Canadian dance group, La La La Human Steps.", "La La La Human Steps Founder, Artistic Director and Choreographer Édouard Lock began his choreographic career at the age of 20 and founded La La La Human Steps in 1980. Over the years Mr. Lock has been invited to create works for some of the world's leading dance companies, including the Paris Opera Ballet, the Het Nationale Ballet of Holland, The Nederlands Dans Theater, the Cullberg Ballet and the Royal Ballet of Flanders.\nAt the invitation of Robert Carson and the Paris Opera, Mr. Lock choreographed \"Les Boréades\" composed by Rameau and performed by his company LHS at Le Palais Garnier.", "Édouard Lock has also worked with several figures in the world of music. He created a choreographed event with David Bowie and Louise Lecavalier as part of the 40th anniversary celebrations of the Institute of Contemporary Arts, filmed by video artist Nam June Paik, then continued his collaboration with Bowie in 1990 as creator and art director of his Sound + Vision world tour. In 1992. he worked with Frank Zappa on the performance of Yellow Shark, alongside the Ensemble Modern, the Frankfurt Alte Oper, the Berlin Philharmonic and the Vienna Konzerthaus. He also commissioned works from and collaborated with Iggy Pop, Einstürzende Neubauten (Blixa Bargeld, Marc Chung, F. M. Einheit), Shellac of North America (Steve Albini), Skinny Puppy, My Bloody Valentine (Kevin Shields) David Van Tiegham, West India Company (Stephen Luscombe, Pandit Dinesh). He has also worked with American composer and Pulitzer Award winner David Lang for Salt (1997) and Amelia (2002) and with British composer Gavin Bryars, for 2, Amjad, and New Work.", "Various films have been made on Mr. Lock's work including Le Petit Musée de Vélasquez directed by Bernar Hébert, and the documentary Inspirations by British director Michael Apted, which also included Roy Lichtenstein, Tadao Ando and David Bowie amongst others.", "His works have garnered many awards, including the Chalmers choreographic prize, the New York Dance and Performance Award, the Prix Denise-Pelletier, the National Arts Centre Award, the Benois de la Danse choreographic award given in Moscow, the Governor General's Performing Arts Award, the Premio Positano Leonide Massine Award, The Molson Prize given by the Canada Council for the Arts and an honorary doctorate granted by the Université du Québec.\nThe film adaptation of Amelia, directed by Edouard Lock, had its American premiere at the 2004 Tribeca Film Festival and its European premiere at the Karlovy Vary International Film Festival. The film won its category at the Chicago International Film Festival, the Prague International Film Festival and the Rose d'Or Festival in Switzerland as well as winning two I.C.E. and two Gemini Awards for best direction and best editing.\nMr. Lock was named a Chevalier de l'Ordre national du Québec and Officer of the Order of Canada\n1982 : National Jean A. Chalmers Choreography Award (Oranges 1982)\n1986 : Bessie Award (New-York)\n2001 : Knight of the National Order of Quebec\n2001 : Governor General's National Arts Centre Award\n2001 : National Arts Centre Award\n2001 : Jean A. Chalmers National Dance Award (Exaucé / Salt)\n2002 : Prix Denise-Pelletier\n2003 : Prix Benois de la Danse\n2004 : Gemini Awards\n2006 : Fellow of the Royal Society of Canada\n2010 : Governor General's Performing Arts Award\n2010 : Molson Prize\n2010 : Officer of the Order of Canada\n2010 : Doctor honoris causa, Université du Québec à Montréal\n2011 : Prix Premio Positano Leonide Massine per la Danza\n2012 : Prix du CALQ pour la meilleure tournée internationale\n2015 : Le Grand Prix de la Danse (The Seasons 2015)", "1976 : Temps volé\n1977 : La Maison de ma mère\n1977 : Remous\n1978 : Le Nageur\n1980 : Lily Marlène dans la jungle, Western\n1981 : Oranges ou la Recherche du paradis perdu\n1983 : Businessman in the Process of Becoming an Angel\n1985 : Human Sex\n1987 : New Demons - La belle et la bête\n1988 : Bread Dances for Het Nationale Ballet\n1990 : Infante, c'est destroy\n1995 : 2\n1996 : Étude for Les Grands Ballets Canadiens\n1999 : Exaucé/Salt\n2002 : Amelia, AndréAuria for Opéra national de Paris\n2003 : Les Boréades for Opéra national de Paris\n2007 : Amjad\n2011 : Untitled/New Work/A Piece by Édouard Lock\n2013 : The Seasons for São Paulo Companhia de Dança\n2013 : 11th Floor for The Cullberg Ballet\n2014 : Reprise AndréAuria for Opéra national de Paris\n2014 : Creation for LA LA LA Human Steps contemporary arts - exhibition at the Boijmans Museum Rotterdam\n2014 : Directed a film of The Boijmans Museum event", "\"Recipients of the 2010 Governor General's Performing Arts Awards Announced\". Press release. Ottawa: CNW Group. 23 February 2010. Retrieved 8 August 2012.", "Édouard Lock at The Canadian Encyclopedia\nÉdouard Lock at IMDb\nArchival footage of Louise Lecavalier performing Édouard Lock's A Few Minutes of Lock in 2011 at Jacob's Pillow.\nLa La La Human Steps\nWatch the 2010 short documentary Lock at the National Film Board of Canada" ]

[ "Édouard Lock", "Career", "Collaborations", "Other Activities", "Recognition", "Works", "References", "External links" ]

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[ "Édouard Lockroy (1838–1913)." ]

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[ "https://upload.wikimedia.org/wikipedia/commons/9/96/Edouard_Lockroy_atelier_Nadar_BNF_Gallica.jpg" ]

[ "Édouard Lockroy (18 July 1838 – 22 November 1913) was a French politician.\nHe was born in Paris, the son of Joseph Philippe Simon (1803–1891), an actor and dramatist who took the name of Lockroy.", "He had begun by studying art, but in 1860 enlisted as a volunteer under Garibaldi. The next three years were spent in Syria as secretary to Ernest Renan, and on his return to Paris he embarked in militant journalism against the Second French Empire in Le Figaro, the Diable à quatre, and eventually in Le Rappel, with which his name was thenceforward intimately connected. He commanded a battalion during the siege of Paris, and in February 1871 was elected deputy to the National Assembly where he sat on the extreme left and protested against the preliminaries of peace.", "In March he signed the proclamation for the election of the Paris Commune, and resigned his seat as deputy. Arrested at Vanves, he remained a prisoner at Versailles and Chartres until June, when he was released without being tried. He was more than once imprisoned for violent articles in the press, and in 1872 for a duel with Paul de Cassagnac.\nLockroy was returned to the Chamber in 1873 as Radical deputy for Bouches-du-Rhône in 1876, 1877 and 1881 for Aix, and in 1881 he was also elected in the 11th arrondissement of Paris. He chose to sit for Paris, and was repeatedly re-elected. During the elections of 1893 he was shot at by a cab-driver poet named Moore, but was not seriously injured. For the first ten years of his parliamentary life he voted consistently with the extreme left, but then adopted a more opportunist policy, and gave his unreserved support to the Brisson ministry of 1885.", "In the new Freycinet cabinet formed in January 1886 he held the portfolio of commerce and industry, which he retained in the Goblet ministry of 1886–1887. In 1885 he had been returned at the head of the poll for Paris, and his inclusion in the Freycinet ministry was taken to indicate a prospect of reconciliation between Parisian Radicalism and official Republicanism. During his tenure of the portfolio of commerce and industry he made the preliminary arrangements for the Exposition of 1889, and in a witty letter he defended the erection of the Eiffel Tower against artistic Paris.\nAfter the Panama and Boulangist scandals he became one of the leading politicians of the Radical party. He was vice-president of the Chamber in 1894 and in 1895, when he became minister of marine under Léon Bourgeois. His drastic measures of reform alarmed moderate politicians, but he had the confidence of the country, and held the same portfolio under Henri Brisson (1898) and Charles Dupuy (1898–1899).\nHe gave his support to the Waldeck-Rousseau Administration, but actively criticized the marine policy of Camille Pelletan in the Combes ministry of 1902–1905, during which period he was again vice-president of the Chamber. In 1905, he voted for the law separating the church and state.", "M. Lockroy was a persistent and successful advocate of a strong naval policy, in defence of which he published:\nLa Marine de Guerre (1890)\nSix mois rue Royale (1897)\nLa Défense navale (1900)\nDu Weser à la Vistula (1901)\nLes Marines française et allemande (1904)\nLe Programme naval (1906)\nHis other works include M. de Moltke et la guerre future (1891) and Journal d'une bourgeoise pendant la Révolution (1881) derived from the letters of his great-grandmother.\nIn 1877 Lockroy married Alice Lehaene, the widowed daughter-in-law of the poet Victor Hugo. He was the stepfather of Jeanne Hugo.\nIn 1913 he published his memoirs under the title of Au hasard de la vie : Notes et Souvenirs. He died on 22 November 1913, and was buried three days later in the Père Lachaise Cemetery.", "Chisholm 1911, p. 854.\nChisholm 1911, pp. 854–855.\nChisholm 1911, p. 855.\nE. Delaroche, Les obsèques de M. Édouard Lockroy, in Le Figaro, 26 November 1913, available at Gallica (in French)", "This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). \"Lockroy, Édouard\". Encyclopædia Britannica. Vol. 16 (11th ed.). Cambridge University Press. pp. 854–855." ]

[ "Édouard Lockroy", "Revolutionary years", "Radical politician", "Cabinet member", "Works", "Notes", "References" ]

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[ "Loubet signing books in 2015" ]

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[ "https://upload.wikimedia.org/wikipedia/commons/b/b8/Edouard_Loubet_-_signature_de_livre_%C3%A0_Carpentras_4.JPG" ]

[ "Édouard Loubet (born 25 September 1970 in Val-Thorens, Savoy) is a French master chef with 2 stars in the Michelin Guide. He obtained the grade of 18/20 from the Gault et Millau book, which elected him chef of the year in 2011.", "Loubet grew up in Val-Thorens, ski resort in construction in 1970, where his mother Claude, opened the first restaurant, which was also a canteen for the workers. He discovered the cooking art with his grandparents with whom he cooked and gardened. Whereas he entered the under-21 French ski team, his mother advised him to opt for an apprenticeship in pastry, safer future than a sports career.\nIn 1983, Claude began the construction of the four-star Fitz Roy (Relais et Château), the highest hotel in Europe where Édouard Loubet earned his spurs. After having obtained the \"Meilleur Ouvrier de France\" title, he joined the Ritz Carlton in Chicago with Fernand Guterez then the Chateau Frontenac in Quebec City.\nBack in France, he sent a letter to twenty of the best French master chefs. Only one replied: Alain Chapel in Mionnay who taught him the \"delicacy and respect of the product. \"He then joined the teams of Peter Orsy, the one of Philippe Chavent (La Tour Rose) and Marc Veyrat in Annecy. This is next to him that he met his wife Isabelle Guelpa, the chef's niece.", "In 1992, Loubet opened Le Moulin de Lourmarin, in Lourmarin. With Adrien Lombard, a former gardener, they cultivated a 5 hectare vegetable garden, which supplies the raw materials for the restaurant: fruits, heirloom vegetables and herbs. In parallel of the Moulins, the chef opened \"Le Comptoir d'Édouard\", bakery as well as catering and delicatessen store.\nIn 1995, Loubet received his first Michelin star, and became the youngest chef of France. Three years later, he received his second star and published on this occasion his first book, \"Un Printemps en Luberon\" (A Spring in Provence).\nÉdouard and Claude also manage Le Galinier de Lourmarin, ancient bastide of the 18th and 19th centuries.", "Claude, Édouard's mother, acquired Bonnieux's highest farm, where the chef transferred its gourmet restaurant and its two stars. Loubet created a garden and a botanical trail, and also gives cooking classes. In March 2006, his cuisine was named in the Red Gault Millau Guide. In 2011, the Yellow Guide named him Chef of the year. In 2011, the Bastide joined the Relais and Châteaux association and Loubet was appointed Master Chief by the same association.", "For nearly two years, Edouard Loubet has held 3 festivals a year in Kenya and trains Kenyan cooks in French cuisine. The goal is to teach them how to use their country's best products and seek the best suppliers. He also organizes fortnight trainings at the Bastide de Capelongue for cooks who can make the trip. His collaboration with the Prince Aga Khan has also led him to develop a menu of the Mandhari – Nairobi Serena's restaurant-, and coach the Delagoa's chefs, the restaurant Polana Serena in Maputo, Mozambique. They both belong to the Serena hotel chain (32 hotels in Africa, India and Pakistan), held by the family of the Aga Khan.", "Truffle is a particular ingredient to Loubet. He joined the Brotherhood of Richerenches enclave in the Drôme but belonging to the Vaucluse, one of whose features is the Mass of St. Anthony, where the truffles are offered before being auctioned on the place of village.", "Édouard Loubet, Un printemps en Luberon, Hachette Pratique, 2002\nJean-Marc Favre, Jacques Guillard, Ève-Marie Zizza-Lalu, Six saisons en Luberon, Éditions Glénat, 2009", "\"#EGalim : Tout savoir sur la loi Agriculture et Alimentation\".\nProvence Michelin 2012 \"De ses origines savoyardes, Édouard Loubet a gardé la passion pour les sports de montagne tels le ski et l'escalade, mais le jardinage constitue également un ..\"\nChallenge des chefs étoilés\nlhotellerie-restauration.fr\nCôté maison\nfrancesoir.fr\nL'Hôtellerie Restauration 2006 Édouard Loubet, la cuisine on-line depuis le Luberon!\nNomination cuisinier de l'année\nJournal des palaces\n\"Edouard Loubet bientôt à Nairobi, Islamabad et Chantilly\".\n\"Archived copy\". Archived from the original on 10 June 2015. Retrieved 27 January 2012.", "Site officiel www.capelongue.com\nLe Monde 2011\nElle" ]

[ "Édouard Loubet", "Biography", "Le Moulin de Lourmarin & Le Galinier de Lourmarin", "La Bastide de Capelongue", "In Africa", "Membership of the Black Diamond and Gastronomy Brotherhood", "Bibliography", "References", "External links" ]

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[ "Louis in 2019" ]

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[ "https://upload.wikimedia.org/wikipedia/commons/7/7f/2019.12.07._Edouard_Louis_Fot_Mariusz_Kubik_01.JPG" ]

[ "Édouard Louis (born Eddy Bellegueule; 30 October 1992) is a French writer.", "Édouard Louis, born Eddy Bellegueule was born and raised in the town of Hallencourt in northern France, which is the setting of his first novel, the autobiographical En finir avec Eddy Bellegueule (2014; published in English in 2018 as The End of Eddy).\nLouis grew up in a poor family supported by government welfare: his father was a factory worker for a decade until \"One day at work, a storage container fell on him and crushed his back, leaving him bedridden, on morphine for the pain\" and unable to work. His mother found occasional work bathing the elderly. The poverty, racism, alcoholism and his homosexuality which he dealt with in his family during his childhood would become the subject of his literary work.\nHe is the first in his family to attend university. In 2011, he was admitted to two of the most prestigious institutions of higher learning in France, the École Normale Supérieure and to the School for Advanced Studies in the Social Sciences in Paris. In 2013, he officially changed his name to Édouard Louis.\nThe same year, he edited the collective work, Pierre Bourdieu. L'insoumission en héritage, which analyses the influence of Pierre Bourdieu on critical thinking and political emancipation.\nIn 2014 he published En finir avec Eddy Bellegueule, an autobiographical novel. The book was the subject of extensive media attention and was hailed for its literary merit and compelling story. The book also generated debate and controversy over social perception of the working class. It was a bestseller in France and has been translated into more than 20 languages.\nIn September 2015, Édouard Louis wrote an open letter, \"Manifesto for an Intellectual and Political Counteroffensive\", together with philosopher Geoffroy de Lagasnerie. In the letter, which was published on the front page of Le Monde, and was later reprinted in English by the Los Angeles Review of Books, Louis and Lagasnerie denounce the legitimization of right-wing agendas in public discourse and establish principles by which leftist intellectuals should reengage in public debate.\nIn 2016, Louis published his second novel, History of Violence. In recounting the story of his rape and attempted murder on Christmas Eve of 2012, the autobiographical novel centers around the cyclical and self-perpetuating nature of violence in society.\nIn May 2017 Louis wrote \"Why My Father Votes for Le Pen\", an op-ed that was published on the front page of The New York Times. In the piece, published on the eve of the French presidential election, Louis argued that the rise in popularity of nationalist and right-wing politicians among working class and poor voters in France was a result of changing priorities on the left. In May 2018, Louis released his third novel, Qui a tué mon père (Who Killed My Father), in which he expands upon this theme. He explores the deteriorating health of his father, who had been severely injured in an industrial accident, and the additional bodily harm he endures as a result of political decisions that reduced his financial support and forced him back to work.", "The work of Édouard Louis maintains a fine link with sociology: the influence of Pierre Bourdieu pervades his novels, which invoke the themes of social exclusion, domination, and poverty. The influence of William Faulkner is also revealed through Louis' superposition in the same sentence of various levels of language – placing the popular vernacular at the heart of his writing. Louis' novel Histoire de la violence contains an essay on Faulkner's novel Sanctuary.\nThe author says that, by working with various levels of language, he wants to use violence as a literary subject, \"I want to make violence a literary space, like Marguerite Duras made a literary space of madness or as Claude Simon made war into a literary space, or as Hervé Guibert did with sickness.\"\nLouis has said that his primary contemporary influence was French sociologist Didier Eribon, whose book Returning to Reims, Louis says \"marked a turning point for his future as a writer.\" He has also included James Baldwin and Simone de Beauvoir amongst \"the writers who have meant the most to me\".", "", "En finir avec Eddy Bellegueule. Le Seuil. 2014. ISBN 9782021117707. French-language version.\nThe End of Eddy. Translated by Lucey, Michael. Harvill Secker. 2 February 2017. ISBN 978-1846559006.) English-language version.\nHistoire de la violence. Le Seuil. 2016. ISBN 978-2021177787. French-language version.\nHistory of Violence. Translated by Stein, Lorin. Harvill Secker. 2018. ISBN 978-1787300392.) English-language version.\nQui a tué mon père. Le Seuil. 2018. ISBN 978-2021399431. French-language version.\nWho Killed My Father. Translated by Stein, Lorin. Harvill Secker. 2019. ISBN 978-1787301221.) English-language version.\nCombats et métamorphoses d'une femme. Le Seuil. 2021. ISBN 978-2021312546. French-language version.\nChanger: methode. Le Seuil. 2021. ISBN 978-2021483048. French-language version.", "Pierre Bourdieu. L'insoumission en héritage, Édouard Louis (editor), Annie Ernaux, Didier Eribon, Arlette Farge, Frédéric Lordon, Geoffroy de Lagasnerie et Frédéric Lebaron, (Presses Universitaires de France, 2013; ISBN 978-2-13-061935-2).\nFoucault contre lui-même = \"Foucault against himself\". François Caillat (editor), Édouard Louis (director), avec Geoffroy de Lagasnerie, Arlette Farge, Didier Eribon, (Presses Universitaires de France, 2014; ISBN 978-2-13-063289-4).", "2014 : Pierre Guénin Prize against homophobia and for equal rights, for his work En finir avec Eddy Bellegueule.", "Curtet-Poulner, Isabelle (February 15, 2014). \"En finir avec Eddy Bellegueule: chronique de la haine populaire\" [En finir avec Eddy Bellegueule: chronicle of the popular hate] (Review) (in French). Marianne. Retrieved 13 July 2014. Louis signe un premier roman époustouflant, En finir avec Eddy Bellegueule, son patronyme originel.\nNotice autorité BnF\nTobias Grey (19 June 2018). \"For the French Author Édouard Louis, His Books Are His Weapon\". The New York Times. Retrieved 2018-07-16.\n\"'The End Of Eddy' Tells Of Growing Up Poor And Gay In Working-Class France\". NPR.org. Retrieved 2018-07-16.\nLouis, Édouard (May 4, 2017). \"Why My Father Votes for Le Pen\". The New York Times. Retrieved June 8, 2019.\nPascaud, Fabienne (January 25, 2014). \"En finir avec Eddy Bellegueule\" (Review) (in French). Telerama. Retrieved 13 July 2014. le père est depuis longtemps au chômage après s'être bousillé le dos à l'usine, et où la mère nettoie les vieillards du village.\nFruchon-Toussaint, Catherine (March 13, 2014). \"Edouard Louis, phénomène littéraire à 21 ans\" [Édouard Louis, Literary Phenomenon at 21] (Radio Transcript) (in French). Radio France Internationale. Retrieved 13 July 2014. Vous y racontez vos jeunes années, de 9 à 13 ans essentiellement, dans le nord de la France, où vous êtes né et vous avez été élevé dans une famille souffrant d’une grande misère, avec au quotidien l’alcoolisme, la pauvreté, le chômage, le désert culturel.\n\"Procès verbal des résultats d'admission\" (PDF).\n\"Savoir/agir en homophobe. A propos d'un sinistre canular qui n'a pas été perçu comme tel et d'un problème plus général\". 9 March 2015.\nBiography in \"Eddy se fait la belle\", Le Monde des Livres, 16 January 2016\nPrésentation de l'ouvrage sur le Site de l'éditeur.\nPhilippe, Elizabeth (March 15, 2014). \"Edouard Louis: \"Ce que j'écris dans 'Eddy Bellegueule' a été vécu\"\" [Edouard Louis: \"What I wrote in 'Eddy Bellegueule' has been lived\"] (Interview) (in French). Les Inrocks. Retrieved 13 July 2014. lLe journaliste se permet des choses à l’égard des classes populaires qu’il ne se serait pas permis à l’égard des dominants. C’est l’expression d’un racisme de classe insupportable.\nAbescat, Michel (July 15, 2014). \"Edouard Louis : \"J'ai pris de plein fouet la haine du transfuge de classe\"\" [Edouard Louis:\"I've been slammed by the hatred of those who change social classes] (Interview) (in French). Telerama. Retrieved 15 July 2014. Héritier du sociologue Pierre Bourdieu, sur l'oeuvre duquel il a dirigé un ouvrage collectif, infiniment sensible, et sincère, il porte un regard aigu sur la réception de son livre.\nSwanson, Claire (February 21, 2014). \"New Releases on Top in January\" (News). Publishers Weekly. Retrieved 13 July 2014. lA handful of new titles topped the bestseller lists in the international markets at the start of 2014. In France, 21-year-old Edouard Louis’s debut novel, Finishing Off Eddy Bellegueule, came in at #1.\n\"Manifeste pour une contre-offensive intellectuelle et politique | Blog | Le Club de Mediapart\". Club de Mediapart (in French). Retrieved 2016-01-07.\n\"Intellectuels de gauche, réengagez-vous!\". Le Monde.fr (in French). ISSN 1950-6244. Retrieved 2016-01-07.\n\"Manifesto for an Intellectual and Political Counteroffensive\". The Los Angeles Review of Books. 25 October 2015. Retrieved 2021-08-31.\nLeyris, Raphaëlle. \"Roman autobiographique : Edouard Louis et le mauvais garçon\". Le Monde.fr (in French). ISSN 1950-6244. Retrieved 2016-01-07.\n\"Les illusions éperdues d'Edouard Louis\". Bibliobs (in French). 7 January 2016. Retrieved 2016-01-07.\n\"Transfuge - Le Grand Entretien : Edouard Louis \"écrire, c'est lutter contre les racismes\"\". www.transfuge.fr. Retrieved 2016-01-07.\nLouis, Edouard (May 4, 2017). \"Why My Father Votes for Le Pen\". New York Times. Retrieved 12 May 2018.\nBroder, David (May 8, 2018). \"Macron's Anniversary\". Jacobin.\nLeyris, Raphaëlle (May 10, 2017). \"Edouard Louis : \" Empêcher le lecteur de détourner le regard \"\". Le Monde. Retrieved 12 May 2018.\n\"Nos choix pour la rentrée littéraire d'hiver\". Le Monde.fr (in French). ISSN 1950-6244. Retrieved 2016-01-07.\n\"Édouard Louis : \" Mon livre a été écrit pour rendre justice aux dominés \"\". Salut. 22 January 2015. Retrieved 2016-01-07.\nDes Lys, Richard (April 29, 2014). \"Édouard Louis : le choc littéraire\" [Édouard Louis: The Literary Shock] (Interview) (in French). Etre. Retrieved 13 July 2014. \"La violence a été le projet fondateur de mon livre. Je voulais faire de la violence un espace littéraire, comme Duras a fait avec la passion, la folie. Ou comme Claude Simon a fait pour la guerre. Ou Hervé Guibert, pour la maladie. C’est une violence qui la plupart du temps ne se voit pas. Justement, la puissance de la littérature pour moi, c’est montrer avec les mots l’invisible. \".\nPetrowski, Nathalie (May 28, 2014). \"Édouard Louis: famille, je vous hais\" [Family: I hate you] (Interview) (in French). La Presse. Retrieved 14 July 2014. Le premier livre qui marquera un tournant pour le futur écrivain paraît en 2009. C'est Retour de Reims de Didier Eribon.\nLouis, Édouard (11 February 2017). \"Édouard Louis: 'For my family, a book was a kind of assault'\". The Guardian Review section. London. p. 12. Retrieved 13 February 2017.", "Blog of Édouard Louis.\n2017 review of The End of Eddy in The Guardian\n2019 review of The End of Eddy in Literomania by Adina Dinițoiu" ]

[ "Édouard Louis", "Biography", "Style and influences", "Works", "Novels", "Non-fiction", "Awards", "Notes and references", "External links" ]

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[ "Édouard Louis Trouessart", "" ]

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[ "https://upload.wikimedia.org/wikipedia/commons/a/a6/Edouard_Louis_Trouessart_by_Henri_Manuel.png", "https://upload.wikimedia.org/wikipedia/commons/b/b9/D%C3%BCrer_-_Rhinoceros.jpg" ]

[ "Édouard Louis Trouessart (25 August 1842 – 30 June 1927) was a French zoologist born in Angers.\nHe studied military medicine in Strasbourg, but was forced to leave school due to serious health problems. In 1864 he started work as préparateur de physique at the Faculty of Poitiers, and in the process, dedicated his time and energies to natural history. He also resumed his studies in medicine, earning a medical doctorate in 1870. During the Franco-Prussian War, he served in the French army. Later, he was employed at the hospital in Villevêque.\nFrom 1882 to 1884, he was director at the Museum of Angers, and in the meantime taught classes in natural history at the high school in Angers. In 1885 he relocated to Paris, where he worked with Alphonse Milne-Edwards (1835-1900). After the death of Emile Oustalet (1844-1905), he attained the chair of zoology (mammals and birds), a position he maintained until 1926.", "Les microbes, les ferments et les moisissures. Avec 107 figures dans le texte (1886); later translated into English as \"Microbes, ferments and moulds. With one hundred and seven illustrations\". (New York : D. Appleton and co., 1886).\nAu bord de la mer: géologie, faune et flore des côtes de France de Dunkerque à Biarritz (1893) - The seaside: geology, fauna and flora on the coasts of France at Dunkerque and Biarritz.\n\"Catalogus mammalium tam quam viventium fossilium\" (1899).\nFaune des Mammifères d’Europe (1910) – Mammalian fauna of Europe.\nLa distribution géographique des animaux (1922) - Geographical distribution of animals.", "Online Books (published works)\nFrance savante (biographical information)\nParts of this article are based on a translation of an equivalent article at the French Wikipedia." ]

[ "Édouard Louis Trouessart", "Selected writings", "References" ]

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[ "" ]

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[ "https://upload.wikimedia.org/wikipedia/commons/a/ad/Elucas_1.png" ]

[ "François Édouard Anatole Lucas ([fʁɑ̃swa edwaʁ anatɔl lykɑ]; 4 April 1842 – 3 October 1891) was a French mathematician. Lucas is known for his study of the Fibonacci sequence. The related Lucas sequences and Lucas numbers are named after him.", "Lucas was born in Amiens and educated at the École Normale Supérieure. He worked in the Paris Observatory and later became a professor of mathematics at the Lycée Saint Louis and the Lycée Charlemagne in Paris.\nLucas served as an artillery officer in the French Army during the Franco-Prussian War of 1870–1871.\nIn 1875, Lucas posed a challenge to prove that the only solution of the Diophantine equation:\n\\sum _{n=1}^{N}n^{2}=M^{2}\\;\nwith N > 1 is when N = 24 and M = 70. This is known as the cannonball problem, since it can be visualized as the problem of taking a square arrangement of cannonballs on the ground and building a square pyramid out of them. It was not until 1918 that a proof (using elliptic functions) was found for this remarkable fact, which has relevance to the bosonic string theory in 26 dimensions. More recently, elementary proofs have been published.\nHe devised methods for testing the primality of numbers. In 1857, at age 15, Lucas began testing the primality of 2¹²⁷ − 1 by hand, using Lucas sequences. In 1876, after 19 years of testing, he finally proved that 2¹²⁷ − 1 was prime; this would remain the largest known Mersenne prime for three-quarters of a century. This may stand forever as the largest prime number proven by hand. Later Derrick Henry Lehmer refined Lucas's primality tests and obtained the Lucas–Lehmer primality test.\nHe worked on the development of the umbral calculus.\nLucas was also interested in recreational mathematics. He found an elegant binary solution to the Baguenaudier puzzle. He also invented the Tower of Hanoi puzzle in 1883, which he marketed under the nickname N. Claus de Siam, an anagram of Lucas d'Amiens, and published for the first time a description of the Dots and Boxes game in 1889.\nLucas died in unusual circumstances. At the banquet of the annual congress of the Association française pour l'avancement des sciences, a waiter dropped some crockery and a piece of broken plate cut Lucas on the cheek. He died a few days later of a severe skin inflammation probably caused by sepsis. He was only 49 years old.", "", "Lucas pseudoprime\nLucas–Carmichael number\nPell-Lucas numbers", "O'Connor, John. \"Édouard Lucas\". MacTutor History of Mathematics archive, University of St Andrews.\n\"week95\". Math.ucr.edu. 1996-11-26. Retrieved 2012-01-04.\nMa, D. G. (1985). \"An Elementary Proof of the Solutions to the Diophantine Equation 6y^{2}=x(x+1)(2x+1)\". Sichuan Daxue Xuebao. 4: 107–116.\nAnglin, W. S. (1990). \"The Square Pyramid Puzzle\". American Mathematical Monthly. 97 (2): 120–124. doi:10.2307/2323911. JSTOR 2323911.\n\"Prime Curios!: 17014...05727 (39-digits)\". Primes.utm.edu. Retrieved 2012-01-04.\nLucas, Édouard (1880). \"Récréations scientifiques sur l'arithmétique et sur la géométrie de situation\". La Revue scientifique de la France et de l'étranger : Revue des cours scientifiques (in French). G. Baillière. 10 (1): 36–42. Retrieved 2019-05-13.\nWeisstein, Eric W. \"Cannonball Problem\". MathWorld.\nWilliams, Hugh C. (1998). Édouard Lucas and primality testing. Canadian Mathematical Society series of monographs and advanced texts. Vol. 22. New York: Wiley. ISBN 0-471-14852-0..\nHarkin, D. “On the Mathematical Works of Francois-Édouard-Anatole Lucas, Enseignement mathematique, 2nd ser., 3 (1957), 276–288.", "O'Connor, John J.; Robertson, Edmund F., \"Édouard Lucas\", MacTutor History of Mathematics archive, University of St Andrews\nScans of Lucas's original Tower of Hanoi puzzle in French, with translations\nÉdouard Lucas, by Clark Kimberling\nÉdouard Lucas" ]

[ "Édouard Lucas", "Biography", "Works", "See also", "References", "External links" ]

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[ "" ]

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[ "Édouard Ménétries (Paris, France, 2 October 1802 – St. Petersburg, Imperial Russia, 10 April 1861) was a French entomologist, zoologist, and herpetologist. He is best known as the founder of the Russian Entomological Society.\nMénétries was born in Paris, and became a student of Georges Cuvier and Pierre André Latreille. On their recommendation he was chosen as the zoologist on a Russian expedition to Brazil in 1822, led by Baron von Langsdorff. On his return he was appointed curator of the Zoological Collection at St Petersburg. In 1829 he was sent by the Tsar on an exploratory trip to the Caucasus.\nMénétries was an authority on Lepidoptera and Coleoptera but also worked on other orders. Most of his named species are from Russia and Siberia but at the museum he was able to study insects from other parts of the world. Two such collections were those made during the expeditions of Alexander von Middendorf (1842–1845) and Leopold von Schrenck (1853–1857) to California and Alaska as well as Siberia. His collection is in the Museum of the St. Petersburg Academy.\nIn the field of herpetology he described several new species of reptiles and amphibians.", "", "Menetries, was born in Paris. In his youth he was a student of Georges Cuvier and a \"father of entomology\" Pierre André Latreille. On their recommendation he participated in 1821–1825 in the expedition of the Russian Academician G.I. Langsdorff to Brazil where he acquired vast experience of field research and wrote a number of papers on zoology. After returning from Brazil he was invited to St Petersburg, where he arrived in 1826 and was enrolled on the staff of the Kunstkammer in the position of curator of the zoological collections. He was provided an apartment at government expense and a salary of 2500 roubles per year.", "In Russia his first and longest trip in 1829–1830 was to the Caucasus, which was not pacified yet. That academic expedition was organized on the initiative of General Emmanuel, member of the Academy, who was the army commander in the Caucasus. The expedition included physicist A.Ya. Kupfer, geographer E.F. Lents and botanist K.A. Meyer. Menetries was in charge of the zoological part. Through Moscow, Rostov, and Stavropol participants of the expedition arrived at the fortification Kamennyi Most on the Malka River, where the staff of General Emmanuel was situated.\nEmmanuel with his son and several more people joined them. Under the protection of 650 soldiers, 350 Cossacks and two cannons, the party moved to Elbrus and made a camp at the foot of the mountain. On 9(21) July two days of climbing of Elbrus were undertaken. On the first day the explorers reached the boundary of eternal snow and spent the night there. On the second day they started storming the peak.\nThey did not succeed in climbing it. When they reached an altitude of 4700 m the sun had risen and the snow cover partly melted, which made further expedition impossible. Only one guide, Kabardian Kilar Khashirov, reached the peak. Then for one month the expedition examined the Elbrus area, collecting great quantities of scientific material. Afterwards they returned to Pyatigorsk. There the participants received academic instruction according to which Lenz, Meier, and Menetries were to continue their trip for studying the Caspian coast up to the Persian boundary.\nAt the end of August they left Pyatigorsk and arrived in fortress Groznaya (now Grozny) and from there departed at the end of October with a Cossack escort to Khasavyurt, crossed Sulak, travelled to the Caspian coast through Derbent and Kuba, and arrived in Baku on 9(21) December. In winter they examined mud volcanoes and discharges of oil and gas in the Apsheron Peninsula. On 27 April (9 May) Menetries and Meier moved from Baku southwards through Salyany, the southern part of Mugan steppe, and the coast of Kyzyl-Agach Bay. After 20 days they arrived in Lenkoran.\nThey examined lowland and foothill forests with extremely interesting fauna and flora and then made a month-long trip to the mountains near Zuvand Depression, where they collected abundant entomological materials. When they returned to Lenkoran at the end of June, a cholera epidemic raged through the city and they quickly moved to Baku and then to Kuba from where they climbed the slopes of the mountains Shahdagh and Beshbarmak up to the subalpine zone. In Kuba they encountered a cholera epidemic again. They moved to Pyatigorsk and departed from there in the middle of October. But because of impassable roads and cholera quarantines they returned to St. Petersburg at the end of December.\nIn 1831 Menetries published “The Annotated Catalogue of Zoological Objects Collected during the Journey to the Caucasus to the Boundaries with Persia”. That first large scientific work dealing with the Caucasian fauna contained descriptions of several hundred species of Caucasian insects, mainly beetles and butterflies; up till the present it retains its significance as a source of study of animals of the Caucasus.", "In St. Petersburg, Menetries, as the new curator. began reorganizing the collections. Before then the method of setting collections in the Kunstkammer was totally unscientific.\nThe collections were exhibited in cases with glass covers grouped in such a way that a large and colourful insect, a butterfly or a beetle was placed in the centre and different species were arranged around it radially, symmetrically where possible. At the centre, each radius began with a small insect which was followed by larger insects so that the case was filled completely. Set in such a manner the collection had no scientific value, since even orders were mixed in a quaint way, reflecting the aesthetic ideas of the person who assembled the collection.\nNo labels with identifications of insects were applied: information about their origin was usually missing. Menetries divided the collection by order, identified the material where possible and arranged the collection in systematic order. A large portion of material that had no labels, and suffered from pests and mould, was disposed of. When the Zoological Museum of the Academy of Sciences was officially opened in 1832 Menetries was designated Curator of its entomological collections. He held that position up to the end of his life.\nThe new collection at the Zoological Museum was based upon specimens collected by Menetries in Brazil, in the Caucasus. Later the rich collection of Arvid David Hummel that consisted mostly of insects from St. Petersburg province, and a small but interesting collection from the vicinity of Irkutsk, were added to the museum. It was not easy for Menetries to live and work. His salary was growing slower than the cost of living and it was hardly possible to maintain his family with that salary. Menetries earned additional money by teaching classes at the Smolny Institute (a college for girls of noble origin) and other colleges.\nIn 1855 he was elected Corresponding Member of the Academy of Sciences, but at that time it provided no advantage in terms of material well-being, and he didn't even have an assistant at the museum. In the 1830s through the 1850s vast zoological collections were received by the museum from different regions of the Russian Empire, including Russian America, and through collection exchanges with foreign Museums, but there weren't enough cabinets and cases. Under such difficult conditions Menetries had done a lot primarily on beetles and butterflies.\nHe studied fauna of European Russia and of Siberia; published one of the first works on fauna of Kazakhstan based on the collections of the famous traveller S. Karelin (great grandfather of the poet Alexander Blok). He examined collections of A. Leman, a doctor and naturalist who was sent on a Russian political mission to Khiva and Bukhara (nearly unstudied at that time), and who died on the way back from Central Asia.\nThus, foundations of knowledge on entomofauna of these areas were laid and collections were established on which this knowledge rested. In order to cope with the huge amount of technical work and to have time for investigations Menetries sought the assistance of a small group of St. Petersburg amateurs in entomology (primarily butterfly and beetle collectors).\nThey prepared and labeled insects that were included into the collection. For that service they received duplicate specimens. Negative aspects of this practice very soon became apparent. Some amateurs took advantage of Menetries’ reliance. A particularly negative role was played by V.I. Motschulsky starting in the mid-1850s. This very energetic man, colonel of the General Staff, owner of a huge collection and author of numerous works on systematics of beetles and some on other insects suggested that he would identify and bring into order the Coleoptera collection.\nHe then handled the collection of the Museum as if it had been his own: he took home whole parcels of material, kept the most interesting specimens, used duplicates for exchange purposes, and returned to the museum only what was left. His example was followed by other collectors who examined Hymenoptera, Heteroptera and other groups.\nAt the end of his life Menetries studied mostly butterflies, which are therefore in a better state of preservation than other insect orders. When he died at the beginning of 1861 his successor, A.F. Moravits, had to make much effort to bring the collection into order and regulate access to it. Relations with Motschulsky were ended. He brought his collection to Moscow; after his death the collection was deposited at the Zoological Museum of the Moscow University.", "The circle of amateur entomologists around Menetries had played a positive role in the development of entomology in Russia. It was the core of the Russian (from 1930 through 1992 All-Union) Entomological Society. The first project of the society arose in the beginning of 1848, but as has been stated in the paper commemorating the 50th anniversary of the Society (1910). “For circumstances of that time not only was the fulfillment of that idea to be postponed, but even private meetings were to be ceased”.\nThis happened because Nicholas I, frightened by the revolutionary movement of 1848 in Europe, was afraid of even scientific societies and meetings. It was not until after his death that movement for the organization of the society was started at the reign of Alexander II, who was more liberal, and with the assistance of intelligent and well-educated grand princess Elena Pavlovna, widow of Mikhail Pavlovich, uncle of Alexander II.\nIn 1859 permission was granted. The organizing meeting of the Russian Entomological Society took place on 25 February 1860 in the large official apartment of general K. Manderstern, Superintendent of the Peter-and-Paul Fortress. His son, colonel of the Guards, was among the organizers of the society. The meeting was attended by 30 people including Academicians Johann Friedrich von Brandt, Karl Ernst von Baer (elected the first President of the Russian Entomological Society) and Alexander von Middendorff the famous explorer and researcher of Siberia. Seven founders of the society were officers. Menetries, who was seriously ill, could not attend the meeting. He died a year later on 10 April 1861. His contribution in the development of entomology in Russia should not be forgotten.", "Partial List\nCatalogue raisonné des objets de zoologie recueillis dans un voyage au Caucase et jusqu'aux frontières de la Perse. St.-Pétersbourg, 271 p.(1832)\nSur un nouveau genre de lépidoptère nocturne de la Russie. Bull. phys. mat. Acad. Péters., t. 9, No. 195, pp. 40–43(1842)\nLépidoptères de la Sibérie orientale et en particulier des rives de l'Amour. Bull. Acad. Sci. St. Pétersb., T. 17, p. 212–221*(1859)\nSur quelques Lépidoptères du gouvernement de Jakoutsk. Bull. Acad. Sci. St.Pétersb., t. 17, pp. 494–500 (1859)\nDescriptions de nouvelles espèces de Lépidoptères de la collection de l'Académie impériale des Sciences. 3-ème et dernière partie in: Ménétriès, E. Enumeratio corporum animalium Musei Imp. Acad. Sci. etc. Petropolitane. Pars 3, Lep. Heterocera. St.-Pétersbourg, pp. 145–161, t. 15–18 (1863).", "The Reptile Database. www.reptile-database.org.\nAmphibian Species of the World 5.5. research.amnh.org/vz/herpetology/amphibia.\nNekrutenko-Yu, P.; Kerzhner, I. M. 1986 On the species and varieties of Parnassius (Lepidoptera Papilionidae) established by E. Menetries in the book by J. Siemaschko Russkaya Fauna. Entomologicheskoe Obozrenie 65(4): pp. 769–779", "Extended account of Ménétries\nNHM Database" ]

[ "Édouard Ménétries", "Biography", "His first steps", "Expedition to the Caucasus", "Curator for the Zoological Museum", "Creation of the Russian Entomological Society", "Publications", "References", "External links" ]

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[ "Édouard Manet before 1870", "Manet's portrait painted by Fantin-Latour", "", "Music in the Tuileries, 1862", "The Luncheon on the Grass (Le déjeuner sur l'herbe), 1863", "Olympia, 1863", "Berthe Morisot with a Bouquet of Violets, 1872", "Self-Portrait with Palette, 1879", "The Café-Concert, 1878. Scene set in the Cabaret de Reichshoffen on the Boulevard Rochechouart, where women on the fringes of society freely intermingled with well-heeled gentlemen.[17] The Walters Art Museum.", "The Races at Longchamp, 1864", "The Execution of Emperor Maximilian, 1867. Museum of Fine Arts, Boston. The least finished of three large canvases devoted to the execution of Maximilian I of Mexico.", "The Railway, 1873", "A Bar at the Folies-Bergère (Un Bar aux Folies-Bergère), 1882, Courtauld Gallery, London", "The grave of Manet at Passy", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "" ]

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[ "Édouard Manet (UK: /ˈmæneɪ/, US: /mæˈneɪ, məˈ-/; French: [edwaʁ manɛ]; 23 January 1832 – 30 April 1883) was a French modernist painter. He was one of the first 19th-century artists to paint modern life, as well as a pivotal figure in the transition from Realism to Impressionism.\nBorn into an upper-class household with strong political connections, Manet rejected the naval career originally envisioned for him; he became engrossed in the world of painting. His early masterworks, The Luncheon on the Grass (Le déjeuner sur l'herbe) and Olympia, both 1863, caused great controversy and served as rallying points for the young painters who would create Impressionism. Today, these are considered watershed paintings that mark the start of modern art. The last 20 years of Manet's life saw him form bonds with other great artists of the time; he developed his own simple and direct style that would be heralded as innovative and serve as a major influence for future painters.", "Édouard Manet was born in Paris on 23 January 1832, in the ancestral hôtel particulier (mansion) on the Rue des Petits Augustins (now Rue Bonaparte) to an affluent and well-connected family. His mother, Eugénie-Desirée Fournier, was the daughter of a diplomat and goddaughter of the Swedish crown prince Charles Bernadotte, from whom the Swedish monarchs are descended. His father, Auguste Manet, was a French judge who expected Édouard to pursue a career in law. His uncle, Edmond Fournier, encouraged him to pursue painting and took young Manet to the Louvre. In 1841 he enrolled at secondary school, the Collège Rollin. In 1845, at the advice of his uncle, Manet enrolled in a special course of drawing where he met Antonin Proust, future Minister of Fine Arts and subsequent lifelong friend.\nAt his father's suggestion, in 1848 he sailed on a training vessel to Rio de Janeiro. After he twice failed the examination to join the Navy, his father relented to his wishes to pursue an art education. From 1850 to 1856, Manet studied under the academic painter Thomas Couture. In his spare time, Manet copied the Old Masters in the Louvre.\nFrom 1853 to 1856, Manet visited Germany, Italy, and the Netherlands, during which time he was influenced by the Dutch painter Frans Hals and the Spanish artists Diego Velázquez and Francisco José de Goya.", "In 1856, Manet opened a studio. His style in this period was characterized by loose brush strokes, simplification of details, and the suppression of transitional tones. Adopting the current style of realism initiated by Gustave Courbet, he painted The Absinthe Drinker (1858–59) and other contemporary subjects such as beggars, singers, Gypsies, people in cafés, and bullfights. After his early career, he rarely painted religious, mythological, or historical subjects; religious paintings from 1864 include his Jesus Mocked by the Soldiers, in the Art Institute of Chicago, and The Dead Christ with Angels, in the Metropolitan Museum of Art, New York. Manet had two canvases accepted at the Salon in 1861. A portrait of his mother and father, who at the time was paralysed and robbed of speech by a stroke, was ill-received by critics. The other, The Spanish Singer, was admired by Théophile Gautier, and placed in a more conspicuous location as a result of its popularity with Salon-goers. Manet's work, which appeared \"slightly slapdash\" when compared with the meticulous style of so many other Salon paintings, intrigued some young artists. The Spanish Singer, painted in a \"strange new fashion[,] caused many painters' eyes to open and their jaws to drop.\"", "Music in the Tuileries is an early example of Manet's painterly style. Inspired by Hals and Velázquez, it is a harbinger of his lifelong interest in the subject of leisure.\nWhile the picture was regarded as unfinished by some, the suggested atmosphere imparts a sense of what the Tuileries gardens were like at the time; one may imagine the music and conversation.\nHere, Manet has depicted his friends, artists, authors, and musicians who take part, and he has included a self-portrait among the subjects.", "A major early work is The Luncheon on the Grass (Le Déjeuner sur l'herbe), originally Le Bain. The Paris Salon rejected it for exhibition in 1863, but Manet agreed to exhibit it at the Salon des Refusés (Salon of the Rejected) which was a parallel exhibition to the official Salon, as an alternative exhibition in the Palais des Champs-Elysée. The Salon des Refusés was initiated by Emperor Napoleon III as a solution to a problematic situation which came about as the Selection Committee of the Salon that year rejected 2,783 paintings of the c. 5000. Each painter could decide whether to take the opportunity to exhibit at the Salon des Refusés, although fewer than 500 of the rejected painters chose to do so.\nManet employed model Victorine Meurent, his wife Suzanne, future brother-in-law Ferdinand Leenhoff, and one of his brothers to pose. Meurent also posed for several more of Manet's important paintings including Olympia; and by the mid-1870s she became an accomplished painter in her own right.\nThe painting's juxtaposition of fully dressed men and a nude woman was controversial, as was its abbreviated, sketch-like handling, an innovation that distinguished Manet from Courbet. At the same time, Manet's composition reveals his study of the old masters, as the disposition of the main figures is derived from Marcantonio Raimondi's engraving of the Judgement of Paris (c. 1515) based on a drawing by Raphael.\nTwo additional works cited by scholars as important precedents for Le déjeuner sur l'herbe are Pastoral Concert (c. 1510, The Louvre) and The Tempest (Gallerie dell'Accademia, Venice), both of which are attributed variously to Italian Renaissance masters Giorgione or Titian. The Tempest is an enigmatic painting featuring a fully dressed man and a nude woman in a rural setting. The man is standing to the left and gazing to the side, apparently at the woman, who is seated and breastfeeding a baby; the relationship between the two figures is unclear. In Pastoral Concert, two clothed men and a nude woman are seated on the grass, engaged in music making, while a second nude woman stands beside them.", "As he had in Luncheon on the Grass, Manet again paraphrased a respected work by a Renaissance artist in the painting Olympia (1863), a nude portrayed in a style reminiscent of early studio photographs, but whose pose was based on Titian's Venus of Urbino (1538). The painting is also reminiscent of Francisco Goya's painting The Nude Maja (1800).\nManet embarked on the canvas after being challenged to give the Salon a nude painting to display. His uniquely frank depiction of a self-assured prostitute was accepted by the Paris Salon in 1865, where it created a scandal. According to Antonin Proust, \"only the precautions taken by the administration prevented the painting being punctured and torn\" by offended viewers. The painting was controversial partly because the nude is wearing some small items of clothing such as an orchid in her hair, a bracelet, a ribbon around her neck, and mule slippers, all of which accentuated her nakedness, sexuality, and comfortable courtesan lifestyle. The orchid, upswept hair, black cat, and bouquet of flowers were all recognized symbols of sexuality at the time. This modern Venus' body is thin, counter to prevailing standards; the painting's lack of idealism rankled viewers. The painting's flatness, inspired by Japanese wood block art, serves to make the nude more human and less voluptuous. A fully dressed black servant is featured, exploiting the then-current theory that black people were hyper-sexed. That she is wearing the clothing of a servant to a courtesan here furthers the sexual tension of the piece.\nOlympia's body as well as her gaze is unabashedly confrontational. She defiantly looks out as her servant offers flowers from one of her male suitors. Although her hand rests on her leg, hiding her pubic area, the reference to traditional female virtue is ironic; a notion of modesty is notoriously absent in this work. A contemporary critic denounced Olympia's \"shamelessly flexed\" left hand, which seemed to him a mockery of the relaxed, shielding hand of Titian's Venus. Likewise, the alert black cat at the foot of the bed strikes a sexually rebellious note in contrast to that of the sleeping dog in Titian's portrayal of the goddess in his Venus of Urbino.\nOlympia was the subject of caricatures in the popular press, but was championed by the French avant-garde community, and the painting's significance was appreciated by artists such as Gustave Courbet, Paul Cézanne, Claude Monet, and later Paul Gauguin.\nAs with Luncheon on the Grass, the painting raised the issue of prostitution within contemporary France and the roles of women within society.", "After the death of his father in 1862, Manet married Suzanne Leenhoff in 1863 at a Protestant church. Leenhoff was a Dutch-born piano teacher two years Manet's senior with whom he had been romantically involved for approximately ten years. Leenhoff initially had been employed by Manet's father, Auguste, to teach Manet and his younger brother piano. She also may have been Auguste's mistress. In 1852, Leenhoff gave birth, out of wedlock, to a son, Leon Koella Leenhoff.\nManet painted his wife in The Reading, among other paintings. Her son, Leon Leenhoff, whose father may have been either of the Manets, posed often for Manet. Most famously, he is the subject of the Boy Carrying a Sword of 1861 (Metropolitan Museum of Art, New York). He also appears as the boy carrying a tray in the background of The Balcony (1868–69).\nManet became friends with the Impressionists Edgar Degas, Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, Paul Cézanne, and Camille Pissarro through another painter, Berthe Morisot, who was a member of the group and drew him into their activities. They later became widely known as the Batignolles group (Le groupe des Batignolles).\nThe supposed grand-niece of the painter Jean-Honoré Fragonard, Morisot had her first painting accepted in the Salon de Paris in 1864, and she continued to show in the salon for the next ten years.\nManet became the friend and colleague of Morisot in 1868. She is credited with convincing Manet to attempt plein air painting, which she had been practicing since she was introduced to it by another friend of hers, Camille Corot. They had a reciprocating relationship and Manet incorporated some of her techniques into his paintings. In 1874, she became his sister-in-law when she married his brother, Eugène.\nUnlike the core Impressionist group, Manet maintained that modern artists should seek to exhibit at the Paris Salon rather than abandon it in favor of independent exhibitions. Nevertheless, when Manet was excluded from the International Exhibition of 1867, he set up his own exhibition. His mother worried that he would waste all his inheritance on this project, which was enormously expensive. While the exhibition earned poor reviews from the major critics, it also provided his first contacts with several future Impressionist painters, including Degas.\nAlthough his own work influenced and anticipated the Impressionist style, Manet resisted involvement in Impressionist exhibitions, partly because he did not wish to be seen as the representative of a group identity, and partly because he preferred to exhibit at the Salon. Eva Gonzalès, a daughter of the novelist Emmanuel Gonzalès, was his only formal student.\nHe was influenced by the Impressionists, especially Monet and Morisot. Their influence is seen in Manet's use of lighter colors: after the early 1870s he made less use of dark backgrounds but retained his distinctive use of black, uncharacteristic of Impressionist painting. He painted many outdoor (plein air) pieces, but always returned to what he considered the serious work of the studio.\nManet enjoyed a close friendship with composer Emmanuel Chabrier, painting two portraits of him; the musician owned 14 of Manet's paintings and dedicated his Impromptu to Manet's wife.\nOne of Manet's frequent models at the beginning of the 1880s was the \"semimondaine\" Méry Laurent, who posed for seven portraits in pastel. Laurent's salons hosted many French (and even American) writers and painters of her time; Manet had connections and influence through such events.\nThroughout his life, although resisted by art critics, Manet could number as his champions Émile Zola, who supported him publicly in the press, Stéphane Mallarmé, and Charles Baudelaire, who challenged him to depict life as it was. Manet, in turn, drew or painted each of them.", "Manet's paintings of café scenes are observations of social life in 19th-century Paris. People are depicted drinking beer, listening to music, flirting, reading, or waiting. Many of these paintings were based on sketches executed on the spot. Manet often visited the Brasserie Reichshoffen on boulevard de Rochechourt, upon which he based At the Cafe in 1878. Several people are at the bar, and one woman confronts the viewer while others wait to be served. Such depictions represent the painted journal of a flâneur. These are painted in a style which is loose, referencing Hals and Velázquez, yet they capture the mood and feeling of Parisian night life. They are painted snapshots of bohemianism, urban working people, as well as some of the bourgeoisie.\nIn Corner of a Café-Concert, a man smokes while behind him a waitress serves drinks. In The Beer Drinkers a woman enjoys her beer in the company of a friend. In The Café-Concert, shown at right, a sophisticated gentleman sits at a bar while a waitress stands resolutely in the background, sipping her drink. In The Waitress, a serving woman pauses for a moment behind a seated customer smoking a pipe, while a ballet dancer, with arms extended as she is about to turn, is on stage in the background.\nManet also sat at the restaurant on the Avenue de Clichy called Pere Lathuille's, which had a garden in addition to the dining area. One of the paintings he produced here was Chez le père Lathuille (At Pere Lathuille's), in which a man displays an unrequited interest in a woman dining near him.\nIn Le Bon Bock (1873), a large, cheerful, bearded man sits with a pipe in one hand and a glass of beer in the other, looking straight at the viewer.", "Manet painted the upper class enjoying more formal social activities. In Masked Ball at the Opera, Manet shows a lively crowd of people enjoying a party. Men stand with top hats and long black suits while talking to women with masks and costumes. He included portraits of his friends in this picture.\nHis 1868 painting The Luncheon was posed in the dining room of the Manet house.\nManet depicted other popular activities in his work. In The Races at Longchamp, an unusual perspective is employed to underscore the furious energy of racehorses as they rush toward the viewer. In Skating, Manet shows a well dressed woman in the foreground, while others skate behind her. Always there is the sense of active urban life continuing behind the subject, extending outside the frame of the canvas.\nIn View of the International Exhibition, soldiers relax, seated and standing, prosperous couples are talking. There is a gardener, a boy with a dog, a woman on horseback—in short, a sample of the classes and ages of the people of Paris.", "Manet's response to modern life included works devoted to war, in subjects that may be seen as updated interpretations of the genre of \"history painting\". The first such work was The Battle of the Kearsarge and the Alabama (1864), a sea skirmish known as the Battle of Cherbourg from the American Civil War which took place off the French coast, and may have been witnessed by the artist.\nOf interest next was the French intervention in Mexico; from 1867 to 1869 Manet painted three versions of the Execution of Emperor Maximilian, an event which raised concerns regarding French foreign and domestic policy. The several versions of the Execution are among Manet's largest paintings, which suggests that the theme was one which the painter regarded as most important. Its subject is the execution by Mexican firing squad of a Habsburg emperor who had been installed by Napoleon III. Neither the paintings nor a lithograph of the subject were permitted to be shown in France. As an indictment of formalized slaughter, the paintings look back to Goya, and anticipate Picasso's Guernica.\nIn January 1871, Manet traveled to Oloron-Sainte-Marie in the Pyrenees. In his absence his friends added his name to the \"Fédération des artistes\" (see: Courbet) of the Paris Commune. Manet stayed away from Paris, perhaps, until after the semaine sanglante: in a letter to Berthe Morisot at Cherbourg (10 June 1871) he writes, \"We came back to Paris a few days ago...\" (the semaine sanglante ended on 28 May).\nThe prints and drawings collection of the Museum of Fine Arts (Budapest) has a watercolour/gouache by Manet, The Barricade, depicting a summary execution of Communards by Versailles troops based on a lithograph of the execution of Maximilian. A similar piece, The Barricade (oil on plywood), is held by a private collector.\nOn 18 March 1871, he wrote to his (confederate) friend Félix Bracquemond in Paris about his visit to Bordeaux, the provisory seat of the French National Assembly of the Third French Republic where Émile Zola introduced him to the sites: \"I never imagined that France could be represented by such doddering old fools, not excepting that little twit Thiers...\" If this could be interpreted as support of the Commune, a following letter to Bracquemond (21 March 1871) expressed his idea more clearly: \"Only party hacks and the ambitious, the Henrys of this world following on the heels of the Milliéres, the grotesque imitators of the Commune of 1793\". He knew the communard Lucien Henry to have been a former painter's model and Millière, an insurance agent. \"What an encouragement all these bloodthirsty caperings are for the arts! But there is at least one consolation in our misfortunes: that we're not politicians and have no desire to be elected as deputies\".\nThe public figure Manet admired most was the republican Léon Gambetta. In the heat of the seize mai coup in 1877, Manet opened up his atelier to a republican electoral meeting chaired by Gambetta's friend Eugène Spuller.", "Manet depicted many scenes of the streets of Paris in his works. The Rue Mosnier Decked with Flags depicts red, white, and blue pennants covering buildings on either side of the street; another painting of the same title features a one-legged man walking with crutches. Again depicting the same street, but this time in a different context, is Rue Mosnier with Pavers, in which men repair the roadway while people and horses move past.\nThe Railway, widely known as The Gare Saint-Lazare, was painted in 1873. The setting is the urban landscape of Paris in the late 19th century. Using his favorite model in his last painting of her, a fellow painter, Victorine Meurent, also the model for Olympia and the Luncheon on the Grass, sits before an iron fence holding a sleeping puppy and an open book in her lap. Next to her is a little girl with her back to the painter, watching a train pass beneath them.\nInstead of choosing the traditional natural view as background for an outdoor scene, Manet opts for the iron grating which \"boldly stretches across the canvas\" The only evidence of the train is its white cloud of steam. In the distance, modern apartment buildings are seen. This arrangement compresses the foreground into a narrow focus. The traditional convention of deep space is ignored.\nHistorian Isabelle Dervaux has described the reception this painting received when it was first exhibited at the official Paris Salon of 1874: \"Visitors and critics found its subject baffling, its composition incoherent, and its execution sketchy. Caricaturists ridiculed Manet's picture, in which only a few recognized the symbol of modernity that it has become today\". The painting is currently in the National Gallery of Art in Washington, D.C.\nManet painted several boating subjects in 1874. Boating, now in the Metropolitan Museum of Art, exemplifies in its conciseness the lessons Manet learned from Japanese prints, and the abrupt cropping by the frame of the boat and sail adds to the immediacy of the image.\nIn 1875, a book-length French edition of Edgar Allan Poe's The Raven included lithographs by Manet and translation by Mallarmé.\nIn 1881, with pressure from his friend Antonin Proust, the French government awarded Manet the Légion d'honneur.", "In his mid-forties Manet's health deteriorated, and he developed severe pain and partial paralysis in his legs. In 1879 he began receiving hydrotherapy treatments at a spa near Meudon intended to improve what he believed was a circulatory problem, but in reality he was suffering from locomotor ataxia, a known side-effect of syphilis. In 1880, he painted a portrait there of the opera singer Émilie Ambre as Carmen. Ambre and her lover Gaston de Beauplan had an estate in Meudon and had organized the first exhibition of Manet's The Execution of Emperor Maximilian in New York in December 1879.\nIn his last years Manet painted many small-scale still lifes of fruits and vegetables, such as A Bunch of Asparagus and The Lemon (both 1880). He completed his last major work, A Bar at the Folies-Bergère (Un Bar aux Folies-Bergère), in 1882, and it hung in the Salon that year. Afterwards, he limited himself to small formats. His last paintings were of flowers in glass vases.", "In April 1883, his left foot was amputated because of gangrene caused by complications from syphilis and rheumatism. He died eleven days later on 30 April in Paris. He is buried in the Passy Cemetery in the city.", "Manet's public career lasted from 1861, the year of his first participation in the Salon, until his death in 1883. His known extant works, as catalogued in 1975 by Denis Rouart and Daniel Wildenstein, comprise 430 oil paintings, 89 pastels, and more than 400 works on paper.\nAlthough harshly condemned by critics who decried its lack of conventional finish, Manet's work had admirers from the beginning. One was Émile Zola, who wrote in 1867: \"We are not accustomed to seeing such simple and direct translations of reality. Then, as I said, there is such a surprisingly elegant awkwardness ... it is a truly charming experience to contemplate this luminous and serious painting which interprets nature with a gentle brutality.\"\nThe roughly painted style and photographic lighting in Manet's paintings was seen as specifically modern, and as a challenge to the Renaissance works he copied or used as source material. He rejected the technique he had learned in the studio of Thomas Couture – in which a painting was constructed using successive layers of paint on a dark-toned ground – in favor of a direct, alla prima method using opaque paint on a light ground. Novel at the time, this method made possible the completion of a painting in a single sitting. It was adopted by the Impressionists, and became the prevalent method of painting in oils for generations that followed. Manet's work is considered \"early modern\", partially because of the opaque flatness of his surfaces, the frequent sketch-like passages, and the black outlining of figures, all of which draw attention to the surface of the picture plane and the material quality of paint.\nThe art historian Beatrice Farwell says Manet \"has been universally regarded as the Father of Modernism. With Courbet he was among the first to take serious risks with the public whose favour he sought, the first to make alla prima painting the standard technique for oil painting and one of the first to take liberties with Renaissance perspective and to offer \"pure painting\" as a source of aesthetic pleasure. He was a pioneer, again with Courbet, in the rejection of humanistic and historical subject-matter, and shared with Degas the establishment of modern urban life as acceptable material for high art.\"", "The late Manet painting, Le Printemps (1881), sold to the J. Paul Getty Museum for $65.1 million, setting a new auction record for Manet, exceeding its pre-sale estimate of $25–35 million at Christie's on 5 November 2014. The previous auction record was held by Self-Portrait With Palette which sold for $33.2 million at Sotheby's on 22 June 2010.", "", "List of paintings by Édouard Manet\nRealism\nHispagnolisme\nPortraiture\nHistory of painting\nWestern painting", "quoting Desnoyers, Fernand (1863). Le Salon des Refusés (in French).", "Wells, John C. (2008). Longman Pronunciation Dictionary (3rd ed.). Longman. ISBN 978-1-4058-8118-0.\nJones, Daniel (2011). Roach, Peter; Setter, Jane; Esling, John (eds.). Cambridge English Pronouncing Dictionary (18th ed.). Cambridge University Press. ISBN 978-0-521-15255-6.\nNeret 2003, p. 93.\nKing 2006.\n\"Édouard Manet\". Metropolitan Museum of Art. Retrieved 22 July 2013.\nJesus Insulted by the Soldiers\nThe Dead Christ with Angels\nKing 2006, p. 20-21.\nPaul Hayes Tucker, Manet's Le Déjeuner sur l'herbe, Cambridge University Press, 1998, pp.12–14. ISBN 0-521-47466-3.\nRewald, John (1973) [1946]. The History of Impressionism (4th revised ed.). The Museum of Modern Art. p. 85. ISBN 0-87070-369-2.\nNeret 2003, p. 22.\nHunter, Dianne (1989). Seduction and theory: readings of gender, representation, and rhetoric. University of Illinois Press. p. 19. ISBN 0-252-06063-6.\nSex Lives of the Great Artists. Prion. 1998. ISBN 9781853752957.\nMauner & Loyrette 2000, p. 66.\nDelage, R. Emmanuel Chabrier. Paris: Fayard, 1999. Chapter XI examines in detail their relationship and the effects of each other on their work.\nStevens & Nichols 2012, p. 199.\n\"At the Café\". The Walters Art Museum.\nKrell 1996, p. 83.\nKrell 1996, p. 84–6.\nKrell 1996, p. 87–91.\nKrell 1996, p. 91.\nKrell 1996, p. 89.\nWilson-Bareau, Juliet, ed. (2004). Manet by himself. UK: Little Brown.\nNord, Philip G. (1995). The Republican Moment: Struggles for Democracy in Nineteenth Century France. Harvard University Press. pp. 170–171.\nGay, p. 106.\nAdams, Katherine H.; Keene, Michael L. (2010). After the Vote Was Won: The Later Achievements of Fifteen Suffragists. McFarland. p. 37. ISBN 978-0-7864-4938-5.\n\"Art Object Page\". Nga.gov. Archived from the original on 3 October 2012. Retrieved 22 July 2013.\nHerbert, Robert L. Impressionism: Art, Leisure, and Parisian Society. Yale University Press, 1991. p. 236. ISBN 0-300-05083-6.\n\"NYPL Digital Gallery | Browse Title\". Digitalgallery.nypl.org. Retrieved 22 July 2013.\n\"Notice no. LH//1715/41\". Base Léonore (in French).\nMeyers, Jeffrey (2005). Impressionist Quartet: the Intimate Genius of Manet and Morisot, Degas and Cassatt. Orlando: Harcourt. p. 80. ISBN 0151010765.\n\"Manet, Édouard\" in Benezit Dictionary of Artists. Oxford Art Online (Oxford University Press), accessed 23 November 2013 (subscription required).\nTinterow, Gary; Lacambre, Geneviève (2003). Manet/Velázquez: The French Taste for Spanish Painting. Metropolitan Museum of Art. p. 503. ISBN 9781588390400.\nMauner & Loyrette 2000, p. 96–100.\nMauner & Loyrette 2000, p. 144.\nKiroff, Blagoy (2015). Edouard Manet: 132 Master Drawings. ISBN 978-6051761886.\nStevens & Nichols 2012, p. 17.\nStevens & Nichols 2012, p. 168.\nFarwell, Beatrice. \"Manet, Edouard.\" Grove Art Online. Oxford Art Online. Oxford University Press. Web.\nManet Le Printemps, Lot 16, Christie's Impressionist & Modern Evening Sale, 5 November 2014, New York\nNakano, Craig (5 November 2014). \"Getty breaks record with $65.1-million purchase of Manet's 'Spring'\". Los Angeles Times.", "Tedman, Gary (2012). Paris 1844, Manet and Courbet: from Aesthetics and Alienation. Zero Books. ISBN 978-1-78099-301-0.", "King, Ross (2006). The Judgment of Paris: The Revolutionary Decade that Gave the World Impressionism. New York: Waller & Company. ISBN 0-8027-1466-8.\nLew, Henry R. (2018). \"Chapter 10 Edouard Manet\". Imaging the World. Hybrid Publishers.\nNeret, Gilles (2003). Manet. Taschen. ISBN 3-8228-1949-2.\nRichardson, John (1992). Manet. Phaidon Colour Library. ISBN 0-7148-2755-X.", "Brombert, Beth Archer (1996). Édouard Manet: Rebel in a Frock Coat. ISBN 0-316-10947-9. and Brombert, Beth Archer (1997). Édouard Manet: Rebel in a Frock Coat (paperback ed.). ISBN 0-226-07544-3.\nCachin, Françoise (1983). Manet 1832-1883. ISBN 0-87099-349-6.\nCachin, Françoise (1990). Manet (in French) (1991 English translation ed.). ISBN 0-8050-1793-3.\nCachin, Françoise (1995). Manet: Painter of Modern Life. New Horizons. ISBN 0-500-30050-X.\nClark, T.J. (1985). The Painting of Modern Life: Paris in the Art of Manet and His Followers (2000 paperback ed.). ISBN 0-500-28179-3.\nde Leiris, Alain (1969). The Drawings of Édouard Manet. ISBN 0-520-01547-9.\nFriedrich, Otto (1993). Olympia: Paris in the Age of Manet. ISBN 978-0671864118.\nHamilton, George (1954). Manet and his critics. Yale University Press.\nMarlow, Tim; Grabsky, Phil; Harding, Ben; Royal Academy of Arts (2013). Manet: Portraying Life: from the Royal Academy of Arts, London. Phil Grabsky Films. OCLC 856905666.\nKrell, Alan (1996). Manet and the Painters of Contemporary Life. Thames and Hudson. p. 83.\nStevens, Mary Anne; Nichols, Lawrence W., eds. (2012). Manet: Portraying Life. Toledo: Toledo Museum of Art. p. 199. ISBN 9781907533532.\nMauner, G. L.; Loyrette, H. (2000). Manet: The Still-Life Paintings. New York: H.N. Abrams in association with the American Federation of Arts. p. 66. ISBN 0-8109-4391-3.", "Works by or about Édouard Manet at Internet Archive\nUnion List of Artist Names, Getty Vocabularies. ULAN Full Record Display for Édouard Manet, Getty Research Institute\nImpressionism: a centenary exhibition, an exhibition catalog from The Metropolitan Museum of Art (p. 110–130)\nManet, a video documentary about his work\nDocumenting the Gilded Age: New York City Exhibitions at the Turn of the 20th Century\nThe Private Collection of Edgar Degas, material on Manet's relationship with Degas, Metropolitan Museum of Art\nJennifer A. Thompson, \"The Battle of the USS 'Kearsarge' and the CSS 'Alabama' by Edouard Manet (cat. 1027)\" in T he John G. Johnson Collection: A History and Selected Works, a Philadelphia Museum of Art free digital publication." ]

[ "Édouard Manet", "Early life", "Career", "Music in the Tuileries", "Luncheon on the Grass (Le déjeuner sur l'herbe)", "Olympia", "Life and times", "Café scenes", "Paintings of social activities", "War", "Paris", "Late works", "Death", "Legacy", "Art market", "Gallery", "See also", "Notes", "References", "Further reading", "Short introductory works", "Longer works", "External links" ]

[ 3781, 3782, 3783, 3784, 3785, 3786, 3787, 3788, 3789, 3790, 3791, 3792, 3793, 3794, 3795, 3796, 3797, 3798, 3799, 3800, 3801, 3802, 3803, 3804, 3805, 3806, 3807, 3808, 3809, 3810, 3811, 3812, 3813, 3814, 3815, 3816, 3817, 3818, 3819, 3820, 3821, 3822, 3823, 3824, 3825, 3826 ]

[ 18236, 18237, 18238, 18239, 18240, 18241, 18242, 18243, 18244, 18245, 18246, 18247, 18248, 18249, 18250, 18251, 18252, 18253, 18254, 18255, 18256, 18257, 18258, 18259, 18260, 18261, 18262, 18263, 18264, 18265, 18266, 18267, 18268, 18269, 18270, 18271, 18272, 18273, 18274, 18275, 18276, 18277, 18278, 18279, 18280, 18281, 18282, 18283, 18284, 18285, 18286, 18287, 18288, 18289, 18290, 18291, 18292, 18293, 18294, 18295, 18296, 18297, 18298, 18299, 18300, 18301, 18302, 18303, 18304, 18305, 18306, 18307, 18308 ]

[ "Édouard Mangin (from 1876 newspaper)" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/e/eb/Edouard_Mangin.jpg" ]

[ "Eugène Édouard Mangin-Bocquet (7 December 1837 – 25 May 1907) was a French musician, founder and the first director of the Lyon Conservatory.", "Mangin was born in Paris. Between 1850 and 1858, Mangin won 3 first prizes at the Conservatoire de Paris. He also published some light pieces and opera arrangements for piano, mainly with the music publisher Girod.\nIn 1864, he became conductor of the Théâtre Lyrique in Paris, which was burnt during the government of the Commune. In October 1871, Mangin moved to Lyon as conductor of the orchestra of the Grand Théâtre in the city (1871–73). Some of his best players (including the violinists Lévy and Giannini, the violist Gondouin and the horn-player Brémont) went there with him. On 2 May 1872, the Lyon École de musique was established, and on 1 July Mangin became its inaugural director. He was dismissed in 1876.\nIn his later years he was conductor of Opéra de Paris (1893–1906) and was also appointed professor at the Conservatoire de Paris. In 1895, he became a Chevalier of the Légion d'honneur.\nMangin died in the 8th arrondissement of Paris.", "Déodat de Séverac; Pierre Guillot (2002). Déodat de Sévérac: La Musique et les lettres. Editions Mardaga. p. 206. ISBN 978-2-87009-779-3.\nBnF Data.\nDe l’enseignement musical au Conservatoire de Lyon", "Free scores by Édouard Mangin at the International Music Score Library Project (IMSLP)" ]

[ "Édouard Mangin", "Career", "References", "External links" ]

[ 3827 ]

[ 18309, 18310, 18311 ]

[ "Armand and Édouard Marcelle (right) at the 1928 Olympics" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/d/d8/A._Marcelle%2C_H._Pr%C3%A9aux%2C_E._Marcelle_1928.jpg" ]

[ "Édouard Marcelle (1 October 1909 – 9 November 2001) was a French rower who won a silver medal in the coxed pairs at the 1928 Summer Olympics, together with his elder brother Armand.", "Evans, Hilary; Gjerde, Arild; Heijmans, Jeroen; Mallon, Bill; et al. \"Édouard Marcelle\". Olympics at Sports-Reference.com. Sports Reference LLC. Archived from the original on 17 April 2020.", "Édouard Marcelle at World Rowing (archived)\nÉdouard Marcelle at the International Olympic Committee" ]

[ "Édouard Marcelle", "References", "External links" ]

[ 3828 ]

[ 18312 ]

[ "Édouard Marie Heckel" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/1/1e/Edouard_Heckel.jpg" ]

[ "Dr. Édouard Marie Heckel (March 24, 1843 – January 20, 1916) was a French botanist and medical doctor, and director of the Jardin botanique E.M. Heckel in Marseille.\nHeckel was born in Toulon, studied pharmacy and medicine, and in 1861 visited the Caribbean and Australia. In 1875, he was appointed professor in the faculty of sciences at Marseille, and in 1877 professor of medicine. He became a professor of natural history in Nancy in 1878, and is known for his studies of tropical plants and their use as medicinal plants and oilseeds.\nFrom 1885, Heckel turned to the study of tropical plants such as medicinal or industrial oilseeds. In 1893 he founded the Colonial Institute and Museum of Marseille and creates a tropical pathology professorship at the medical school.\nIn 1887, he won the Prix Barbier from the French Academy of Sciences.\nIn 1896, French botanist Jean Baptiste Louis Pierre named a genus of flowering plants (belonging to the family Meliaceae) from western central Tropical Africa, Heckeldora in his honour.\nIn 1901, he launched the idea of creating an exhibition devoted exclusively to French colonies. This project would be supported by Jules Charles-Roux, who would become the Commissioner General while Heckel was his deputy. The exhibition was held at Parc Chanot in Marseille and was a great success from its opening on April 14, 1906 to its closure Nov. 18, 1906.", "\"Edouard-Marie Heckel\", in the New Dictionary of Scientific Biography, Charles Scribner's Sons, 2008.\nFrench Wikipedia entry\n\"Paris. Academy of Sciences, December 26, 1887\". Nature. 37 (949): 239–240. 5 January 1888. doi:10.1038/037239a0.\n\"Heckeldora Pierre | Plants of the World Online | Kew Science\". Plants of the World Online. Retrieved 22 May 2021.\nIPNI.  Heckel." ]

[ "Édouard Marie Heckel", "References" ]

[ 3829 ]

[ 18313 ]

[ "Portrait of Édouard Martin by Lhéritier", "Un oncle aux carottes, in collaboration with Albert Monnier" ]

[ 0, 2 ]

[ "https://upload.wikimedia.org/wikipedia/commons/c/c2/Edouard_Martin_par_Lh%C3%A9ritier.jpg", "https://upload.wikimedia.org/wikipedia/commons/8/86/Un_oncle_aux_carottes.jpg" ]

[ "Édouard Martin, full name Édouard Joseph Martin, (19 July 1825 – 13 July 1866 ) was a 19th-century French playwright.\nWhen he was a young dramatist and a friend of Edmond About and Théophile Gautier, Édouard Martin was known for the comedies he wrote in collaboration with Eugène Labiche, Albert Monnier and Paul Siraudin, during the Second French Empire.\nSuffering from mental illness in 1864, he died at the municipal nursing home Dubois (today hôpital Fernand-Widal) 13 July 1866. At his burial at Saint-Denis on 14 July, it was Léon Gozlan who delivered his eulogy.", "1853: Collégiens, étudiants et mercadets pour rire\n1855: Sous un parapluie, with Albert Monnier and Paul Siraudin\n1859: Madame Absalon, with Paul Siraudin\n1860: Jeune de cœur, with Émile de Najac\n1863: La Fleur des braves, withavec Ernest Mouchelet", "", "Archives départementales en ligne de Seine-et-Marne, état-civil de Melun, registre de 1825, acte n° 310 (p.312). Édouard Martin's father was a taylor.\nActe de décès n° 2420 (p.14) Registre des décès du 10ème arrondissement sur le site numérisé des Archives de la Ville de Paris. Albéric Second est témoin à l'acte.\nJules Janin, Almanach de la littérature, du théâtre et des beaux-arts, Paris, 1866, (p. 48).\nLockroy (dir.), Annuaire de la Société des auteurs et compositeurs dramatiques, Paris, 1867, (p. 259)." ]

[ "Édouard Martin (playwright)", "Works", "Plays written in collaboration with Labiche and/or Monnier", "References" ]

[ 3830, 3831 ]

[ 18314, 18315 ]

[ "Édouard Mathé in Les Vampires (1915)" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/2/29/Les_Vampires_%289%29-%C3%89douard_Math%C3%A9.jpg" ]

[ "Édouard Mathé (1886–1934) was a French silent film actor.\nHe starred in some 51 films between 1914 and 1924.\nMathe appeared Barabbas in 1920. He regularly appeared in films directed by Louis Feuillade, such as the 1915 Les Vampires serial, the 1916 Judex serial, Tih Minh in 1918 and Parisette in 1921.\nHe died in Brussels in 1934.", "The Two Girls (1921)\nThe Two Boys (1924)", "Édouard Mathé at IMDb" ]

[ "Édouard Mathé", "Selected filmography", "External links" ]

[ 3832 ]

[ 18316 ]

[ "Édouard Maubert", "Columnea crassifolia" ]

[ 0, 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/e/ef/Edouard_Maubert02.jpg", "https://upload.wikimedia.org/wikipedia/commons/c/ca/Columnea_crassifolia00.jpg" ]

[ "Louis Joseph Édouard Maubert (30 January 1806 Calais – 30 April 1879 Paris) was a prolific French natural history illustrator, who contributed to botanical books and horticultural journals, working with botanists such as Jean-Louis-Auguste Loiseleur-Deslongchamps, Charles Antoine Lemaire, Charles Henry Dessalines d'Orbigny, Hippolyte François Jaubert and Jean Jules Linden.\nMaubert trained under the watercolor painter Louis Francia, and settled in Paris around 1836. He improved his skills with Pierre Joseph Redouté at the Museum of Natural History. His training and talent gained him access to scientific circles within the Museum of Natural History. He painted flowers until the day before his death in his Parisian apartment at 15 rue de Buffon in the 5th arrondissement.\nMaubert also lived on the rue du Marche aux Chevaux, near the Jardin des plantes.", "", "\"eoplepill.com/people/edouard-maubert/\". eoplepill.com. Retrieved 2020-12-10.\nRéveil, O. (1870). Le Règne végétal; divisé en: Traité de botanique, Flore médicale, usuelle et industrielle, Horticulture théorique et pratique, Plantes agricoles et forestières, Histoire biographique et bibliographique de la botanique. Paris: L. Guérin.\n\"La Roseraie des Cultures - Site officiel du Salon du Livre et des Arts de L'Haÿ-les-Roses - 2013 : Expo \" Le fabuleux voyage des plantes \" du Groupe Edouard Maubert\". laroseraiedescultures.fr. Retrieved 2020-12-10.\nMaubert's Medicinal Plants. www.amazon.com. CTG. 30 April 2012. Retrieved 2020-07-04.", "Facebook group\n Media related to Édouard Maubert at Wikimedia Commons" ]

[ "Édouard Maubert", "Selected works", "References", "External links" ]

[ 3833, 3834 ]

[ 18317, 18318 ]

[ "" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/b/bd/Edouard_Michelin.jpg" ]

[ "Édouard Michelin (23 June 1859 – 25 August 1940) was a French industrialist. He was born in Clermont-Ferrand, France. Édouard and his elder brother André served as co-directors of the Michelin company.\nEdouard seemed destined for a career as an artist, but around 1888 he and his brother Andre returned to Clermont-Ferrand in order to try to save the failing family business, then a manufacturer of agricultural tools, drive belts and hoses. In 1889, he improved greatly on the design of the pneumatic tyre for bicycles, making tyres easier to change and repair. The invention proved its worth in the Paris–Brest cycle event organized by the newspaper Le Petit Journal in September 1891, and Michelin quickly adapted his inflatable tyres for use on motor vehicles, of which France was becoming the world's leading producer. Success came rapidly, and already in 1896 approximately 300 Paris taxis were running on Michelin pneumatic tyres. His company went on to experience tremendous growth serving the fledgling industry around the turn of the century and beyond.\nIn the traumatic weeks that followed the German invasion of May/June 1940, world events overshadowed Michelin's death. Nevertheless, by the time he died he had built Michelin into a major industrial force, with many \"firsts\" in wheel and tyre technology to its credit. He had overseen the acquisition of the (then bankrupt) Citroën business in 1934: with his son Pierre and their friend Pierre-Jules Boulanger he secured its position as one of Europe's most innovative auto-makers in the 1940s and 1950s, producing models such as the Citroën Traction, the revolutionary Citroën TUB/TUC light van and the 2CV prepared for introduction at the 1939 Paris Motor Show (which was cancelled at short notice, the war causing the launch of the little car to be deferred).\nÉdouard Michelin also lived a long life and suffered the personal tragedies of being predeceased by two of his sons, Étienne Michelin having been killed in a flying accident in 1932 and Pierre Michelin having been killed in a road accident near Montargis in 1937. Like many industrialists, Michelin was a member of the anti-Semitic anti-Dreyfusard camp during the political turmoil over the Dreyfus affair in turn of the century France.\nHis great-grandson, a former CEO and managing partner of the Michelin Group who died on 26 May 2006 in a boating accident, was also named Édouard.\nÉdouard and his brother André were inducted into the Automotive Hall of Fame in Dearborn, Michigan, in 2002.", "\"Automobilia\". Toutes les voitures françaises 1940 – 46 (les années sans salon). Paris: Histoire & collections. Nr. 26: Page 25. 2003.\nWard's Auto World. May 2002, Vol. 38 Issue 5, p21. 1/6p." ]

[ "Édouard Michelin (industrialist)", "References" ]

[ 3835 ]

[ 18319 ]

[ "Mignan at the console of the grand organ of La Madeleine" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/f/fb/%C3%89douard_Mignan_%C3%A0_l%27orgue_de_la_Madeleine.jpg" ]

[ "Édouard Charles Octave Mignan (17 March 1884 - 17 September 1969) was a French organist and composer.\nHe was born in Orléans and 14 years old he became the organist of église Saint Paterne. He studied organ in Paris with Alexandre Guilmant and Louis Vierne and won the Grand Prix de Rome in 1912. He was organist at Saint-Thomas-d'Aquin from 1917 to 1935. He succeeded Henri Dallier as organist of la Madeleine in 1935 and held that post until 1962.\nHe died in Paris at the age of 85.", "Smith, Rollin (1999). Louis Vierne: Organist of Notre-Dame Cathedral. Pendragon Press. p. 199. ISBN 1-57647-004-0." ]

[ "Édouard Mignan", "References" ]

[ 3836 ]

[ 18320 ]

[ "Édouard Molinaro in 2009" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/9/9c/Edouard_Molinaro_2009.jpg" ]

[ "Édouard Molinaro (13 May 1928 – 7 December 2013) was a French film director and screenwriter.", "He was born in Bordeaux, Gironde.\nHe is best known for his comedies with Louis de Funès (Oscar, Hibernatus), My Uncle Benjamin (with Jacques Brel and Claude Jade), Dracula and Son (with Christopher Lee), and the Academy Award-nominated La Cage aux Folles (with Michel Serrault and Ugo Tognazzi). Molinaro was active as a director until a few years before his death, although after 1985 he had almost exclusively been producing works for television.\nIn 1996, his cinematic work was awarded the René Clair Award, a prize given by the Académie française for excellent film work.\nMolinaro died of a respiratory insufficiency in 2013. He was 85.", "Les Alchimistes (1957, short)\nLe Dos au mur (Back to the Wall, Evidence in Concrete, 1958) — based on a novel by Frédéric Dard\nDes femmes disparaissent (The Road to Shame, 1959) — based on a novel by Gilles-Maurice Dumoulin\nUn témoin dans la ville (Witness in the City, 1959) — screenplay by Boileau-Narcejac\nUne fille pour l'été (A Lover for the Summer, A Mistress for the Summer, 1960) — based on a novel by Maurice Clavel\nThe Passion of Slow Fire (1961) — based on a novel by Georges Simenon\nLes Ennemis (Touch of Treason, 1962) — based on a novel by Fred Noro\nThe Seven Deadly Sins (1962, anthology film)\nArsène Lupin contre Arsène Lupin (Arsene Lupin vs. Arsene Lupin, 1962) — Arsène Lupin sequel\nUne ravissante idiote (Agent 38-24-36, The Ravishing Idiot, 1964) — based on a novel by Charles Exbrayat\nMale Hunt (1964)\nQuand passent les faisans (When the Pheasants Pass, 1965)\nTo Commit a Murder (1967) — based on a novel by Jacques Robert\nOscar (1967) — based on a play by Claude Magnier\nHibernatus (1969) — based on a play by Jean Bernard-Luc\nMon oncle Benjamin (My Uncle Benjamin, 1969) — based on a novel by Claude Tillier\nLa Liberté en croupe (1970) — based on a novel by Jacques Perry\nLes Aveux les plus doux (The Most Gentle Confessions, 1971) — based on a play by Georges Arnaud\nLa Mandarine (Sweet Deception, 1972) — based on a novel by Christine de Rivoyre\nLe Gang des otages (The Hostage Gang, 1973)\nL'Emmerdeur (A Pain in the A..., 1973) — screenplay by Francis Veber\nL'Ironie du sort (The Irony of Chance, 1974) — based on a novel by Paul Guimard\nHistoires insolites: Un jour comme les autres avec des cacahuètes (1974, TV series episode)\nLe Téléphone rose (The Pink Telephone, 1975) — screenplay by Francis Veber\nDracula and Son (1976) — Dracula parody\nMan in a Hurry (1977) — based on the novel The Man in a Hurry by Paul Morand\nMadame le juge: Le Dossier Françoise Muller (1978, TV series episode)\nClaudine (1978, TV miniseries) — based on the Claudine novels by Colette\nLa Cage aux folles (1978) — screenplay by Francis Veber, based on the play La Cage aux Folles by Jean Poiret\nIl était un musicien: Monsieur Strauss (1979, TV series episode)\nCause toujours... tu m'intéresses! (1979) — screenplay by Francis Veber, based on a novel by Peter Marks\nLa Pitié dangereuse (1979, TV film) — based on Beware of Pity by Stefan Zweig\nSunday Lovers (1980, anthology film) — screenplay by Francis Veber\nLa Cage aux Folles II (1980) — screenplay by Francis Veber, sequel to La Cage aux Folles\nAu bon beurre (1981, TV film) — based on The Best Butter by Jean Dutourd\nPour cent briques, t'as plus rien... (For 200 Grand, You Get Nothing Now, 1982) — based on a play by Didier Kaminka\nLa Veuve rouge (1983, TV film) — based on a novel by Armand Lanoux\nJust the Way You Are (1984)\nPalace (1985)\nL'Amour en douce (Love on the Quiet, 1985)\nLe Tiroir secret (1986, TV miniseries)\nUn métier du seigneur (TV film) — based on A Noble Profession by Pierre Boulle\nL'Ivresse de la métamorphose (1988, TV miniseries) — based on The Post Office Girl by Stefan Zweig\nDoor on the Left as You Leave the Elevator (1988) — based on a play by Gérard Lauzier\nLa Ruelle au clair de lune (1988, TV film) — based on Moonbeam Alley by Stefan Zweig\nManon Roland (1989, TV film) — biographical film about Madame Roland\nLes Grandes Familles (1989, TV miniseries) — based on a novel by Maurice Druon\nLe Gorille: La Peau du gorille (1990, TV series episode)\nL'Amour maudit de Leisenbohg (1991, TV film) — based on a novella by Arthur Schnitzler\nCoup de foudre: Résurgence (1992, TV series episode)\nCoup de foudre: Grand, beau et brun (1992, TV series episode)\nLa Femme abandonnée (1992, TV film) — based on The Deserted Woman by Honoré de Balzac\nThe Supper (1992) — based on a play by Jean-Claude Brisville\nCe que savait Maisie (1995, TV film) — based on What Maisie Knew by Henry James\nBeaumarchais (1996) — biographical film about Beaumarchais, based on a play by Sacha Guitry\nH (1998–1999, TV series, 14 episodes)\nNora (1999, TV film) — based on Watch and Ward by Henry James\nTombé du nid (1999, TV film)\nNana (2001, TV film) — loosely based on Nana by Émile Zola\nUn homme par hasard (2003, TV film)\nNavarro: Double meurtre (2005, TV series episode)\nUne famille pas comme les autres (2005, TV film)\nLes Hommes de cœur (2005–2006, TV series, 3 episodes)\nNavarro: Manipulation (2005, TV series episode)\nLe Tuteur (2005–2008, TV series, 5 episodes)\nDirty Slapping (2008, TV short film)", "\"Mort d'Edouard Molinaro, artisan indispensable du cinéma français - Cinéma - Télérama.fr\". Telerama.fr. Retrieved 2013-12-08.\n\"Cage aux Folles film director Edouard Molinaro dies\". BBC.co.uk. 2013-12-08. Retrieved 2013-12-08.", "Édouard Molinaro at IMDb" ]

[ "Édouard Molinaro", "Biography", "Filmography (as director)", "References", "External links" ]

[ 3837 ]

[ 18321, 18322, 18323, 18324, 18325 ]

[ "Édouard Montoute în 2012" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/7/70/Edouard_Montoute_2012.jpg" ]

[ "Édouard Montoute (born 20 December 1970) is a French actor.", "", "1990: Jean Galmot, aventurier by Alain Maline\n1991: Paris s'éveille by Olivier Assayas: un dealer\n1995: La Haine by Mathieu Kassovitz: Darty\n1995: Fast by Dante Desarthe: Daniel\n1997: Port Djema by Éric Heumann: Ousman\n1997: Mauvais Genre by Laurent Bénégui: François\n1997: Bouge ! by Jérôme Cornuau: Soso\n1997: J'irai au paradis car l'enfer est ici by Xavier Durringer: Pascal\n1998: Taxi by Gérard Pirès: Alain\n1998: La voie est libre by Stéphane Clavier: Yves\n1999: Le Sourire du clown by Éric Besnard: Alex\n1999: Du bleu jusqu'en Amérique by Sarah Lévy : Hamid\n2000: Taxi 2 by Gérard Krawczyk: Alain\n2000: Cours toujours by Dante Desarthe: Hervé\n2000: Antilles sur Seine by Pascal Légitimus: Freddy\n2001: Les gens en maillot de bain ne sont pas (forcément) superficiels by Éric Assous: Lulu\n2002: Femme fatale by Brian De Palma: Racine\n2002: Astérix et Obélix: Mission Cléopâtre by Alain Chabat: Nexusis\n2002: La Sirène rouge by Olivier Megaton: Oliveira\n2003: Taxi 3 by Gérard Krawczyk: Alain\n2003: Dédales by René Manzor: Ray\n2004: Nos amis les flics by Bob Swaim: Kiki\n2005: Dans tes rêves by Denis Thybaud: Keuj\n2005: Avant qu'il ne soit trop tard by Laurent Dussaux: Gérard\n2006: Enfermés dehors by Albert Dupontel: le chauffeur de bus\n2007: Fracassés by Franck Llopis: Jean-Paul\n2007: Taxi 4 by Gérard Krawczyk: Alain\n2008: Jamais 2 sans 3 by Eric Summer: Étienne Garreau\n2008: La Première Étoile by Lucien Jean-Baptiste: Jojo\n2009: Trésor by Claude Berri et François Dupeyron\n2010: Les Petits Mouchoirs by Guillaume Canet: l'ami de Ludo au Baron\n2012: 30° Couleur by Lucien Jean-Baptiste: Zamba\n2016: Dieumerci ! by Lucien Jean-Baptiste: The Chief\n2018: Taxi 5 by : Alain", "1993: Zone bleue de Catherine Morlat\n1995: Petit matin sanglant de Julien Corain\n1997: À fond la caisse de Vincent Rivier: le braqueur\n2000: Mortels by Samuel Jouy: Eddy\n2002: Alex & Bladas by Marc Barrat, Série de 5 courts-métrages de fiction (6') contre le sida en Guyane, commandités par le Ministère de la santé: Alex\n2005: Convivium de Michaël Nakache: Hugo", "1991: Navarro de Nicolas Ribowski (episode Les chasse-neige): Soulimane\n1992: Momo by Jean-Louis Bertuccelli: Koffi\n1992: Goal: Keita\n1994: 3000 scénarios contre un virus by Xavier Durringer (episode Le flic)\n1994: Mort d'un gardien de la paix by Josée Dayan\n1994: Novacek by Marco Pico (episode Le Croisé de l'Ordre)\n1995: Police des polices by Michel Boisrond (episode L'Ilotier)\n1995: Navarro de Nicolas Ribowski (episode Le choix de Navarro)\n1999: Chambre n° 13 by Sarah Lévy (episode Coccinelle)\n2000: Les Redoutables by Sarah Lévy (episode Prime Time)\n2000: Mary Lester de Christiane Leherissey (episode Maéna)\n2001: Accro de Olivier Pancho\n2002: Duelles de Laurence Katrian (episode Trahisons)\n2002: Carnets d'ado – Les paradis de Laura de Olivier Panchot\n2002: Sang d'encre by Didier Le Pêcheur\n2004: Central Nuit de Franck Vestiel (episode Vol à la Poussette)\n2004: Un petit garçon silencieux by Sarah Lévy\n2004: Les amants du bagne by Thierry Binisti\n2005: Léa Parker by Robin Davis (episode Combat Clandestin)\n2006: Alice et Charlie (1ᵉʳ episod) de Stéphane Clavier\n2006: Au crépuscule des temps by Sarah Lévy\n2006: David Nolande by Nicolas Cuche\n2007: Alice et Charlie (2ᵉ episod) de Julien Seri\n2008: Flics (serial) de Olivier Marchal: Alex Baros\n2008: Scalp by Xavier Durringer (serial): Ziggy\n2009–2011: Les Toqués (serial) de Patrick Malakian: Martin Soléno\n2009: Jamais deux sans trois (téléfilm) de Eric Summer: Etienne Garreau\n2009: Facteur chance (téléfilm) de Julien Seri: Miko\n2009: Les Amants de l'ombre (téléfilm) de Philippe Niang: Sidney Jackson\n2009: Lady Bar 2 (téléfilm) de Xavier Durringer : Aimé\n2010: Le Pot de colle (téléfilm) de Julien Seri: Jean-Bernard Hollier\n2010: Les Edelweiss (serial)de Stéphane Kappes: Bernard\n2012: Des soucis et des hommes (serial) de Christophe Barraud: Hervé Le Bihan\n2013: La Croisière (serie) de Pascal Lahmani, avec Lola Dewaere, Anne-Élisabeth Blateau et Christophe Malavoy\n2013: La Source (serie) de Xavier Durringer\n2014: Caïn (2 episodes) de Bertrand Arthuys", "Édouard Montoute at IMDb" ]

[ "Édouard Montoute", "Filmography", "Film", "Short films", "Television", "External links" ]

[ 3838 ]

[ 18326, 18327, 18328 ]

[ "Montpetit in 1927", "Statue of Montpetit by Sylvia Daoust on the Université de Montréal campus (1967)" ]

[ 0, 2 ]

[ "https://upload.wikimedia.org/wikipedia/commons/5/5b/Portrait_%C3%89douard_Montpetit02.jpg", "https://upload.wikimedia.org/wikipedia/commons/8/87/J78086_UdeM_20140517-155612.93_45.50690%2C-73.61482_StatueEdouardMontpetit.jpg" ]

[ "Édouard Montpetit (26 September 1881 – 27 May 1954) was a Quebec lawyer, economist and academic.", "Montpetit was born on 26 September 1881 in Montmagny, Quebec. Called to the bar in 1904, Montpetit worked as a lawyer and taught political economy before he obtained a scholarship in 1907, which made him the first holder of such a scholarship to be officially sent by the province of Quebec to Paris. In Paris he studied political and social science, receiving a degree in both. He founded the École des sciences sociales in 1920, which he then ran. \nBetween 1920 and 1950 he was active at the Université de Montréal, where he was secretary general, dean of the faculty of social sciences, member of the senate and member of the board of direction. He taught at the business school affiliated with the Université de Montréal, the École des hautes études commerciales (HEC) from 1910 to 1939, as well as at the university's law school, from 1910 to his death. He died on 27 May 1954 and was entombed at the Notre Dame des Neiges Cemetery in Montreal.", "In 1935 Montpetit was awarded the Royal Society of Canada's Lorne Pierce Medal.\nIn 1967, a monument to Montpetit by Sylvia Daoust was unveiled on the Université de Montréal campus and the name of nearby Maplewood Avenue in Côte-des-Neiges was changed to boulevard Édouard-Montpetit. The name of Maplewood Avenue in Outremont did not change.\nA CEGEP in Longueuil, Quebec (Collège Édouard-Montpetit), a high school in the east of Montreal and a station in the Montreal metro system are also named in his honour.", "A partial list of Montpetit's published works includes:\nAu service de la tradition française (1920)\nPour une doctrine (1931)\nLes cordons de la bourse (1935)\nLe front contre la vitre (1936)\nLa conquête économique (1938–1940)\nReflets d'Amérique (1941)\nPropos sur la montagne: Essais (1946)", "Joubert, Rodolphe (1975). \"Essai sur la vie et l'œuvre de Édouard Montpetit\". \nRépertoire des personnages inhumés au cimetière ayant marqué l'histoire de notre société (in French). Montreal: Notre Dame des Neiges Cemetery.\n\"Édouard Montpetit (1881-1954) 1967\". Art Public Montréal. Retrieved 9 September 2018.\nMap, Maplewood Avenue shown at bottom right", "Works by or about Édouard Montpetit at Internet Archive\nCollège Édouard-Montpetit (in French)\nÉdouard-Montpetit metro station (in English)" ]

[ "Édouard Montpetit", "Biography", "Recognition", "Bibliography", "References", "External links" ]

[ 3839, 3840 ]

[ 18329, 18330, 18331, 18332, 18333, 18334 ]

[ "Portrait by Édouard Dubufe", "", "Fieschi's Machine infernale, the weapon that killed Mortier, now in the Museum of French History", "" ]

[ 0, 0, 4, 9 ]

[ "https://upload.wikimedia.org/wikipedia/commons/0/02/Dubufe_-_Marshal_Mortier.jpg", "https://upload.wikimedia.org/wikipedia/commons/3/37/Signatur_Adolphe_%C3%89douard_Casimir_Joseph_Mortier.PNG", "https://upload.wikimedia.org/wikipedia/commons/6/62/Machine_infernale.JPG", "https://upload.wikimedia.org/wikipedia/commons/e/e1/AduC_225_Mortier_%28E.A.C.J.%2C_duc_de_Tr%C3%A9vise%2C_1768-1835%29.JPG" ]

[ "Adolphe Édouard Casimir Joseph Mortier, 1st Duke of Trévise (13 February 1768 – 28 July 1835) was a French military commander and Marshal of the Empire under Napoleon I, who served during both the French Revolutionary Wars and the Napoleonic Wars. He was one of 18 people killed in 1835 during Giuseppe Marco Fieschi's assassination attempt on King Louis Philippe I.", "Mortier was born at Le Cateau-Cambrésis on 13 February 1768, son of Charles Mortier (1730–1808) and his wife Marie Anne Joseph Bonnaire (b. 1735), and entered the army as a sub-lieutenant in 1791.", "Mortier served in the French Revolutionary Wars in the campaigns of 1792 and 1793 on the north-eastern frontier and in the Netherlands, and subsequently on the Meuse and the Rhine. Mortier was tasked by General Jacques Maurice Hatry to negotiate the surrender of the Fortress of Mainz, which he completed successfully and then returned to Paris. During the War of the Second Coalition in 1799, he was promoted to general of brigade and then general of division. During the Second Battle of Zurich, he led a force of 8,000 in the attack from Dieticon on Zurich. His conduct of the French occupation of Hanover, bringing about the Convention of Artlenburg, led Napoleon to include Mortier in the first list of marshals created in 1804.\nHe commanded a corps of the Grande Armée in the Ulm campaign in which he distinguished himself. In the campaign of the middle Danube, which culminated in the Battle of Austerlitz, Napoleon placed him in command of the newly formed VIII Corps, composed of divisions from the other corps. Mortier over-extended his line of march on the north shore of the Danube and failed to heed Napoleon's advice to protect his north flank. A combined Russo-Austrian force, under the command of General Mikhail Kutuzov enticed Mortier to send General Théodore Maxime Gazan's 2nd Division into a trap and French troops were caught in a valley between two Russian columns. They were rescued by the timely arrival of a second division, under command of General Pierre Dupont de l'Étang's 1st Division, which covered a day's march in a half-day. The Battle of Dürrenstein (11 November 1805) extended well into the night. Both sides claimed victory, with the French losing more than a third of the participants, and Gazan's division experiencing over 40 percent losses. The Austrians and Russians also suffered heavy losses—close to 16 percent. After Austerlitz, Napoleon dispersed the corps and Gazan received the Legion of Honour, but Mortier was simply reassigned.\nWhen the War of the Fourth Coalition broke out in 1806, Napoleon ordered Mortier to assume command of the reformed VIII Corps on 1 October. He was to coordinate his operations with Louis Bonaparte's Franco-Dutch troops. On 16 October, two days after his crushing victory over Prussia at Jena-Auerstedt, Napoleon ordered Mortier and Louis to conquer the Electorate of Hesse. Mortier was to occupy Fulda and then the capital city of Kassel, rule as military governor, and imprison the Elector of Hesse, William I. Every Hessian officer above the rank of lieutenant would be arrested and Napoleon stated his intention to \"wipe the house of Hesse-Kassel from the map\". Mortier knew this constituted a violation of Hessian neutrality and boasted on 17 October that its very neutrality made it easy to conquer. On 1 November, the French occupied and looted Kassel, discovering that William had fled. Mortier issued a proclamation in which he claimed to have come to avenge Prussian violation of Hessian neutrality but also accused them of being Prussian allies.\nMortier left a division to hold Hesse-Kassel while the rest of his corps was directed to mopping-up operations in Prussia. Hamelin capitulated on 22 November, along with a garrison of 10,000 Prussian troops. Nienburg fell on 29 November, with 2,911 Prussian soldiers marching into captivity. In 1807, he served in the Friedland campaign, the siege of Stralsund, and the siege of Kolberg.\nIn 1808, Napoleon made Mortier Duke of Treviso (Trévise in French) a duché grand-fief (a rare, but nominal, hereditary honor, extinguished in 1946) in his own Kingdom of Italy, and shortly after he commanded an army corps in Napoleon's campaign for the recapture of Madrid.\nMortier remained in Spain for two campaigns, winning at Ocaña in November 1809. In 1812 and 1813 he commanded the Imperial Guard, and in the defensive campaign of 1814, he rendered brilliant services in command of rearguards and covering detachments. In 1815, after the flight of Bourbon King Louis XVIII, he rejoined Napoleon during the Cent Jours and was given command of the Imperial Guard once more, but at the opening of the Battle of Waterloo, he was unable to continue due to severe sciatica.", "Following the second Bourbon Restoration, Mortier was for a time in disgrace, but in 1819 he was readmitted to the Chamber of Peers and in 1825 received the Order of the Holy Spirit, the kingdom's highest honor. In 1830–1831, he was Ambassador of France to Russia at St. Petersburg, and in 1834–1835, Minister of War and President of the Council of Ministers.", "On 28 July 1835, Mortier was one of those accompanying King Louis-Philippe to a review of the Paris National Guard, an annual event that commemorated the July Revolution that brought the king to power in 1830. In the Boulevard du Temple, the royal party was hit by a volley of gunfire from the upstairs window of a house. Eighteen were killed, including Mortier, and 22 injured. The king received only a minor wound.\nThe weapon used was a home-made volley gun, constructed and fired by Giuseppe Marco Fieschi for the purpose of assassinating the king. Fieschi had fixed twenty-five musket barrels to a wooden frame, and arranged that they could be fired simultaneously. Four of the barrels burst when fired and Fieschi was badly wounded. He was quickly captured and later tried with two co-conspirators. The three went to the guillotine in February 1836.", "Mortier married Eve Anne Hymmès (Coblence, 19 August 1779 – Paris, 13 February 1855), by whom he had six children:\nCaroline Mortier de Trevise (1800–1842): married to Marie-Hippolyte de Gueulluy, 2nd Marquess of Rumigny.\nMarie-Louise de Gueulluy de Rumigny x Ludovic-Marie, Count d'Ursel,\n(1809–1886)\nHippolyte, count d'Ursel (1850–1937)\nSophie Malvina Joséphine Mortier de Trévise (b. 1803)\nNapoléon Mortier de Trévise (1804–1869), 2nd Duke of Trévise\nEdouard (1806–1815)\nLouise (1811–1831)\nEve-Stéphanie Mortier de Trévise (1814–1831), countess Gudin", "", "Paris, Louis (1869). Dictionnaire des anoblissements (in French). Vol. 1. Paris: Bachelin-Deflorenne.\nOne or more of the preceding sentences incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). \"Mortier, Edouard Adolphe Casimir Joseph\". Encyclopædia Britannica. Vol. 18 (11th ed.). Cambridge University Press. p. 878.\nThe Big Mortar\nAdolphe Thiers. The history of the French revolution, New York: Appleton, 1854, v. 4., p. 401.\nThiers, fn, p. 401.\n(in German) Egger, Rainer. Das Gefecht bei Dürnstein-Loiben 1805. Wien: Bundesverlag, 1986, pp. 14–22; Goetz, Robert. 1805: Austerlitz, the Destruction of the Third Coalition. Mechanicsburg, PA: Stackpole Books, 2005, ISBN 1-85367-644-6, pp. 75–81; and Digby Smith, Napoleonic Wars Databook: 1805, London: Greenhill Publishing Co., 1998, ISBN 1-85367-276-9, p. 213.\nJaques, Tony (2006). Dictionary of Battles And Sieges: A Guide to 8,500 Battles from Antiquity Through the Twenty-first Century. Greenwood Publishing Group. p. 973. ISBN 0-313-33536-2.\nHarsin 2002, p. 147.\nHarsin 2002, p. 148.\nBouveiron (1835), pp. 67–68, Report of M. Lepage, Gunsmith to the King", "A. Bouveiron; Giuseppe Marco Fieschi (1835). An historical and biographical sketch of Fieschi. Sold at the office of the editor. p. 32.\nHarsin, Jill (2002). Barricades:The War of the Streets in Revolutionary Paris,1830–1848. Palgrave Macmillan. ISBN 0-312-29479-4.\nGray, Randal (1987). Napoleon's Marshals. New York: Macmillan.", "Heraldica.org – Napoleonic heraldry" ]

[ "Édouard Mortier, Duke of Trévise", "Biography", "Revolutionary and Napoleonic Wars", "Post-war career", "Death", "Family", "References", "Citations", "Bibliography", "External links" ]

[ 3841, 3842, 3843 ]

[ 18335, 18336, 18337, 18338, 18339, 18340, 18341, 18342, 18343, 18344, 18345, 18346, 18347, 18348, 18349, 18350, 18351, 18352, 18353, 18354 ]

[ "Garden of Armida wallpaper, 1854. Philadelphia Museum of Art." ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/8/8d/Garden_of_Armida_Wallpaper_%281854%29_by_%C3%89douard_Muller.jpg" ]

[ "Édouard Muller (born 26 September 1823 in Mulhouse, France; died on 29 December 1876 in Nogent-sur-Marne, France) was a French painter and designer. He is best remembered for his designs \"Le Jardin d'Hiver,\" \"Le Jardin d'Armide\" (1854) and \"La Galerie de Flore\" (1856–57) for the Jules Desfossé company. He also produced painted panels for the Zuber company at Rixheim.", "Civil status of Mulhouse : birth certificate n°343 and Civil status of Nogent-sur-Marne : death certificate n° 182.\nLes mythologies du jardin de l'Antiquité à la fin du XIXe siècle - Page 110 Gérard Peylet - 2006 \"Les arts décoratifs ne sont pas en reste puisque sous le même titre de jardins d' Armide, on trouve pêle-mêle du papier peint créé par Édouard Muller pour l'exposition universelle de 1855 (conservé au Musée des Arts décoratifs), ...\"\nL'Art en France sous le Second Empire: exposition Galeries nationales du Grand Palais (France), Philadelphia Museum of Art, Detroit Institute of Arts - 1979 \"Le Jardin d'Armide (1854), et La Galerie de Flore ( 1856-57), tous trois pour la manufacture Desfossé, ainsi que divers panneaux décoratifs pour la manufacture Zuber. Artiste quelque peu oublié, Muller s'est singularisé par un style ..\"\nBéatrice Salmon Chefs-d'œuvre du Musée des arts décoratifs 2006 \"Le Jardin d'hiver est dû au talent d'édouard Müller, connu pour ses dessins de fleurs et de roses qui lui valurent le ... la manufacture de papiers peints Zuber, à Rixheim (Alsace). Cn 1845, il s'installa à Paris et s'associa avec le\"" ]

[ "Édouard Muller (painter)", "References" ]

[ 3844 ]

[ 18355, 18356, 18357 ]

[ "" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/0/09/Mwe-Malila-Apenela.JPG" ]

[ "Édouard Lendje Héritier Mwe di Malila Apenela (13 October 1937 – 5 June 2014) was a Congolese businessman, founder and president of the Woyo Alliance, former president and donator of the football club AS Dragons.", "Édouard Mwe di Malila Apenela was born in Moanda, territory of Bas-Congo. He was son to a congolese woman and man from Switzerland. His second name Héritier is dedicated to his biological father. Due to his mother he belonged to the Woyo tribe, which members are present in Cabinda and Congo. This was also the territory of the Ngoyo-Kingdom in which the ruler and nobles held the title, \"Mwe\", \"Mwene\" or \"Ma\". His name \"Mwe di\" literally means \"Lord of\", an honorable particule. \nHe worked in the estate industry and owned several buildings in the city center of Kinshasa.\nMwe di Malila Apenela had numerous children, among them the current deputy minister of international relations and national integration Franck Mwe di Malila. The in Germany living Artist Jonathan Mwe di Malila also belongs to his descendants (grandson).", "Édouard Mwe di Malila Apenela started managing the AS Dragons in 1969. By his arrival he acquainted players like Pembele Ngunza, Magie Mafwala and Romain Bamuleke. 1985 he gave instructions to AS Dragons, now called Bilima. Also, through his engagement the team could win the congolese championship. \nThanks to his moral and financial contribution, Bilima could play the second time in its history: the 22nd African Cup against the Forces Armées Royales du Maroc, 1986, in the state of Kenya in Lubumbashi (Katanga).\nLater he left the head of the sport commission to pass on the control to others. He remained active as donator of the club and as their president of supreme committee.", "Mwe di Malila died on 5 June 2014. He left his many children a huge estate empire which caused a big argument among them. Only four of his children have themselves declared as his only legitimate successor and heirs. This case is treated by the High Court in Kinshasa Gombe.\nBecause of his good reputation and popularity the Congolese singer Kwamy, wrote a song which is dedicated to Mwe di Malila after his dead and named \"Véa Mokonzi\" Mokonzi is Lingala and means as such as king or leader.", "\"Nouvelles sportives : L'AS Dragons pleure Edouard Apenela\". 7sur7.cd. Retrieved 11 June 2014.\n\"Communiqué Nécrologique\". cabinda.skyrock.com. Retrieved 9 June 2014.\nHabi Buganza Mulinda (1993). Aux origines du royaume de Ngoyo. Civilisations. p. 165-187.\n\"Mwe-di-Malila: symbole de l'expérience t de la rigueur\". 7sur7.cd. Retrieved 15 December 2014.\n\"Congo-Kinshasa: Lili Lumande élu président de coordination de l'As Dragons\". fr.allafrica.com. Retrieved 17 November 2008.\n\"Guerre des successions chez les Mwe-Di Malila, seuls 4 enfants reconnus héritiers légitimes\". 7sur7.cd. Retrieved 23 February 2015." ]

[ "Édouard Mwe di Malila Apenela", "Personal", "AS Dragons", "Additional information", "References" ]

[ 3845 ]

[ 18358, 18359, 18360, 18361, 18362, 18363 ]

[ "Bust of Édouard Nadaud at the Montmartre Cemetery" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/5/55/Cimeti%C3%A8re_de_Montmartre_-_Tombe_de_Maurice_Nadaud_-2.JPG" ]

[ "Édouard Louis Nadaud (14 April 1862 – 13 February 1928) was a French classical violinist. An heir of the École française du violon, he taught the violin at the Conservatoire de Paris from 1900 to 1924.", "Nadaud was born at 46 rue des Dames (Quartier des Batignolles) in the 17th arrondissement of Paris at the home of his father and mother, paper merchants: he was the fourth child of the couple. His two older brothers, Albert and Gustave were salesmen and the marriage certificate of Gustave teaches us that their father was also a music teacher.\nHe followed violin lessons at the conservatoire de Paris in Charles Dancla's class and obtained a first prize there in 1881 shared with a young American, Arma Senkrah (Harknes) also a student of Charles Dancla and a young Dutchman, Louis Wolff (1865-1926), a student of Lambert Massart.\nConcertmaster of the Orchestre de la Société des concerts du Conservatoire for eleven years, he was professor of violin at the conservatory from 1 May 1900 until his death on 13 February 1928. Firmin Touche succeeded him.\nHe trained about sixty students including René Benedetti, Marius Casadesus, Line Talluel, Lucien Quatrochi, etc.", "Second violin accessit in 1877 - Piece of competition: Pierre Baillot's 1st Concerto in A minor\nFirst violin accessit in 1878 - Piece of competition: Henri Vieuxtemps's 5th Concerto\nSecond violin prize in 1880 - Piece of competition: Pierre Rode's 3rd Concerto\nFirst violin prize in 1881 - Piece of competition: Henri Vieuxtemps's third Concerto\nChevalier of the Légion d'honneur 2 January 1905.", "Arma Harknes\nLe Ménestrel n° 2631 7 August 1881 and n° 3625 16 September 1900 page 296 Paris, 15 juillet, article about Arma Harknes\n\"Notice no. LH/1972/51\". Base Léonore (in French).\nFirmin Touche on Gallica\nLe Ménestrel n° 4799 20 April 1928\nRené Benedetti on data.bnf.fr\nLine Talluel", "Le Conservatoire National de Musique et de déclamation, documents historiques et administratifs, collected or reconstituted by Constant Pierre, deputy head of the secretariat, laureate of the Institute, PARIS, imprimerie Nationale, 1900", "Portrait à la BNF\nArchives du Ménestrel de 1833 à 1940 on Gallica\nTableau historique des écoles du violon\nÉdouard Nadaud on IMSLP" ]

[ "Édouard Nadaud", "Biography", "Prizes and distinctions", "References", "Bibliography", "External links" ]

[ 3846 ]

[ 18364, 18365, 18366, 18367, 18368 ]

[ "ca. 1917", "Statue of Ramesses II found by Naville at Bubastis, on display at Musée d'Art et d'Histoire in Geneva." ]

[ 0, 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/1/17/%C3%89douard_Naville_ca._1917.jpg", "https://upload.wikimedia.org/wikipedia/commons/6/62/Ramesses_II-MAHG_8934-P8050311-gradient.jpg" ]

[ "Henri Édouard Naville (14 June 1844 – 17 October 1926) was a Swiss archaeologist, Egyptologist and Biblical scholar.\nBorn in Geneva, he studied at the University of Geneva, King's College, London, and the Universities of Bonn, Paris, and Berlin. He was a student of Karl Richard Lepsius and later his literary executor.\nHe first visited Egypt in 1865, where he copied the Horus texts in the temple at Edfu. During the Franco-Prussian War he served as a captain in the Swiss army. His early work concerned the solar texts and the Book of the Dead. In 1882 he was invited to work for the newly founded Egypt Exploration Fund. He excavated a number of sites in the Nile Delta including Tell el-Maskhuta (1882), the Wadi Tumilat (1885–86), Bubastis (1886–89), Tell el-Yahudiyeh (1887), Saft el-Hinna (1887), Ahnas (1890–91), Mendes and Tell el-Muqdam (1892). Many of the objects he found in his Delta excavations are preserved in the Cairo Museum, British Museum, and the Museum of Fine Arts, Boston.\nIn the 1890s he excavated at the Mortuary Temple of Hatshepsut at Deir el-Bahri where he was assisted by David George Hogarth, Somers Clarke and Howard Carter. In 1903-06 he returned to Deir el-Bahri to excavate the Mortuary Temple of Mentuhotep II, assisted by Henry Hall. In 1910 he worked in the royal necropolis at Abydos and his last excavation work was in the Osireion at Abydos which was left incomplete at the start of World War I.\nIn 1873, he married Marguerite de Pourtalès who accompanied him on his 14 trips to Egypt, meticulously recording his finds in photographs and drawings and including detailed accounts of the expeditions in her diaries.\nNaville was the recipient of numerous international awards and honors and was the author of innumerable publications, both on his excavations and his textual studies. He died at Malagny (near Geneva) in 1926.\nNaville was an archaeologist of the old fashioned school that concerned itself with large scale clearance of sites and little regard for the detailed evidence possibly to be found in the course of excavation. In his lifetime he was criticized by W. M. Flinders Petrie for his archaeological methods and D. G. Hogarth was sent by the Egypt Excavation Fund to observe and report on the nature of his work at Deir el-Bahri. His published reports are evidence of the lack of detail, but this is also typical of much of the archaeological practice of the time.\nHe received an honorary doctorate (LL.D) from the University of Glasgow in June 1901.", "\"Archives de Marguerite Naville\" (in French). Société d'Égyptologie, Genève. Retrieved 16 February 2021.\n\"Glasgow University jubilee\". The Times. No. 36481. London. 14 June 1901. p. 10.", "Warren R. Dawson and Eric P. Uphill, Who Was Who in Egyptology, second revised edition, London, 1972.", "Works by Édouard Naville on Internet Archive.\nNaville, Edouard, 'The temple of Deir el Bahari', London, (1895–1908), all six volumes, at Heidelberger historische Bestände" ]

[ "Édouard Naville", "Notes", "References", "External links" ]

[ 3847, 3848 ]

[ 18369, 18370 ]

[ "Ngirente in September 2018" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/1/12/Rt.Hon._Dr._Edouard_Ngirente_-_Prime_Minister_of_the_Republic_of_Rwanda.jpg" ]

[ "Édouard Ngirente (born 22 February 1973) is a Rwandan economist and politician. He serves as the Prime Minister of Rwanda, since 30 August 2017, having been appointed by the President of Rwanda, Paul Kagame.", "Édouard Ngirente was born in Rwanda on February 22, 1973. He holds a PhD in economics from the University of Louvain, Belgium (UCLouvain); a master's degree (MSc) in agricultural economics from UCLouvain, Belgium, a master's degree (MA) in financial risk management from Saint-Louis University, Brussels in Belgium; University certificate in statistics from UCLouvain; and a bachelor's degree in economics/international economics from the National University of Rwanda.", "Prior to his appointment, he occupied different positions: senior advisor to the World Bank Executive Director (2017); advisor to the World Bank Executive Director (from 2011 to 2017); senior economic advisor to the Rwandan Ministry of Finance and Economic Planning; director general of National Development Planning and Research in Ministry of Finance and Economic Planning; senior lecturer at the former National University of Rwanda (now University of Rwanda) until 2010; head of Department of Agricultural Economics at the same university, independent consultant and project manager. Ngirente was an active participant in economic research during his time at the World Bank, authoring papers on region specific markets and economic challenges with a focus on the agricultural markets of Rwanda.", "Ngirente was appointed as the successor to Anastase Murekezi on 30 August 2017. He became the 11th Prime Minister of Rwanda and the 6th since the 1994 Genocide perpetrated against the Tutsi. He was among several non politicians sworn in by Paul Kagame after the 2017 Rwandan Presidential Election.", "Ngirente has overseen policy changes which aim to invigorate Rwanda's economy through expanded research grants, transportation infrastructure and education among other departments. Campaigns to encourage Rwandans to pay their taxes and preserve the environment have also been started with the intention of creating a more sustainable future both economically and environmentally. As part of his duties as a representative of Rwanda, Ngirente has traveled the globe campaigning for increased foreign investment in the nation. Ngirente has also traveled across Africa advocating for family planning efforts across the continent.", "Ngirente is married and is the father of two children ( Audrey and Pascale Ngirente).", "Politics of Rwanda\nCabinet of Rwanda", "\"Who is the new Prime Minister Edouard Ngirente?\". The New Times | Rwanda. 2017-08-30. Retrieved 2018-10-06.\nKagire, Edmund (30 August 2017). \"President Kagame names little-known technocrat as PM\". The EastAfrican. Nairobi. Retrieved 30 August 2017.\nFidèle, Niyitanga (2013). Fonctionnement et intégration des marchés agricoles au Rwanda : application au marché de la banane à cuire dans le Sud-Est de la province du Sud du Rwanda (Thesis). UCL - Université Catholique de Louvain.\n\"In Departure From Politics, Kagame Names Technocrat as Prime Minister\". KT PRESS. 2017-08-30. Retrieved 2018-10-06.\nQuigley, Paul; Hawdon, James (2018-08-09). Reconciliation after Civil Wars: Global Perspectives. Routledge. ISBN 9781351141789.\n\"Rwanda Launches Multi-Billion Research Fund\". KT PRESS. 2018-06-13. Retrieved 2018-10-06.\n\"Rwanda Credited for Opening Air Space\". KT PRESS. 2017-11-13. Retrieved 2018-10-06.\n\"Rwanda Launches $6M Technical Teacher Training Institute\". KT PRESS. 2018-04-27. Retrieved 2018-10-06.\n\"Team set up to monitor rain-induced disasters\". The New Times | Rwanda. 2018-05-12. Retrieved 2018-10-12.\n\"Premier calls for more tax compliance for self-reliance\". The New Times | Rwanda. 2018-09-29. Retrieved 2018-10-12.\n\"Rwanda: Premier Ngirente in Istanbul for Turkey-Africa Business Forum\". The New Times (Kigali). 2018-10-11. Retrieved 2018-10-12.\n\"'Number of women and girls using modern contraception highest in history' UNFPA official\". The Herald. Retrieved 2018-11-26.", "Office of the Prime Minister of Rwanda" ]

[ "Édouard Ngirente", "Background and education", "Career", "Political appointment", "Policies", "Personal life", "See also", "References", "External links" ]

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[ "Édouard-Jean Niermans in 1895 by Pierre Petit", "Hôtel Negresco founded by Henri Négresco and realized by Édouard Niermans in 1912 on the promenade des Anglais in Nice", "Théâtre Marigny, Avenue des Champs-Élysées, Paris" ]

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[ "https://upload.wikimedia.org/wikipedia/commons/9/98/%C3%89douard-Jean_Niermans_1895_by_Pierre_Petit_-_Pinchon_1991_p20.jpg", "https://upload.wikimedia.org/wikipedia/commons/8/83/Negresco.JPG", "https://upload.wikimedia.org/wikipedia/commons/6/61/Theatre_Marigny_1.jpg" ]

[ "Édouard-Jean Niermans (born Eduard Johan Niermans) (30 May 1859 – 19 October 1928) was a famous Dutch-born French architect during the Belle Époque.", "Eduard Johan Niermans was born on 30 May 1859 in Enschede, son of the architect Gerrit Doorwaard Niermans (1807-1871) and his fourth wife, Johanna Margaretha Sangster (1817-1869).\nHe was the youngest of their four children.\nHe studied at the Polytechnic School in Delft, earning his diploma in 1883.\nHaving a taste for French culture, he moved to 41 quai d'Anjou in Paris, where he tried to gain recognition at first as a designer of furniture and interior decorations. \nAs a member of the Dutch community in Paris he was chosen to build the Dutch pavilion at the Exposition Universelle (1889) in collaboration with nl:Christiaan Posthumus Meyjes sr.\nHe was awarded the Legion of Honor for this notable work.", "Niermans definitely returned to architecture in 1891, and by 1894 his personal style had emerged from the Dutch influence. \nIt was based on an extensive knowledge of styles of the past and the expectations of the public. \nModern materials allow him to combine taste for the past with modern comfort for customers. \nHe was naturalized as a French citizen in 1895 and joined the Central Society of Architecture, \nsponsored by the famous architect Charles Garnier.\nIn Paris he was involved in the decor and construction or renovation of many brasseries and theaters including the brasserie Mollard (1894–95), the Casino de Paris (1892-96), the Trianon-concert (1894–95), the tavern Pousset (1897–98), the Folies Bergère (1900) and the Moulin Rouge (1903).\nHe designed the Royal Palace Hotel in Ostend in 1900, with a huge and ornate entrance, and with much of the wall of the central block of the hotel made of glass. The hotel has since been demolished.\nHe also rebuilt the Hôtel du Palais in Biarritz, which had been badly damaged by a fire in 1903. Niermans extended the south wing, added two stories, and added a large bay holding a magnificent restaurant. The hotel now had larger salons for entertainments, and a salle des fêtes in Second Empire style. \nThis project was completed in 1905.\nHe married Louise Marie Héloïse Dewachter (1871-1963) in 1895. She was the sister of Isidore Louis Dewachter, the Belgian post-impressionist artist who painted as Louis Dewis. They had three children: Jean Niermans, architect (1897-1989), Grand Prix de Rome in 1929; Hélène Niermans (born 1901); and Édouard, architect and, after World War II, also a businessman (1904-1984). In 1905 he officially changed his name from Eduard Johan to Edouard-Jean.", "In 1908 Niermans renovated the Hôtel de Paris in Monte-Carlo, \nexpanding it and decorating the interior in an opulent baroque style.\nA distinctive feature was a glazed dome over the inner hall.\nIn 1909, assisted by Eduardo Ferrès Puig, he designed the Palace Hotel in Madrid.\nThat year he also modernized the rooms of the Municipal Casino in Nice, and settled in the French Riviera. \nHe came to know many artists including Jules Chéret and Félix Ziem, and met Auguste Renoir. \nTwo artists of lesser importance become close friends, Gervais and Lucas (who executed the paintings of the ambulatory of the Hotel Negresco). \nBetween 1910 and 1914 Niermans was extremely active.\nHe expanded the casino of Châtel-Guyon in Auvergne and built several houses.\nIn 1912 Niermans created the Hotel Negresco on the Promenade des Anglais in Nice for the Romanian hotelier Henri Négresco.\nHe designed it for the reception of royalty, as with other hôtels-palais on the Riviera.\nThis was a time when the Riviera was at the height of its popularity as a resort for the wealthy or high-born, \ntwo years before the outbreak of World War I.\nIt was a rectangular building that occupied a full block of the Promenade des Anglais with four hundred rooms,\neach with a private bath.\nTwo cupolas at the east and west corners were said to have been inspired by the breasts of La Belle Otero.\nThe building had modern features like electric lights, elevators and telephones.\nA huge ballroom was roofed by a glass dome. Eight kings were present when the hotel opened in November 1912.\nAfter World War I, Niermans worked in partnership with architects Émile Molinié (1877-1964), Charles Nicod and Albert Pouthier. \nHe also worked with his architect sons, Édouard and Jean, who collaborated after their father's death until the mid-1960s. Jean became a particularly noted architect. After winning the Prix de Rome as a student in 1929, he would be named Knight (1938) and later Officer (1949) of the Legion of Honor; Officer of the Academy (1949); Member of the Academy (1956); and Knight of the Arts and Letters (1962). He also won the Croix de Guerre for his service in World War I.\nÉdouard-Jean Niermans died on 19 October 1928 in his chateau vineyard in Montlaur, Aude, about which he was passionate during the last years of his life. \nMontlaur is now owned by his grandchildren.\nA very well known architect in his day, catering to the fashionable elite, Niermans has since been largely forgotten. This is due, in part, to the fact that many of his edifices have been drastically modified or destroyed to satisfy changing tastes and needs.", "1889: Moulin Rouge in the 18th arrondissement of Paris\n1889:Théâtre des Capucines, Boulevard des Capucines in the 8th arrondissement of Paris\n1892-1896:Théâtre de Paris, restoration\n1894:Le Trianon (theatre), Montmartre\n1894-1898: Renovation of the Théâtre Marigny, in the 8th arrondissement of Paris (from a panorama built by Charles Garnier )\n1899-1900: Royal Palace in Ostend in Belgium for the Compagnie internationale des Grands Hôtels\n1900-1901: Apartment building, 12 rue Meynadier in the 19th arrondissement of Paris\n1902-1903: Hotel at 12-14 rue Boucher de Perthes; chalets at 2-4 rue Duquesne; villas at 29 & 35 avenue du Marechal Foch in Mers-les-Bains (Somme)\n1903-1905: Palace Hotel, 1 Avenue of the Empress in Biarritz (Pyrénées-Atlantiques)\n1906-1907: Hotel Savoy at Fontainebleau-Avon ( Seine-et-Marne )\n1908: Hôtel de Paris Monte-Carlo, renovation\n1911-1912: Apartment building, 37bis Promenade des Anglais in Nice (Alpes-Maritimes)\n1911-1913 Hôtel Pyrénées Palace, Bagnères-de-Luchon (Haute-Garonne)\n1911-1913: Hôtel Negresco for Henri Negresco and Alexandre Darracq, Promenade des Anglais in Nice, with the painters H. Lucas and P. Gervais, and the decorator Barbéris\n1912-1915: Park-Palace building, boulevard des Moulins and avenue Saint-Michel, Monte-Carlo, Monaco\n1914-1919: Construction of the théâtre Mogador (operating architect), 25 rue de Mogador in the 9th arrondissement of Paris\n1920-1926: Villa du Paradou (later known as Villa Le Colombier), 162 Boulevard du Mont-Boron, Nice (for himself and, later, his daughter, Hélène Niermans)\n1926-1929: Villa 18 Avenue du Docteur Roux, Nice, with Jean Niermans", "Notes\nNiermans was once called \"a Parisian born in Holland by an error of nature.\" \nCitations\nDion 1991, p. 3.\nDion 1991, p. 4.\nNewby 2013, p. 523.\nDion 1991, p. 15.\nDion 1991, p. 6-7.\nDenby 1998, p. 285.\nDomaine de Montlaur Website.\nDenby 1998, p. 90.\nDenby 1998, p. 92.\nDenby 1998, p. 251.\nRing 2011, p. 52.\nFact Sheet: Jean and Édouard Niermans - in French.\nVilla du Paradou.\nVilla Le Colombier.\nSources\nDenby, Elaine (1998). Grand Hotels: Reality and Illusion. Reaktion Books. ISBN 978-1-86189-121-1. Retrieved 2017-05-07.\nDion, Mathilde (1991). \"Notices biographiques d'architectes français – Édouard-Jean Niermans (1859-1928)\" (PDF). Institut français d’architecture. Retrieved 2017-05-07.\nNewby, Eric (2013). On the Shores of the Mediterranean. HarperCollins UK. ISBN 9780007508198.\n\"Domaine de Montlaur (Home of Édouard Niermans) Website\". Retrieved 2017-05-07.\nRing, Jim (2011-04-21). Riviera: The Rise and Rise of the Côte d'Azur. Faber & Faber. ISBN 978-0-571-27747-6. Retrieved 2017-05-07.\n\"Fact Sheet: Jean Niermans (1897-1989) et Édouard Niermans (1904-1984) - in French\". Institut français d’architecture (ArchiWebture.citechaillot.fr). Retrieved 2017-05-07.\n\"Villa du Paradou, bd Mont-Boron, Nice (Alpes-Maritimes): aménagements. 1920 - in French\". ArchiWebture: inventaires d'archives d'architectes en ligne. Retrieved 2017-05-07.\n\"Villa Le Colombier, Nice (Alpes-Maritimes). 1926 - in French\". ArchiWebture: inventaires d'archives d'architectes en ligne. Retrieved 2017-05-07." ]

[ "Édouard Niermans (architect)", "Early career", "Paris architect", "Riviera", "Key achievements", "References" ]

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[ "Édouard Nieuport aboard a Nieuport aircraft" ]

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[ "https://upload.wikimedia.org/wikipedia/commons/6/68/NieuportEdouard.jpg" ]

[ "Édouard de Niéport, usually known as Édouard Nieuport (1875–1911) was the co-founder with his brother Charles of the eponymous Nieuport aircraft manufacturing company, Société Anonyme Des Établissements Nieuport, formed in 1909 at Issy-les-Moulineaux. An engineer and sportsman, Édouard was also one of the pre-eminent aeroplane designers and pilots of the early aviation era (from the late 19th century to the outbreak of World War I in 1914).\nAs a pilot, he set a new world speed record of 74.37 miles per hour (119.69 km/h) on 11 May 1911 at Mourmelon, flying his Nieuport II monoplane, powered by a 28 horsepower (21 kW) engine of his own design.\nLater that year at Châlons, he bettered this time with a new record of 82.73 miles per hour (133.14 km/h).\nRacing for the Gordon Bennett Trophy in July at Eastchurch, he finished third, beaten for first place by one of his own aircraft, flown by the American pilot C. T. Weymann.", "He was born on 24 August 1875 in Blida, Algeria, the son of an officer in the French army. and he had a brother and fellow aviator, Charles de Niéport. He died after the wing of his aircraft stalled during a turn during a military display on 16 September 1911 in Charny, France.", "At Buc the same year, the pilot Gobé set a new closed-circuit distance record of 459.968 miles (740.247 km) in a Nieuport design.\nIn the Gordon Bennett Trophy race his designs were placed both first and third.\nAs a designer, his aeroplanes won many awards, prizes, and competitions during 1910 and 1911, not to mention achieving some historical firsts:\nHis early Nieuport II (Roman numeral two, not the later famous type eleven), was flown at Rheims in July 1910, and was judged by many as the best in the show.\nOn 24 October 1911 a Nieuport IVG, flown for the Italian Army Air Corps in North Africa by Capitano Moizo, made the second-ever reconnaissance flight by a military aeroplane, and perhaps the first bombing run.\nA Nieuport monoplane, flown by Weymann, won the French Military Aircraft trials competition held in October and November 1911.", "His brother Charles de Niéport, who continued his work, died in a crash landing barely a year later on 24 January 1913. Édouard's designs continued to be built by the company and licensed for production internationally. His aircraft were all monoplanes, not the biplanes for which the company became famous during the First World War. His monoplanes were sold throughout Europe, and involved in many other aviation firsts:\nThe first round trip over the Mediterranean in 1913, flown by Lieutenants Destrem and de l'Escaille of the Marine Nationale from St. Rafael to Ajaccio in Corsica and back.\nA world altitude record of 20,079 ft (6,120 m) by Georges Legagneux, also at St. Raphael.\nAn epic seven-week flight from Villacoublay to Cairo by pilot Marc Bonnier and a passenger.\nSome of the very first tests of machine-gun mounting on aircraft.\nThe first ever successful loop, performed by Lieutenant Pyotr Nesterov of the Imperial Russian Air Service on 20 August 1913.\nIn January 1914 Gustave Delage joined the company and by adding a small set of lower wings to a type 10 parasol monoplane began to develop the highly successful sesquiplanes (\"one and a half wing\" aircraft with a full chord upper wing and a single-spar, half-chord lower wing) for which the Nieuport company would become famous during World War I.", "\"Édouard de Niéport dit Nieuport\". L'Aérophile (in French): 449. 1 October 1911.\nTheDeath of M. NieuportFlight International23 September 1911", "Kenneth Munson, Pioneer Aircraft 1903-14\nPhil Jarrett (Editor) Pioneer Aircraft; Early Aviation before 1914" ]

[ "Édouard Nieuport", "Biography", "Records set by his aircraft", "Legacy", "Notes", "References" ]

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[ "https://upload.wikimedia.org/wikipedia/commons/a/aa/%C3%89douard_Nignon_%281865-1934%29.jpg" ]

[ "Édouard Nignon ([edwaʁ niɲɔ̃]; 9 November 1865, Nantes - 30 October 1934, Bréal-sous-Montfort) was a French chef and writer of cookbooks.", "One of eight children of a day laborer and a seamstress, Nignon became an apprentice at Cambronne Restaurant at the age of 9. A year later, he joined Monier Restaurant, where he learned to read and write. After more work in Angers and Cholet, he arrived to Paris, where he assisted famous chefs and eventually became a chef himself.\nHe lived in Austria and Russia, where he served the highest dignitaries, including the emperors Nicholas II of Russia and Franz Joseph I of Austria. He worked as the chef of Claridge's in London from 1894 to 1901. In 1908, he bought Larue Restaurant in Paris. He retired in 1928.\nWhen his restaurant was going through a crisis in World War I, he started writing cookbooks. His most famous cookbook, Éloges de la cuisine française (\"Praise of French Cuisine\"), was published in 1933. It promoted deglazing with water, clear broths, and parsimonious seasoning.\nNignon is credited with inventing the beuchelle tourangelle, a veal kidney and rice stew inspired by the Austrian beuschel stew. Interested in unusual taste combinations, he created oysters with camembert and homard a la dinardaise, a lobster salad with the \"insane trio\" of truffles, mustard and pickles.", "Ignored by the general public, Nignon has been recognized by chefs as one of the fathers of modern cuisine. His legacy has been revived after a long period of being eclipsed by his more famous contemporary, Auguste Escoffier.\nMichel Guérard, one of the founders of nouvelle cuisine, described Nignon as a visionary chef who had a huge influence on French cooks such as himself and Joël Robuchon. A recent article on contemporary cookbooks called Nignon \"the Flaubert of the ovens,\" who created \"gourmet epics\". His Eulogies were called a \"seminal book\" of \"bourgeois cuisine.\"\nAn original copy of Nignon's Heptameron was sold for 16 thousand euros in the 2010s.\nChef Yvon Garnier founded Culinary Institute Edouard Nignon in Nantes.", "1919 : L'Heptaméron des gourmets ou les Délices de la cuisine française (The Seven Days of Gourmets or the Delights of French Cuisine)\n1926 : Les Plaisirs de la table, où sous une forme nouvelle, l'auteur a dévoilé maints délicieux secrets et recettes de bonne cuisine, transcrits les précieux avis de gourmets fameux et de fins gastronomes, conseillers aimables et sûrs en l'art de bien manger (The pleasures of the table, where the author uses a new form to reveal many delicious secrets and recipes of fine cuisine, transcribing precious advice of famous gourmets and fine gastronomes, kind and confident counsellors of the art of fine dining)\n1933 : Éloges de la cuisine française (Praise of French cuisine), with a preface by Sacha Guitry.", "Bernard Thomasson (30 April 2017). \"L'Histoire à la carte. Édouard Nignon : le littéraire des fourneaux\". France Info. \nNicolas Raduget. \"La Beuchelle tourangelle\". C du Centre.\nFrançois-Régis Gaudry (7 November 2008). \"Paris: L'Assiette\". L'Express.\nChristian Etchebest (2015). In La cantine du troquet. Solar.\nElisabeth Couturier (25 July 2014). \"La nourriture de l'art\". Paris Match.\n\"Ce chef nantais qui fait saliver le cinéma\". Presse Ocean. 30 September 2012.\nFrançois Simon (16 May 2012). \"La galaxie Guérard, la minceur et son diktat exquis\". Le Figaro.\nOlivia Parker (9 April 2014). \"Five-minute chef: health-food guru Michel Guérard\". The Telegraph.\nLaura-Mai Gaveriaux (8 December 2017). \"Livres de cuisine, les très bonnes feuilles\". Les Echos.\nCamille Labro (10 November 2015). \"Le Retour de la cuisine bourgeoise\". Le Monde.\nBeba Marsano (26 June 2014). \"Da Catone a Marinetti, arrivano online le ricette degli antichi libri di cucina\". Corriere della Sera.", "Institut Édouard Nignon" ]

[ "Édouard Nignon", "Life", "Legacy", "Works", "References", "External links" ]

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[ "Photograph of Pailleron by Étienne Carjat, c. 1875", "Portrait of Edouard and Marie-Loise Pailleron, John Singer Sargent, 1881", "Édouard Pailleron by John Singer Sargent", "Madame Edouard Pailleron, John Singer Sargent, 1879" ]

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[ "https://upload.wikimedia.org/wikipedia/commons/a/aa/Edouard_Pailleron_par_Carjat_BNF_Gallica.png", "https://upload.wikimedia.org/wikipedia/commons/7/73/Portrait_of_%C3%89douard_and_Marie-Louise_Pailleron.jpg", "https://upload.wikimedia.org/wikipedia/commons/b/b9/Edouard_Pailleron.JPG", "https://upload.wikimedia.org/wikipedia/commons/3/32/Madame_Edouard_Pailleron.jpg" ]

[ "Édouard Jules Henri Pailleron (7 September 1834 – 19 April 1899) was a French poet and dramatist best known for his play Le Monde où l'on s'ennuie.", "Édouard was born in Paris on 7 September 1834. From a Parisian cultured \"bourgeoise\" family (upper-middle class), he earned first a doctorate in law, then became in succession a lawyer, notary clerk, soldier (a dragoon for two years), but irresistibly attracted by writing, he achieved his first success in 1860 with his one-act play Le Parasite, represented at the Odéon-Théâtre in Paris.", "He had a successful career with his comedies about social customs (comedies de moeurs). His first big hit was obtained at the Theatre du Gymnase, in 1868, with Le Monde où l'on s'amuse (the World where you're having fun), after which he became Director of the Comédie Française (where he was admitted in 1863 with his play Le Dernier quartier - the Last district).\nFollowing his marriage, he became co-director of the Revue des Deux Mondes, a monument of the Romantic literature era founded by his father-in-law.\nHis career culminated in 1881 with Le Monde où l'on s'ennuie (the World where you are bored), one of the most strikingly successful pieces of the period with a prodigiously long run (over 1000 performances at La Comedie Française in Paris, and great success in St Petersburg, London, etc.) The play, a satirical comedy in three acts, ridiculed contemporary upper class society and was filled with transparent allusions to well-known people. The play was later adapted into English by Clinton Stuart under the title Our Society and presented at Madison Square Theatre in 1886. In America, the role of Suzanne, which was originated by French actress Suzette Reichenberg, was played by Annie Russell.\nHis triumphal success earned him his election to the famous Académie française in 1882 (seat n°12) and he was awarded the Légion d'honneur. Neither of his two last works (La Souris in 1887, and Cabotins in 1894) achieved so great a success.\nAfter his death, his plays continued to be produced and staged for many years.", "In 1862, he married Marie Buloz, the daughter of François Buloz, founder and director of the world-wide famous Revue des Deux Mondes. From his marriage with Marie, Edouard had three children:\nÉdouard Pailleron Jr., who married Marguerite Forest, a daughter of his friend, the French Senator Charles Forest.\nHenri Pailleron, who died at only six years old.\nMarie-Louise Pailleron (1870–1951), who became an erudite historian of the \"Revue des deux mondes\" and of the major names in French literature of the 19th century. She married, and divorced, French writer Paul Bourget.\nPailleron died on 19 April 1899.", "Pailleron was a close friend of the American artist John Singer Sargent, who studied painting at the Parisian École des Beaux-Arts, introducing him to the Parisian high-life society which was very important for the beginning of his successful career. Sargent painted several portraits of Edouard and his family, which are all currently in museums, mainly American ones. Sargent painted a portrait of Edouard in 1879 (now in the Musée Chateau de Versailles, France), also his wife Marie in 1880 (now in the Corcoran Gallery of Art in Washington, D.C.), and also of his children, Edouard Jr. and Marie-Louise in 1881 (now in the Des Moines Art Center). These paintings were among the first to make John Singer Sargent famous.", "A statue bust of Edouard Pailleron, sculpted in 1906 by Russian-born artist Leopold Bernard Bernstamm, is located in the Parc Monceau in Paris.\nFinally, his vacation property above Chambéry (Savoie), named \"La Souris\", built in the last years of the 19th century, is still surviving and virtually unchanged as the original park with trees more than 100 years old, even if the whole is now an allotment. In contrast, in the same park, the cottage of his friend Charles Forest, Senator of Savoie, whose daughter Marguerite married his son Edouard, no longer exists.", "In France, his name became famous again in the 1970s because it was given to a school in Paris near Buttes Chaumont Park in northeastern Paris. The school was destroyed by a fire on 6 February 1973, killing 21 children.", "\"A FRENCH DRAMATIST DEAD.; M. Edouard Jules Henri Pailleron Has Passed Away\". The New York Times. 21 April 1899. Retrieved 13 May 2020.\nChisholm, Hugh, ed. (1911). \"Pailleron, Édouard Jules Henri\" . Encyclopædia Britannica. Vol. 20 (11th ed.). Cambridge University Press. p. 456.\n\"Notes of the Week: Miss Mary Anderson will begin a short Spring season at the Star Theatre May 10\". The New York Times. 25 April 1886. p. 9. \"The Little Tycoon\" is announced for nightly repetition at the Fifth Avenue Theatre.\n\"NEW PLAY AT THE FRANCAIS; \" CABOTINS\" BY PAILLERON SAVED BY SOME GOOD ACTORS. The Love e Story of a Rising Sculptor -- Enamored of Valentine, a Studio Waif -- Her Guardian and His Com- ical Secretary -- A Provencal Full of Bousts and Impudence -- The Inevita- ble Wicked Wife -- The Sculptor's Peasant Mother -- Got and Coquelin\". The New York Times. 25 March 1894. Retrieved 13 May 2020.\n\"TALK OF LONDON THEATRES; Charles Frohman Pleased with the Success of \"Secret Service\" at the Adelphi. MUST GIVE WAY TO BERNHARDT M. Pailleron's Comedy the Forerunner of Great Conflagrations -- Plans of Mr. Daly, Daniel Frohman, and Others -- Bernhardt's New Plays\". The New York Times. 30 May 1897. Retrieved 13 May 2020.\n\"PAILLERON IN MATINEE.; \" Little Miss Mouse\" at Wallack's Reveals a Promising Young Actress\". The New York Times. 9 May 1902. Retrieved 13 May 2020.\n\"PAILLERON'S FARCE PLAYED IN FRENCH; \" Le Monde ou l'on s'Ennuie \" Inaugurates the Last Fortnight of the Season. ALL THE FAVORITES SEEN Yvonne Garrick and Mme. Diska Take First Place in This Revival of a Time-Worn Comedy\". The New York Times. 18 April 1916. Retrieved 13 May 2020.\n\"IN THE THEATRES ALONG BROADWAY\". The New York Times. 16 April 1916. Retrieved 13 May 2020.\n\"Marguerite Forest, fille du sénateur Charles Forest et belle-fille de l'écrivain Edouard Pailleron (propriétaire), Ex-libris. Ex-libris\". www.livre-rare-book.com. Retrieved 13 May 2020.\n\"Art: 'The Private World of John Singer Sargent'; Corcoran Gallery Puts 170 Works on Display; Some of Works Loaned by Family Collection\". The New York Times. 20 April 1964. Retrieved 13 May 2020.\n\"Highlights From 'Sargent: Portraits of Artists and Friends' at the Met\". The New York Times. 2 July 2015. Retrieved 13 May 2020.\nRobertson, Nan (14 February 1973). \"School Fire Allegedly Set by a Pupil And Fatal to 21 Stirs a French Debate\". The New York Times. Retrieved 13 May 2020.\nParis en Dates et en Chiffres. Editions Jean-paul Gisserot. p. 168. ISBN 978-2-87747-833-5. Retrieved 13 May 2020.", "Je Passais, Pailleron's 1887 poem." ]

[ "Édouard Pailleron", "Early life", "Career", "Personal life", "Friendship with John Singer Sargent", "Legacy", "Collège Édouard-Pailleron", "References", "External links" ]

[ 3855, 3856, 3857, 3858 ]

[ 18416, 18417, 18418, 18419, 18420, 18421, 18422, 18423, 18424, 18425, 18426, 18427, 18428, 18429, 18430, 18431 ]

[ "Dhorme in Paris, about 1940" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/b/bf/Edouard_dhorme_paris-vers-1940.png" ]

[ "Édouard Paul Dhorme (15 January 1881 in Armentières, Nord – 19 January 1966 in Roquebrune-Cap-Martin (Alpes-Maritimes)) was a French Assyriologist, Semitologist and translator of the Bible.", "He was director of the French School of Biblical Archeology in Jerusalem from 1927 to 1930, and director of studies at École pratique des hautes études from 1933 to 1951, and a professor at Collège de France from 1945 to 1951. He was elected a member of the Académie des inscriptions et belles-lettres in 1948.\nOne of his greatest works treated of the religions of Babylon and Assyria. His French translation of the Old Testament was prepared under the direction of Gallimard at the Bibliothèque de la Pléiade. Along with Hans Bauer, Dhorme is credited with the decipherment of the Ugaritic writing system.", "Études bibliques. Choix de textes religieux assyro-babyloniens, transcription, traduction, commentaire, Paris, 1907\nLa Religion assyro-babylonienne : conférences données à l'Institut catholique de Paris, Paris, 1910\nÉtudes bibliques : Les livres de Samuel, Paris, 1910\nL'emploi métaphorique des noms de parties du corps en hébreu et en akkadien, Paris, 1923.\nÉtudes bibliques : Le livre de Job. Introduction, traduction et commentaire, Paris, 1926\nLangues et Écritures sémitiques, 1930\nLa Poésie biblique. Introduction à la poésie biblique et trente chants de circonstance, Paris, 1931\nL'Evolution religieuse d'Israël. Tome I. La religion des Hébreux nomades, 1937\nLes Religions de Babylonie et d'Assyrie, suivi de Les Religions des Hittites et des Hourrites, des Phéniciens et des Syriens par René Dussaud, 1945 ; 1949\nRecueil Édouard Dhorme : études bibliques et orientales, Paris : Impr. Nationale, 1951\nLa Bible, Paris : Gallimard, 1956\nA Commentary on the Book of Job(translation into English and preface by Francis I. Andersen - Nelson 1983)", "Agnès Spycket, « Les Archives d'Édouard Dhorme (1881-1966) à la bibliothèque du Saulchoir » in Revue Biblique, 104:1 (1997): 5-39. Palmyrean and Syriac.\nBiographie d'Édouard Dhorme sur le site Persée", "Marie-Joseph Lagrange\nRené Dussaud\nJean Bottéro", "Works by or about Édouard Paul Dhorme at Internet Archive" ]

[ "Édouard Paul Dhorme", "Career", "Principal publications", "Bibliography", "Connected Articles", "External links" ]

[ 3859 ]

[ 18432, 18433, 18434, 18435 ]

[ "Philippe in 2020", "Philippe (centre) with Senate President Gérard Larcher (left) and then-National Assembly President François de Rugy (right) on Armistice Day, 11 November 2017", "", "", "Édouard Philippe dedicating Impressions and clear lines in Fontainebleau, on 29 June 2021." ]

[ 0, 4, 6, 7, 8 ]

[ "https://upload.wikimedia.org/wikipedia/commons/e/ef/EDOUARD_PHILIPPE_DEAUVILLE_2020.jpg", "https://upload.wikimedia.org/wikipedia/commons/6/6c/Edouard_Philippe_%283%29.JPG", "https://upload.wikimedia.org/wikipedia/commons/e/ed/National_Order_of_Merit_Grand_Cross_Ribbon.png", "https://upload.wikimedia.org/wikipedia/commons/1/1e/Order_of_Merit_-_Grand_Cross_%28Senegal%29_-_ribbon_bar.png", "https://upload.wikimedia.org/wikipedia/commons/e/e0/2021-06-29_13-04-28_-_Fontainebleau_-_%C3%89douard_Philippe_s%C3%A9ance_d%C3%A9dicace.jpg" ]

[ "Édouard Charles Philippe (French: [edwaʁ ʃaʁl filip]; born 28 November 1970) is a French politician serving as Mayor of Le Havre since 2020, previously holding the office from 2010 to 2017. He was Prime Minister of France from 15 May 2017 to 3 July 2020 under President Emmanuel Macron.\nA lawyer by occupation, Philippe is a former member of the Union for a Popular Movement (UMP), which later became The Republicans (LR). He served as a member of the National Assembly from 2012 to 2017, representing the seventh constituency of Seine-Maritime. After being elected to the presidency on 7 May 2017, Macron appointed him Prime Minister of France. Philippe subsequently named his government on 17 May. He was succeeded by Jean Castex before his reelection to the mayorship in Le Havre.", "Édouard Philippe, the son of French teachers, was born in Rouen in 1970 and grew up in a left-wing household. He has one sibling, a sister. He comes from a family of dockworkers, a profession in which members of his family are still employed. He grew up in a suburban neighbourhood in Rouen. He was at first a pupil at the Michelet School in Rouen before moving to Grand-Quevilly where he attended Jean-Texier College and later attending Lycée les Bruyères in Sotteville-lès-Rouen.\nHe obtained his baccalauréat at the École de Gaulle-Adenauer in Bonn, and after a year in hypokhâgne, he studied at Sciences Po for three years and graduated in 1992, and later studied at the École nationale d'administration (ÉNA) from 1995 to 1997 (the \"Marc Bloch cohort\").\nPhilippe served as an artillery officer during his national service in 1994. He continued to serve in the operational reserve for several years afterwards.\nIn his years at Sciences Po, he supported Michel Rocard and was influenced by him, identifying with the Rocardian and social democratic wings of the Socialist Party. His brief flirtation with the Socialists ended after Rocard was toppled from the leadership of the Socialist Party. After leaving the ÉNA in 1997, he went on to work at the Council of State, specialising in public procurement law.", "In 2001, Philippe joined Antoine Rufenacht as Deputy Mayor of Le Havre charged with legal affairs; Rufenacht served as mayor of Le Havre from 1995 to 2010 and campaign director for Jacques Chirac in the 2002 presidential election. Recognising the ideological proximity between Michel Rocard and Alain Juppé, Philippe supported the latter at the time of the creation of the Union for a Popular Movement (UMP) in 2002, marking the end of his left-wing activism; the same year, he failed to win his constituency in the legislative elections. He served under Juppé as director general of services of the UMP until 2004, when the mayor of Bordeaux was convicted as a result of the fictitious jobs case implicating the Rally for the Republic (RPR). He then took a job in the private sector, working with the American law firm Debevoise & Plimpton LLP, and was elected to the regional council of Upper Normandy the same year.\nIn the wake of Nicolas Sarkozy's victory in the 2007 presidential election, Philippe briefly returned to political life working for Alain Juppé, when Juppé served briefly as Minister of Ecology, Sustainable Development and Energy, before being appointed Director of Public Affairs at Areva, where he worked from 2007 to 2010. He was also substitute to Jean-Yves Besselat, who served as the member of the National Assembly for Seine-Maritime's 7th constituency from 2007 to 2012. In 2008, he was elected to the general council of Seine-Maritime in the canton of Le Havre-5, and in 2010 was elected mayor of Le Havre after the resignation of Rufenacht, his mentor, and also became President of the Agglomeration community of Le Havre the same year. After Besselat's death in 2012 following a long illness, Philippe took his seat, successfully holding it in the subsequent legislative elections. He was reelected as Mayor of Le Havre in the 2014 municipal elections in the first round, with an absolute majority of 52.04% of expressed votes. Following his resignation on 20 May 2017 as Le Havre Mayor, he retained a seat in the municipal council.", "He worked for the campaign of Alain Juppé in the primary of the right and centre in 2016, serving as a spokesperson alongside Benoist Apparu. Though Philippe and Apparu, as well as Christophe Béchu, later joined the campaign of François Fillon for the 2017 presidential election after his victory in the primary, the three parliamentarians – close to Juppé – quit on 2 March 2017 after the candidate was summoned to appear before judges amidst the Fillon affair. He said he would not seek to retain his seat in the legislative elections in June to avoid breaching the law limiting the accumulation of mandates. Following the victory of Emmanuel Macron in the presidential election, there was speculation that Philippe was a potential choice for Prime Minister, representing three essential aspects: political renewal (at the age of only 46), affiliation with the centre-right, and familiarity with the political terrain.", "On 15 May 2017, Philippe was appointed as Prime Minister by Emmanuel Macron after speculation he was a contender for the office alongside former Ecology Minister Jean-Louis Borloo, MoDem Leader François Bayrou and IMF Managing Director Christine Lagarde.\nIn the June 2017 legislative elections, Macron's party, renamed \"La République En Marche!\", together with its ally the Democratic Movement (MoDem), secured a comfortable majority, winning 350 seats out of 577, with his party alone winning an outright majority of 308 seats. Philippe is a member of The Republicans though he campaigned for La République En Marche! due to the party supporting his role as Prime Minister. He formed the Second Philippe government on 21 May 2017 following a series of resignations after scandal embroiled Ministers François Bayrou, Sylvie Goulard, Marielle de Sarnez and Richard Ferrand. This diminished Democratic Movement's representation in the government significantly.\nPhilippe secured a vote of confidence and was allowed to govern with a majority government on 4 July 2017. He was confirmed with a vote of 370 against 67. Following the vote, Philippe addressed the parliament, talking about plans to tackle France's debt by raising cigarette tax and cutting spending. Philippe also talked about plans to reduce corporate tax from 33.3% to 25% by 2022. Philippe announced the government's labour reform plan which will give companies more power when it comes to negotiating conditions directly with their employees. Labour reform was one of Macron's biggest election promises and has been seen as the government's biggest economic reform.\nOn 12 July 2017, Philippe announced a new immigration plan. The plan attempts to speed up asylum claims from fourteen months to six, provide housing for 7,500 refugees by the end of 2019, improve living conditions for minors and deport economic migrants. The draft of the law will be introduced in September.\nOn 3 July 2020, Philippe resigned as Prime Minister. He ran successfully in the 2020 Le Havre mayoral election.\nIn October 2020, Philippe was one of several current and former government officials whose home was searched by French authorities following complaints about the government's handling of the COVID-19 pandemic in France.\nAhead of the 2022 presidential election, Philippe endorsed Macron for reelection.", "Philippe is married to Édith Chabre, the executive director of the School of Law at Sciences Po. They have three children.\nSince the middle of the 2010s, Philippe has sported a short beard. He is the first Prime Minister with facial hair since Henri Queuille (Prime Minister in 1951) and the first one with a full beard since Alexandre Ribot (Prime Minister last in 1917). Further, he is one of a few Prime Ministers in the last century (Henri Queuille, Raymond Barre, Francois Fillon, Jean-Marc Ayrault) to be older than the president he served under, by an unprecedented seven years.\nAs Prime Minister, he announced that he had vitiligo, a skin disease responsible for the noticeable white patch of hair on his beard.", "", "", "Philippe has co-authored two works of fiction:\nWith Gilles Boyer (2007). L'Heure de vérité. Flammarion. ISBN 9782081237728.\nWith Gilles Boyer (2011). Dans l'ombre. Jean-Claude Lattès. ISBN 9782709637558. This political thriller recounts a presidential election mired in tricks and betrayals, culminating with the unmasking of the to-be-appointed Prime Minister's criminal history in extremis.\nDes hommes qui lisent. Jean-Claude Lattès. 2017. ISBN 9782709661430.\nIn 2015, he prefaced Promenades avec Oscar Niemeyer by Danielle Knapp, published by Petit à Petit.\nWith Gilles Boyer (2021). Impressions et lignes claires. Jean-Claude Lattès. ISBN 9782709668484.", "\"As it happened: France's local elections see Greens surge, far-right win Perpignan\". 28 June 2020. Archived from the original on 29 June 2020. Retrieved 5 July 2020.\nChazan, David (3 July 2020). \"Edouard Philippe resigns as French prime minister\". The Telegraph. ISSN 0307-1235. Archived from the original on 3 July 2020. Retrieved 3 July 2020.\n\"Les moments-clés de la vie politique d'Edouard Philippe\". Le Monde.fr (in French). 15 May 2017. ISSN 1950-6244. Archived from the original on 4 July 2017. Retrieved 6 August 2017.\n\"Edouard Philippe, un fidèle juppéiste qui s'affranchit pour recomposer\". lesechos.fr (in French). 15 May 2017. Archived from the original on 6 August 2017. Retrieved 6 August 2017.\n\"La jeunesse rouennaise d'Edouard Philippe\". www.paris-normandie.fr (in French). Archived from the original on 25 May 2017. Retrieved 6 August 2017.\nValérie Peiffer; Pierre Simon; Pascal Mateo (16 December 2010). \"Edouard Philippe de A à Z\". Le Point. Archived from the original on 12 February 2012. Retrieved 15 May 2017.\nJules Pecnard (10 May 2017). \"Trois choses à savoir sur Edouard Philippe, le potentiel futur Premier ministre\". L'Express. Archived from the original on 14 May 2017. Retrieved 15 May 2017.\n\"Prime Minister\". Gouvernement.fr. Archived from the original on 30 April 2020. Retrieved 22 July 2017.\nJustine Chevalier (11 May 2017). \"Qui est Edouard Philippe, juppéiste pressenti pour être Premier ministre?\". BFM TV. Archived from the original on 8 August 2017. Retrieved 14 May 2017.\n\"Biographie et actualités de Edouard Philippe\". France Inter. Archived from the original on 16 May 2017. Retrieved 15 May 2017.\n\"Edouard Philippe : Biographie et articles\". Le Point. Archived from the original on 11 May 2017. Retrieved 15 May 2017.\n\"Jean-Yves Besselat, député UMP de Seine-Maritime, est mort\". Le Monde. 23 March 2017. Archived from the original on 24 July 2018. Retrieved 15 May 2017.\nDamien Fleurot (14 October 2014). \"QG, porte-parole: Alain Juppé lance sa campagne\". BFM TV. Archived from the original on 15 October 2017. Retrieved 15 May 2017.\n\"Les juppéistes Apparu, Philippe et Béchu se retirent de la campagne Fillon\". Le Figaro. Agence France-Presse. 2 March 2017. Archived from the original on 7 March 2017. Retrieved 15 May 2017.\n\"Quel Premier ministre souhaitez-vous voir nommé par Macron ? Christine Lagarde a les faveurs des Français\" Archived 17 August 2018 at the Wayback Machine (in French), 5 May 2017, by Alexandre Decroix. Published by LCI.\n\"Le premier ministre Philippe prépare \" un gouvernement rassembleur de compétences \"\". Le Monde. 15 May 2017. Archived from the original on 15 May 2017. Retrieved 15 May 2017.\n\"Top Macron ally Bayrou quits French government\". BBC News. 21 June 2017. Archived from the original on 22 July 2017. Retrieved 22 July 2017.\n\"French Defense Minister Sylvie Goulard asks to step down amid probe\". POLITICO. 20 June 2017. Archived from the original on 6 August 2017. Retrieved 22 July 2017.\n\"François Bayrou, Marielle de Sarnez resign from French government: report\". POLITICO. 21 June 2017. Archived from the original on 6 August 2017. Retrieved 22 July 2017.\n\"Emmanuel Macron's close ally Richard Ferrand to resign from Cabinet; to seek leadership role in En Marche\". Firstpost. 20 June 2017. Archived from the original on 24 July 2017. Retrieved 22 July 2017.\n\"French PM Edouard Philippe wins confidence vote, vows to cut budget deficit\". Firstpost. 5 July 2017. Archived from the original on 5 July 2017. Retrieved 22 July 2017.\n\"French PM Edouard Philippe wins confidence vote\". Jagranjosh.com. 5 January 2017. Archived from the original on 8 July 2017. Retrieved 22 July 2017.\n\"French PM says time to end addiction to public spending - France 24\". France 24. 4 July 2017. Archived from the original on 22 July 2017. Retrieved 22 July 2017.\n\"France unveils pro business reform plan\". www.enca.com. Archived from the original on 5 July 2017. Retrieved 22 July 2017.\n\"Parliament votes massively in favour of cost-cutting reforms\". RFI. 4 July 2017. Archived from the original on 4 August 2017. Retrieved 22 July 2017.\n\"French PM lays out new migrant plan, offers no 'magic wand'\". ABC News. Archived from the original on 17 July 2017. Retrieved 22 July 2017.\n\"Edouard Philippe: France will maintain border controls until November\". POLITICO. 12 July 2017. Archived from the original on 12 July 2017. Retrieved 22 July 2017.\n\"France to boost refugee aid, deport economic migrants - France 24\". France 24. 12 July 2017. Archived from the original on 22 July 2017. Retrieved 22 July 2017.\n\"France's Macron picks Jean Castex as PM after Philippe resigns\". BBC News. 3 July 2020. Archived from the original on 3 July 2020. Retrieved 4 July 2020.\nMerlin Sugue (15 October 2020), French police search health minister’s home as part of coronavirus inquiry Archived 21 October 2020 at the Wayback Machine Politico Europe.\nTristan Quinault-Maupoil (12 September 2021), Présidentielle: Édouard Philippe «soutiendra» Emmanuel Macron en 2022 Le Figaro.\n\"School of Law\". Sciences Po. 17 October 2016. Archived from the original on 18 May 2017. Retrieved 17 May 2017.\n\"Qui est la \"très discrète\" Edith Chabre, épouse d'Edouard Philippe, le nouveau Premier ministre?\". France Soir. 16 May 2017. Archived from the original on 16 May 2017. Retrieved 17 May 2017.\n\"All you need to know about France's little-known Prime Minister Edouard Philippe\". The Local France. 15 May 2017. Archived from the original on 16 May 2017. Retrieved 15 May 2017.\n\"Session 1: Building a Smart Port City for today and tomorrow (Durban)\". 14th World Conference Cities and Ports. Archived from the original on 6 August 2017. Retrieved 15 May 2017.\n\"Qu'est-ce que le vitiligo, l'affection de la peau dont est atteint Edouard Philippe ?\". Archived from the original on 8 July 2020. Retrieved 4 July 2020.\nAlain Auffray (15 May 2017). \"Edouard Philippe, la transgression à Matignon\". Libération. Archived from the original on 16 May 2017. Retrieved 16 May 2017.", "Biography on the National Assembly site\nBiography on the site of Le Havre" ]

[ "Édouard Philippe", "Early life and education", "Political career", "2017 presidential election", "Prime Minister", "Personal life", "Honours", "Foreign honours", "Published works", "References", "External links" ]

[ 3860 ]

[ 18436, 18437, 18438, 18439, 18440, 18441, 18442, 18443, 18444, 18445, 18446, 18447, 18448, 18449, 18450, 18451, 18452, 18453, 18454, 18455, 18456, 18457, 18458, 18459, 18460, 18461, 18462, 18463, 18464, 18465, 18466, 18467, 18468 ]

[ "Piaget" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/2/22/EdouardPiaget.jpg" ]

[ "Édouard Piaget (3 November 1817 in Les Bayards – 10 September 1910 in Couvet) was a Swiss entomologist who specialised in lice (Phthiraptera).", "As a young man, Piaget became a teacher of French at Mr. de Raedt's Instituut Noorthey, an upper class boarding school in the Netherlands. After obtaining a doctorate in Roman Law at Leiden University he remained in the Netherlands but did not practice law as a profession, working instead as a private tutor until 1844, when he was appointed teacher of French and History at the Gymnasium Erasmianum in Rotterdam. Later he taught at the Hogere burgerschool for secondary education in Rotterdam. In 1884, aged 67, he returned to Les Bayards to live with his sister.", "Piaget's collection of lice (Pédiculines) was obtained from animals in the Zoological Gardens at Rotterdam and from skins in the Naturalis in Leiden. It was enhanced by specimens from all over the world sent for identification and description.\nHis entomological collection, herbarium, and library were given to the Musée d'Histoire Naturelle in Neuchâtel. Part of his collection is now in the Natural History Museum in London, with his general entomological collection still at the Muséum d'Histoire Naturelle in Neuchâtel.", "Monographs\n(1880) Les pédiculines: Essay monographique. Leiden, Brill, E. J., 714 pp. pdf\n(1885) Les Pediculines. Essai monographique. Supplement. E. J. Brill, xii+200pp.", "Phthiraptera at www.phthiraptera.org", "Pthirapterists.org, Biography,portrait, list of works with pdf downloads" ]

[ "Édouard Piaget", "Life", "Collection", "Works", "Notes", "External links" ]

[ 3861 ]

[ 18469, 18470, 18471 ]

[ "Édouard Piette" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/7/73/Edouard_PIETTE.jpg" ]

[ "Édouard Louis Stanislas Piette (11 March 1827, Aubigny-les-Pothées – 5 June 1906, Rumigny) was a French archaeologist and prehistorian.", "A magistrate by vocation, at around the age of 28 he developed an interest in geology. He studied the limestone formations of northeastern France and its fossils, and through this research he subsequently made the acquaintance of paleontologist Édouard Lartet and other scientists. During a stay at the Bagnères-de-Luchon spa in the central Pyrenees, he became interested in the glacial geology of the area and the contents of its numerous caves.\nDuring the 1880s and 1890s he performed archaeological work at various Paleolithic and Mesolithic sites in southwestern France. From his excavatory findings at Mas-d'Azil in 1887, he introduced the \"Azilian culture\" to bridge the space between the local Paleolithic and Mesolithic phases. Also, he proposed a subdivision of the French Paleolithic into the Amygdalithic, Niphetic and Glyptic phases, but the idea was not widely accepted by other archaeologists.\nFrom his excavations in southwestern France, he found numerous objects of prehistoric art. Among his discoveries at the cavern of Mas-d'Azil was a statuette of a female carved from the tooth of an equine. At Grotte du Pape near Brassempouy, fragments of seven statuettes were uncovered, including the so-called Dame de Brassempouy. Piette was among the first to support the authenticity and antiquity of the Altamira cave art.\nHe served as president of the Société historique de haute-Picardie and was a member of the Société d'Anthropologie de Paris and the Société géologique de France.\nIn the field of paleontology he circumscribed Cuphosolenus (1876), a genus of extinct sea snails.", "Le lias inférieur de l'est de la France comprenant la Meurthe, la Moselle, le grand-duché de Luxembourg, la Belgique et la Meuse (with Olry Terquem), 1868 – The Lower Lias of eastern France, including Meurthe, Moselle, Luxembourg, Belgium and Meuse.\nNomenclature des temps anthropiques primitifs, 1879 – Classification of primitive human epochs.\nLes subdivisions de l'époque magdalénienne et de l'époque néolithique, 1889 – Subdivisions of the Magdalenian and Neolithic epochs.\nL'époque éburnéenne et les races humaines de la période glyptique, 1894 – The Eburnean era and the human race of the Glyptic period.\nUne station sulistrienne à Gourdan, 1894.\nLes fouilles de Brassempouy en 1894 – Excavations at Brassempouy in 1894.\nHiatus et lacune. Vestiges de la période de transition dans la grotte du Mas d'Azil, 1894 – Hiatus and gap. Remains from the transition period associated with the Mas-d'Azil cave\nLa station de Brassempouy et les statuettes humaines de la période glyptique, 1895 – The Brassempouy site and human statuettes from the Glyptic period.\nLes galets coloriés du Mas d'Azil, 1896 – The colored pebbles of Mas-d'Azil.\nGravure du Mas d'Azil et statuettes de Menton, 1902 – Engravings from Mas-d'Azil and the statuettes of Menton.\nNotions complémentaires sur l'Azilien, 1904 – Additional ideas regarding the Azilian culture.\nL'art pendant l'age du Renne. Album de cent planches, 1907 – Art from the Reindeer Age.\nWith epigraphist Julien Sacaze, he was co-author of La Montagne d'Espiaup (1877) and Les monuments de la montagne d'Espiaup (Pyrénées) (1878).", "Painted Caves: Palaeolithic Rock Art in Western Europe by Andrew J. Lawson\nConcise Oxford Dictionary of Archaeology by Timothy Darvill\nAn introduction to the study of prehistoric art by Ernest Albert Parkyn\nReport Upon the Condition and Progress of the U.S. National Museum by United States National Museum\nPiette, Louis Edouard Stanislas at Sociétés savantes de France\nCuphosolenus Piette, 1876 GBIF.org\nCatalogue of the Astor Library, Volume 4 by Astor Library\nOCLC Classify published works\nGoogle Search (published works)", "Matthew R. Goodrum, \"Edouard Piette.\" Biographical Dictionary of the History of Paleoanthropology. Edited by Matthew R. Goodrum (2019) available at https://drive.google.com/file/d/1xBACqUtpEuevFEqcCcl_Yjh_W41PwS-I/view" ]

[ "Édouard Piette", "Biography", "Selected works", "References", "External links" ]

[ 3862 ]

[ 18472, 18473, 18474, 18475, 18476, 18477, 18478, 18479, 18480 ]

[ "Édouard Pingret, Self-portrait, 1854", "Mother & Son, Pingret 1821" ]

[ 0, 1 ]

[ "https://upload.wikimedia.org/wikipedia/commons/7/73/Edouard_Pingret_-_Self_Portrait%2C_1854.jpg", "https://upload.wikimedia.org/wikipedia/commons/c/c7/Mother_and_son_by_Edouard_Pingret_%281821%29.jpg" ]

[ "Édouard-Henri-Théophile Pingret (30 December 1788 in Saint-Quentin, Aisne – 1875 in Paris 8e) was a French painter and lithographer.", "He was born at Saint-Quentin, Aisne, the son of a middle-class family in a mainly agricultural region, but also home to the celebrated General Cambronne and to illustrious notaries and Normandy judges. Pingret's father, Henri Pingret Jullien, was related to the highest spheres of the Protestant aristocracy, and took up the practice of law in 1781. During the French Revolution, his father was named a representative of the Department of Aisne at the Revolutionary Convention, which required him to maintain a secondary residence in the capital of France, Paris.\nPingret studied under painter Jacques-Louis David as well as Jean-Baptiste Regnault; studied also at the Academy of Saint Luke in Rome. He exhibited in Paris salons from 1810 onward. Was appointed a Chevalier of the Legion of Honor, 1831. From 1850 to 1855 he lived and worked in Mexico City, exhibiting annually at the Academia de Bellas Artes. He produced outstanding portraits, including those of Emperor Napoleon Bonaparte (1808) in France and General Mariano Arista (1851; Mexico City, Mus. N. Hist.). His most important works in Mexico were costumbrista genre scenes. He died in his home town of Saint-Quentin.", "He was also an illustrator of monographs such as \"Voyage de S.M. Louis-Philippe Ier Roi des Francais au Chateau de Windsor. Dedie A S. M. Victoria, Reine d'Angleterre.\" Ed. Pingret, Paris and Ackermann, London, 1846. Large folio, with 25 lithographed plates, some tinted. A fine example of his portrait work can be found in the collection of the Yuko Nii Foundation in Brooklyn, New York. A painting titled Reading A Letter by Pingret is displayed at the Snite Museum of Art at Notre Dame University in South Bend, Indiana.", "Monumens, établissemens et sites les plus remarquables du département de l'Aisne: lithographiés par M. Édouard Pingret Avec des notes explicatives É. Pingret 1821 Engelmann\nProcès-verbaux de l'Académie des Beaux-arts: 1821-1825 p.464 Jean-Michel Leniaud - 2003 \"Pingret, Édouard-Henri-Théophile, 1788-1875, peintre, \"" ]

[ "Édouard Pingret", "Life", "Works", "References" ]

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[ "" ]

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[ "http://upload.wikimedia.org/wikipedia/commons/5/50/%C3%89douard_R%C3%A9millard.jpg" ]

[ "Édouard Rémillard (January 9, 1830 – July 29, 1909) was a lawyer and political figure in Quebec. He represented Bellechasse in the Legislative Assembly of the Province of Canada from 1861 to 1866.\nHe was born in Saint-Gervais, Quebec, the son of Adrien Rémillard and Marguerite Boucher. Rémillard was educated at the Petit Séminaire de Québec, was admitted to the Lower Canada bar in 1856 and set up practice in Quebec City, practising for a time with Christian Pozer. Rémillard also served as captain in the militia. He supported Confederation. In 1860, he married Marie-Émilie Malvina Évanturel, the sister of François Évanturel. He was an unsuccessful candidate for a seat in the Canadian House of Commons in 1867 and for a seat in the Quebec assembly in 1871. Rémillard was named to La Durantaye division of the Legislative Council of Quebec in 1878 and served until 1887. In 1890, he was named registrar for Quebec City district. He died in Quebec City at the age of 79.", "\"Biography\". Dictionnaire des parlementaires du Québec de 1792 à nos jours (in French). National Assembly of Quebec." ]

[ "Édouard Rémillard", "References" ]

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[ 18486 ]

[ "", "" ]

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[ "https://upload.wikimedia.org/wikipedia/commons/1/10/%C3%89douard_Ren%C3%A9_de_Laboulaye_by_Nadar.jpg", "https://upload.wikimedia.org/wikipedia/commons/6/6e/EdwardMoran-UnveilingTheStatueofLiberty1886Large.jpg" ]

[ "Édouard René Lefèbvre de Laboulaye ([edwaʁ ʁəne ləfɛvʁ də labulɛ]; 18 January 1811 – 25 May 1883) was a French jurist, poet, author and anti-slavery activist. In 1865, he originated the idea of a monument presented by the French people to the United States that resulted in the Statue of Liberty in New York Harbor. He got the idea thinking that this would help strengthen their relationship with the United States.", "Laboulaye was received at the bar in 1842, and was chosen professor of comparative law at the Collège de France in 1849. Following the Paris Commune of 1870, he was elected to the national assembly, representing the departement of the Seine. As secretary of the committee of thirty on the constitution he was effective in combatting the Monarchists in establishing the Third Republic. In 1875, he was elected a life senator, and in 1876 he was appointed administrator of the Collège de France, resuming his lectures on comparative legislation in 1877. Laboulaye was also chairman of the French Anti-Slavery Society and president of the Société d'économie politique.\nAlways a careful observer of the politics of the United States, and an admirer of its constitution, he wrote a three-volume work on the political history of the United States, and published it in Paris during the height of the politically repressed Second Empire. During the American Civil War, he was a zealous advocate of the Union cause and the abolition of slavery, publishing histories of the cultural connections of the two nations. At the war's conclusion in 1865, he became president of the French Emancipation Committee that aided newly freed slaves in the U.S. The same year he had the idea of presenting a statue representing liberty as a gift to the United States, a symbol for ideas suppressed by Napoleon III. The sculptor Frédéric Auguste Bartholdi, one of Laboulaye's friends, turned the idea into reality.", "Laboulaye wrote poetry in his spare time. One of his poems, \"L'Oiseau bleu\" was set by Victor Massé. Laboulaye also translated into French the autobiography of Benjamin Franklin and the works of Unitarian theologian William Ellery Channing.\nLaboulaye published many books. Those relating to the United States include:\nPolitical History of the United States (3 vols., 1855–1866)\nThe United States and France (1862)\nParis en Amerique (1863) translated into English by Mary Louise Booth\nThe Poodle-Prince (Le Prince Caniche) (1868) translated into English by Mary Robinson in 1895 (ISBN 978-2-37037-002-0)", "Laboulaye was an important historical figure in the 2007 film National Treasure: Book of Secrets.", "Laboulaye, Córdoba, a city in Argentina named in his honour.", "Khan, Yasmin Sabina (2010) Enlightening the world: the creation of the Statue of Liberty p.40. Cornell University Press, 2010\nMayeur, Jean Marie; Corbin, Alain; Schweitz, Arlette (1995), Les immortels du Sénat, 1875-1918: les cent seize inamovibles de la Troisième République, Publications de la Sorbonne, pp. 366–, ISBN 978-2-85944-273-6, retrieved 18 August 2017\nFoner, Eric (1998). The Story of American Freedom. New York City: W.W. Norton & Company. p. 115. ISBN 0-393-31962-8.", "John Bigelow (1889). Some Recollections of the Late Edouard Laboulaye. New York: G.P. Putnam's Sons.\nYasmin Sabina Khan (2010). Enlightening the World: The Creation of the Statue of Liberty. Cornell University Press. p. 40. ISBN 978-0-8014-4851-5.\nFrédéric Passy (1884). Édouard Laboulaye: conférence faite à la Société du travail (in French). Paris: Guillaumin.\nWalter Dennis Gray (1994). Interpreting American Democracy in France: The Career of Édouard Laboulaye, 1811-1883. Newark: University of Delaware Press. ISBN 0-87413-461-7.\nJames Grant Wilson; John Fiske, eds. (1888). \"Laboulaye, Édouard René de\". Appletons' Cyclopædia of American Biography. Vol. 3. D. Appleton & Co. pp. 581–582.\nOscar Fay Adams (1889). \"Édouard René de Laboulaye\". Dear Old Story-teller. Boston: D. Lothrop Company. p. 125. (short biography of life and works)\nJames Guida (6 April 2019). \"The Sly Modernity of Édouard Laboulaye's Fairy Tales\". New York Review of Books. Retrieved 6 April 2019.", "Lyric by Laboulaye\nWorks by Édouard Laboulaye at Project Gutenberg\nWorks by or about Édouard René de Laboulaye at Internet Archive\nWorks by Édouard René de Laboulaye at LibriVox (public domain audiobooks) \nThe Statue of Liberty Laboulaye brought to NYC" ]

[ "Édouard René de Laboulaye", "Life", "Writing", "Popular culture", "See also", "References", "References and further reading", "External links" ]

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[ "" ]

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[ "https://upload.wikimedia.org/wikipedia/commons/3/38/%C3%89douard-%C3%89mery_Richard.png" ]

[ "Édouard-Émery Richard (March 14, 1844 – March 27, 1904) was a Canadian historian and politician.\nRichard was born in Princeville, Quebec to Louis-Eusèbe Richard and Hermine Prince. After receiving his law degree in 1867, taking courses at both Université Laval and McGill College, Richard began to practice in Arthabaskaville with Wilfrid Laurier. He practiced for several years before being elected to the House of Commons from Mégantic in 1872 and was re-elected in 1874. His health forced him to not seek reelection in the 1878 Canadian Parliamentary elections. Politically, Richard was a liberal protectionist.\nRichard became the sheriff of the Northwest Territories soon after leaving the House of Commons, and remained in that position until January 1883. After resigning from his post as sheriff, he sought election to the House of Commons again in 1883 in St. Boniface, but was defeated by Alphonse Alfred Clément Larivière. Richard sought election once more, in 1889 in Provencher, but Lariviére again defeated him.\nIn between his political posts, Richard was also a fairly successful businessman. Unfortunately, his political campaigns and frequent ill health prevented him from ever amassing substantial wealth.\nRichard was of Acadian heritage. Following his last failed campaign, Richard returned to Arthabaskaville and began to immerse himself in his heritage. He fervently promoted the Acadian cause, petitioning for an Acadian museum, working on his own research, and even starting a campaign for reparations. An 1893 article in Toronto by Pierce Stevens Hamilton and histories by Francis Parkman and Thomas Beamish Akins spurred Richard to begin his own published history. His work, Acadia, Missing Links of a Lost Chapter in American History, was published in two volumes in 1895. His work was controversial, both for mixing English and French in text and, more significantly, lacking annotations and citations. His book was republished with annotations added by his cousin, Henri d'Arles, from 1916 to 1921. Despite this controversy, his work brought him accolades, including an election to the Royal Society of Canada and an honorary doctorate from Université Laval. In 1897, Richard, who never married, was named the successor to Joseph Marmette as the official Canadian archivist in France. This was his last main work before his death in Willow Bunch, Saskatchewan in 1904.", "Roberts, Charles G. D. and Arthuer L. Tunnell, eds. A Standard Dictionary of Canadian Biography: The Canadian Who Was Who, Volume I. Toronto: Trans-Canada Press, 1934, pg. 428.\nClarke, P.D. \"Richard, Édouard\". Dictionary of Canadian Biography online. Retrieved 13 July 2007.\nRoberts and Tunnell, pg. 823\nRoberts and Tunnell, pg. 429", "Édouard Richard – Parliament of Canada biography" ]

[ "Édouard Richard", "Notes", "External links" ]

[ 3867 ]

[ 18498 ]

[ "Édouard Riou", "Riou's depiction for La terre avant le deluge of Iguanodon battling Megalosaurus", "Riou's frontispiece for Les Enfants du capitaine Grant (1868)", "Vingt Mille Lieues sous les mers (1871)" ]

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[ "Édouard Riou (French: [edwaʁ ʁju]; 2 December 1833 – 27 January 1900) was a French illustrator who illustrated six novels by Jules Verne, as well as several other well-known works.", "Riou was born in 1833 in Saint-Servan, Ille-et-Vilaine, and studied under Charles-François Daubigny and Gustave Doré, graduating in 1859. Apart from supplying designs for wood-engravings, his artistic specialties included landscape painting and commemorative art (including works for the opening of the Suez Canal and the marriage of a daughter of the Czar).\nHis collaboration with Jules Verne started in 1865 with the publication of Verne's novel Five Weeks in a Balloon, and continued for a run of six novels in all:\nFive Weeks in a Balloon (1865): 51 illustrations by Riou (40) and Henri de Montaut (5), unsigned (6), wood-engravings by Coste, Delaville, Dumont, Fournier, Hildibrand, Pannemaker, Prunaire\nThe Adventures of Captain Hatteras (1866): 259 illustrations by Riou (190) and Henri de Montaut (69), wood-engravings by Barbant, Cazat, Delaville, Dumont, Hildibrand, Joliet, Linton, Pannemaker, Pierdon, Pisan, Prunaire\nJourney to the Center of the Earth (1867): 56 illustrations, wood-engravings by Pannemaker, Gauchard, Charles Maurand\nThe Children of Captain Grant (1868): 175 illustrations, wood-engravings by Delaville, Gauchard, Maurand, Pannemaker, Prunaire\nTwenty Thousand Leagues Under the Sea (1871): 111 illustrations by Riou (24, the first eleven chapters) and Alphonse de Neuville (86), wood-engravings by Hildibrand\nThe Survivors of the Chancellor (1875): 45 illustrations by Riou (45) and Jules Férat (13), wood-engravings by Charles Barbant, Crosbie, Dumont, Hildibrand, Louis, Méaulle, Pannemaker\nRegarding Riou's work for Twenty Thousand Leagues Under the Sea, Verne wrote in 1868: \"I have received the drawings from Riou. I have several suggestions to make which I'll mention to him by return mail. I think he needs to make the people much smaller and the rooms much larger. And he needs to add much more detail... By the way, it was an excellent idea to use Colonel Charras as the model for Captain Nemo. I should've thought of that.\"\nThe illustrator and Verne scholar Ron Miller has said: \"I believe his work stylistically spans the transition between the illustrators of the early 19th century and those of the latter half—when the profession of professional illustrators became established. Some of the qualities that Riou carried over were the often cartoon-like depiction of characters and the use of numerous 'spot' illustrations.\"\nEdmondo Marcucci wrote: \"Riou's drawings are rich with light, and the traits of his characters have a vigorous expression. Riou succeeds in adapting himself artistically to the realistic reproduction of the many fantastic locales of the Vernian fictional geography: the mists and the glacial icepacks, the shadows inside the Earth's crust, the deserted and expansive beaches, and the many bodies of water and their movement... Everything is both ordered and evocative in Riou's work—his style might be called 'romantic realism.'\"\nRiou also illustrated Walter Scott's Ivanhoe (1880) and Waverley, Victor Hugo's Notre Dame de Paris, Louis Figuier's La terre avant le deluge (1863), Alexandre Dumas' The Count of Monte Cristo (1887). He became a member of the Legion of Honour.\nRiou died in Paris on January 27th 1900.", "Jules Férat (1819–1889)\nLéon Benett (1839–1917)\nGeorges Roux (1850–1929)\nÉmile-Antoine Bayard (1837–1891)\nAlphonse de Neuville (1835–1885)\nPaul-Dominique Philippoteaux (1846-1923)", "Arthur B. Evans: The Illustrators of Jules Verne's Voyages Extraordinaires. In Science-Fiction Studies, XXV:2 (July 1998), p. 250.\nCharles-Noël Martin: La Vie et l'oeuvre de Jules Verne (Paris: Michel de l'Ormeraie, 1978), p. 176.\nCited in Arthur B. Evans: The Illustrators of Jules Verne's Voyages Extraordinaires. In Science-Fiction Studies, XXV:2 (July 1998), p. 250.\nEdmondo Marcucci: Les Illustrations des Voyages Extraordinaires de Jules Verne (Bordeaux: Ed. Société Jules Verne, 1956), pp. 18–19.", "Arthur B. Evans: The Illustrators of Jules Verne's Voyages Extraordinaires. In Science-Fiction Studies, XXV:2 (July 1998): 241-70.\nCharles-Noël Martin: La Vie et l'oeuvre de Jules Verne (Paris: Michel de l'Ormeraie, 1978).\nAndré Bottin: Bibliographie des éditions illustrées des Voyages Extraordinaires de Jules Verne (Contes: Chez l'auteur, 1978).\nEdmondo Marcucci: Les Illustrations des Voyages Extraordinaires de Jules Verne (Bordeaux: Ed. Société Jules Verne, 1956).", "Édouard Riou at Library of Congress Authorities, with 24 catalogue records\nÉdouard Riou at the Internet Speculative Fiction Database\nWorks by Edouard Riou at Project Gutenberg\nWorks by Édouard Riou at Faded Page (Canada)\nWorks by or about Édouard Riou at Internet Archive\nZvi Har'El's Jules Verne Collection" ]

[ "Édouard Riou", "Life", "See also", "Footnotes", "References", "External links" ]

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[ "Édouard Risler." ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/7/7c/%C3%89douard_Risler_01.jpg" ]

[ "Joseph-Édouard Risler (23 February 1873 – 22 July 1929) was a French pianist.", "Risler was born in Baden-Baden (Germany) of a German mother and an Alsatian father. He studied under Louis Diémer, Théodore Dubois and Émile Decombes at the Conservatoire de Paris from 1883 to 1890. He was recorded by Theo Wangemann at the 1889 Paris Expo, one of the first musical recordings. In 1891 he became a good friend of Emmanuel Chabrier and visited and corresponded with the older composer. He then completed his studies in Germany with Klindworth, d'Albert and Stavenhagen. He was the répétiteur at the Festpielhaus, Bayreuth in 1896.\nHe soon made a mark on the music world as one of the important French pianists of his time, open to the music of his time as well as the romantic German repertoire. He gave several major cycles: the 32 sonatas of Ludwig van Beethoven from October to December 1905, at the Salle Pleyel, the complete works of Frédéric Chopin and The Well-Tempered Clavier of Johann Sebastian Bach.\nFrom 1906, Risler devoted much time to teaching and became professor at the Paris Conservatoire in 1923. He married Émilie Girette, an amateur singer for whom Gabriel Fauré had written several of his songs. He corresponded regularly with Reynaldo Hahn and played in the première of the Sonatine in C major of Hahn in April 1908, at the Salle Érard. He died in Paris in 1929.\nEmmanuel Chabrier dedicated his Bourrée fantasque to him, and Enrique Granados the Coloquio en la reja, extract of Goyescas.\nRisler made a piano transcription of Richard Strauss's Till Eulenspiegel's Merry Pranks.", "Risler premiered the following works:\nErnest Chausson: Quelques danses (1897)\nEmmanuel Chabrier: Ronde champêtre, Ballabile, Feuillet d'album (3 April 1897)\nPaul Dukas : Sonate in E flat minor (Salle Pleyel, 10 May 1901)\nDukas: Variations, interlude et finale sur un thème de Rameau (23 May 1903)\nGeorges Enesco: Variations pour 2 pianos (with Alfred Cortot)\nGabriel Fauré: Dolly (Fauré) (with Alfred Cortot; 1898); Impromptu No. 4 (1907); Barcarolles Nos. 6 and 8 (the latter 1907)\nAlbéric Magnard: Promenades (Concerts Durand 1911).", "Risler's recordings consist of only 18 sides produced in 1917 by Pathé, which were released in full by Marston Records in 2007 as \"Édouard Risler: Pathé Paper-Label Discs, Paris 1917\". They were also released in full by the Symposium label in 2002 and (at least in the most part) by The Piano Library in 1999.\nLudwig van Beethoven\nSonata in A♭, Op. 26: Finale - Allegro\nSonata in E♭, Op. 31, No. 3: Second Movement - Scherzo\nConcerto No. 4 in G, Op. 58: Second Movement - Andante con moto (solo piano transcription by Risler)\nEmmanuel Chabrier\nIdylle (No. 6 from Pièces pittoresques)\nFrédéric Chopin\nEtude in G♭, Op. 10, No. 5\nNocturne in F♯, Op. 15, No. 2\nMazurka in A minor, Op. 17, No. 4\nWaltz in C♯ minor, Op. 64, No. 2\nFrançois Couperin\nLe tic-toc-choc, ou Les maillotins\nLouis-Claude Daquin\nLe coucou\nBenjamin Godard\nDeuxième Mazurka, Op. 54\nEnrique Granados\nSpanish Dance No. 10 in G\nFranz Liszt\nHungarian Rhapsody No. 11 in A minor\nFelix Mendelssohn\nScherzo in E minor, Op. 16, No. 2\nJean-Philippe Rameau\nLe rappel des oiseaux\nLe tambourin\nCamille Saint-Saëns\nValse nonchalante in D♭, Op. 110\nCarl Maria von Weber\nInvitation to the Dance, Op. 65", "Notes\nRisler made an arrangement of the piece for two pianos, four hands, premiered by him and Cortot on 11 May 1911.\nA live recording by Francesco Libetta, given on 26 July 2002 at the International Piano Festival de La Roque-d'Anthéron, was issued on VAI DVD 4375.\nReferences\nFrom French Wikipedia\nStephan Puille, \"Prince Bismarck and Count Moltke Before the Recording Horn: The Edison Phonograph in Europe, 1889-1890\" Thomas Edison National Historical Park. Translated by Patrick Feaster. German original (with foreword): \"Fürst Bismarck und Graf Moltke vor dem Aufnahmetrichter: Der Edison-Phonograph in Europa, 1889-1890\" Retrieved February 5, 2012\nDelage R. Emmanuel Chabrier. Fayard, Paris, 1999.\nwww.marstonrecords.com http://www.marstonrecords.com/risler/risler_liner.htm. Retrieved 2010-06-17.", "" ]

[ "Édouard Risler", "Biography", "Premieres given by Risler", "Discography of Risler", "Notes and references", "External links" ]

[ 3872 ]

[ 18509, 18510, 18511, 18512, 18513, 18514, 18515, 18516, 18517, 18518 ]

[ "Édouard Rist at the Cannes Medical Conference 1920" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/6/67/RistEdouard_Cannes1920.jpg" ]

[ "Édouard Rist (16 March 1871, Strasbourg – 13 April 1956, Paris) was a French physician who specialized in tuberculosis research (phthisiology). He was the brother of economist Charles Rist.\nIn 1899/90, he served as an inspector of health and quarantine services in Egypt, and after his return to France, was named laboratory chief at the Hôpital Trousseau in Paris. From 1910 to 1937, he was a physician at the Hôpital Laennec, and concurrently served as a physician at the Dispensaire Léon Bourgeois (1912–37).\nDuring World War I he was chef de service of typhoid and para-typhoid hospitals. In 1919, he was awarded the Army Distinguished Service Medal of the United States and made a commander of the Legion of Honour. In 1933, he became a member of the Académie de médecine, of which, he later served as its president. The \"Clinique médicale et pédagogique Édouard Rist\", located in the 16th district of Paris, is named after him.", "Études bactériologiques sur les infections d'origine otique, 1898 – Bacteriological studies on the origin of otic infections.\nPrécis de pathologie exotique, (with Édouard Jeanselme), 1909 – Specifics of exotic pathology.\nLa tuberculose, 1927 – Tuberculosis.\nSéméiologie élémentaire de l'appareil respiratoire, 1934 – Elementary respiratory symptomatology.\nLes Symptômes de la tuberculose pulmonaire (clinique, physiologie, pathologique, thérapeutique), 1943 – Symptoms of pulmonary tuberculosis.\n25 portraits de médecins français, 1900-1950, (1955) – 25 portraits of French doctors, 1900–1950.", "Édouard Rist (1871-1956) Fonds d'archives de l'Institut\nEdouard Rist Royal College of Physicians, Munk's Roll: Volume V\nBase biographique BIU Santé, Paris\nClinique médicale et pédagogique Edouard Rist\nMost widely held works by Edouard Rist WorldCat Identities" ]

[ "Édouard Rist", "Selected works", "References" ]

[ 3873 ]

[ 18519, 18520 ]

[ "Édouard Roche" ]

[ 0 ]

[ "http://upload.wikimedia.org/wikipedia/commons/c/c2/%C3%89douard_Roche.jpg" ]

[ "Édouard Albert Roche (French: [edwaʁ albɛʁ ʁɔʃ]; 17 October 1820 – 27 April 1883) was a French astronomer and mathematician, who is best known for his work in the field of celestial mechanics. His name was given to the concepts of the Roche sphere, Roche limit, and Roche lobe. He also was the author of works in meteorology.", "He was born in Montpellier, and studied at the University of Montpellier, receiving his D.Sc. in 1844 and later becoming a professor at the same institution, where he served in the Faculté des Sciences starting in 1849. Roche made a mathematical study of Laplace's nebular hypothesis and presented his results in a series of papers to the Academy of Montpellier from his appointment until 1877. The most important were on comets (1860) and the nebular hypothesis itself (1873). Roche's studies examined the effects of strong gravitational fields upon swarms of tiny particles.\nHe is perhaps most famous for his theory that the planetary rings of Saturn were formed when a large icy moon came too close to Saturn and was pulled apart by gravitational forces. He described a method of calculating the distance at which an object held together only by gravity would break up due to tidal forces; this distance became known as the Roche limit.\nHis other best known works also involved orbital mechanics. The Roche sphere describes the limits at which an object which is in orbit around two other objects will be captured by one or the other, and the Roche lobe approximates the gravitational sphere of influence of one astronomical body in the face of perturbations from another heavier body around which it orbits.", "Roche's works are in French, his vernacular language.", "List of works, on the site of the Académie des sciences (31 items) (Includes—unnumbered—works commenting that of Roche. Also includes works in meteorology)\nListe des œuvres de M. Édouard Roche, p. 33, at Google Books, in Mémoires de la Société des sciences, de l'agriculture et des arts de Lille, 1885 (34 items)", "Roche lobe\nRoche limit\nRoche sphere", "Z. Kopal, The Roche problem, Kluwer Academic Publishers, Dordrecht, 1989 ISBN 0-7923-0129-3.\nBrush, Stephen G. (1996), A History of Modern Planetary Physics: Nebulous Earth, vol. 1, Cambridge University Press, p. 96, ISBN 0521441714" ]

[ "Édouard Roche", "Biography", "Works", "Lists of works", "See also", "References" ]

[ 3874 ]

[ 18521, 18522, 18523, 18524, 18525 ]

[ "" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/1/17/Edouard_Rod_7.jpg" ]

[ "Édouard Rod (March 31, 1857 – January 29, 1910) was a French-Swiss novelist.", "He was born at Nyon, in western Switzerland, studied at Lausanne, where he wrote his doctoral thesis about the Oedipus legend (Le développement de la légende d'Œdipe dans l'histoire de la littérature), and Berlin, and in 1878 relocated to Paris.", "In 1881 he dedicated his novel, Palmyre Veulard, to Zola, of whom he was at this time of his career a faithful disciple. A series of novels of similar tendency followed. In 1884 he became editor of the magazine Revue contemporaine, and in 1887 succeeded Marc Monnier as professor of comparative literature at Geneva, where he remained until 1893.\nHis novel La Course de la mort (1888) marks a change of his literary style: in it he forsook the so-called naturalistic novel for analysis of moral motives. He is at his best in presenting cases of conscience, the struggle between passion and duty, and the virtues of renunciation. Le Sens de la vie (1889), one of his most famous books, is a complement to La Course de la mort. It was followed by Les Trois cœurs (1890), Le Sacrifice (1892), La Vie privée de Michel Teissier (1893), translated as The Private Life of an Eminent Politician (1893); La Seconde Vie de Michel Teissier (1894), Le Silence (1894), Les Roches blanches (1895), Le Dernier Refuge (1896), Le Ménage du pasteur Naudi (1898), a study of Protestant France; L'eau courante (1902), L'Inutile effort (1903), Un Vainqueur (1904), L'Indocile (1905), and L'Incendie (1906). M. Rod's books of literary criticism include Les Idées morales du temps présent (1897), Essai sur Goethe (1898), Stendhal (1892), and some collected essays. He published L'Affaire J.-J. Rousseau in 1906, and in the same year he produced from an episode in the life of that philosopher a play of three acts, Le Réformateur, which was produced at the Nouveau-Théâtre in Paris.\nHe died in the southeastern French town of Grasse in January 1910.", "Although liked by Tolstoy, Chekhov was not impressed by Rod. From the letters of Anton Chekhov, to Suvorin, July 24, 1891:\nYou once praised Rod, a French writer, and told me Tolstoy liked him. The other day I happened to read a novel of his and flung up my hands in amazement. He is equivalent to our Matchtet, only a little more intelligent. There is a terrible deal of affectation, dreariness, straining after originality, and as little of anything artistic as there was salt in that porridge we cooked in the evening at Bogimovo. In the preface this Rod regrets that he was in the past a “naturalist,” and rejoices that the spiritualism of the latest recruits of literature has replaced materialism. Boyish boastfulness which is at the same time coarse and clumsy.... “If we are not as talented as you, Monsieur Zola, to make up for it we believe in God.”", "La Revue Contemporaine", "Édouard Rod, César Revaz Là-Haut 1997- Page 214 preface \"Alfred Berchtold dans son ouvrage La Suisse romande au cap du XX' siècle, Portrait littéraire et moral, Payot, Lausanne, 1966 a consacré un important chapitre à Édouard Rod (pp. 408-425).\nChisholm 1911, p. 436.\nChisholm 1911, pp. 436–437.\nThis article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). \"Rod, Édouard\". Encyclopædia Britannica. Vol. 23 (11th ed.). Cambridge University Press. pp. 436–437." ]

[ "Édouard Rod", "Early life and education", "Career", "Comment", "See also", "References" ]

[ 3875 ]

[ 18526, 18527, 18528, 18529, 18530, 18531, 18532, 18533, 18534 ]

[ "", "Roger-Vasselin at 2012 US Open", "With Rohan Bopanna during the 2018 French Open" ]

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[ "Édouard Roger-Vasselin ([edwaʁ ʁɔʒe vaslɛ̃]; born 28 November 1983) is a French professional tennis player who primarily specialises in doubles.\nHe won his first Grand Slam title at the 2014 French Open, winning the men's doubles partnering Julien Benneteau, and also finished runner-up at the Wimbledon Championships in both 2016 and 2019, alongside Benneteau and Nicolas Mahut respectively. Roger-Vasselin reached his career-high doubles ranking of world No. 6 in November 2014, and has won 22 doubles titles on the ATP Tour, including the 2015 Cincinnati Masters with Daniel Nestor.\nIn singles, his highest ranking was world No. 35, achieved in February 2014, and he finished runner-up at the 2013 Delray Beach Open and 2014 Chennai Open. Roger-Vasselin's best Grand Slam result in singles was reaching the third round at the French Open and Wimbledon Championships in 2007, and the 2014 Australian Open. He is the son of 1983 French Open semifinalist Christophe Roger-Vasselin.", "", "At the French Open, he reached the third round as a wildcard, after a second-round victory against Radek Štěpánek in five sets, 3–6, 6–1, 0–6, 6–4, 6–4. He also reached the third round at Wimbledon, beating 24th seed Juan Ignacio Chela in straight sets along the way, and made the top 100 for the first time as a result. On 16 July 2007, he reached a career-best ranking of 82.", "At the Japan Open, he advanced through the qualifying draw to set up a first round match with 2009 US Open champion Juan Martín del Potro. Ranked No. 189 at the time, Roger-Vasselin stunned the world No. 5, 6–4, 6–4. The match was Roger-Vasselin's first ATP Tour level victory of the season. Roger-Vasselin then defeated Austrian Jürgen Melzer to advance to the third round, where he lost to former world No. 1, Lleyton Hewitt, in straight sets.", "In 2012, Roger-Vasselin had considerable success on the ATP Tour in doubles. He won tournaments in Montpellier, Marseille, and Metz, all partnered with Nicolas Mahut. He also made it to the quarterfinals at Wimbledon for the first time teamed with James Cerretani. They were defeated by the eventual champions Jonathan Marray and Frederik Nielsen in five sets.", "At the Delray Beach International Championships, Roger-Vasselin defeated four opponents including top seed John Isner to reach his first ATP tournament final. He lost to Ernests Gulbis for the title. In doubles, he won two titles, at the Hall of Fame Classic in Newport, Rhode Island, partnering Nicolas Mahut and in Atlanta, partnering Dutchman Igor Sijsling.\nHe made the semifinals in doubles at Wimbledon, partnering Rohan Bopanna.\nVasselin made a breakthrough in the indoor part of the season when he has reached semifinals of the ATP 500 event in Basel, upsetting home favorite Stan Wawrinka in the first round. He lost to Juan Martín del Potro, after winning the first set. He finished the year a career-high No. 53.", "Roger-Vasselin had a good beginning to his singles campaign, reaching the final in Chennai (lost to Wawrinka). He reached the quarterfinals in Montpellier and Marseille, losing to Jerzy Janowicz and Jo-Wilfried Tsonga, respectively. He also reached the quarterfinals on grass in Eastbourne, losing to Denis Istomin. The rest of his singles season was relatively disappointing.\nHe and doubles partner Julien Benneteau, however, had a very successful season. They reached the semifinals in Sydney, being eliminated by Daniel Nestor and Nenad Zimonjić. At the Australian Open, they went down in the round of 16 to Max Mirnyi and Mikhail Youzhny. They had another semifinal showing in Rotterdam, losing to Jean-Julien Rojer and Horia Tecău.\nThe pair won the title in Marseille in February, beating Paul Hanley and Jonathan Marray in the final. Another quarterfinal followed in Acapulco, where they lost to Treat Huey and Dominic Inglot. Then, they went out in the round of 16 in both Indian Wells and Miami. The pair made another quarterfinal, this time at a Masters 1000 event, in Monte Carlo, losing to the Bryan brothers. They followed this up with a semifinal appearance in Nice.\nThe highlight of his year and his career was the 2014 French Open, which he and Benneteau won against the Spanish pair of Marcel Granollers and Marc López.\nOn grass, they made the semifinals of the Queen's Club tournament, losing to Jamie Murray and John Peers. They followed this up with a quarterfinal appearance at Wimbledon, where they lost to the French pair of Michaël Llodra and Nicolas Mahut.\nOn the hard-court North American swing, they reached the quarterfinals (l. to Nestor and Zimonjić) in Toronto, and the semifinals in Cincinnati (l. to Vasek Pospisil and Jack Sock).\nIn Shanghai, they reached the final, losing again to the Bryan brothers.", "", "", "At Indian Wells, Roger-Vasselin and partner Santiago Gonzáles advanced to the finals of the Masters 1000 series event, losing to John Isner and Jack Sock. In doing so, Roger-Vasselin became just the second player to reach a Masters 1000 final after major hip surgery. Roger-Vasselin, who had hip surgery last year, joins Bob Bryan in this select category. Both Roger-Vasselin and Gonzáles and the Bryan Brothers were coached by Dave Marshall during those runs.", "", "", "", "", "", "", "", "", "", "", "", "", "", "(W) winner; (F) finalist; (SF) semifinalist; (QF) quarterfinalist; (#R) rounds 4, 3, 2, 1; (RR) round-robin stage; (Q#) qualification round; (P#) preliminary round; (DNQ) did not qualify; (A) absent; (Z#) Davis/Fed Cup Zonal Group (with number indication) or (PO) play-off; (G) gold, (S) silver or (B) bronze Olympic/Paralympic medal; (NMS) not a Masters tournament; (P) postponed; (NH) not held; (SR) strike rate (events won / competed); (W–L) win–loss record. \n \nTo avoid confusion and double counting, these charts are updated at the conclusion of a tournament or when the player's participation has ended.", "¹Held as Hamburg Masters until 2008, Madrid Masters (clay) 2009–present.\n²Held as Madrid Masters (hardcourt) until 2008, and Shanghai Masters 2009–present.", "", "", "\"The pronunciation by Édouard Roger-Vasselin himself\". ATP World Tour. Retrieved 25 October 2017.\n\"Édouard Roger-Vasselin 2013 playing activity\".\n\"John Isner & Jack Sock Claim Second Indian Wells Title Together | ATP Tour | Tennis\".", "Édouard Roger-Vasselin at the Association of Tennis Professionals \nÉdouard Roger-Vasselin at the International Tennis Federation" ]

[ "Édouard Roger-Vasselin", "Career", "2007", "2009", "2012", "2013", "2014: French Open doubles champion", "2015: Maiden Masters 1000 doubles title", "2016-2020: Two time Wimbledon and ATP finals doubles finalist", "2022: Fifth Masters 1000 final in five years", "Significant finals", "Grand Slam finals", "Doubles: 3 (1 title, 2 runner-ups)", "Year-end championships", "Doubles: 1 (1 runner-up)", "Masters 1000 finals", "Doubles: 5 (1 title, 4 runner-ups)", "ATP Tour career finals", "Singles: 2 (2 runner-ups)", "Doubles: 38 (22 titles, 16 runner-ups)", "ATP Challenger and ITF Futures finals", "Singles: 16 (7–9)", "Doubles: 32 (17–15)", "Performance timeline", "Singles", "Doubles", "Mixed doubles", "References", "External links" ]

[ 3876, 3877, 3878 ]

[ 18535, 18536, 18537, 18538, 18539, 18540, 18541, 18542, 18543, 18544, 18545, 18546, 18547 ]

[ "Édouard Rosset-Granger", "", "", "", "" ]

[ 0, 2, 2, 2, 2 ]

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[ "Paul Édouard Rosset-Granger (9 July 1853 – 26 July 1934) was a French genre and portrait painter who adopted the academic style.", "Rosset-Granger was born in 1853 Vincennes. He studied at the École des Beaux-Arts in Paris under Alexandre Cabanel, Édouard Louis Dubufe and Alexis-Joseph Mazerolle. He painted portraits, landscapes and genre works, and also made illustrations for the press and publishing houses. From 1878, he exhibited mythological and genre works at the Paris Salons and at the Sociéte nationale des beaux-arts, receiving medals in 1889 and 1890. From 1906 to 1909, he worked with Guillaume Dubufe on decorating the town hall in Saint-Mandé. In 1900, he was invited to paint Le Train blue on a decorative panel for the Gare de Lyon restaurant in Paris.\nIn their style, colour, composition and choice of subjects, Rosset-Granger's works benefited from his familiarity with Bouguereau, Boulanger and Lefebvre.\nFrom 1906, his studio was located at 45 ave de Villiers in the 17th arrondissement of Paris.\nHe died on 26 July 1934 in his studio located at 17 Avenue Gourgaud in the 17th arrondissement of Paris.", "Watercolours\nNu à la lampe à petrole.\nNature morte à la lecture.\nOils\nOrphée 1884.\nLa Cueillette des figues à Capri 1887.\nPortrait de Mme R. D. 1896.\nTête de jeune paysanne. 1896.\nLa somnambule. 1897.\nPortrait de A.B.. 1900.\nPortrait de Mt. G. S. 1906.\nPortrait de peintre Alfred Agache. 1980.\nL'arrivée au châteu. 1910.\nÉlegante assise. 1910.\nIllustrations\nLes Lettres et les arts. Revue illustré. 1886ff. ISSN 2019-0204.\nGil Blas illustré. 1893ff. ISSN 1149-946X.", "\"Paul Edouard Rosset-Granger (1853-1942)\", Master painters of the world. Retrieved 2 May 2012.\n\"Paul Édouard Rosset-Granger\". Paul Édouard Rosset-Granger (in French). Retrieved 24 October 2016.", "Émmanuel Bénézit (Hrsg.): Dictionnaire critique et documentaire des peintres, scuzlpteurs, dessinateurs et graveurs de tous les temps et de tous les pays. Grund, Paris 1999ff.\nLouise Gaggini u.a.: Le train bleu. PLUS Editions, Paris 1991, ISBN 2-908557-01-0.\nSabrina da Conceiçao, Georges Barthe: Gypseries. Creaphis, Paris 2005, ISBN 2-913610-58-7." ]

[ "Édouard Rosset-Granger", "Biography", "Selected works", "References", "Bibliography" ]

[ 3879, 3880, 3881, 3882 ]

[ 18548, 18549, 18550, 18551, 18552 ]

[ "" ]

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[ "Édouard Séguin (January 20, 1812 – October 28, 1880) was a French physician and educationist born in Clamecy, Nièvre. He is remembered for his work with children having cognitive impairments in France and the United States.", "He studied at the Collège d’Auxerre and the Lycée Saint-Louis in Paris, and from 1837 studied and worked under Jean Marc Gaspard Itard, who was an educator of deaf-mute individuals, that included the celebrated case of Victor of Aveyron, also known as \"The Wild Child\". It was Itard who persuaded Séguin to dedicate himself to study the causes, as well as the training of individuals with intellectual disabilities. As a young man, Séguin was also influenced by the ideas of utopian socialist Henri de Saint-Simon.\nAround 1840, he established the first private school in Paris dedicated to the education of individuals with intellectual disabilities. In 1846, he published Traitement Moral, Hygiène, et Education des Idiots (The Moral Treatment, Hygiene, and Education of Idiots and Other Backward Children). This work is considered to be the earliest systematic textbook dealing with the special needs of children with intellectual disabilities.", "Following the European revolutions of 1848, Séguin emigrated to the United States. After visiting various schools, modeled on his own, that had been established in the United States, and assisting in their organization, he settled in Cleveland, and later in Portsmouth, Ohio. Later he relocated to New York State and set up a medical practice in Mount Vernon (1860). In 1861 he received an M.D. from the University of the City of New York. In 1863 he moved to New York City, where he made efforts to improve conditions of children with disabilities at Randall's Island asylum.\nIn the United States, he established a number of schools in various cities for treatment of the mentally handicapped. \nIn 1866 he published \"Idiocy: and its Treatment by the Physiological Method\"; a book in which he described the methods used at the \"Séguin Physiological School\" in New York City. Programs used in Séguin's schools stressed the importance of developing self-reliance and independence in the intellectually disabled by giving them a combination of physical and intellectual tasks.\nÉdouard Séguin became the first president of the \"Association of Medical Officers of American Institutions for Idiotic and Feebleminded Persons\", an organization that would later be known as the American Association on Mental Retardation. His work with individuals with intellectual disabilities was a major inspiration to Italian educator Maria Montessori.\nIn the 1870s, Séguin published three works in the field of thermometry, a field he had been devoting himself to since 1866: Thermomètres physiologiques (Paris, 1873); Tableaux de thermométrie mathématique (1873); and \"Medical Thermometry and Human Temperature\" (New York, 1876). He also devised a special \"physiological thermometer\" in which zero was the standard temperature of health. In addition, a medical symptom known as \"Séguin's signal\" is named after him, being described as an involuntary muscle contraction prior to an epileptic attack.", "Traitement Moral, Hygiène et éducation des idiots et des autres enfants arriérés ... Paris: Baillière. 1846.\nIdiocy: and its Treatment by the Physiological Method. New York: W. Wood & Co. 1866.\nNew Facts and Remarks Concerning Idiocy: Being a Lecture Delivered before the New York Medical Journal Association, October 15, 1869. New York: Wood. 1870.\nMedical Thermometry, and Human Temperature. New York. 1871.\nReport on Education. Washington: Government Printing Office. 1875.\nPsycho-physiological Training of the Idiotic Hand. New York: G.P. Putnam's Sons. 1879.", "", "DHM: Library- In Memory Of Edouard Seguin, M.D. (Document)\nParts of this article are based on a translation of the equivalent article from the German Wikipedia.\nThis article incorporates text from a publication now in the public domain: Wilson, J. G.; Fiske, J., eds. (1900). \"Seguin, Édouard\" . Appletons' Cyclopædia of American Biography. New York: D. Appleton.", "Excerpts of Séguin's 1866 Treatise on Treatment of the Mentally Handicapped\nScientific American, \"Dr. Edward Seguin\", 27 November 1880, p. 344" ]

[ "Édouard Séguin", "Background and career in France", "Achievements in the United States", "Works", "Notes", "References", "External links" ]

[ 3883 ]

[ 18553, 18554, 18555, 18556, 18557, 18558, 18559, 18560, 18561 ]

[ "", "", "", "", "", "", "", "" ]

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[ "Édouard Alexandre Sain (13 May 1830 – 26 June 1910) was a French painter whose works included historical and genre subjects as well as portraits.", "Édouard Alexandre Sain was born Cluny, Saône-et-Loire, on 13 May 1830, son of Paul-François-Toussaint Sain, a tax-collector, and Palmire-Ernestine Bouchet.\nHe first studied at the Valenciennes Academy, then entered the studio of François-Édouard Picot.\nIn 1847 he was admitted to the École nationale supérieure des Beaux-Arts (School of Fine Arts), where he won all the medals.", "Sain was strongly interested in antiquity.\nHe first settled at Écouen, where he painted various rustic scenes in the plein air style, but experimented with other styles. \nHis paintings from this period include Vénus et l'Amour, a group of chimney sweeps and a historical painting of the period of Louis XV.\nHe first exhibited at the Salon in 1853, where he twice obtained the medal. \nAn 1855 oil painting by Sain commemorates a visit by the Emperor and Empress of France to the crèche of Sister Rosalie.\nThis work seems to have been undertaken on his own initiative. It was not purchased by the state or exhibited at the Salon.\nIn November 1863 Sain left on a trip to Rome, and in 1864 went on to Naples.\nHe drew Mount Vesuvius and visited Pompei.\nIn July 1864 he reached Capri, where he was inspired to make various paintings in what was then considered the modern style, although with classical elements. \nHis 1865 Fouilles à Pompéi (Excavations at Pompei) depicts a group of barefoot women carrying baskets over their heads. \nOther paintings include Le Payement (Rome, 1865), Fileuse à Capri, Romaine (1870), Napolitaine (1870), La Convalescente en pèlerinage à la madone d'Angri (1873), La Marica de Capri (1874), Le Repas de noces à Capri (1875), Jésus et la Samaritaine (1876) and Andromède (1877). \nHe recorded his trip to Italy in an 1879 book, Souvenirs d'Italie. Impressions de voyage.\nFrom the late 1870s Sain devoted himself exclusively to the art of portrait and female nudes.\nFor his portraits he often took members of fashionable society, \nand took care over the composition and accessories while also capturing the expression of the sitter.\nHis portraits were generally simple and elegant.\nHis subjects included M. Lambrecht, Mme la comtesse de Brimont, Mlle Lambrecht, Mmr la vicomtesse de Montreuil, M. Gaillard de Witt, Mme la baronne Morio de l'Isle and Mme Gaillard de Witt. \nHe painted Virginie Amélie Avegno Gautreau, a demure and conventional portrait quite unlike the 1883 painting of the same model by John Singer Sargent that had created a recent stir.\nSain was awarded the Legion of Honour in 1877.\nEdward Sain was a friend of Carolus-Duran, who gave him the Legion of Honour and made his portrait.\nEdward Sain died on 26 June 1910 in the 9th arrondissement of Paris, France.", "", "Sain, Édouard de (1879). Souvenirs d'Italie. Impressions de voyage. Saint-Germain: D. Bardin.", "Citations\nActe de naissance N°51 du 15 mai 1830.\nMontrosier & Fraipont 1882, p. 97.\nMontrosier & Fraipont 1882, p. 98.\nMcQueen 2011, p. 42-43.\nMontrosier & Fraipont 1882, p. 99.\nGranger 2005, p. 792.\nSain 1879.\nAcadémie de Mâcon 1883, p. 237.\nAcadémie de Mâcon 1888, p. 287.\nDavis 2004, p. 213.\nDossier de Légion d'honneur d'Édouard Sain.\nSources\nAcadémie de Mâcon (1883). Annales. p. 237. Retrieved 2013-06-03.\nAcadémie de Mâcon (1888). Annales. Retrieved 2013-06-03.\nActe de naissance N°51 du 15 mai 1830, Archives départementales de Saône-et-Loire, état-civil numérisé de la commune de Cluny, 1823–1832\nDavis, Deborah (2004-05-03). Strapless. Penguin Group US. p. 213. ISBN 978-1-4406-2818-4. Retrieved 2013-06-03.\n\"Dossier de Légion d'honneur d'Édouard Sain\". Retrieved 2013-06-03.\nGranger, Catherine (2005). L'Empereur et les arts: la liste civile de Napoléon III. Librairie Droz. p. 792. ISBN 978-2-900791-71-4. Retrieved 2013-06-03.\nMcQueen, Alison (2011). Empress Eugenie and the Arts: Politics and Visual Culture in the Nineteenth Century. Ashgate Publishing, Ltd. ISBN 978-1-4094-0585-6. Retrieved 2013-06-03.\nMontrosier, Eugène; Fraipont, Gustave (1882). Les artistes modernes: Les peintres d'histoire, paysagistes, portraitistes et sculpteurs. H. Launette. Retrieved 2013-06-03." ]

[ "Édouard Sain", "Birth and education", "Career", "Gallery", "Bibliography", "References" ]

[ 3884, 3885, 3886, 3887, 3888, 3889, 3890 ]

[ 18562, 18563, 18564, 18565, 18566, 18567, 18568, 18569, 18570, 18571, 18572 ]

[ "Édouard Schuré" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/a/ae/Edouard_Schur%C3%A9_01.jpg" ]

[ "Eduard (Édouard) Schuré (January 21, 1841 in Strasbourg – April 7, 1929 in Paris) was a French philosopher, poet, playwright, novelist, music critic, and publicist of esoteric literature.", "Schuré was the son of a doctor in the Alsatian town of Strasbourg, who died when Édouard was fourteen years old. Schuré mastered French as well as German, and was influenced by German and French culture in his formative years. He received his degree in law at the University of Strasbourg, but he never entered into practice. Schuré called the three most significant of his friendships those with Richard Wagner, Marguerita Albana Mignaty and Rudolf Steiner.\nSchuré's interest and studies led to an extensive knowledge of German literature. The discovery of Wagner's \"music drama\" Tristan and Isolde impressed him sufficiently to seek—and obtain—Wagner's personal acquaintance.\nIn France, he published his first work Histoire du Lied—a history of the German folk song, which earned him some recognition in the country of his family. With the publication of the essay Richard Wagner et le Drame Musical, he established himself as a major French Wagner expert and advocate of the time.\nWhen the Franco-German war of 1870-71 poisoned the German arts for many French, it would seem that Schuré was not immune from this influence. His nationalism is reflected in his remarks of this time—and later in his life—in a comparison of glorified Celtism (France) and a negatively viewed \"Teutonism\" (Germany).\nOn a trip to Italy during this time he met, twenty years his senior, a Greek woman, Marguerita Albana Mignaty, whom he subsequently described as his \"muse\", although he himself was married.\nAfter the tide of war had ebbed, Schuré reestablished his relationship with Wagner. In 1873, he met the German philosopher Friedrich Nietzsche; with frequent contact they shared enthusiasm for Wagner. The cultist veneration of Wagner, however, seeded Schuré's alienation from the composer.\nSchuré now turned increasingly to the esoteric and the occult, his major influence being the famous French occultist-scholar Fabre d'Olivet. In 1884, he met the founder of the Theosophical Society Helena Petrovna Blavatsky. Although unwelcome in the Theosophical Society, he nevertheless entered. In 1889, he published, after some smaller works on similar topics, his major work Les Grands Initiés (The Great Initiates).\nIn 1900, the actress Marie von Sivers came into contact with him because she intended to translate his works into German (The Great Initiates, The Sacred Drama of Eleusis and The Children of Lucifer). At the German Section of the Theosophical Society, he met the Austrian philosopher and later founder of Anthroposophy, Rudolf Steiner. In 1906, Sivers brought about a meeting between Schuré and Steiner. Schuré was deeply impressed and thought of Steiner as an authentic 'initiate' in line with his The Great Initiates. After hearing Steiner lecture in Paris for the first time in 1906, Schuré in an ecstatic state ran home and wrote down the entirety of the lecture from memory. This first lecture, and the other lectures in the series (which Schuré wrote down) were published as Esoteric Cosmology. Subsequently, Steiner and von Sivers staged Schuré's esoteric dramas at the following Theosophical Congresses in Berlin and Munich. Schuré's The Children of Lucifer, served as a precursor of Rudolf Steiner's own esoteric dramas.\nIn 1908 Schuré brought out Le Mystère Chrétien et les Mystères Antiques, a French translation of Steiner's work Christianity as Mystical Fact and the Mysteries of Antiquity. With the outbreak of World War I, Schuré's relationship with Steiner and his wife became strained. Schuré threw in the two secret intentions about Germanic and Pan and stepped out of Steiner's Anthroposophical Society. Four years after the war, Schuré re-consolidated his friendship with Steiner.\nIn subsequent years, Schuré published his autobiography.", "Schuré's The Great Initiates is described by some as a masterpiece. In it, he describes the path allegedly followed by some of the ancient philosophers in search of profound esoteric knowledge, often called the \"initiation\", as describing the process of becoming a mystic master or spiritual healer.\nThose familiar with Rama, Hermes Trismegistus, Socrates, Jesus, Orpheus will find frequent references in Schuré's work. Although having no knowledge of the 'druid' Rama, Schuré pursued the notion that a secret esoteric knowledge was known to them all, that this group were among the pillars of civilization and represented the founders of spiritual and philosophical ways of being as well as in some cases—though contrary to their message—religions. Schuré recognized that the path to a harmonious world was not to be found through a bigoted denial of the value found by other civilizations by their own sages. He wanted people to recognize the value of democracy in spiritual, philosophical, and religious ways.\nSchuré wrote a considerable number of books and plays. In his 1912 From Sphinx to Christ (Treatise on Occult History) he admires the racist basis of the hereditary caste system in India. He believed the Brahmans had to protect their pure Aryan blood from admixtures with the blood of the other - inferior - races of India after the 'invasion' of India by the Aryans. \nHis plays enjoyed relative fame in his days in Europe, and some of them were put on stage by Steiner. He also influenced Russian composer Sergei Prokofiev.", "", "The Great Initiates, A Study of the Secret History of Religions\nThe Children of Lucifer (Drama in 5 Acts)\nThe Genesis of Tragedy and The Sacred Drama of Eleusis (Treatise on Theatre, including a reconstruction of an ancient drama)\nFrom Sphinx to Christ (Treatise on Occult History)\nHermes to Plato\nKrishna and Orpheus\nJesus the Last Great Initiate\nThe Priestess of Isis (Novel)\nWoman the Inspirer (Lecture/Treatise)\nRicardo Wagner - His Work and Ideas\nHistory of Music Drama\nA Beam of Sunlight in the Deep Forest (A collection of mystical prose works, including the novel 'The Angel and the Sphinx')", "Histoire du Lied ou la chanson populaire en Allemagne, 1868\nLe drame musical. Richard Wagner, son œuvre et son idée, 2 volumes, 1875\nLes Grands Initiés. Esquisse de l'histoire secrète des religions, 1889\nLe drame sacré d'Eleusis, 1890\nSanctuaires d'Orient, Paris 1898\nLes grandes légendes de France, Paris, 1893\nLes Enfants de Lucifer, 1900\nPrécurseurs et revolt, Paris, 1904\nLa Prêtresse d'Isis (Légende de Pompeii), 1907\nFemmes inspiratrices et poètes annonciateurs, Paris, 1908\nL'évolution divine. Du Sphinx au Christ, 1912\nLes prophètes de la renaissance, 1920\nCeltique L'âme et le génie de la France à travers les Ages, Paris 1920\nMerlin l'enchanteur, Paris, 1921\nLe rêve d'une vie. Confession d'un poète (autobiography), 1928", "Paul M. Allen, biographical introduction to Schuré's The Great Initiates\nEdouard Schuré, Foreword to French edition of Rudolf Steiner's An Esoteric Cosmology, Evolution, Christ & Modern Spirituality (lectures in Paris, 1906) as translated into English ISBN 978-0-88010-593-4.\nLe Mystère Chrétien et les Mystères Antiques. Paris, 1908.\nRudolf Steiner, Christianity as Mystical Fact and the Mysteries of Antiquity New York and London: G. P. Putnam's Sons, 1914, ed. by Harry Collison, first published London 1914 from the German 2nd edition 1910. Online (1961 edition, NY) annotated and with introduction by A.Heidenreich", "Works by or about Édouard Schuré at Internet Archive\n Edouard Schuré The Great Initiates, A Study of the Secret History of Religions. English edition, Harper Collins 1980, ISBN 0-06-067125-4.\n Edouard Schuré, Foreword to Rudolf Steiner's An Esoteric Cosmology, Evolution, Christ & Modern Spirituality (lectures in Paris, 1906) as translated for English edition, online.\nÉdouard Schuré at Library of Congress Authorities, with 47 catalogue records" ]

[ "Édouard Schuré", "Biography", "Esoteric and literary meaning", "Works (selection)", "Works available in English", "Original editions", "References", "External links" ]

[ 3891 ]

[ 18573, 18574, 18575, 18576, 18577, 18578, 18579, 18580, 18581, 18582, 18583, 18584, 18585, 18586, 18587, 18588, 18589, 18590 ]

[ "Édouard Spach" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/1/12/Acta_Horti_berg._-_1905_-_tafl._142_-_Edouard_Spach.png" ]

[ "Édouard Spach (23 November 1801 – 18 May 1879) was a French botanist. The standard author abbreviation Spach is used to indicate this person as the author when citing a botanical name.\nThe son of a merchant in Strasbourg, in 1824 he went to Paris, where he studied botany with René Desfontaines (1750–1831) and Antoine-Laurent de Jussieu (1748–1836). He then became the secretary of Charles-François Brisseau de Mirbel (1776–1854). When de Mirbel became a professor at the Muséum national d'histoire naturelle (National Museum of Natural History), he followed him and remained at the museum for the remainder of his career.\nHe published many monographs, including Histoire naturelle des végétaux. Phanérogames (\"Natural history of plants: Spermatophytes\"; fourteen volumes and an atlas, Roret, Paris, 1834–1848), and with Hippolyte François Jaubert (1798–1874), Illustrationes plantarum orientalium (\"Illustrations of plants of the East\"; five volumes, Roret, Paris, 1842–1857).\nThe genus Spachea was named after him by Adrien-Henri de Jussieu (now considered synonymous with Fuchsia).", "Philippe Jaussaud and Édouard R. Brygoo (2004). Du Jardin au Muséum en 516 biographies. Muséum national d’histoire naturelle de Paris. p. 630.\nIPNI.  Spach.\nBHL Taxonomic literature : a selective guide to botanical publications" ]

[ "Édouard Spach", "References" ]

[ 3892 ]

[ 18591 ]

[ "Édouard Jean-Marie Stephan" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/4/47/%C3%89douard_Jean-Marie_Stephan.jpg" ]

[ "Édouard Jean-Marie Stephan (31 August 1837 – 31 December 1923) was a French astronomer. His surname is sometimes spelled Stéphan in some literature, but this is apparently erroneous.\nHe was born in Sainte Pezenne (today one of the districts of the town of Niort) and attended the Ecole Normale Superieure, and graduated at the top of his class in 1862.\nHe was the director of the Marseille Observatory from 1864 to 1907 (until 1872 he was subordinate to Urbain le Verrier). In the early part of his career there, he had limited opportunities to do observations because he was preoccupied with improving the observatory. He discovered the asteroid 89 Julia in 1866. In 1867 he used the new telescope to observe a transit of Mercury.\nBetween 1870 and 1875, Stephan systematically studied nebulae, precisely recording their positions and discovering many new ones. His goal was to enable the exact measurement of stellar proper motions by creating a reference system of fixed objects.\nIn 1873, Stephan was the first person to attempt to measure the angular diameter of a star using interferometry, converting the 80 cm telescope at Marseille Observatory into an interferometer. He did this by obscuring the reflector with a mask containing two vertical slits.\nThe star he chose to perform this experiment was Sirius. He did not succeed in resolving any stellar disks, but by 1874 had obtained an upper limit to stellar diameters of 0.158\" (the true angular diameter of Sirius is 0.0059 arcseconds, and for comparison, the angular diameter of Alpha Centauri and Betelgeuse are 0.0145 and 0.05 arcseconds respectively).\nIn 1881 he discovered NGC 5, and he discovered the galaxy NGC 6027 the following year using the 80 cm reflector.\nAmong others, he discovered Stephan's Quintet, also known as \"Arp 319\", a group of five galaxies. Stephan made this discovery with the first telescope equipped with a reflection coated mirror.\nIn 1884 the French Academy of Sciences awarded him the Valz Prize (Prix Valz). His name is associated with the periodic comet 38P/Stephan-Oterma, although Jérôme Coggia saw it first.\nHe became a Chevalier of the Légion d'honneur in 1868 and an Officier of the Légion d'honneur in 1879.", "Steinicke, Wolfgang (2008). Nebel und Sternhaufen: Geschichte ihrer Entdeckung, Beobachtung und Katalogisierung - von Herschel bis zu Dreyer's \"New General Catalogue\" (in German). Hamburg. pp. 296–298. ISBN 978-3-8370-8350-7.\nHutchins, Roger (2008). British university observatories, 1772-1939. England: Ashgate Publishing Lmiited. p. 248. ISBN 978-0-7546-3250-4.\nNorth, John David (2008). Cosmos: an illustrated history of astronomy and cosmology. University of Chicago Press. p. 590. ISBN 978-0-226-59440-8.\nDorminey, Bruce (2002). Distant wanderers: the search for planets beyond the solar system. New York: Springer-Verlag. p. 123. ISBN 0-387-95074-5.\nMcLean, Ian S. (2008). Electronic imaging in astronomy: detectors and instrumentation. Springer. p. 67. ISBN 978-3-540-76582-0.\nRichichi, Andrea; Delplancke, Francoise (2008). The power of optical/IR interferometry: recent scientific results and 2nd generation instrumentation. Springer. p. 9. ISBN 978-3-540-74253-1.\n\"Seyfert's Sextet at SEDS.org\". Archived from the original on 2007-02-27. Retrieved 2007-04-06.\nPlotner, Tammy (2009). The Night Sky Companion: A Yearly Guide to Sky-Watching 2009. Springer Science. p. 303. ISBN 978-0-387-79508-9.\nPlotner, Tammy; Barbour, Jeff (2006). What's Up 2006 - 365 Days of Skywatching. Universe Today. p. 274. ISBN 978-1-4116-8287-0.\n\"Prizes given by the French Academy\". The American Naturalist. U. of Chicago Press. 18: 751. 1884. doi:10.1086/273730.", "JO 7 (1924) 9 (in French)" ]

[ "Édouard Stephan", "References", "Obituary" ]

[ 3893 ]

[ 18592, 18593, 18594, 18595, 18596 ]

[ "Édouard Surcouf, detail from a photograph taken in Prague in 1891", "The dirgible Lebaudy.", "The Ville de Paris in 1906.", "The Astra-Torres dirigible No. 1 from 1911.", "Astra CM biplane", "Astra triplane, participant at the military concours d'aviation, 1911", "" ]

[ 0, 1, 1, 1, 1, 1, 3 ]

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[ "Édouard Surcouf (1862–1938) was a French engineer, maker and pilot of dirigibles, and industrialist.", "Édouard Surcouf, an aeronautics enthusiast from an early age, made his first flight in a hot-air balloon in 1879 at the age of 17.\nThe following year, 1880, he started as an apprentice at the \"Grands Ateliers Aérostatiques du Champ-de-Mars\", the biggest aeronautic manufacturer at the end of the 19th century. He collaborated with engineers Eugène Godard, his brother Louis Godard and Gabriel Yon.\nIn 1889 he was named president of the School of Aeronautics. With Gabriel Yon he published a reference work, Aérostats et aérostation militaire à l'Exposition universelle de 1889 (éditions Bernard et Cie., Paris, 1889). Surcouf married Marie Surcouf who became the first French woman to gain her sporting pilot's license. She later set up La Stella, a women's ballooning organisation. \nIn 1889 he became the successor to his godfather (see Urania, a balloon made by the Ateliers Surcouf, Crystal Palace 1889) \nThis new company would be a pioneer in the introduction of rubberised fabric for the construction of envelopes of dirigibles. He continued Gabriel Yon's enterprise in providing equipment for the Spanish Army.\nOn 27 July 1900 he was appointed Technical Instructor at the first Swiss military aérostiers training school in Geneva.\nIn 1902 Surcouf built his first dirigible, the Astra I, Lebaudy I, for the brothers Paul and Pierre Lebaudy (see fr:famille Lebaudy), designed by fr:Henri Julliot and nicknamed \"le Jaune\" ('Yellow'). The fr:Le Lebaudy (dirigeable) was a hydrogen-filled, cigar-shaped airship pointed or thinning at the sides, 57 metres (187 ft) long, powered by a 40 horsepower (30 kW) engine with a propellers on each side. In 1904 the industrialist Henry Deutsch de la Meurthe ordered the dirigible Le Ville de Paris (Astra II), which had a bad accident during its inaugural flight in December 1904. It was rebuilt, and Le Ville de Paris flew again in 1906.\nHenry Deutsch de la Meurthe joined with Surcouf in 1908 to found the Société Astra (Société Astra de constructions aéronautiques). This new company increased production, making Wright brothers aircraft under licence and their own models such as the CM. The firm also made dirigibles, notably at Meaux and at the industrial site of Boulogne-Billancourt. Surcouf surrounded himself with aeronautical engineers, among which fr:Henry Kapférer would become the administrator of this new industrial firm. New dirigibles appeared: \n1909\nVille de Nancy (Astra III)\nClément Bayard (Astra IV)\nColonel Renard (Astra V)\nl'Espagne (España) (Astra VI)\nVille de Pau-Ville de Lucerne (Astra VII)\nFrédéric Airault, technical director of Compagnie générale transaérienne (later Air France), was associated with Astra from 1909. He skilfully avoided a disaster while flying in l'Espagne (VI), and piloted Ville de Lucerne (VII) on commercial flights in Switzerland in 1910 as Transaérienne's chief pilot.\n1910\nVille de Bruxelles (Astra VIII)\nVille de Pau (Astra IX)\nLieutenant Chaura (Astra X)\nAdjudant Réau (Astra XI) - made a record-breaking round flight of 850 km from Paris to the German border and back, piloted by Surcouf.\nÉclaireur Conté (Astra XII),\n(Astra XIII)\nOn 6 July 1911 Surcouf inaugurated the l'Institut aérotechnique de Saint-Cyr, affiliated with the University of Paris. De la Meurthe bought the Société Générale d'Aéro-Locomotion Deplante-Nieuport when Édouard N. died in 1911, renaming it the Société Anonyme des Établissements Nieuport.\nFrom 1911 Surcouf collaborated with the Spanish engineer Leonardo Torres Quevedo on a new semi-rigid dirigible in the Issy-les-Moulineaux works. Their Astra-Torres airship was much faster with better performance than previous airships. Other Astra-Torres dirigibles followed, including the Pilâtre de Rozier (Astra-Torres XV) named after the aerostier Jean-François Pilâtre de Rozier, which at 23,000 m3 was the same size as a Zeppelin.\nOn 18/19 September 1911 Surcouf piloted the Adjutant Reau (Astra XI) on a record-breaking non-stop round flight of 850 km from Paris (Issy-les-Moulineaux) - Chalons - Verdun - Nancy (Meurthe-et-Moselle) -Epinal - Versoul - Troyes -Paris.\nDuring World War I Surcouf's firms supplied war material.\nAfter the Great War, the company continued to produce dirigibles. In 1919 Henri de la Meurthe died. The Astra company merged with Nieuport to form Astra-Nieuport. In 1923 he retired from the company in favour of Gustave Delage.", "Aérostats et aérostation militaire. Marine et arts militaires, Paris, Bernard et compagnie, 1889 (with Gabriel Yon) — Extrait de la « Revue technique de l'Exposition universelle de 1889 »\nL'aéronautique militaire, 1910\nLes aéroplanes marins (hydroaéroplanes), 1913", "Notes\nUrania, a balloon made by the Ateliers Surcouf - See the aerial acrobat Leona Dare, flying beneath a balloon in 1887 at the Crystal Palace, London. See Leona Dare\nCitations\nBiguet, Adeline (2010). \"Une famille illustre: les Godards\". L'aérostat nantais (in French). archives.nantes.fr. Retrieved 23 March 2016.\n\"Histoire : biographies\". Aéronautique Club de France à Meaux (in fr-FR). Retrieved 2021-10-12.\nDescribed as a sort of catalogue raisonné of the aerial navigation Exposition. See Labrousse 1891, p. 56\nCailliez, Jean-Claude (14 August 2006). \"Création de la 1ère compagnie suisse d'aérostiers aux ordres de Théodore Schaeck (1897)\" (in French). Retrieved 23 March 2016.\nLes dirigeables Lebaudy. Blimp Europa N2A (in French). Retrieved 23 March 2016\n\"Le Raid du Lebaudy\" Lecture pour tous, October 1904. Aero-mondo.fr (in French).\nHoerne 1912, pp. 433–4.\nSources\nLabrousse, Ch. (1891). Navigation aérienne en 1889 (in French). Paris: Michelet.\nHoerne, Hermann (1912). Das Buch des Fluges, Volume III (in German). Vienna: G. Szelinski.", "Création de la première compagnie d'aérostiers suisses.\nLes dirigeables Astra-Torres" ]

[ "Édouard Surcouf", "Biography", "Partial list of publications", "References", "External links" ]

[ 3894, 3895, 3896, 3897, 3898, 3899, 3900 ]

[ 18597, 18598, 18599, 18600, 18601, 18602, 18603, 18604, 18605, 18606, 18607, 18608, 18609, 18610, 18611, 18612 ]

[ "" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/6/61/Edouard_T%C3%A9treau_%28English_Version%29.png" ]

[ "Édouard Tétreau (born 8 May 1970) is a French public intellectual known as an essayist, columnist, and political and economic consultant. He is the founder and managing partner of Mediafin.", "Tétreau was born in Soissons, France, and attended the Jesuit school Lycée Saint-Louis-de-Gonzague in Paris. He graduated from HEC Paris in 1992 with a degree in entrepreneurship. He has worked for international organizations such as the European Council on Foreign Relations, AXA Private Equity in New York City, and Schroders in London.\nIn 2004, he founded Mediafin, a strategic consulting firm through which he advises a number of European industrial families, financial institutions and CEOs of European Fortune 500 companies.\nA weekly columnist for French financial newspaper Les Échos, he writes on matters concerning politics, digital challenges, and finance, from a pro-European perspective. He is a regular television commentator and radio contributor on macroeconomic and policy issues.\nTétreau serves as a trustee of the Committee for Economic Development (CED), a public policy organization based in Washington, D.C. He is also a member of the Advisory Board of La Maison Française at Columbia University and an affiliate professor at HEC Paris, where he taught a course titled \"Managing in times of financial crises.\"", "Tétreau has frequently called for the creation of the \"United States of Europe\" in his articles in Le Monde and Le Figaro and Les Échos, and in his public interventions with the French Parliament, in China, and in New York City.\nIn his book Analyste, published in 2005, Tétreau discusses the excesses and short-termism of the financial system during the internet bubble. Tétreau then published his second book 20 000 milliards de dollars upon his return to France in the fall of 2010, after having spent three years in[New York City. The book discusses the national debt of the United States following the 2008 subprime mortgage crisis and the country's transition from the Bush to the Obama administration. It was later translated to Chinese and published by China Citic Press.\nTétreau is also the author of Quand le dollar nous tue, published by Grasset in 2011.\nHis book, Au-delà du mur de l’argent, was published on 9 September 2015 by French publisher Stock. It follows an Autumn 2014 briefing paper for the Vatican's Pontifical Council for Culture, calling for an intervention of Pope Francis in New York in September 2015, during the Pope's scheduled visit to the U.S. The book warns of the risks of a major and imminent \"accident\" in the global economy. It offers concrete answers for an alternative economic model based upon \"Pope Francis economics\" and various teachings from other religions, which, like many secular philosophies, give priority to the poorest and most fragile elements of our societies.\nOn 16 February 2016, in a much discussed opinion piece in Le Figaro, Tétreau described a Brexit as a \"tremendous opportunity\" for France, writing that an EU without Britain would be dominated by a Franco-German bloc that would be able to proceed with closer integration of the EU in a way that would not be possible if the UK were to remain. Tétreau argued that it was Britain that was most responsible for enlarging the European Union to include the nations of Eastern Europe as a way of weakening the Franco-German bloc which had dominated the European Economic Community (as the EU was known until 1993) since its founding with the 1957 Treaty of Rome. Tétreau maintained that none of the Eastern European nations should have been admitted to the EU, and that an EU without Britain would not take in new members that did not belong. Furthermore, Tétreau argued that it was the expansion of the EU into Eastern Europe that caused the war in the Ukraine as it awakened \"Russia's paranoia\" and argued that British participation in the Iraq war had gratuitously damaged Europe's relations with the Muslim world. Tétreau maintained that an EU without the United Kingdom would have better relations with both Russia and the Muslim world. Finally, Tétreau argued that if a Brexit were to occur, it would allow the French to make Paris the financial and economic capital of Europe in place of London as a number of multinational firms, especially American firms would relocate to Paris in order to maintain access to the European common market.", "On 16 March 2000, as a financial analyst for Crédit Lyonnais, Tétreau published an analysis of an imminent internet crash titled \"Take your e-profits before a potential e-crash.\" In Mercury Rising, he predicted the danger of bankruptcy for Vivendi Universal, leading to the departure of Vivendi head Jean-Marie Messier.\nIn 2005, Tétreau received the Sénat Reader Prize for an Economics Book for his book Analyste: au cœur de la folie financière.\nOn 10 May 2006, Tétreau spoke before the French Senate’s Commission on Finances, underlining the need for the French economy and society to prepare itself for an inevitable, brutal end to the period of financial excess and overabundance.\nIn China, where Tétreau's last book was published in 2012, he became a 2013 Young Leader of the France China Foundation Programme.", "Tétreau is married with three children, and resides in Paris.", "\"European Council on Foreign Relations\". www.ecfr.eu. Retrieved 9 August 2018.\n\"Bio - Mediafin\". www.mediafin.fr. Retrieved 10 August 2018.\n\"Edouard Tétreau - Contributeur Le Cercle - Les Echos\". lesechos.fr. Retrieved 10 August 2018.\n\"Edouard Tétreau, nouveau directeur de l'ECFR Paris\" (in French). European Council on Foreign Relations. 1 July 2014. Retrieved 10 August 2018.\n\"Edouard Tétreau prend les rênes du Conseil européen-ECFR - Les Echos\". Les Echos (in French). 9 September 2014. Retrieved 10 August 2018.\nTétreau, Édouard. Analyste: au cœur de la folie financière, Paris, Éditions Grasset et Fasquelle, 2005\nTétreau, Édouard. 20.000 milliards de dollars, Paris, Éditions Grasset et Fasquelle, 2010\n\"Cortile dei Gentili — L'Economia\". www.cortiledeigentili.com. Archived from the original on 2015-07-09. \nYardley, Jim; Bilefsky, Dan (17 November 2014). \"Pope Francis Confirms U.S. Visit for Next Year\". The New York Times. Retrieved 9 August 2018.\nTétreau, Edouard (18 February 2016). \"Why a Brexit would be a 'windfall' for France\". The Local. Retrieved 29 November 2015.\n6600 lecteurs-internautes ont élu en ligne Édouard Tétreau Prix des lecteurs du Livre d'Économie 2005", "Official website\nMediafin bio" ]

[ "Édouard Tétreau", "Education and career", "Writing", "Recognition", "Personal life", "References", "External links" ]

[ 3901 ]

[ 18613, 18614, 18615, 18616, 18617, 18618, 18619, 18620, 18621, 18622, 18623, 18624, 18625, 18626, 18627, 18628 ]

[ "" ]

[ 0 ]

[ "http://upload.wikimedia.org/wikipedia/commons/3/30/Edouard_Thilges.jpg" ]

[ "Jules Georges Édouard Thilges (17 February 1817 – 9 July 1904) was a Luxembourgish politician. He was the seventh Prime Minister of Luxembourg, serving for over three years, from 20 February 1885 until 22 September 1888.\nBorn in 1817 in Clervaux. From 1833 to 1838 he studied law at the universities of Brussels and Liège. In 1841 he became a lawyer at the tribunal of Diekirch, \nFrom 22 September 1854 to 21 May 1856 he was the Administrator General of Communal Affairs. \nFor several periods from 1857 to 1904, he was a member of the Council of State. \nHe was the Director General for the Interior and for Justice from 15 July 1859 to 26 September 1860.\nHe was once again Director General for Communal Affairs from 3 December 1867 to 7 February 1870. \nHe was the head of government, Minister of State, and Director General for Foreign Affairs, from 20 February 1885 to 22 September 1888. \nThilges died in Luxembourg in 1904.", "Thilges Ministry" ]

[ "Édouard Thilges", "See also" ]

[ 3902 ]

[ 18629 ]

[ "" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/5/58/Burgues-Missiessy.jpg" ]

[ "Édouard-Thomas de Burgues, comte de Missiessy (23 April 1756, Forcalquier, Alpes-de-Haute-Provence – 24 March 1837, Toulon) was a French naval officer and admiral. He joined the navy in April 1766, as a volunteer aboard his father's ship and spent most of his early service in the Mediterranean, in the frigates of the Toulon Fleet. When France entered the American Revolutionary war, Missiessy joined the 64-gun Vaillant in Admiral d'Estaing's fleet, where he took part in the initial engagements off Newport, St Lucia and Grenada, and in September 1779, the failed attack on Savannah. Missiessy's first command came in 1782 when he was promoted to lieutenant de vaisseau of the cutter Le Pygmée. He was soon after captured by the British but later released in an exchange of prisoners. \nIn 1789, the year of the outbreak of the French Revolution, Missiessy was a frigate commander in the Mediterranean. Promoted to capitaine de vaisseau in January 1792, he received the command of the ship Centaure in Admiral Truguet's squadron. In January 1793, he was promoted to contre-amiral. The Revolution became more radical and Missiessy was arrested on 21 May 1793 for being of noble birth. He was released and returned to duty on 30 June but when Toulon declared for the King, Missiessy fled to Italy. He did not return to France until 1795 and despite being acquitted by a court of enquiry, he was not given a ship and spent the next six years working ashore.\nIn 1804, Missiessy was appointed commander-in-chief of the Rochefort squadron with a key role in Napoleon's planned invasion of the United Kingdom. The Rochefort squadron was intended to rendezvous with Villeneuve's fleet in the West Indies and draw British ships there, before racing back across the Atlantic and seizing control of the English Channel. The failure of this plan was blamed in part on Missiessy and he was dismissed from the service. He was not employed again until February 1808 when he was made Commander-in-Chief of the defences at the Scheldt, foiling the British attacks on Antwerp that occurred between July and September 1809. Missiessy ceased active service on 17 September 1824 and was officially acknowledged as retired on 23 April 1832, when his name was entered on the retirement list. He died at Toulon on 24 March 1827, aged 80.", "Édouard-Thomas de Burgues, comte de Missiessy was born on 23 April 1756, in Forcalquier, Alpes-de-Haute-Provence. He joined the navy in April 1766, at the age of 10, as a volunteer aboard his father's ship, Altier.\nMost of his early service was spent in the Mediterranean, aboard the frigates of the Toulon Fleet. In April 1773, while a Garcon-Major on the Engageante, he embarked on a lengthy cruise to the Levant which lasted until January 1774. Another 9 month trip to the Levant took place between May 1774 and February 1775. Missiessy undertook a third cruise to the Levant between October 1775 and September 1776, this time as a Garde du Pavillon aboard the frigate Flore. Missiessy was promoted to enseigne de vaisseau in April 1777 and joined Sultane for an expedition to the Barbary Coast, where he helped prevent attacks on French shipping by corsairs.\nDuring the American War of Independence, he served Admiral d'Estaing's fleet. Aboard the 64-gun Vaillant, Missiessy participated in initial engagements off Newport, St Lucia and Grenada, and in September 1779 took part in the failed attack on Savannah. In December, Missiessy sailed for Lorient but by February the following year, he was on his way back to America in the 32-gun frigate, Surveillante.", "Missiessy was promoted to lieutenant de vaisseau on 9 May 1781 and returned to France in December 1781. He received his first command in March 1782, the cutter Le Pygmée, stationed at Brest but was shortly after captured by the British on 27 July 1782. Briefly confined at Deal, Kent, he was exchanged and by September, was serving as second officer aboard the 64-gun Reflechi. In early February 1783, he joined the 74-gun Censeur, returning home in April. From May 1786, Missiessy commanded transport ships operating in the Baltic.", "The French Revolution broke out in May 1789 and Missiessy spent August through to January 1792 in the Mediterranean, where he commanded the frigates Belette and Modeste. Promoted to capitaine de vaisseau in January 1791, he received the command of the ship Centaure in Admiral Truguet's squadron. In January 1793, he was promoted to contre-amiral. However, the Revolution was becoming more radical and Missiessy was suspected of noble birth and opposing the new regime. He was sent ashore and arrested on 21 May 1793 but was released and returned to duty on 30 June.\nWhen Toulon revolted, declaring for King Louis XVII and inviting the British in, Missiessy abandoned his command and fled to Italy. He returned to France in May 1795, where he faced a court of enquiry. On 25 August, Missiessy was acquitted and released. He was not given another ship however and instead served at the department of Charts and Maps, in Paris, until 1796, then as Director of the School of Naval Construction for four years after.\nIn June 1801, Missiessy's old commander, Truget, requested him as his Chief of Staff for the combined French and Spanish fleet stationed at Cadiz but when peace was declared in March 1802, he was ordered back to Paris and made Maritime Prefect. This was one of the first appointments of its kind, with responsibility for port facilities and fleet services. It was soon after decided to create similar positions for all French naval bases and in July, Missiessy took the job at the port of Le Havre.", "Truget called upon Missiessy again in October 1801, when he needed someone to command a squadron of ships at Brest. Missiessy held the post until 10 September 1804, when he was appointed commander-in-chief of the Rochefort squadron. The Rochefort squadron was a key element in Napoleon's planned invasion of the United Kingdom; intended to rendezvous with Villeneuve's fleet in the West Indies and draw British ships there, before racing back across the Atlantic and seizing control of the English Channel. On 11 January 1805 the blockading British ships were blown off station, allowing Missiessy's force to escape. Aboard the five ships-of-the-line, three frigates and two corvettes were 3500 troops under General Joseph Lagrange and artillery, supplies and weapons to reinforce the French garrisons of Martinique, Guadeloupe and Saint-Domingue. The same wind that disrupted the British blockade, kept the French ships pinned to the coast for five days, delaying arrival in Martinique until 20 February.\nThe approach to Martinique was guarded by a British battery mounted on Diamond Rock, forcing visiting ships to make a long detour through unfavourable open sea with strong winds and currents. HMS Diamond Rock, as it had been impudently named by those occupying it, was a constant irritation to Napoleon and Missiessy was keen to expel the British from it. He could not, however, convince either Lagrange or the Captain-General of Martinique, Villaret-Joyeuse, of the merits of his proposal. It was agreed instead to attack the British held island of Dominica. The assualt began on 22 February but the small British contingent, outnumbered three to one, fought fiercely and when the French failed to capture Prince Rupert Fort, they left on 25 February, destroying and burning as much as they could on the way.\nOn 28 February, Missiesy transported reinforcements and supplies to Guadeloupe. Between 5 and 10 March Missiessy's force attacked the British colonies of St Kitts, Nevis and Montserrat, collecting £25,000 in ransom money in the process. Returning to Martinique, Missiessy discovered that he and his squadron had been ordered home and that Napoleon's invasion plan had been postponed. Missiessy dropped the remaining troops at Saint-Dominique and set sail for France, arriving in Rochefort on 20 May. Despite carrying out his orders in full, Missiessy was made a scapegoat for Pierre-Charles Villeneuve's failings and lambasted by Napoleon for not recapturing Diamond Rock. He was dismissed and command of the Rochefort squadron passed to his second-in-command, Zacharie Allemand.", "In February 1808, having been unemployed since his return from the West Indies, Missiessy was given command of the Scheldt squadron and successfully defended Antwerp from the British attacks that occurred between July and September 1809, part of the ill-fated Walcheren Campaign. Having already been promoted Vice-Admiral on 9 March, he was rewarded for his efforts with appointment to Commander-in-Chief of the Northern Coasts and made a Count of the Empire on 23 February 1811, the latter position coming with an annuity of 20,000 francs. \nIn August 1814, the restored French king, Louis XVIII awarded Missiessy the Grand Cross of the Legion of Honour. During the Hundred Days uprising, Missiessy avoided taking sides and was further rewarded following the Bourbon restoration in June 1815: He was Maritime Prefect of Toulon and was elevated to Commander-in-Chief there in January 1816, later serving on the Council of the Admiralty, and finally Commander-in-Chief of the navy.\nMissiessy ceased active service on 17 September 1824. In June 1827, he was made a Knight Commander of the Holy Spirit and was officially acknowledged as retired on 23 April 1832, when his name was entered on the retirement list. He died at Toulon on 24 March 1827, aged 80.", "Chappet, Alain; Martin, Roger; Pigeard, Alain (2005). Le guide Napoléon: 4000 lieux de mémoire pour revivre l'épopée. Paris: Tallandier. p. 408. ISBN 9782847342468.\nHumble, Richard (2019). Napoleon's Admirals: Flag Officers of the Arc de Triomphe, 1789-1815. Oxford: Casemate. p. 15. ISBN 978-1-61200-808-0.\nHumble, Richard (2019). Napoleon's Admirals: Flag Officers of the Arc de Triomphe, 1789-1815. Oxford: Casemate. pp. 15–16. ISBN 978-1-61200-808-0.\nHumble, Richard (2019). Napoleon's Admirals: Flag Officers of the Arc de Triomphe, 1789-1815. Oxford: Casemate. p. 16. ISBN 978-1-61200-808-0.\nHumble, Richard (2019). Napoleon's Admirals: Flag Officers of the Arc de Triomphe, 1789-1815. Oxford: Casemate. p. 17. ISBN 978-1-61200-808-0.\nHumble, Richard (2019). Napoleon's Admirals: Flag Officers of the Arc de Triomphe, 1789-1815. Oxford: Casemate. p. 18. ISBN 978-1-61200-808-0." ]

[ "Édouard Thomas Burgues de Missiessy", "Early life and career", "Command", "Imprisonment and exile", "West Indies", "Later career", "References" ]

[ 3903 ]

[ 18630, 18631, 18632, 18633, 18634, 18635, 18636, 18637, 18638, 18639, 18640, 18641, 18642, 18643, 18644, 18645, 18646, 18647, 18648, 18649 ]

[ "Édouard Thouvenel (1818-1866)." ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/b/bf/KindermannThouvenel.jpg" ]

[ "Édouard Antoine de Thouvenel (11 November 1818, Verdun, Meuse – 18 October 1866) was ambassador to the Ottoman Empire from 1855 to 1860, and French Minister of Foreign Affairs from 1860 to 1862.", "After studying law and travelling throughout Europe, in 1840 Thouvenel published an account of his travels which first appeared in the Revue des Deux Mondes (la Hongrie et la Valachie. Souvenirs de voyages et notices historiques). He entered the foreign service in 1841 with the help of his sister. She was married to Alfred-August Cuvillier-Fleury, the former preceptor of Henri d'Orléans, Duke of Aumale. Thouvenel was appointed attaché to the French embassy in Brussels in 1844, followed by Athens in 1845. He became Chargé d'affaires in Athens in 1848 and afterwards became Minister Plenipotentiary to the Kingdom of Bavaria. In July 1850 he was made a Commandeur of the Legion of Honour, followed by Grand Officier (January 10 1854), and finally Grand Cross (14 January 1860).\nAfter the overthrow of the French Second Republic and the establishment of the French Second Empire under Louis-Napoléon, Thouvenel was recalled to Paris and put in charge of political affairs at the Ministry of Foreign Affairs. In 1855 he was appointed French ambassador to the Ottoman Empire in Constantinople, remaining in the post until 1860. He was elected to the French Senate in 1859.", "As Minister of Foreign Affairs during the French Second Empire, Thouvenel negotiated key treaties on behalf of France. In 1860, he negotiated the Treaty of Turin (1860), which annexed the Kingdom of Sardinia and the Duchy of Savoy to France, as well as a free-trade agreement between France and Britain. He was French plenipotentiary in the negotiations for a commercial treaty between France and Belgium, concluded on 1st May 1861. Thouvenel also arranged for a French intervention in Syria after a massacre of Christians took place there in 1860.\nDuring the American Civil War, Thouvenel worked to impede Napoleon III's recognition of the Confederate States of America. He feared that such a move would antagonize the United States and cause a retaliatory US invasion of Mexico, where the French were conducting an expedition to install a monarchy. \nHis resignation in October 1862 was a result of clashes with the Emperor over the Roman Question. Thouvenel negotiated an agreement with the newly-formed Kingdom of Italy to withdraw French troops from Rome in exchange for a guarantee from the new Kingdom to respect the Pope's temporal hold of the city. This agreement had particularly displeased the Empress Eugénie.", "After resigning as Minister of Foreign Affairs, Thouvenel became president of the Compagnie des chemins de fer de l'Est. He was offered, but refused, the presidency of the Corps législatif after the death of the Duke of Morny left it vacant. In 1865 he was named \"grand référendaire\" of the Senate.", "One War at a Time by Dean B. Mahin, p.96-97\nThe Ottoman Crimean War (1853-1856) - Page 332 Candan Badem - 2010 -\"The French ambassador Édouard-Antoine de Thouvenel first succeeded in having Abdülmecid accept the order of Legion d'Honneur. Other ambassadors had also offered orders to the sultan but he had\"\nGustave Vapereau (1870). Dictionnaire universal des contemporains. Hachette. p. 1725-1726.\n\"THOUVENEL Édouard-Antoine\". senat.fr. Retrieved 2022-04-27.\n\"Thouvenel, Édouard Antoine (1818-1866)\". www.siv.archives-nationales.culture.gouv.fr. Retrieved 2022-04-27.\n\"Notice de personne \"Thouvenel, Édouard-Antoine (1818-1868)\". catalogue.bnf.fr. Retrieved 2022-04-26.\n\"THOUVENEL (Édouard-Antoine). 255AP [192MI]\". www.siv.archives-nationales.culture.gouv.fr. Retrieved 2022-04-27.\nPatrick J. Kelly (September 2012). \"The North American Crisis of the 1860s\". Journal of the Civil War Era. University of North Carolina Press. 2 (3): 351.\nTherese Dolan (1994). \"The Empress's New Clothes: Fashion and Politics in Second Empire France\". Woman's Art Journal. 15 (1): 24-25.\nRichard Cobden, Simon Morgan, Gordon Bannerman (2007). The Letters of Richard Cobden: 1860-1865. Oxford University Press. p. 19.\n\"THOUVENEL (Édouard-Antoine). 255AP [192MI]\". www.siv.archives-nationales.culture.gouv.fr. Retrieved 2022-04-27." ]

[ "Édouard Thouvenel", "Career", "Minister of Foreign Affairs", "Post-diplomacy", "References" ]

[ 3904 ]

[ 18650, 18651, 18652, 18653, 18654, 18655, 18656, 18657, 18658 ]

[ "Édouard Timbal-Lagrave" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/1/11/Acta_Horti_berg._-_1905_-_tafl._142_-_Edouard_Timbal-Lagrave.png" ]

[ "Édouard-Pierre-Marguerite Timbal-Lagrave (4 March 1819, Grisolles – 17 March 1888, Toulouse) was a French pharmacist and botanist. He specialized in the flora of southwestern France, including the Pyrénées and Corbières Massif.\nHe studied chemistry and pharmacy in Toulouse and Montpellier, subsequently obtaining the degree of pharmacist 1st class. During his career he worked as a pharmacist in Toulouse and served as a substitute professor at the local École de médecine et de pharmacie. In 1854 he became a member of the Société botanique de France.\nIn 1871 the plant genus Timbalia (family Rosaceae) was named in his honor by Dominique Clos. Reportedly, many of the plants that he described were based on minor local differences, and as such, were later reduced to intraspecific rankings. His herbarium, as well as specimens collected by his son Albert Timbal-Lagrave, is housed at the Jardin botanique Henri Gaussen (TL) in Toulouse.", "Recherches sur les cépages cultivés dans les départements de la Haute-Garonne, du Lot, de Tarn-et-Garonne, de l'Aude, de l'Hérault et des Pyrénées Orientales (with Édouard Filhol), 1863 – Research on grapes grown in the departments of Haute-Garonne, Lot, Tarn-et-Garonne, Aude, Hérault and Pyrénées Orientales.\nPrécis des herborisations faites par la Société d'histoire naturelle de Toulouse pendant l'année 1870, 1871 – Specific herborizations made by the Natural History Society of Toulouse during the year 1870.\nUne excursion botanique à Cascastel, Durban, et Villeneuve dans les Corbières, 1874 – A botanical excursion in Cascastel, Durban, and Villeneuve in Corbières.\nDeuxième excursion dans les Corbières orientales, Saint-Victor, le col d'Ostrem, Tuchan, Vingrau, 1875 – Second excursion in the eastern Corbières Massif, Saint-Victor, the col of Ostrem, Tuchan, Vingrau.\nExploration scientifique du massif d'Arbas (Haute-Garonne); with Édouard Filhol and Ernest-Jules-Marie Jeanbernat, 1875 – Scientific exploration of the massif of Arbas.\nReliquiæ Pourretianæ, 1875.\nLe massif du Laurenti, Pyrénées française : géographie, géologie, botanique (with Ernest Jules Marie Jeanbernat), 1879 – The Laurenti massif, French Pyrénées.\nEssai monographique sur les Dianthus des Pyrénées françaises, 1881 – Monograph on Dianthus of the French Pyrénées.\nEssai monographique sur les espèces françaises du genre Héracleum, 1889 – Monograph on French species within the genus Heracleum.", "Archives numérisées Toulouse\nBHL Taxonomic literature : a selective guide to botanical publications and collections with dates, commentaries and types\nAnnals of Botany, Volume 2 edited by Isaac Bayley Balfour, Roland Thaxter, Vernon Herbert Blackman\nTimbal-Lagrave, Édouard Sociétés savantes de France\nTimbal-Lagrave, Pierre Marguérite Édouard (1819-1888) JSTOR Global Plants\nHathiTrust Digital Library published works\nIPNI.  Timb.-Lagr." ]

[ "Édouard Timbal-Lagrave", "Selected works", "References" ]

[ 3905 ]

[ 18659, 18660, 18661, 18662, 18663 ]

[ "", "", "", "", "" ]

[ 0, 2, 2, 2, 2 ]

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[ "Édouard Toudouze (1848-1907) was a French painter, illustrator, and decorative artist.", "Toudouze was born to an artistically accomplished family. His father, Auguste Gabriel Toudouze, was an architect and engraver. His mother, Adèle-Anaïs Colin (1822-1899), a well known illustrator, was the daughter of Alexandre-Marie Colin and a descendant of Jean-Baptiste Greuze. In addition, his aunt was the illustrator Héloïse Colin Leloir, his uncle the painter Auguste Leloir, and his cousins the illustrators Maurice Leloir and Alexandre-Louis Leloir. His sister Isabelle Toudouze (1850-1907) was also a painter, and his brother Gustave was a novelist.\nAfter studying at the Collège Sainte-Barbe in Paris, he served an apprenticeship with Isidore Pils. After brief studies at the École des Beaux Arts, he débuted at the Salon in 1867. Four years later, after serving in the Franco-Prussian War, he received the Prix de Rome in painting for his work, Blind Oedipus.\nAlthough known for his mythological and historical themes, his canvases are mostly in the Genre style. As a rule, he tended to avoid involvement in the quarrels that pitted Academicism against Impressionism.\nHe received a gold medal at the Exposition Universelle (1889) and was named a knight in the Légion d’Honneur in 1892. He became an officer of that order in 1903. A large number of his paintings were acquired by the government for state-run museums.\nIn addition to his paintings, he did decorative work at the Opéra-Comique (a scene from the Jeu de Robin et Marion). He also produced a set of models depicting the history of Brittany that were made into tapestries at the Manufacture des Gobelins. The tapestries were on display at the Palais du Parlement de Bretagne until 1994, when they were moved to a museum for preservation.\nHis book illustrations included works by Sir Walter Scott, Théophile Gautier, \nProsper Mérimée and numerous volumes from La Comédie Humaine of Honoré de Balzac.", "", "Steele, Valerie (2017). Paris Fashion: A Cultural History. United Kingdom: Bloomsbury Publishing. pp. 94–98. ISBN 978-1-4742-6970-4.\nBrief biography @ Rehs Galleries.\nDossier @ the Base Léonore.", "Works by Toudouze at ArtNet\nWorks by Toudouze at the Rijksmuseum" ]

[ "Édouard Toudouze", "Biography", "Selected works", "References", "External links" ]

[ 3906, 3907, 3908, 3909 ]

[ 18664, 18665, 18666, 18667, 18668 ]

[ "Edouard Travies painted by Fink in the year 1859 at Musée Lombart in Doullens", "" ]

[ 0, 1 ]

[ "https://upload.wikimedia.org/wikipedia/commons/2/21/Edouard_Travies.jpg", "https://upload.wikimedia.org/wikipedia/commons/3/36/Claude_Monet_049.jpg" ]

[ "Édouard Traviès de Villers (24 March 1809 – 18 November 1876) was a French watercolourist, lithographer and illustrator. He regularly exhibited works at the Paris Salon between 1831 and 1866 and was primarily known for his paintings of natural history subjects, especially birds. His greatest work was Les oiseaux les plus remarquables par leurs formes et leurs couleurs (The most remarkable birds for their form and colour). Simultaneously published in London and Paris in 1857, Les oiseaux contains 79 hand-colored lithographic plates made from Traviès's original paintings. His elder brother was the painter and caricaturist Charles-Joseph Traviès de Villers.", "Mulsant, Martial Étienne and Verreaux, Edouard (1877). Histoire naturelle des oiseaux-mouches, ou, Colibris constituant la famille des trochilidés, Vol 4. p. 213. Deyrolle (in French)\nOlsen, Penny (2013). Flocks of Colour, p. 209. National Library Australia. ISBN 0642278067\nAmherst College Library. \"Soffer Ornithology Collection Notes\". Retrieved 15 May 2017.\nBellier de La Chavignerie, Émile and Auvray, Louis (1885). Dictionnaire général des artistes de l'École française depuis l'origine des arts du dessin jusqu'à nos jours, Vol. 2, p. 588. Librairie Renouard (in French)\nMedia related to Édouard Traviès at Wikimedia Commons" ]

[ "Édouard Traviès", "References" ]

[ 3910, 3911 ]

[ 18669, 18670 ]

[ "Édouard Vaillant" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/0/04/%C3%89douard_Vaillant_at_P%C3%A8re_Lachaise.jpg" ]

[ "Marie Édouard Vaillant (26 January 1840 – 18 December 1915) was a French politician.\nBorn in Vierzon, Cher, son of a lawyer, Édouard Vaillant studied engineering at the École Centrale des Arts et Manufactures, graduating in 1862, and then law at the Sorbonne. In Paris he knew Charles Longuet, Louis-Auguste Rogeard, and Jules Vallès. A reader of Joseph Proudhon writings, he met Proudhon, and joined the International Workingmen's Association.\nHe went to study in Germany in 1866. At the outbreak of the Franco-Prussian War in 1870 he returned to Paris. It was during the Siege of Paris that Vaillant met Auguste Blanqui. Vaillant opposed the Government of National Defence, and took part in the revolts on 31 October 1870 and 22 January 1871.\nHe was one of the four editors of the Affiche Rouge (red poster) calling for the creation of the Paris Commune. In the elections of February 1871 he stood as a revolutionary socialist candidate for the National Assembly but was not elected. In March 1871 he was elected by the 20th arrondissement to the council of the Commune where he oversaw work on education.\nFollowing the bloody suppression of the Commune in late May 1871, Vaillant fled France with Eugène Baudin for Great Britain where he was part of the Blanquist tendency of the First International. He was sentenced to death in absentia in July 1872 and did not return to France until the general amnesty of 1880.\nActive in socialist politics, Vaillant was elected to the Chamber of Deputies in 1893, representing the 20th arrondissement. Although he had earlier been a convinced revolutionary, in the Chamber he generally followed a middle ground between the \"revolutionaries\" represented by Jules Guesde and the \"reformists\" represented by Jean Jaurès. He was among the founder members of the French Section of the Workers' International (SFIO), a socialist party uniting revolutionary and reformist groups.\nVaillant supported a general strike to prevent French participation in the First World War, but following the assassination of Jaurès and the outbreak of war, he joined the majority of socialists in supporting the Union sacrée and harshly criticised pacifist members of the SFIO in his speeches.\nÉdouard Vaillant died in Paris on 18 December 1915. Schools in his birthplace of Vierzon, and in Gennevilliers, are named in his honour.", "Jolly, Jean (1960). \"Dictionnaire des Parlementaires français 1889-1940\" (in French). Presses Universitaires de France. Retrieved 2007-08-23.\nVAILLANT Marie, Édouard - paper in French\nGilles Candar, Édouard Vaillant. L’invention de la gauche, Armand Colin, 2018 book in French" ]

[ "Édouard Vaillant", "References" ]

[ 3912 ]

[ 18671 ]

[ "Édouard Vanzeveren in 1927" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/0/0d/%C3%89douard_Vanzeveren_1927.jpg" ]

[ "Édouard Vanzeveren (27 April 1905 – 12 May 1948) was a French freestyle swimmer. He competed at the 1924 Summer Olympics in the 100 m, 400 m and 4×200 m relay events, but failed to reach the finals.", "\"Édouard Vanzeveren\". Olympedia. Retrieved 13 November 2021.\nEvans, Hilary; Gjerde, Arild; Heijmans, Jeroen; Mallon, Bill; et al. \"Édouard Vanzeveren\". Olympics at Sports-Reference.com. Sports Reference LLC. Archived from the original on 17 April 2020.", "Edouard Van Zeveren at the International Olympic Committee" ]

[ "Édouard Vanzeveren", "References", "External links" ]

[ 3913 ]

[ 18672 ]

[ "Self-portrait, 1889, oil on canvas", "Ker-Xavier Roussel, Édouard Vuillard, Romain Coolus, Félix Vallotton, 1899", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "", "Le Grand Teddy, 1918, glue distemper on canvas, 150 × 290 cm, the largest of the three paintings commissioned from Vuillard in 1918 for the Paris café \"Le Grand Teddy\"" ]

[ 0, 2, 2, 2, 2, 4, 4, 4, 5, 5, 5, 5, 6, 6, 6, 6, 6, 6, 6, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 11, 11, 11, 11, 11, 11, 11, 11, 13, 13, 13, 14 ]

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[ "Jean-Édouard Vuillard (French: [vɥijaʁ]; 11 November 1868 – 21 June 1940) was a French painter, decorative artist and printmaker. From 1891 through 1900, he was a prominent member of the Nabis, making paintings which assembled areas of pure color, and interior scenes, influenced by Japanese prints, where the subjects were blended into colors and patterns. He also was a decorative artist, painting theater sets, panels for interior decoration, and designing plates and stained glass. After 1900, when the Nabis broke up, he adopted a more realistic style, painting landscapes and interiors with lavish detail and vivid colors. In the 1920s and 1930s he painted portraits of prominent figures in French industry and the arts in their familiar settings.\nVuillard was influenced by Paul Gauguin, among other post-impressionist painters.", "Jean-Édouard Vuillard was born on 11 November 1868 in Cuiseaux (Saône-et-Loire), where he spent his youth. Vuillard's father was a retired captain of the naval infantry, who after leaving the military became a tax collector. His father was 27 years older than his mother, Marie Vuillard (née Michaud), who was a seamstress.\nIn 1877, after his father's retirement, the family settled in Paris at 18 Rue de Chabrol, then moved to Rue Daunou, in a building where his mother had a sewing workshop. Vuillard entered a school run by the Marist Brothers. He was awarded a scholarship to attend the prestigious Lycée Fontaine, which in 1883 became the Lycée Condorcet. Vuillard studied rhetoric and art, making drawings of works by Michelangelo and classical sculptures. At the Lycée he met several of the future Nabis, including Ker-Xavier Roussel (Vuillard's future brother in law), Maurice Denis, writer Pierre Véber, and the future actor and theater director Aurélien Lugné-Poe.\nIn November 1885, when he left the Lycée, he gave up his original idea of following his father in a military career, and set out to become an artist. He joined Roussel at the studio of painter Diogène Maillart, in the former studio of Eugène Delacroix on Place Fürstenberg. There, Roussel and Vuillard learned the rudiments of painting. In 1885 he took courses at the Académie Julian, and frequented the studios of the prominent and fashionable painters William-Adolphe Bouguereau and Robert-Fleury. However, he failed in the competitions to enter the École des Beaux-Arts in February and July 1886 and again in February 1887. In July 1887, the persistent Vuillard was accepted, and was placed in the course of Robert-Fleury, then in 1888 with the academic history painter Jean-Léon Gérôme. In 1888 and 1889, he pursued his studies in academic art. He painted a self-portrait with his friend Waroquoy, and had a crayon portrait of his grandmother accepted for the Salon of 1889. At the end of that academic year, and after a brief period of military service, he set out to become an artist.", "Late in 1889 he began to frequent the meetings the informal group of artists known as Les Nabis, or The prophets, a semi-secret, semi-mystical club which included Maurice Denis and some of his other friends from the Lycée. In 1888 the young painter Paul Sérusier had traveled to Brittany, where, under the direction of Paul Gauguin, he had made a nearly abstract painting of the seaport, composed of areas of color. This became The talisman, the first Nabi painting. Serusier and his friend Pierre Bonnard, Maurice Denis and Paul Ranson, were among the first Nabis of nabiim, dedicated to transforming art down to its foundations. In 1890, through Denis, Vuillard became a member of the group, which met in Ransom's studio or in the cafes of the Passage Brady. The existence of the organization was in theory secret, and members used coded nicknames; Vuillard became the Nabi Zouave, because of his military service.\nHe first began working on theater decoration. He shared a studio at 28 Rue Pigalle with Bonnard with the theater impresario Lugné-Poe, and the theater critic Georges Rousel. He designed sets for several works by Maeterlinck and other symbolist writers. In 1891 he took part in his first exposition with the Nabis at the Chateau of Saint-Germain-en-Laye. He showed two paintings, including The Woman in a Striped Dress (see gallery below). The reviews were largely good, but the critic of Le Chat Noir wrote of \"Works still indecisive, where one finds the features in style, literary shadows, sometimes a tender harmony.\" (September 19, 1891).\nVuillard began keeping a journal during this time, which records the formation of his artistic philosophy. \"We perceive nature through the senses which give us images of forms, sounds, colors, etc.\" he wrote on 22 November 1888, shortly before he became a Nabi. \"A form or a color exists only in relation to another. Form does not exist on its own. We can only conceive of the relations.\" In 1890 he returned to the same idea: \"Let's look at a painting as a set of relations that are definitely detached from any idea of naturalism.\"", "The works of Vuillard and the Nabis were strongly influenced by Japanese woodblock prints, which were shown in Paris at the gallery of art dealer Siegfried Bing, and at a large show at the École des Beaux Arts in 1890. Vuillard himself acquired a personal collection of 180 prints, some of which are visible in the backgrounds of his paintings. The Japanese influence appeared particularly in his work in the negation of depth, the simplicity of forms, and strongly contrasting colors. The faces were often turned away, and drawn with just a few lines. There was no attempt to create perspective. Vegetal, floral and geometric designs in the wallpaper or clothing were more important than the faces. In some of Vuillard's works, the persons in the paintings almost entirely disappeared into the designs of the wallpaper. The Japanese influence continued in his later, post-Nabi works, particularly in the painted screens depicting Place Vintimille he made for Marguerite Chaplin.", "Another aspect of the Nabi philosophy shared by Vuillard was the idea that decorative art had equal value with traditional easel painting. Vuillard created theatrical sets and programs, decorative murals and painted screens, prints, designs for stained glass windows, and ceramic plates. In the early 1890s, he worked especially for the Théâtre de l'Œuvre of Lugné-Poe designing backdrops and programs.\nFrom theater decoration, Vuillard soon moved into interior decoration. In the course of his theater work, he met brothers Alexandre and Thadée Natanson, the founders of La Revue Blanche, a cultural review. Vuillard's graphics appeared in the journal, together with Pierre Bonnard, Henri de Toulouse-Lautrec, Félix Vallotton and others. In 1892, on a commission for Natanson brothers, Vuillard painted his first decorations (\"apartment frescoes\") for the house of Mme Desmarais. He made others in 1894 for Alexandre Natanson, and in 1898 for Claude Anet.\nHe used some of the same techniques he had used in the theater for making scenery, such as peinture à la colle, or distemper, which allowed him to make large panels more quickly. This method, originally used in Renaissance frescos, involved using rabbit-skin glue as a binder mixed with chalk and white pigment to make gesso, a smooth coating applied to wood panels or canvas, on which the painting was made. This allowed the painter to achieve finer detail and color than on canvas, and was waterproof. In 1892 he received his first decorative commission to make six paintings to be placed above the doorways of the salon of the family of Paul Desmarais. He designed his panels and murals to fit into the architectural setting and the interests of the client.\nIn 1894, he and the other Nabis received a commission from art gallery owner Siegfried Bing, who had given Art Nouveau its name, to design stained glass windows to be made by the American firm of Louis Tiffany. Their designs were displayed in 1895 at the Société Nationale des Beaux-Arts, but the actual windows were never made. In 1895 he designed a series of decorative porcelain plates, decorated with faces and figures of women in modern dress, immersed in floral designs. The plates, along with his design for the Tiffany window and the decorative panels made for the Natansons, were displayed at the opening of Bing's gallery Maison de l'Art Nouveau in December 1895.", "Some of his best-known works, including the Les Jardins Publiques (The Public Gardens) and Figures dans un Interieur (Figures in an Interior) were made for the Natanson brothers, whom he had known at the Lycée Condorcet, and for their friends. They gave Vuillard freedom to choose the subjects and style. Between 1892 and 1899, Vuillard made eight cycles of decorative paintings, with altogether some thirty panels. The murals, though rarely displayed during his lifetime, later became among his most famous works.\nPublic Gardens is a series of six panels illustrating children in the parks of Paris. The patrons, Alexander Natanson and his wife Olga, had three young daughters. The paintings show a variety of different inspirations, including the medieval tapestries at the Hotel de Cluny in Paris that Vuillard greatly appreciated. For this series Vuillard did not use oil paint, but peinture à la colle, a method he had used in painting theater sets, which required him to work very quickly, but allowed him to make modifications and to achieve the appearance of frescoes. He received the commission on 24 August 1894, and completed the series at the end of the same year. They were installed in the dining room/salon of the Natansons.", "Vuillard frequently painted interior scenes, usually of women in a workplace, at home, or in a garden. The women's faces and features are rarely the center of attention; the painting were dominated by the bold patterns of the costumes, the wallpaper, carpets, and furnishings.\nHe wrote in his journal in 1890, \"In the decoration of an apartment, and overly-precise subject can easily become intolerable. One might less quickly get tired of a textile, or drawings without too much literal precision.\" He also to preferred populate his interiors with women. As he wrote in his journal in 1894, \"When my attention is directed toward men, I see only gross caricatures...I never feel so with women, where I always find the means to isolate a few elements which satisfy me as a painter. Its not that men are uglier than women, they're only so in my imagination.\"\nHe painted a series of paintings of seamstresses in the workshop of a dressmaker, based on the workshop of his mother. In La Robe à Ramages (The flowered dress; 1891), the women in the workshop are assembled out of areas of color. The faces, seen from the side, have no details. The patterns of their costumes and the decor dominate the pictures. The figures include his grandmother, to the left, and his sister Marie, in the bold patterned dress which is the central feature of the painting. He also placed a mirror on the wall to the left, a device which allowed him to give two points of view simultaneously and to reflect and distort the scene. The result is a work that is deliberately flattened and decorative.\nThe Seamstress with Chiffons (1893) also presents a seamstress at work, seated in front of a window. Her face is obscure and the image appears almost flat, dominated by the floral patterns of the wall.\nIn 1895 Vuillard received a commission from the cardiologist Henri Vaquez for four panels to decorate the library of his Paris house at 27 rue du Général Foy. The primary subjects were women engaged in playing the piano, sewing, and other solitary occupations in a highly decorated bourgeois apartment. The one man in the series, presumably Vaquez himself, is shown in his library reading, paying little attention to the woman sewing next to him. The tones are somber ochres and purples. The figures in the panels are almost entirely integrated into the elaborate wallpaper, carpet, and patterns of the dresses of the women. Art critics immediately compared the works to medieval tapestries. The paintings, completed in 1896, were originally titled simply People in Interiors but later critics added subtitles: Music, Work, The Choice of Books, and Intimacy. They are now in the Museum of the Petit Palais in Paris.\nIn 1897 his interiors showed a noticeable change, with Large Interior with Six Persons. The picture was much more complex in its perspective, depth and color, with carpets arranged in different angles, and the figures scattered around the room more recognizable. It was also complex in its subject matter. The setting appears to be the apartment of the Nabi painter Paul Ranson, reading a book; Madame Vuillard seated in an armchair, Ida Rousseau coming in the door, and her daughter Germaine Rousseau, standing at the left. The unstated subject was the romantic affair between Ker-Xavier Roussel and Germaine Rousseau, his sister-in-law, which shocked the Nabis.", "The Nabis went their separate ways after their exposition in 1900. They had always had different styles, though they shared common ideas and ideals about art. The separation was made deeper by the Dreyfus Affair (1894–1908), which split French society. Dreyfus was a Jewish French army officer accused falsely of treason, and sentenced to a penal colony, before finally being exonerated. Among the Nabis, Vuillard and Bonnard supported Dreyfus, while Maurice Denis and Sérusier supported the side of the French army.\nAfter the separation of the Nabis in 1900, the style and subjects of Vuillard changed. He had formerly been, with the Nabis, in the vanguard of the avant-garde. Now he gradually abandoned the close, crowded and dark interiors he had painted before 1900, and began to paint more outdoors, with natural light. He continued to paint interiors, but the interiors had more light and color, more depth, and the faces and features were clearer. The effects of the light became primary components of his paintings, whether they were interior scenes or the parks and streets of Paris. He gradually returned to naturalism. He held his second large personal exhibition at the Gallerie Bernheim-Jeune in November 1908, where he presented many of his new landscapes. He was praised by one anti-modernist critic for \"his delicious protest against systematic deformations.\"\nIn 1912, Vuillard, Bonnard and Roussel were nominated for the Légion d'honneur, but all three refused the honor. \"I do not seek any other compensation for my efforts than the esteem of people with taste,\" he told a journalist.\nIn 1912, Vuillard painted Théodore Duret in his Study, a commissioned portrait that signaled a new phase in Vuillard's work, which was dominated by portraiture from 1920 onwards.\nVuillard served as a juror with Florence Meyer Blumenthal in awarding the Prix Blumenthal, a grant given between 1919–1954 to young French painters, sculptors, decorators, engravers, writers, and musicians.", "After 1900 Vuillard continued to paint numerous domestic interiors and gardens, but in a more naturalistic, colorful style than he had used as a Nabi. Though the faces of the persons were still often looking away, the interiors had depth, a richness of detail, and warmer colors. He particularly captured the play of the sunlight on the gardens and his subjects. He did not want to return to the past, but wanted to move into the future with a vision that was more decorative, naturalistic and familiar than that of the modernists.\nHe made new series of decorative panels, depicting urban scenes and parks in Paris, as well as many interior scenes of Paris shops and homes. He depicted the galleries of the Louvre Museum and the Museum of Decorative Arts, the chapel of the Palace of Versailles.", "The theater was an important part of Vuillard's life. He had begun as a Nabi by making sets and designing programs for an avant-garde theater, and throughout his life had close contacts with theater people. He was a friend of, and painted the actor and director Sacha Guitry. \nIn May 1912, he received an important commission for seven panels, and three paintings above the doorways, for the new Théâtre des Champs-Élysées in Paris, including one of Guitry in his loge at the theater, and another of the comic playwright Georges Feydeau. He attended the performances of the Ballets Russes between 1911 and 1914, and dined with the Russian director of the Ballet, Sergei Diaghilev, and with the American dancer Isadora Duncan, and frequented the Folies Bergère and the Moulin Rouge in their heyday. In 1937 he and Bonnard combined their impressions of the history of Paris theater world in a large mural, La Comédie, for the foyer of the new Théâtre national de Chaillot, built for the 1937 Paris International Exposition.", "Following the outbreak of the First World War in August 1914, Vuillard was briefly mobilized for military duty as a highway guard. He was soon released from this duty, and returned to painting. He visited the armaments factory of his patron, Thadée Natanson, near Lyon, and later made a series of three paintings of the factories at work. He served briefly, from 2 February to 22 February, as an official artist to the French armies in the region of the Vosges, making a series of pastels. These included a sympathetic sketch of a captured German prisoner being interrogated. In August 1917, back in Paris, he received a commission from the architect Francis Jourdain for a mural for a fashionable Paris café, Le Grand Teddy.\nIn 1921 he received an important commission for decorative panels for the art patron Camille Bauer, for his residence in Basel, Switzerland. Vuillard completed a series of four panels, plus two over-the-door paintings, which were finished by 1922. He passed his summers each year from 1917 to 1924 at Vaucresson, at a house he rented with his mother. He also made a series of landscape paintings of the area.", "After 1920 he was increasingly occupied painting portraits for wealthy and distinguished Parisians. He preferred to use the technique of peinture à la colle sur toile, or distemper technique, which allowed him to create more precise details and richer color effects. His subjects ranged from the actor and director Sacha Guitry to the fashion designer Jeanne Lanvin, Lanvin's daughter, the Contesse Marie-Blanche de Polignac, the inventor and aviation pioneer Marcel Kapferer, and the actress Jane Renouardt. He usually presented his subjects in their studios or homes or backstage, with lavishly detailed backgrounds, wallpaper, furnishings and carpets. The backgrounds both created a mood, told a story, and served as a contrast to bring out the main figure.", "Between 1930 and 1935 he divided his time between Paris and the Château de Clayes, owned by his friend Hessel. He did not receive any official recognition from the French state until July 1936, when he was commissioned to make a mural, La Comédie, depicting his impressions of the history of the Paris theater world for the foyer of the new Théâtre national de Chaillot, built for the 1937 Paris International Exposition. In August of the same year, the City of Paris bought four of his paintings, Anabaptistes, and a collection of sketches. In 1937 he received another major commission, along with Maurice Denis and Roussel, for a monumental mural at the Palace of the League of Nations in Geneva.\nIn 1938, he received more official recognition. He was elected in February 1938 to the Académie des Beaux Arts, and in July 1938 the Musée des Arts Decoratifs presented a major retrospective of his paintings. Later in the year he traveled to Geneva to oversee the installation of his mural Peace, Protector of the Arts at the League of Nations Building.\nIn 1940, he completed his last two portraits. He suffered from pulmonary difficulties, and traveled to La Baule in Loire-Atlantique to restore his health. He died there on 21 June 1940, the same month that the French army was defeated by the Germans in the Battle of France.", "Vuillard was unmarried, but his personal life and his work were greatly influenced by his women friends. In the late 1890s he began a long relationship with Misia Natanson, the wife of his important patron, Thadée Natanson. Natanson had married her in April 1893, when she was sixteen years old. She appears in the Public Gardens. He helped her decorate the Natansons' apartment, painted her often in his decorative panels, and regularly accompanied her and her husband to their country house.\nIn 1900 Vuillard met Lucy Hessel, wife of a Swiss art dealer, who became his new muse, traveling with him each year to Normandy in July, August and September, and giving him advice. She remained with him, despite many rivals and many dramatic scenes, until the end of his life. In addition to Misia and Lucy, he also had a long relationship with the actress Lucie Belin, for whom he arranged a pension when she fell ill in the 1920s.", "In 2014 the BBC television program Fake or Fortune? investigated a painting, owned by British scriptwriter Keith Tutt, which both he and the previous owners, Mr and Mrs Warren, believed to be by Vuillard. The vertical oval painting, which depicts a café scene, was thought to be one of a group of three paintings commissioned from Vuillard in 1918 to decorate a new Parisian café, \"Le Grand Teddy\", named after American president Teddy Roosevelt. The main painting of the commission, a large horizontal oval work depicting a busy café interior (currently privately owned and kept in secure storage in Geneva, Switzerland) was at the time the only one of the three known to still exist and to have been fully confirmed as a genuine Vuillard. With assistance from art experts, the program undertook an exhaustive investigation and analysis of the Tutt painting, as well as carrying out extensive research to establish the painting's provenance. After submitting all the evidence to a committee at the secretive and highly conservative Wildenstein Institute in Paris, Tutt and the Fake or Fortune? team learned that the committee had unanimously agreed it was genuine.", "On 13 November 2017, Misia et Vallotton à Villeneuve painted in 1899 became the most valuable Vuillard sold at auction when it achieved $17.75 million at Christie's. The painting had been owned by Nancy Lee and Perry Bass since 1979 when they bought the painting from Wildenstein & Co., the French art dealing family.", "In 2006 the National Gallery of Canada restituted Vuillard's The Salon of Madame Aron (1904, reworked in 1934), which it had purchased in 1956, to the Lindon family in France.", "13 March 2019 to 30 June 2019 – Les Nabis et le décor – Bonnard, Vuillard, Maurice Denis... Musée du Luxembourg, Paris\n19 October 2018 – 20 January 2019 Maman Vuillard and Madame Vuillard, Barber Institute of Fine Arts in Birmingham\n16 October 2015 – 15 February 2016 Indoor/Outdoor: Vuillard's \"Landscapes and Interiors\", Norton Simon Museum in Pasadena\n4 May 2012 – 23 September 2012 Edouard Vuillard: A Painter and His Muses, 1890–1940 Archived 1 February 2014 at the Wayback Machine, The Jewish Museum in New York\n19 January 2003 – 20 April 2003 Édouard Vuillard, National Gallery of Art in Washington, DC\n25 September 2003 – 4 January 2004 Edouard Vuillard (1868–1940), Musée d'Orsay in Paris", "The Green Interior or Figure in front of a Window with Drawn Curtains (1891), Metropolitan Museum of Art\nSelf Portrait (1892)\nWoman Sweeping (1892)\nMother and Sister of the Artist (1893)\nThe Seamstress (1893), Indianapolis Museum of Art\nThe Yellow Curtain (1893)\nMarried Life (1894)\nUnder the Trees (from \"The Public Gardens\") (1894), Cleveland Museum of Art\nChestnut Trees, a Cartoon for a Tiffany Stained-Glass Window (1894–95), glue-based distemper on cardboard, mounted on canvas, 110 x 70 cm, Dallas Museum of Art\nAt the Café (c.1897–1899), Cleveland Museum of Art\nWoman in Blue With Child (Misia Natanson with Mimi Godebska, rue Saint-Florentin) (1899)\nInterior: Madame Vuillard and Grand-Mère Roussel at L'Étang-la-Ville (1900–01), oil on cardboard, 53 x 70 cm, Dallas Museum of Art\nAt the Revue Blanche (Portrait of Félix Fénéon), 1901, Guggenheim Museum\nLe Déjeuner à Villeneuve-sur-Yonne (1902)\nCafé Wepler (1908–10, reworked in 1912), Cleveland Museum of Art\nLe Grand Teddy (1918)\nGarden at Vaucresson (1920, reworked in 1926, 1935, 1936), Metropolitan Museum of Art\nAndré Bénac (1936), Cleveland Museum of Art", "Intimism (art movement)\nPost-Impressionism", "\"Validate User\".\n\"The life and art of Édouard Vuillard\". Christie's. Archived from the original on 25 October 2017.\nPreston 1972, p. 14\nCogeval 2003, p. 474\nref & Cogeval 2003, p. 474\nref & Cogeval 2003, p. 474{\n(fr, Gallica.Bnf, L'Amateur d'estampes, 1934, p.158\nThompson 1988, p. 10\nCogeval 2003, p. 475\nThompson 1988, p. 18\nParoles d'Artiste – Édouard Vuillard. Éditions Fage, Paris (2019), p. 10\nParoles d'Artiste – Édouard Vuillard. Éditions Fage, Paris (2019), p. 8\nJolin, Camille, Les Nabis et le Japon, in Les Nabis et Le Decor, L'Objet d'Art March 2019, pp. 21–27\nJolin, Camille, Les Nabis et le Japon, in Le Beau dans le quotidien, L'Objet d'Art March 2019, pp. 21–27.\nEdouard Vuillard: A Painter and His Muses, 1890–1940 Archived 1 February 2014 at the Wayback Machine at The Jewish Museum\nCogeval 2003, pp. 164–165, 192–193\nCogeval 2003, pp. 164–165\nCogeval 2003, p. 135\nJournal, 6 September 1890, Paroles d'Artiste- Édouard Vuillard, p. 30\nJournal, 27 July 1894, Paroles d'Artiste- Édouard Vuillard, p. 30\nCogeval 2003, p. 138\nCogeval 2003, pp. 195–199\nCogeval 2003, pp. 208–209\nref & Cogeval 2003, pp. 32–34\nThompson 1988, p. 126\n\"Florence Meyer Blumenthal\". Jewish Women's Archive, Michele Siegel.\nCogeval 2003, pp. 323–325\nCogeval 2003, pp. 465–68\nCogeval 2003, pp. 480–481\nCogeval 2003, p. 481\nCogeval 2003, p. 482\nCogeval 2003, p. 389\nPreston 1972, p. 49\nBrown 2012, p. 21\nCogeval 2003, pp. 24–31\nCogeval 2003, pp. 30–31\n\"BBC One – Fake or Fortune?, Series 3, Vuillard\". BBC.\n\"Edouard Vuillard (1868–1940), Misia et Vallotton à Villeneuve\". Retrieved 14 November 2017.\n\"Paintings stolen by Nazis still hang in Canadian galleries. Paltry government funding is hampering efforts to identify and return them\". www.lootedart.com. Archived from the original on 24 November 2015. Retrieved 25 April 2021. In the late 1990s, the National Gallery of Canada discovered that Édouard Vuillard's The Salon of Madame Aron (1904, reworked in 1934), which it had purchased in 1956, belonged to the Lindon family in France. The gallery contacted the descendant who, surprisingly, insisted that the artwork had never belonged to his family. The NGC maintained that the evidence was incontrovertible and encouraged the Lindon family to make a claim, which it finally did in 2003. The gallery returned the work in 2006.\n\"Collection | Green Interior\". The Met. Retrieved 4 February 2019.\n\"At the Revue Blanche (Portrait of Félix Fénéon)\". Guggenheim. 1 January 1901. Retrieved 4 February 2019.\n\"Collection | Garden at Vaucresson\". www.metmuseum.org. Retrieved 4 February 2019.", "Preston, Stuart (1972). Édouard Vuillard. New York: Abrams. OCLC 871630733.\nThompson, Belinda (1988). Vuillard. Oxford: Phaidon Press. ISBN 978-0-7148-2955-5.\nCogeval, Guy (2003). Vuillard (in French). Montreal: Musée des Beax-Arts, Montreal, and National Gallery of Art, Washington, D.C. ISBN 2-7118-4640-7.\nVuillard, Édouard (2019). Édouard Vuillard- Paroles d'Artiste (in French). Èditions Fage. ISBN 978-2-84975-560-0.\nBrown, Stephen (2012). Édouard Vuillard: A Painter and His Muses, 1890–1940. New York, New Haven and London: Jewish Museum and Yale University Press. ISBN 9780300176759.", "Vuillard, Édouard; Roger-Marx, Claude (1946). Vuillard: His Life & Work. Paul Elek. OCLC 1237747.\nBonnard, Pierre (2001). Correspondence: Bonnard-Vuillard. Gallimard. ISBN 978-2-07-076076-3.\nThe Time of the Nabis, in French and German:\nFrèches-Thory, Claire; Perucchi-Petri, Ursula, eds. (1990). Les Nabis (in French). Paris: Flammarion. ISBN 2080109413.\nFrèches-Thory, Claire; Perucchi-Petri, Ursula, eds. (1993). Die Nabis: Propheten der Moderne (in German). Munich: Prestel. ISBN 3-7913-1969-8.\nCogeval, Guy (2002). Vuillard: Master of the Intimate Interior. 'New Horizons' series. London: Thames & Hudson. ISBN 0-500-30109-3.\nCogeval, Guy; Salomon, Antoine (2003). Vuillard: Critical Catalogues of Paintings and Pastels. Paris & Milan: Skila. ISBN 8884911192.\nRoger-Marx, Claude (1990). The Graphic Work of Édouard Vuillard. San Francisco: Alan Wofsy Fine Arts.\nVuillard, Édouard (1985). Édouard Vuillard. JPL Fine Arts. ASIN B00100R0HC.", "Le Déjeuner à Villeneuve-sur-Yonne\nVuillard's Biography and works\nVuillard at Musée d'Orsay\nSitting for Vuillard – The Bloch Family Portrait\nPierre Bonnard: The Graphic Art at the Metropolitan Museum of Art – Exhibition catalog (2 December 1989 – 4 February 1990), which contains material on Vuillard throughout\nVuillard at The Jewish Museum" ]

[ "Édouard Vuillard", "Early life", "Les Nabis", "The Japanese influence", "Decoration", "The Public Gardens", "Figures in an Interior", "After the Nabis (1900–1914)", "New interiors, cityscapes and gardens", "Theatre", "Final years (1914–1940)", "Portraits", "Recognition and death", "Personal life", "\"Le Grand Teddy\" painting rediscovery", "Market", "Nazi-looted art", "Selected exhibitions", "Selected works", "See also", "Notes", "Books cited in text", "Further reading", "External links" ]

[ 3914, 3915, 3916, 3917, 3918, 3919, 3920, 3921, 3922, 3923, 3924, 3925, 3926, 3927, 3928, 3929, 3930, 3931, 3932, 3933, 3934, 3935 ]

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[ "https://upload.wikimedia.org/wikipedia/commons/1/1f/%C3%89douard_Wattelier_1902.jpg", "https://upload.wikimedia.org/wikipedia/en/c/c2/Crystal_Clear_app_Login_Manager_2.png" ]

[ "Édouard Wattelier (12 December 1876 – 18 September 1957) was a French racing cyclist. He finished third in the 1898 Paris–Roubaix, eighth in the 1901 Paris–Roubaix and second in the 1902 Paris–Roubaix.", "\"Édouard Wattelier\". Cycling Archives. Retrieved 14 April 2014.\n\"Édouard Wattelier\". ProCyclingStats. Retrieved 14 April 2014.\n\"6th Paris - Roubaix, 1901\". bikeraceinfo. Retrieved 16 April 2014.", "Édouard Wattelier at Cycling Archives\nÉdouard Wattelier at ProCyclingStats\nÉdouard Wattelier at CycleBase" ]

[ "Édouard Wattelier", "References", "External links" ]

[ 3936 ]

[ 18735 ]

[ "" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/2/22/%C3%89douard_De_Laveleye.jpg" ]

[ "Baron Édouard-Émile-Albert de Laveleye (Ghent, 22 October 1854-Brussels, 23 November 1938) was a Belgian mining engineer, financier and writer. He was son of Émile de Laveleye (1822-1892), a famed economist.\nHe made several investment trips in Latin America. His nephew was Victor de Laveleye, the Belgian government in exile's spokesman in London during World War II.", "He was the first chairman of the Belgian Football Association (1895–1924), and the president of the Belgian Olympic Committee. For his services, he was made the first honorary member of FIFA. This honor was given to him after convincing representatives of The Football Association, the association that included members of the British Home Nations, to join FIFA rather than remain independent. On April 14, 1905 The Football Association recognized the authority of FIFA. This allowed FIFA to hold its first international football competition. In allying the Football Association in the French FIFA, each of the home nations joined as equal members, a legacy maintained today.\nOn February 18, 1906, in the Hotel Ravenstein in Brussels, Laveleye formed the Belgian Olympic Committee, and was elected the group's first president. In this role he posted a bid for Belgium on March 27, 1912 to host the 1920 Olympics. The games were successfully awarded to Antwerp, much because of his influence and the effect World War I had on the nation. This was the only time they have been held in Belgium.", "", "La Noblesse belge - Partie 2 - Page 97 1923 \"Baron (1892) Édouard-Émile-Albert de Laveleye, né Gand 22 oct. 1854, ép. Clepper-Noorwood (comté de Surrey, Angleterre), 28 août 1879\"\nLa Jeune Belgique - Volume 1 - Page 64 Maurice Warlomont - 1882 \"Notes de Voyage, par M. EDOUARD DE LAVELEYE. — M. Ed. De Laveleye, le fils du célèbre économiste et littérateur, Emile De Laveleye, a publié dans la Bibliothèque Gilon un ouvrage dont nous n'osons pas trop le féliciter. Ce ne sont que des notes, nous dira-t-on, mais il n'en reste pas moin ...\"\nChristian Topalov Les divisions de la ville 2002 Page 277 \"C'est en effet qu'il envisage, en tant que conseiller du banquier Fontaine de Laveleye pour ses investissements en Amérique latine, la formation de la City à laquelle s'associeront d'autres banquiers européens, comme Lord Balfour de ...\"\nTinou Dutry-Soinne Les méconnus de Londres: journal de guerre d'une Belge, 1940-1945 - Volume 1 - Page 189 - 2006 \"Victor Laveleye .. Il fut membre du Comité olympique belge et président de l'association belge du hockey. Petit-neveu d'Emile, neveu du baron Edouard de Laveleye. Il participa, pour la Belgique, à l'élaboration de la charte des Nations Unies à San Francisco \"\n\"The History of FIFA\". Classic Football. FIFA. Archived from the original on October 1, 2007. Retrieved 2007-07-29.\nSilance, Luc (1997). Les sports et le droit (in French). Larcier. p. 487. ISBN 2-8041-2573-4." ]

[ "Édouard de Laveleye", "Sports", "Writings", "References" ]

[ 3937 ]

[ 18736, 18737, 18738, 18739, 18740, 18741 ]

[ "Édouard de Reszke, ca. 1910–1915, Bain News Service. The glass negative forms part of the George Grantham Bain Collection, Library of Congress.[1]", "Édouard de Reszke as Mephistopheles in Gounod's opera Faust", "Sepia photographic print of two of Edouard de Reszke's daughters with their nurse, Lady de Grey Photographic Collection, Royal Opera House Collection[35]", "Chateau at Borowno, Poland" ]

[ 0, 3, 6, 6 ]

[ "https://upload.wikimedia.org/wikipedia/commons/d/dd/%C3%89douard_de_Reszke_LCCN2014698890_%28cropped%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/4/45/Edward_Reszke.jpg", "https://upload.wikimedia.org/wikipedia/commons/5/53/Sepia_photographic_print_of_two_of_Edouard_de_Reszke%27s_daughters_with_their_nurse_%28cropped%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/f/fb/Borowno_-_teren_podworski.jpg" ]

[ "Édouard de Reszke (22 December 1853 – 25 May 1917) was a Polish bass from Warsaw. A member of the musical Reszke family, he was a successful opera singer, as were his brother Jean and his sister Josephine. He made his debut in Aida in Paris on 22 April 1876.\nBorn with an impressive natural voice and equipped with compelling histrionic skills, he became one of the most illustrious opera singers active in Europe and America during the late-Victorian era. He is most famous for his role as Mephistopheles in Faust. He was also known for his roles as Leporello, Sachs, and Hagen. When in London, the Reszke brothers performed for Queen Victoria during gala performances at the Royal Opera House or command performances at Windsor Castle. He was awarded the Royal Victorian Order (R.V.O.) from the Queen. The Reszke brothers were entertained near London by Lady de Grey, a patron of the arts.\nAfter he retired from the stage, he taught singing until he had significant health problems. He and his family suffered during the war, cut off from others, with shooting through opposite sides of the house. His health worsened during the war and he died in 1917.", "Édouard August Reszke was born to Jan Reszke and Emilja (also Emilie) Ufniarska on 22 December 1853. His parents operated the Hôtel de Saxe (de) in the center of Warsaw, which catered to artists from Moscow, Berlin, and Paris. It adjoined their residence. His mother, a mezzo-soprano, had a clear, powerful voice. His father, a baritone, played the violin and wrote songs for his wife. The Reszkes held concerts on Friday nights with duets, arias and choral music. Both of his parents performed at charity events.\nHis siblings were Emilia, Jean (born 1850), Josephine (1855), and Victor (1859). Emilja taught her children to sing; all of whom were talented singers. At times the four oldest children, called the Reszke Quartet, performed together. Viktor was not interested in music. Josephine, Jean, and Édouard sang at a soirée in 1869.\nReszke attended an agricultural college in Germany for two years. When he returned to Warsaw, Jean noticed that his brother's voice had deepened significantly. Wanting to understand how his singing voice changed, Jean played the piano while Reszke sang, after which he told his parents that with his brother's talent, he should change his career goals and pursue an opera career. He followed his desired to sing over his parents' plan for a career in agriculture. He went to Italy and studied under Francesco Steller and later the retired baritone Filippo Coletti, who was also a friend. He studied with Giovanni Sbriglia in Paris.\nBy 1875, his sister Josephine was a prima donna at the at the Paris Opera; Reszke and his mother travelled with her. He sang at musicals as an amateur. Beginning in 1876, the Reszke brothers became known amongst Paris society and composers for their singing talent.", "", "Reszke debuted in Aida in Paris on 22 April 1876. He was chosen by the composer Giuseppe Verdi for the role as the King of Egypt. Fortunately, when he auditioned he already knew the opera well, because he was hired just days before the performance. He was asked to grow a beard so that he looked more like a king than the young man that he was. That year, Reszke began using the French version of his surname: de Reszke. Josephine and Jean, who had careers as opera singers, changed their surname that year, too. After Aida, he performed at the Théâtre des Italiens for two seasons.\nIn 1879, he performed in Maria Tudor at the Teatro alla Scala and Indra in the premiere of Le roi de Lahore in Milan. The role of Ilda was created for him by Jules Massenet. He sang at Covent Garden in London in 1880. The following year, he performed in The Prodigal Son, Simon Boccanegra, and Ernani. He performed as Charles V in Don Giovanni d'Austria and the king in Elda in southern cities including Lisbon, Trieste, and Turin.\nHe performed in Italian opera at Covent Garden in London. While in the capital of England, the Reszkes were often entertained at the residence of Lady de Grey, who treated the men like royalty and enjoyed their senses of humor. One night they missed their train for London to make their perform at Covent Garden, a guest remembered he was the honorary president of the local fire brigade and arranged for them to be taken to London in good speed.\nReszke admired his brother, who was the leader of the two. He gladly sacrificed opportunities for a better and more independent career to perform with him, which began after Jean had established himself as a tenor. In 1884, they appeared in Hérodiade at the Théâtre-Italien. Josephine joined her brothers in the role of Salome later in the run. In Le Cid, Jean had the title role and Reszke created the role of Don Diègue. They performed in Roméo et Juliette and Don Giovanni.\nReszke and his brother Jean and sister Josephine were described as a jolly trio:\nEnergetic, hand some, even-tempered, gifted linguists, free from the customary eccentricities of the \"star,\" they were social favorites. The imitative faculties which Jean and Edouard had shown since childhood were generously exercised to aid a host. Colleagues and friends were hilariously entertained by \"take-offs\" of friends and colleagues, but though the brothers enjoyed caricaturing to amuse, they never did so to wound... They loved practical jokes, but their jokes were never cruel.\nIn 1887, they performed in Gounod's Faust at the Paris Opéra. Reszke was best known for his role as Mephistopheles, overshadowing his brother. He was compared to Faure, a tenor, who had previous performed as the legendary demon. He excelled as Mephistopheles due to his genuine bass voice and his imposing physical presence. Reszke developed a reputation as a great singer in that year.\nThe brothers were at Covent Garden in London from 1887 to 1890. They performed in French productions of a full-length version of Faust as well as Les Huguenots with Jean Lassalle and under the impresario Augustus Harris. With these operas, the men added Wagner operas, beginning with Lohengrin and Die Meistersinger von Nürnberg , sung in Italian. This was the beginning of the addition of Wagner works to the brothers' repertoire.\nThe Reszkes performed in Warsaw and Russia. From Poland, the Reszkes were Russian citizens. During the winter of 1889–1890, they were called to a command performance by the Tsar of Russia, which made Jean nervous. The performance, and other command performances, went well for the Tsar, who ennobled the Reszkes in appreciation. More than three decades earlier, their father Jan Reszke was exiled to Siberia in 1863 by the Russian government for his leadership role in the January Uprising; he was there five years.\nThey frequently performed together in the United States, beginning in Chicago then New York's Metropolitan Opera in 1891. They starred with Nellie Melba in Elaine by Bemberg. Maurice Grau of Abbey, Schoeffel and Grau had a formula for winning casts: the Reszke brothers, Lassalle, Plancon, and two prima donnas. According to The New York Times, that period was considered the \"golden days\" of art and great voices. He and his brother were among the list of well-known opera singers from Poland.\nReszke performed a wide range of roles in French, German and Italian operas, including works by Wagner, Verdi, Gounod, and Meyerbeer. In addition to his role as Mephistopheles, he was also known for his roles as Leporello, Sachs, and Hagen.\nA tall, genial man, Reszke possessed a big, smooth, flexible and ripe-toned voice that matched his imposing physique and extroverted personality. He had a \"full, resonant bass, capable of sending forth notes of immense volume or those of the most tender quality. His appearance was that of a broad-shouldered giant, with fair skin and blue eyes, and his stage presence was imposing.\nIn 1903, he retired from the stage and helped his brother teach singing in Paris, and four years later opened a singing school in London. In 1909, he closed his school in London due to recurring bouts of bronchitis and dizziness and began to teach in Warsaw, which he had to stop due to his health problems prior to World War I.", "In the 25 years since Prince Albert's death, Queen Victoria did little entertaining, but in 1889 she issued a command for Emma Albani and the Reszke brothers to join her at Windsor Castle. The three performed solos and duets from L'Étoile du Nord, Lohengrin, Faust, Sweet Bird, Carmen, and La traviata. The Queen expressed her appreciation while \"smiling and full of kindness\". The same year, they performed a gala performance for the Shah of Persia. In 1890, after a performance of Faust at Windsor Castle, Reszke was given the Royal Victorian Order by the Queen, as was his brother fourteen months earlier.\nThe Queen wrote of the Reszkes in her diary:\n...we had a fantastic musical feast at the dinner, which was part of a show whose task was to compensate to us the absence of Jean de Reszke in the staging of Romeo and Juliet. Jean and Edward de Reszke represented all the qualities of youthfulness. It was a gorgeous display of musical skills. The two brothers’ singing was exquisite, their performance shall be memorable, so enchanting and ear-pleasing it was... The depth and powerfulness of Edward’s voice were wonderful; the timbre of Jean’s voice attracted with its amazing tone, worth of listening... There was no doubt that the brothers were gifted with the most eminent voices, and their singing fashion appears perfect indeed... I could be listening to this music longer still, endlessly. This is a real mastery. The voice pure and beautiful added pleasure to our soirée, and I wish it had never ended.", "Reszke made three records for commercial release that were recorded by the Columbia Phonograph Company in 1903.\nMapleson Cylinders, primitive recordings made privately during an actual performance at the Metropolitan Opera in 1901, exist. It has been released with other performances on CD by the Symposium label.", "Reszke married Helene Schütze in 1885. Her brother Willie was secretary to the Reszke brothers. Her sister Félia Litvinne, born Françoise-Jeanne Schütz, sang with the men. With Helene, they had four daughters, one of whom was Minia (Emilie). She was close with both her father and her uncle Jean. When her father was to return home, she waited for him with his favorite dog. Minia considered her father to be the \"most good\" man she had known and was considered so by many others. Emma Eames said, \"He was like a great big St. Bernard. You always wanted to pat him.\"\nReszke's best friend in the United States was Laura Tolman (Tolmanina), a cellist. He spent evenings with her, listening to her play her cello, beginning in the early 1890s. They saw each other until he retired from the stage and left the country. He had intended to return for a visit with her, but he never did. They continued to correspond. Among the gifts that he gave her was a St. Bernard to protect her.\nWhile they were single, the brothers spent the summers at Borowno, near Klomnice, where they owned an ancient castle or chateau of French and Russian architecture. It had been unchanged since it was rebuilt in 1791. It had a kitchen garden of several acres, was amongst thousands of acres of forest, and was the site of their first stud-farm. The stud farm and racing stable at Borowno employed about 400 local people, which was most of the residents of the village.\nReszke built a house near Garnek, Poland about 1895. It was his main residence in Poland and he owned a property named Klobukowice, which had one simple house. Jean had a manor house in Skrzydlów. It was six miles from Borowno, where he lived most of the time. He also had property at Zdrowa and Chorzenice. The Warta winds its way through the brothers' estates. Ponds and lakes on the estate were stocked with fish, including perch, trout, and carp. Deer, wild boars, turkey, and wolves lived in their forests. They farmed and raised cattle.", "At the start of World War I (1914), residents of Warsaw had been told to flee the city for their safety. Children were told to cross the Alexandrian Bridge (pl), and that they would return later. As children marched across the bridge, Reszke sang Jescze Polska nie zginęła (pl) (English: Poland Is Not Yet Lost).\nHe retired to his estate in Poland, where he was adversely affected by the outbreak of World War I in Europe in 1914. He, his wife, and his daughters were stuck at their estate in Granek, cut off from his brother in Paris by the fighting. He had a difficult time earning money for his family and they lived in destitution during the war. At the start of the war, lines of communication were closed to them. His 12,000-acre estate called Borowno was in ruins and they lived in the cellar for one year. Princess and Prince Lubomirski, their neighbors, lived underground with them. They had little food and were generally unsuccessful foraging for food. The Russian and German troops were on opposite sides of their house and during their conflict they shot through the house. Having run out of coal and with just a handful grain, they were cold and hungry. After the troops left the area, they were somewhat comfortable for a time, but then had to hide out in a cold cave for their protection. After that they returned home. Reszke became ill and suffered from crippling rheumatism. He became very thin and unable to lie down, so he spent his time in an arm chair for awhile. He was cared for by his wife and children, during which time he told funny and interesting stories about his career to lighten the mood.\nReszke died of illness on 25 May 1917 in Garnek, near Częstochowa, Poland (16 kilometres (9.9 mi) from the village of Borowno.) or at his estate in Erietrikov, Poland. He was buried at the Michalski family tomb at the Borowno estate. Daughter Minia comforted Jean after her father's death, and was with Jean when he died.", "", "His appearances at the Royal Opera House at Covent Garden include:\n1880 — Royal Italian Opera Season from 13 April to 17 July\nas Don Basilio in The Barber of Seville (5, shared)\nas St. Bris in Les Huguenots (3, shared)\nas Giorgio in I puritani (3)\nas Indra in Le roi de Lahore (3, debut at Covent Garden in this role 13 April 1880)\nas Count Rodolfo in La sonnambula (5, shared)\n1881 — Royal Italian Opera Season from 19 April to 23 July\nas Don Basilio in The Barber of Seville (2)\nas Gudal in The Demon (4)\nas Walter in Guillaume Tell (3)\nas St. Bris in Les Huguenots (3)\nas The Prefect in Linda di Chamounix (2)\nas Giorgio in I puritani (1)\nas Frère Laurent in Roméo et Juliette (2)\nas Count Rodolfo in La sonnambula (2)\n1882 — Royal Italian Opera Season from 18 April to 20 July\nas Don Basilio in The Barber of Seville (4)\nas Walter in Guillaume Tell (2)\nas St. Bris in Les Huguenots (1)\nas Giorgio in I puritani (1)\nas Frère Laurent in Roméo et Juliette (1)\nas Count Rodolfo in La sonnambula (2)\nas Senon in Velléda (3)\n1883 — Royal Italian Opera Season from 1 May to 21 July\nas Don Basilio in The Barber of Seville (2)\nas Dalando in The Flying Dutchman (2)\nas Walter in Guillaume Tell (2)\nas Alvise in La Gioconda (7)\nas St. Bris in Les Huguenots (3)\nas Heinrich in Lohengrin (2)\nas Almaviva in The Marriage of Figaro (2)\nas Giorgio in I puritani (1)\nas Count Rodolfo in La sonnambula (3)\n1884 — Royal Italian Opera Season from 29 April to 26 July\nas Don Basilio in The Barber of Seville (2)\nas Czar Peter in L'étoile du nord (3)\nas Méphistophélès in Faust (5)\nas Alvise in La Gioconda (3)\nas St. Bris in Les Huguenots (4)\nas The Prefect in Linda di Chamounix (1)\nas (illegible data) in Lucrezia Borgia (2)\nas Almaviva in The Marriage of Figaro (4)\nas (illegible data) in Semiramide (1)\nas Hagen in Sigurd (3)\n1888 — Royal Italian Opera Season from 15 May to 21 July\nas Don Pedro in L'Africaine (2)\nas Don Basilio in The Barber of Seville (1)\nas Méphistophélès in Faust (7, shared)\nas Walter in Guillaume Tell (2)\nas St. Bris in Les Huguenots (4)\nas Heinrich in Lohengrin (6)\nas Sarastro in The Magic Flute (1)\nas Mefistofele in Mefistofele (1)\n1889 — Royal Italian Opera Season from 18 May to 27 July\nas Méphistophélès in Faust (7, shared)\nas Walter in Guillaume Tell (2)\nas St. Bris in Les Huguenots (3)\nas Heinrich in Lohengrin (6, shared)\nas Frère Laurent in Roméo et Juliette (7)\nas Count Rodolfo in La sonnambula (2)\n1890 — Royal Italian Opera Season from 19 May to 28 July\nas Méphistophélès in Faust (6, shared)\nas St. Bris in Les Huguenots (6, shared)\nas Heinrich in Lohengrin (5)\nas Zacharie in Le prophète (5)\nas Frère Laurent in Roméo et Juliette (5)\nas Count Rodolfo in La sonnambula (1)\n1891 — Royal Italian Opera Season from 6 April to 27 July\nas Leporello in Don Giovanni (5, shared)\nas Méphistophélès in Faust (12, shared)\nas St. Bris in Les Huguenots (8)\nas Heinrich in Lohengrin (9)\nas Plumketto in Martha (2)\nas Mefistofele in Mefistofele (2)\nas Zacharie in Le Prophète (3)\nas Frère Laurent in Roméo et Juliette (8, shared)\n1892 — Royal Italian Opera Season from 16 May to 28 July\nas Leporello in Don Giovanni (2)\nas L'Eremite in Elaine (5)\nas Dalando in The Flying Dutchman (1)\nas St. Bris in Les Huguenots (1)\nas Heinrich in Lohengrin (5, shared)\nas Almaviva in The Marriage of Figaro (2)\nas Zacharie in Le prophète (1)\nas Frère Laurent in Roméo et Juliette (3)\n1893 — Royal Opera Season from 15 May to 29 July\nas Méphistophélès in Faust (6, shared)\nas Dalando in The Flying Dutchman (2)\nas St. Bris in Les Huguenots (2)\nas Heinrich in Lohengrin (6, shared)\nas Frère Laurent in Roméo et Juliette (7, shared)\n1894 — Royal Opera Season from 15 May to 29 July\nas Ramfis in Aida (2)\nas L'Eremite in Elaine (2)\nas Méphistophélès in Faust (7, shared)\nas The Roundhead Colonel in The Lady of Longford (2)\nas Heinrich in Lohengrin (4)\nas Frère Laurent in Roméo et Juliette (7)\n1896 — Royal Opera Season from 11 May to 28 July\nas Méphistophélès in Faust (6, shared)\nas Heinrich in Lohengrin (5, shared)\nas Plumketto in Martha (2)\nas Mefistofele in Mefistofele (2, shared)\nas Hans Sachs in Die Meistersinger von Nürnberg (5)\nas Frère Laurent in Roméo et Juliette (8, shared)\nas King Mark in Tristan und Isolde (4)\n1897 — Royal Opera Season from 10 May to 28 July\nas Méphistophélès in Faust (7)\nas Marcel in Les Huguenots (5, shared)\nas Heinrich in Lohengrin (7)\nas Hans Sachs in Die Meistersinger (3)\nas Almaviva in The Marriage of Figaro (2)\nas Frère Laurent in Roméo et Juliette (6, shared)\nas Der Wanderer in Siegfried (4)\nas King Mark in Tristan und Isolde (3)\n1898 — Royal Opera Season from 9 May to 16 July\nas Don Basilio in The Barber of Seville (1)\nas Leporello in Don Giovanni (1)\nas Méphistophélès in Faust (7, shared)\nas Hagen in Götterdämmerung (3)\nas Heinrich in Lohengrin (7, shared)\nas Hans Sachs in Die Meistersinger (4)\nas Almaviva in The Marriage of Figaro (2, shared)\nas King Mark in Tristan und Isolde (4, shared)\nas Frère Laurent in Roméo et Juliette (at least once)\n1899 — Royal Opera Season from 8 May to 24 July\nas Leporello in Don Giovanni (3)\nas Méphistophélès in Faust (8, shared)\nas St. Bris in Les Huguenots (2, shared)\nas Heinrich in Lohengrin (6, shared)\nas Frère Laurent in Roméo et Juliette (5, shared)\nas King Mark in Tristan und Isolde (4)\n1900 — Royal Opera Season from 14 May to 30 July\nas Don Basilio in The Barber of Seville (1)\nas Leporello in Don Giovanni (2)\nas Méphistophélès in Faust (8, shared)\nas Marcel in Les Huguenots (2)\nas Heinrich in Lohengrin (6, shared)\nas Frère Laurent in Roméo et Juliette (5, shared)\nas Ramfis in Aida (at least once)", "Gala and command performances by Jean and Édouard de Reszke at Covent Garden and Command Performances at Windsor Castle:\n2 July 1889 — Gala in honour of the Shah of Persia:\nÉduoard as Mephistofele in Act I of Mefistofele and as Mefistofele in Act 4 of Faust\nJean as Faust in Act 4 of Faust\n8 July 1891 — Visit of the Emperor and Empress of Germany\nÉduoard as Enrico in Act 1 of Lohengrin, as Laurent in Act 4 of Roméo et Juliette and as San Bris in Act 4 of Les Huguenots\nJean as Lohengrin in Act 1 of Lohengrin, as Romeo in Act 4 of Roméo et Juliette and as Raoul in Act 4 of Les Huguenots\n4 July 1893 — Gala in honour of the marriage of the Duke of York and Princess Mary of Teck\nÉduoard as Laurent in Roméo et Juliette\nJean as Romeo in Roméo et Juliette\n23 June 1897 — 60th Anniversary of Queen Victoria's accession\nÉduoard as Laurent in Act 3 of Roméo et Juliette\nJean as Romeo in Act 3 of Roméo et Juliette\n27 June 1898 — Command Performance at Windsor Castle (no data on programme)\n24 May 1899 — Command Performance at Windsor Castle\nÉduoard as Enrico in Lohengrin\nJean as Lohengrin in Lohengrin\n16 July 1900 — Command Performance at Windsor Castle\nÉduoard as Mefistofele in Faust", "The source says that it was the River Warra that runs through their property, but it is the Warta or River Warta.", "\"Ed. De Reszke\". Library of Congress, Washington, D.C. Retrieved 11 November 2021.\n\"Édouard De Reszke\". Oxford Reference. Retrieved 11 November 2021.\nRandel, Don Michael (1996). The Harvard Biographical Dictionary of Music. Harvard University Press. p. 210. ISBN 978-0-674-37299-3.\nLeiser 1934, pp. 13–15.\nLeiser 1934, pp. 12, 14.\nDzierzbicka, Katarzyna (9 April 2017). \"Footsteps of Sherlock Holmes\". Poland Culture and Art. Retrieved 10 November 2021.\nLeiser 1934, pp. 13–14.\nPotter, John (2 June 2009). \"Jean de Reszke\". Tenor: History of a Voice. Yale University Press. ISBN 978-0-300-16002-4.\nLeiser 1934, p. 13.\nLeiser 1934, pp. 18, 19.\nKobbé, Gustav (1904). \"Edouard de Reszke\". Opera Singers: A Pictorial Souvenir, with Biographies of Some of the Most Famous Singers of the Day. Oliver Ditson Company. pp. 56–60.\nLeiser 1934, p. 19.\nHenson, Karen (2015-01-15). Opera Acts: Singers and Performance in the Late Nineteenth Century. Cambridge University Press. pp. 167–168. ISBN 978-1-316-19417-1.\nLeiser 1934, p. 27.\nThis article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). \"Reszke, Jean de\". Encyclopædia Britannica. 23 (11th ed.). Cambridge University Press. p. 201.\nLeiser 1934, p. 26.\nLeiser 1934, p. 25.\n\"Edouard de Reszke Sketch - A description of the item at Syracuse University\". library.syr.edu. Retrieved 11 November 2021.\nLeiser 1934, p. 33.\nLeiser 1934, pp. 77–79.\n\"Jean de Reszke, Noted Tenor, Dies at 75 in Nice\". Times Union. 4 April 1925. p. 2. Retrieved 9 November 2021.\nLeiser 1934, p. 84.\nLeiser 1934, p. 17.\n\"Jean de Reszke, Great Tenor Dies\". The New York Times. 4 April 1925. Retrieved 9 November 2021 – via ProQuest Historical Newspapers.\nJachimecki, Zdzislaw (1920). \"Polish Music\". The Musical Quarterly. 6 (4): 553–572. ISSN 0027-4631.\n\"Eduoard de Reszke: Polish Brasso, Who Died in Poland, Was Ruined by War\" (PDF). New York Tribune. June 1, 1917. Retrieved 12 November 2021.\nLeiser 1934, p. 279.\nLeiser 1934, pp. 283–284.\n\"Musical Biographies - De Reszke, Edouard\". Grande Musica. Retrieved 12 November 2021.\nLeiser 1934, p. 222.\n\"The artistic and landed-gentry activities of the Reszke family in the late 19th/early 20th century'\". Polish Historical Society and Polish HIstory Museum's \"Patriotism of Tomorrow\" program. Retrieved 2021-11-14.\n\"Review of 1903 Columbia Grand Opera Series\". Gramophone. Retrieved 2021-11-13.\n\"The Mapleson Cylinders\". The New Yorker. 1985-12-02. Retrieved 2021-11-09.\nMapleson cylinders (in Italian). 2002. OCLC 350478573. Retrieved 2021-11-09.\n\"Sepia photographic print of two of Edouard de Reszke's daughters with their nurse (1883–1913)\". Royal Opera House Collection. Retrieved 12 November 2021.\nLeiser 1934, p. 112.\nLeiser 1934, pp. 279–281.\nLeiser 1934, p. 134.\nLeiser 1934, p. 284.\nKlein, Herman (July 1917). \"Edouard de Reszke: The Career of a Famous Basso\". The Musical Times. 58 (893): 301–302 – via ProQuest.\nLeiser 1934, pp. 284–285.\nLeiser 1934, pp. 285–286.\n\"Edouard de Reszke, Singer, Dead at His Home\". Chicago Tribune. 1917-05-31. p. 1. Retrieved 2021-11-13.\n\"Artystyczna Rodzina Reszków\". Virtual Social Archive of the Klomnica Land, National Cultural Center, Kultura w/Net program. Retrieved 2021-11-14.\nList of appearances after the Royal Opera House database.", "Leiser, Clara (1934). Jean de Reszke and the Great Days of Opera. Minton, Balch & Company.", "" ]

[ "Édouard de Reszke", "Early life", "Career", "Stage", "Queen Victoria", "Recordings", "Personal life", "World War I", "Appearances", "Royal Opera House, Covent Garden", "Gala and command performances", "Notes", "References", "Sources", "External links" ]

[ 3938, 3939, 3940 ]

[ 18742, 18743, 18744, 18745, 18746, 18747, 18748, 18749, 18750, 18751, 18752, 18753, 18754, 18755, 18756, 18757, 18758, 18759, 18760, 18761, 18762, 18763, 18764, 18765, 18766, 18767, 18768, 18769, 18770, 18771, 18772, 18773, 18774, 18775, 18776, 18777, 18778, 18779, 18780, 18781, 18782 ]

[ "Edouard de Verneuil" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/6/69/Edouard_de_Verneuil.jpg" ]

[ "Philippe Édouard Poulletier de Verneuil (13 February 1805 – 29 May 1873) was a French paleontologist.", "He was born in Paris and educated in law, but being of independent means he was free to follow his own inclinations, and having attended lectures on geology by Jean-Baptiste Elie de Beaumont he was so attracted to the subject that he devoted himself assiduously to the study of science. He spent several years in travel through various parts of Europe, specially examining the geology of the Crimea, on which he published an essay (Mem. Soc. Geol. France, 1837). He next investigated the Devonian rocks and fossils of the Bas-Boulonnais; and in 1839 accompanied Sedgwick and Murchison in a study of the older Palaeozoic rocks of the Rhenish provinces and Belgium, the palaeontological results being communicated to the Geological Society of London in conjunction with the Vicomte d'Archiac.\nWhen Murchison commenced his geological examination of the Russian empire, he requested de Verneuil to accompany him, and the researches of the latter were incorporated in the second volume of The Geology of Russia in Europe and the Ural Mountains (1845). Subsequently, de Verneuil paid a visit to the United States to study the history of the palaeozoic rocks in that country, and the results were published in 1847 (Bull. Soc. Geol. France). In later years he made numerous expeditions into Spain, and his observations were embodied in Carte geologique de l'Espagne et du Portugal (1864), prepared in association with Edouard Collomb. In 1853 the Wollaston medal of the Geological Society of London was awarded to him, and in 1860 he was elected a foreign member of the Royal Society. He died in Paris.\nDe Verneuil was President of the Geological Society of France in 1840, 1853, and 1867.\nThe deformed brachiopod fossil Cyrtospirifer verneuili, known to quarrymen as the Delabole Butterfly, was found in the upper Devonian beds of North Cornwall.\nIt was named after de Verneuil.", "Géologues et paléontologues : de la passion à la profession pdf \"Le cas d'Édouard de Verneuil (1805-1873) est tout autant révélateur de la façon dont peut naître la passion. Il se préparait à une carrière de magistrat lorsque..\"\nChisholm 1911.\nCamborne School of Mines (15 January 2007). \"Geology\". CSM Virtual Museum. University of Exeter. Retrieved 25 February 2012.\nCornwall Wildlife Trust (2012). \"Killas\". Cornish Geology. Archived from the original on 14 January 2011. Retrieved 25 February 2012.\nAttribution:\nThis article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). \"Verneuil, Phillippe Édouard Poulletier de\". Encyclopædia Britannica. Vol. 27 (11th ed.). Cambridge University Press. p. 1031.\nDarwin Correspondence Online Database Record", "Obituary Notices of Fellows Deceased, in: Proceedings of the Royal Society of London; vol. 23; 1874, pp. xviii–xx (Online version)\nGaudant, Jean Géologues et paléontologues: de la passion à la profession. Paris: Transvalor Presses des Mines ISBN 978-2-35671-008-6; pp. 105–134", "Philippe Edouard POULLETIER de VERNEUIL (1805-1873). Online extract from Annales des Mines, Paris, with biography by Gabriel Auguste Daubrée" ]

[ "Édouard de Verneuil", "Life", "References", "Further reading", "External links" ]

[ 3941 ]

[ 18783, 18784, 18785, 18786, 18787, 18788, 18789, 18790 ]

[ "Banker and Vonckist Edouard de Walckiers", "Belvédère Castle in Laeken" ]

[ 0, 1 ]

[ "https://upload.wikimedia.org/wikipedia/commons/2/20/Foto_Edouard_de_Walckiers_001.jpg", "https://upload.wikimedia.org/wikipedia/commons/4/47/Ch%C3%A2teau_Belvedere_Laeken.jpg" ]

[ "Viscount Joseph Édouard Sébastien de Walckiers de Tronchiennes (7 November 1758 - 17 April 1837) was a Brussels-born banker. He died in Paris.", "He was the son of viscount Adrien Ange de Walckiers de Tronchiennes and of Dieudonnée Louise Josephine de Nettine, heir to the Nettine bank in Brussels, founded in 1733 by her father Matthias de Nettine. Matthias' widow Barbe Stoupy inherited the bank in 1749: \n{{cquote|Madame de Netitine had no trouble succeeding her husband. On 19 July 1749, an act signed by the marquis de Herzelles and counsellor Papejans de Morchoven confirmed her in her position as a \"suitable and capable person\" to occupy it after the decease of the titular deceased:\nStahremberg, convinced of the stability of the bank, advised, in the common interest, to leave things as they were. By right, Madame de Walckiers succeeded her mother as banker to the Court since she was the eldest\n \nThe Nettine bank was the most important in the Spanish Netherlands (later known as the Austrian Netherlands):\nOnly the house founded by Matthias de Nettine had sufficient scope for delivering public operations. It soon had to become the state's official agent ; a bodyguard was watching over its security\nÉdouard de Walckiers' first marriage was in 1783 to Barbe de Reul (1767-1791), with whom he had one child, Louise Jeanne (1784-1825), who in 1801 married count Alexandre Batowski (1758-1824). In 1799 he married his second wife, Rose-Françoise Renaut (1773-1837), with whom he had Charles-Louis, 3rd viscount de Walckiers (1793-1849) and Alphonse 4th viscount de Walckiers (1814-1879), who had issue.\nOn 16 January 1784 Joseph Édouard de Walckiers was made counsellor-receiver-general of finances for the Austrian Netherlands In 1788 he built Belvédère Castle to designs by Antoine Payen the Elder - in the 20th century this became prince Albert's residence. During the Brabant Revolution he became a member of the secret society Pro aris et focis. He also financed the Vonckists and in March 1790 fled to France, where he stayed for a time at the château de Hem near Lille Around 1791 he purchased the Orléans Collection from Philippe-Égalité for 750,000 francs before reselling it to Laborde de Méréville in 1792 for 950,000 francs. In March 1794 he was denounced as an Austrian agent and as a speculator on the exchange. He fled to Hamburg but was removed from the list of émigrés on 29 May 1800 and returned to France under the French Directory, dying in Paris in 1837, more or less ruined.", "Suzanne Tassier, Les démocrates belges de 1789, Bruxelles, 1930.\nCarlo Bronne, Financiers et comédiens au XVIIIe siècle, Bruxelles, Goemaere, 1969.\nClaude Bruneel, Les grands commis du gouvernement des Pays-Bas autrichiens, Bruxelles, 2001, p. 646.\nMichèle Galand, « Noblesse d’affaires dans les Pays-Bas autrichiens : Adrien Ange de Walckiers (1721-1799) », dans : Patrons, gens d’affaires et banquiers. Hommages à Ginette Kurgan-van Hentenryk, (S. Jaumain et K. Bertrams éditeurs), Bruxelles, 2004, p. 107-116.\nSuzanne Tassier, « Édouard de Walckiers promoteur de l'union des Belges et des Liégeois, 1792 », Revue de l'Université de Bruxelles, décembre 1938-janvier 1939, no. 2, p. 139-165\nMadame de Staël, Correspondance générale, t. III, édition de Béatrice Jasinski, Pauvert, 1968, p. 27.\nFiche généalogique de Joseph Édouard Sébastien de Walckiers de Tronchiennes", "(in French) Carlo Bronne, \"Madame de Nettine banquière des Pays-Bas\", in : Financiers et comédiens au XVIIIe siècle, Bruxelles : Goemaere, 1969, pages 43 and 146}}\nIbidem, page 146\n(in French) Carlo Bronne, op. cit., p.48\n(in French) Carlo Bronne, op. cit., \"Tableau généalogique\", p. 253.\n(in French) Claude Bruneel, Les grands commis du gouvernement des Pays-Bas autrichiens, Bruxelles, 2001, p.646\nBruneel, op. cit. p. 646\n(in French) Victor Champier, Le Palais-Royal d'après des documents inédits (1629-1900), Paris, Société de propagation des livres d'art, 1900, p. 447.\nBruneel, op. cit., p. 646" ]

[ "Édouard de Walckiers", "Life", "Bibliography (in French)", "References" ]

[ 3942, 3943 ]

[ 18791, 18792, 18793, 18794, 18795, 18796, 18797, 18798, 18799, 18800, 18801 ]

[ "Café de Flore, Paris, where the entire music video was filmed" ]

[ 2 ]

[ "https://upload.wikimedia.org/wikipedia/commons/a/af/Cafe_de_Flore_%E8%8A%B1%E7%A5%9E%E5%92%96%E5%95%A1_-_panoramio.jpg" ]

[ "\"Égal\" (also known as \"Egal\" and \"Ça m'est égal\" (French for \"I Don't Care\")) is a song by French singer Amanda Lear released in 1981 by Ariola Records as the single from her album Incognito.", "The song was composed and produced by Anthony Monn, Lear's long-time collaborator, and is a downtempo pop track arranged in the style of chanson. The lyrics, written by Amanda Lear in French, tell about a relationship breakup and are directed at a man who has left her broken hearted. The singer reveals that now she has got over him and is ready to move on with her life. On its parent album, where every song stands for a \"deadly sin\", \"Égal\" represents pride.\n\"Égal\" was released as the single in spring 1981 to promote the album Incognito, with \"If I Was a Boy\" as the B-side on most releases. In France, the song was billed as \"Ça m'est égal\" and included \"Made in France\" on side B. The French single also had a different covert art, sporting a photo of Amanda taken by her husband Alain-Philippe Malagnac. The song was also recorded in Spanish as \"Igual\" and released as the single in Spanish-speaking territories, backed with a Spanglish version of \"Nymphomania\". The song only met with a minor success in Germany and was Amanda's last chart entry in that country.", "The music video for the track was filmed in Paris, in a famous coffeehouse Café de Flore, located at the corner of Boulevard Saint-Germain and Rue Saint-Benoît. It pictures Amanda Lear at the table in the outdoor sitting area on the ground floor, smoking a Marlboro cigarette and writing a letter to her ex-lover.", "7\" Single (1981)\nA. \"Égal\" – 4:08\nB. \"If I Was a Boy\" – 4:10\nFrench 7\" Single (1981)\nA. \"Ça m'est égal\" – 4:08\nB. \"Made in France\" – 2:10\nSpanish 7\" Single (1981)\nA. \"Igual (Égal)\" – 4:06\nB. \"Ninfomanía\" – 3:12\nChilean 7\" Single (1982)\nA. \"Igual\" – 4:03\nB. \"Hecho en Francia\" – 2:10", "", "\"Amanda Lear - Egal (Vinyl) at Discogs\". Discogs. www.discogs.com. Retrieved 2018-01-12.\n\"EGAL 1981 Germany\". amandalear_singoli.tripod.com. Retrieved 2018-01-12.\n\"Amanda Lear - Ça M'est Égal / Made In France (Vinyl) at Discogs\". Discogs. www.discogs.com. Retrieved 2018-01-12.\n\"CA M'EST EGAL 1981 France\". amandalear_singoli.tripod.com. Retrieved 2018-01-12.\n\"IGUAL 1981 Spain\". amandalear_singoli.tripod.com. Retrieved 2018-01-12.\n\"IGUAL 1982 Chile\". amandalear_singoli.tripod.com. Retrieved 2018-01-12.\n\"Offizielle Deutsche Charts\" (in German). www.offiziellecharts.de. Retrieved 2018-01-12." ]

[ "Égal (song)", "Song information", "Music video", "Track listing", "Chart performance", "References" ]

[ 3944 ]

[ 18802, 18803, 18804, 18805, 18806, 18807, 18808 ]

[ "" ]

[ 0 ]

[ "http://upload.wikimedia.org/wikipedia/commons/b/b5/HUN_%C3%89gersz%C3%B6g_COA.jpg" ]

[ "Égerszög is a village in Borsod-Abaúj-Zemplén County in northeastern Hungary. As of 2008 it had a population of 53.", "KSH (in Hungarian)" ]

[ "Égerszög", "References" ]

[ 3945 ]

[ 18809 ]

[ "Éghezée Town Hall", "", "" ]

[ 0, 0, 3 ]

[ "https://upload.wikimedia.org/wikipedia/commons/4/4c/%C3%89ghez%C3%A9e_-_Maison_communale_%281%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/b/b7/Eghez%C3%A9e_Namur_Belgium_Map.png", "https://upload.wikimedia.org/wikipedia/commons/e/e6/BelgiumNamur.png" ]

[ "Éghezée (French: [e.ɡə.ze]; Walloon: Inguezêye) is a municipality of Wallonia located in the province of Namur, Belgium. \nOn 1 January 2010 the municipality had 15,169 inhabitants. The total area is 102.81 km², giving a population density of 146.93 inhabitants per km².\nThe municipality consists of the following districts: Aische-en-Refail, Bolinne, Boneffe, Branchon, Dhuy, Éghezée, Hanret, Leuze, Liernu, Longchamps, Mehaigne, Noville-sur-Mehaigne, Saint-Germain, Taviers, Upigny, and Waret-la-Chaussée.", "List of protected heritage sites in Eghezée", "\"Wettelijke Bevolking per gemeente op 1 januari 2018\". Statbel. Retrieved 9 March 2019.", "Media related to Éghezée at Wikimedia Commons\nOfficial website (in French)" ]

[ "Éghezée", "See also", "References", "External links" ]

[ 3946, 3947 ]

[ 18810 ]

[ "Ernest Solvay", "Lamp with a Nymph, collaboration with ironworker François Hoosemans. Made for the Exposition Universelle (Paris,1900). – Collection of the King Baudouin Foundation", "Ceres by Égide Rombaux" ]

[ 0, 0, 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/4/42/Ernest_Solvay_by_%C3%89gide_Rombaux_-_Brussels%2C_Belgium_-_DSC06649.jpg", "https://upload.wikimedia.org/wikipedia/commons/1/11/Egide_Rombaux_%26_Fran%C3%A7ois_Hoosemans%2C_De_Nymfenlamp_%28ca._1900%29%2C_KBS-FRB.jpg", "https://upload.wikimedia.org/wikipedia/commons/e/e8/Ceres_door_Egide_Rombaux3.JPG" ]

[ "Égide Rombaux (19 January 1865 – 11 September 1942) was a Belgian symbolist sculptor.\nRombeaux was born in Schaerbeek on 19 January 1865. the son of the sculptor Felix Rombaux and Emerence–Rosalie Lemmens. He studies at the Academie des Beaux Arts in Brussels from 1879 while simultaneously working as an assistant to Albert Desenfans. He received his first commission in 1887; sculptures of Antoine van der Noot and Antoine van Grimbergen for Brussels Town Hall. He worked in Florence from 1889 to 1992. He returned to Brussels in 1895, and taught at the academies in Antwerp and Brussels.\nRombaux died in Uccle on 11 September 1942.\nThe First Morning, a 1913 marble by Rombaux is in the collection of the Tate Britain. The Royal Museums of Fine Arts of Belgium, which have a large selection of his work, have a study.", "1911: Member of the Royal Academy of Science, Letters and Fine Arts of Belgium.\n1919: Commander of the Order Leopold.\n1931: Grand Officer in the Order of the Crown.", "At 17 years old, Rombaux was awarded the prix Godecharle in 1882. He won the Prix de Rome in 1891.", "The Royal Academy of Science, Letters and Fine Arts of Belgium awards the triannual Prix Égide Rombaux, established in 1943, to a sculptor between 25 and 45 years old.", "", "Hosteyn, Norbert (2004). \"Symbolistische beeldhouwkunst in Vlaanderen\". Vlaanderen. 53: 24.\n\"Explore Egide Rombaux\". rkd.nl (in Dutch). Retrieved 2017-06-05.\nvan Lennep, Jacques. La Nouvelle Biografie Nationale. 4. pp. 336–338.\nTate. \"'The First Morning', Egide Rombaux, 1913 | Tate\". Tate. Retrieved 2017-06-05.\n\"Kunstwerk \" De eerste ochtend \" – Koninklijke Musea voor Schone Kunsten van België\". www.fine-arts-museum.be (in Dutch). Retrieved 2017-06-05.\nRoyal Decree of H.M. King Albert I on 14.11.1919\nRD 8.4.1932\n\"Académie royale de Belgique\". www.academieroyale.be. Retrieved 2017-06-05.\n\"Prix Égide Rombaux – Sculpture : appel à candidatures\". www.academieroyale.be. Retrieved 2017-06-05.\nGrandmoulin, Léandre (1951). \"Notice sur Égide Rombaux, Membre de l'academie\" (PDF). Annuaire de l'Académie: 254–285." ]

[ "Égide Rombaux", "Honours", "Awards", "Legacy", "Further reading", "References" ]

[ 3948, 3949, 3950 ]

[ 18811, 18812, 18813, 18814 ]

[ "égig érő fa" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/2/2a/MZK_001_Nr_06_Die_St._Michaelskirche_und_die_Jakobscapelle_zu_%C3%96denburg_Fig_03_Jakobskapelle_Bogen_mit_Skulputur.jpg" ]

[ "The égig érő fa (\"sky-high tree\"), also called életfa (\"tree of life\"), világfa (\"world tree\"), or tetejetlen fa (\"tree without a top\"), is an element of Hungarian shamanism and native faith, and a typical element of Hungarian folk art and folk tales, and also a distinct folk tale type.\nSeveral of these tales have versions in the Transylvanian, Germanic, Romanian, Romani, Serbian, Croatian, Bulgarian, Turkish and other cultures in Asia, but the origin of the Hungarian tales goes back to the táltos traditions of Hungarians. The táltosok (shamans) are the humans who are entitled to climb up the égig érő fa and wander in the seven or nine layers of the sky.\nOne version of these tale is about the kiskondás (small swineherd) who climbs up the tree to save the princess who is held captive by a dragon (as told in the Világhírű Szép Miklós tale). The tree is a frequent element of certain funny tales, in which for example a gypsy climbs up into heaven and then down into hell.\nThe world tree often grows out of a reindeer or a horse. It often carries among its branches the Sun and the Moon. This latter concept is typical of Finnic and Siberian peoples. The tree often stands on the world mountain, with its top in the sky and its roots in hell, where snakes and toads live. In the tales birds often sit on the tree, for example eagles, hawks or the mythical Hungarian bird, the turul.", "Hungarian scholarship argues that the Aarne-Thompson-Uther Index tale type AaTh 468, a tale type that involves climbing a giant tree, is a reflexion of ancient shamanistic practices. In particular, Hungarian-American scholar Linda Dégh, based on an analysis of ca. 70 variants of Hungary and nearby countries, concluded that the type AaTh 468, \"The Tree That Reached to the Sky\" is a \"Hungarian ethnic tale\", associated with \"the prehistoric shamanistic religion of ancient Hungarians and their linguistic kindred\".\nSlavicist Karel Horálek, studying variants of the Aarne-Thompson-Uther Index tale type ATU 302, \"Ogre's Heart in the Egg\", remarked that a particular Central European (in Hungary and neighbouring countries) version of this type shows the hero climbing a giant tree and arriving at a hidden upper realm. After a series of adventures, he marries a princess of this upper realm and she gives him a set of keys, warning him never to open a certain door. He disobeys her and releases the villain of the tale - an episode very similar to the Russian tale Marya Morevna. Hungarian ethnographer Gyula Ortutay was of the opinion that this narrative was \"a valuable Hungarian tale\". On the other hand, Karel Horálek suggested that this narrative developed as a Hungarian oikotype, with its prominent feature the tall tree and the actions that surround it.", "According to scholar Christine Goldberg, further studies of tale type AaTh 468 using the historic-geographic method concluded that \"its characteristic motif\" is a shaman's tree; the tale type is \"not widely known outside Hungary\"; it shares episodes with other tale types, namely AT 300-310.\nIn the same vein, Linda Dégh, in her tabulation of all known variants available to her, indicated that type 468 included, in its narrative sequence, episodes of \"a small circle\" of other tale types: The Dragon Slayer (types 300-302), the I Don't Know complex (types 314, 530, 532), The Bride of the Other World (type 400), The Magic Flight (type 313). According to her, combination with type 301 appears in South Slavic variants, and with type 400 in Romania.", "The tree features in an episode of the Hungarian television series Magyar népmesék (\"Hungarian Folk Tales\") (hu), with the title Az égig érő fa (\"The Giant Tree\").", "Yggdrasil\nHungarian Folktales (TV series) -\"Magyar Népmesék II\" (1979#2, \"Az égig érő fa\")", "For clarification:\nType 300, \"The Dragon-Slayer\";\nType 300A, \"Fight on the Bridge\";\nType 301, \"The Three Stolen Princesses;\nType 302, \"Ogre's (Devil's) Heart in the Egg\";\nType 303, \"Twins or Blood-Brothers\";\nType 303A, \"Brothers Seek Sisters as Wives\";\nType 304, \"The Dangerous Night-Watch\";\nType 305, \"Dragon's Heart-Blood as Remedy\";\nType 306, \"The Danced-Out Shoes\";\nType 307, \"The Princess in the Shroud\";\nType 310, \"The Maiden in the Tower\".", "Šmitek, Zmago. 1999. “The Image of the Real World and the World Beyond in the Slovene Folk Tradition\". Studia Mythologica Slavica 2 (May). Ljubljana, Slovenija. p. 184. https://doi.org/10.3986/sms.v2i0.1848.\nDégh, Linda. Narratives in Society: A Performer-Centered Study of Narration. FF Communications 255. Pieksämäki: Finnish Academy of Science and Letters, 1995. p. 99.\nHorálek, Karel. \"Der Märchentypus AaTh 302 (302 C*) in Mittel- und Osteuropa\". In: Deutsches Jahrbuch für Volkskunde 13 (1967), p. 287.\nHorálek, Karel. \"Der Märchentypus AaTh 302 (302 C*) in Mittel- und Osteuropa\". In: Deutsches Jahrbuch für Volkskunde 13 (1967), p. 272.\nGoldberg, Christine. \"The Historic-Geographic Method: Past and Future\". In: Journal of Folklore Research 21, no. 1 (1984): 5, 10, 13. Accessed September 12, 2021. http://www.jstor.org/stable/3814340.\nUther, Hans-Jörg. The types of International Folktales. A Classification and Bibliography, based on the System of Antti Aarne and Stith Thompson. Volume 1: Animal tales, tales of magic, religious tales, and realistic tales, with an introduction. Helsinki: Suomalainen Tiedeakatemia-Academia Scientiarum Fennica, 2004. pp. 174-176, 180, 183, 185-190. ISBN 9789514109560.\nDegh, Linda. \"The Tree that Reached Up to the Sky: Type 468 (1963)\". In: Degh, Linda (ed.). Studies in East European Folk Narrative. [s.l.]: American Folklore Society, 1978. p. 286.\nDegh, Linda. \"The Tree that Reached Up to the Sky: Type 468 (1963)\". In: Degh, Linda (ed.). Studies in East European Folk Narrative. [s.l.]: American Folklore Society, 1978. p. 312.", "Beszédes Valéria. \"A tér és idő relativitása az Égig érő fa (ATU 317) tündérmese vajdasági magyar változataiban\" In: Híd 2015. 1. sz. (január), 87-101.\nKovacs, Agnes. \"Az égig éro fa meséjének magyar redakcioi és samanisztikus motivumaik\" [Die ungarischen Redaktionen des Märchens vom Himmelhohen Baum (AaTh 468) und ihre schamanistischen Motive]. In: Ethnographia vol. 95, n°1 (1984). pp. 16–30.", "Az égig érõ fa at IMDb" ]

[ "Égig érő fa", "Scholarly analysis", "Tale combinations", "Adaptations", "See also", "Footnotes", "References", "Further reading", "External links" ]

[ 3951 ]

[ 18815, 18816, 18817, 18818, 18819, 18820, 18821, 18822, 18823, 18824, 18825, 18826 ]

[ "The town hall in Égleny" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/8/8e/%C3%89gleny-FR-89-mairie-a2.jpg" ]

[ "Égleny ([eɡləni]) is a commune in the Yonne department in Bourgogne-Franche-Comté in north-central France.", "Communes of the Yonne department", "\"Populations légales 2018\". The National Institute of Statistics and Economic Studies. 28 December 2020." ]

[ "Égleny", "See also", "References" ]

[ 3952 ]

[ 18827 ]

[ "The school and town hall in Égligny" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/7/73/%C3%89gligny_%C3%A9cole_et_mairie.jpg" ]

[ "Égligny (French: [egliɲi] (listen)) is a commune in the Seine-et-Marne department in the Île-de-France region in north-central France.", "Inhabitants of Égligny are called Églignyciens.", "Communes of the Seine-et-Marne department", "\"Répertoire national des élus: les maires\". data.gouv.fr, Plateforme ouverte des données publiques françaises (in French). 9 August 2021.\n\"Populations légales 2018\". The National Institute of Statistics and Economic Studies. 28 December 2020.", "Base Mérimée: Search for heritage in the commune, Ministère français de la Culture. (in French)" ]

[ "Égligny", "Demographics", "See also", "References", "External links" ]

[ 3953 ]

[ 18828 ]

[ "St. Bartholomew's Church" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/3/31/%C3%89glise-Neuve-de-Vergt_%C3%A9glise.JPG" ]

[ "Église-Neuve-de-Vergt ([eɡliz nœv də vɛʁ]; Occitan: Gleisanueva de Vern) is a commune in the Dordogne department in Nouvelle-Aquitaine in southwestern France.", "", "Communes of the Dordogne department", "\"Répertoire national des élus: les maires\". data.gouv.fr, Plateforme ouverte des données publiques françaises (in French). 2 December 2020.\n\"Populations légales 2018\". The National Institute of Statistics and Economic Studies. 28 December 2020." ]

[ "Église-Neuve-de-Vergt", "Population", "See also", "References" ]

[ 3954 ]

[ 18829 ]

[ "Church and Place des Jacobins (Israël Silvestre)", "Salviati's The Incredulity of Saint Thomas, commissioned for the Gadagne chapel. Louvre." ]

[ 0, 1 ]

[ "https://upload.wikimedia.org/wikipedia/commons/2/2e/Mus%C3%A9es_Gadagne_-_%C3%A9glise_et_place_des_Jacobins.jpg", "https://upload.wikimedia.org/wikipedia/commons/9/94/Francesco_salviati%2C_incredulit%C3%A0_di_san_tommaso%2C_1543-47_ca._01.JPG" ]

[ "The Église Notre-Dame-de-Confort (Church of Our Lady of Comfort) was a church in the French city of Lyon, near Place des Jacobins, where a plaque marks its site.", "Founded in 1218, the church was under Dominican control and used by the city's large Florentine community as their national church. In 1464 they won the right to bury their dead there and they provided most of the money for its improvement and expansion.\nIn 1517 Bartolomeo Panciantichi was the first to add a chapel to the church. He commissioned an oil on panel altarpiece of the Assumption of the Virgin Mary for it in 1522 from Andrea del Sarto, but the artist chose a poor piece of wood and the work remained incomplete and never exhibited in Lyon. In 1526 Thomas I de Gadagne donated the cost of another chapel, where he and his wife were later buried. His nephew and heir Thomas II commissioned Francesco Salviati to paint a work for it showing The Incredulity of Saint Thomas. The banker Leonardo Spiza added a mausoleum to the church, as did another Florentine who commissioned Antonio Rossellino to design it. The church was demolished in 1816, though the entrance arch to one of its chapels can still be seen at 8-10 rue de Sully, where it was reused after the church's demolition.", "Lejeune 2004, p. 40.\nBéghain 2011, p. 35.\nIacono & Furone 1999, p. 34.\nLejeune 2004, p. 41.\nIacono & Furone 1999, p. 33.", "Béghain, Patrice (2011). Une histoire de la peinture à Lyon : de 1482 à nos jours. Lyon: S. Bachès. ISBN 978-2-35752-084-4.\nIacono, Giuseppe; Furone, Salvatore Ennio (1999). Les marchands banquiers florentins et l'architecture à Lyon au seizième siècle. Paris: Publisud. ISBN 978-2-86600-683-9.\nLejeune, Édouard (2004). La saga lyonnaise des Gadagne. Lyon: Éditions lyonnaises d'art et d'histoire. ISBN 978-2-84147-153-9.", "Abbé Adolphe Vachet, À travers les rues de Lyon, Marseille, Laffitte Reprints, 1982 (1re éd. 1902), 500 p. (ISBN 2-7348-0062-4)\nFontalirant, Notre-Dame-de-Confort : sanctuaire des frères prêcheurs à Lyon, 1218-1791\nLevesque, Les Frères prêcheurs de Lyon Notre-Dame-de-Confort, 1218-1789\nFederica Carta, « La cappella Panciatichi in Notre-Dame de Confort a lione », Prospettiva, 2015" ]

[ "Église Notre-Dame-de-Confort", "History", "References", "Sources", "Further reading" ]

[ 3955, 3956 ]

[ 18830, 18831, 18832, 18833, 18834, 18835 ]

[ "" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/9/93/Repentigny_Notre_Dame_des_Champs_01.jpg" ]

[ "Église Notre-Dame-des-Champs de Repentigny is a church located in Repentigny, a suburb of Montreal, Quebec. It was completed in 1963.", "Official Website (fr)", "Église Notre-Dame-des-Champs, Inventaire des lieux de culte du Québec (fr)\nÉglise Notre-Dame-des-Champs, Quebec Cultural Heritage Directory (fr)" ]

[ "Église Notre-Dame-des-Champs de Repentigny", "External links", "References" ]

[ 3957 ]

[ 18836 ]

[ "Facade of the Église Notre-Dame-du-Mont", "", "", "", "" ]

[ 0, 4, 4, 4, 5 ]

[ "https://upload.wikimedia.org/wikipedia/commons/1/11/Eglise_ND_du_Mont_Marseille.jpg", "https://upload.wikimedia.org/wikipedia/commons/3/3a/Bell_tower_ND_du_Mont_Marseille.jpg", "https://upload.wikimedia.org/wikipedia/commons/0/0a/C%C3%A9ramique-de-N.D.-du-Mont.jpg", "https://upload.wikimedia.org/wikipedia/commons/1/19/Sacr%C3%A9-coeur_%28Papety%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/c/c3/Marseille_20160827_02.jpg" ]

[ "The Église Notre-Dame-du-Mont is a Roman Catholic church in Marseille.", "It is located in the 6th arrondissement of Marseille. The exact address is 1 rue de Lodi in Marseille. It is also located on a town square called Place Notre-Dame-du-Mont.", "A smaller church was built in 1586, where sailors would bring their ex-votos. Over time, this tradition was moved to Notre-Dame de la Garde.\nIn 1823-1824, the current church building was constructed in the neoclassical style.\nIn 1839, Frédéric Chopin (1810-1849) played on the pipe organ inside the church, which is still there.\nIt has four paintings by Barthélemy Chasse (1659-1720): La fuite en Égypte, L'atelier de Nazareth, L'adoration des bergers and Le mariage de la Vierge. It also has one painting by Dominique Papety (1815–1849): Christ en majesté.", "The church building is open every day from 10AM to 12PM, and from 4PM to 6PM. Mass is said every weekday at 8:30AM, every Saturday at 6:30PM, and every Sunday at 10AM. The rosary takes place every at 5:30PM except Sundays, and the vespers take place every Wednesday at 7PM.\nThe current vicar is Fr Jean-Paul Sorragi, and the deacon is Philippe Chollat.", "", "Dominique Auzias, Patricia Bussy, Maxime Dray, Jean-Paul Labourdette, Carine Kreb, Marseille 2012, Le Petit Futé, 2012, p. 350 \nDominique Auzias, Petit Futé,, Jean-Paul Labourdette, Marseille 2013, Le Petit Futé, 2012, p. 390 \nOfficial website\nÉglise Catholique à Marseille\nGoogle Maps\nSylvie Oussenko, Chopin: vie et œuvre, Editions Eyrolles, 2009, (p. 88) \nArnaud Ramière de Fortanier, Nicolas Cendo, Danielle Maure, Marseille au XVIIe siècle: exposition , Archives communales, Marseille, février-mars 1980, Archives communales, 1980, p. 89" ]

[ "Église Notre-Dame-du-Mont", "Location", "History", "At present", "Gallery", "References" ]

[ 3958, 3959, 3960, 3961 ]

[ 18837, 18838, 18839, 18840 ]

[ "", "Church of Our Lady in Calais", "Church of Our Lady in Calais with the town hall belfry in the background." ]

[ 0, 0, 0 ]

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[ "Église Notre-Dame (\"The Church of Our Lady\") is a Roman Catholic parish church located on Rue de la Paix, in Calais, department of Pas-de-Calais, in northern France. It dates from the 12th century, and chiefly from the 14th century. Arguably, it is the only church built in the English perpendicular style in all of France.", "The church was damaged during the early wars between France and England, especially in 1346-47, after the Battle of Crécy. Many of the kings and queens of France and England prayed here; and John Bourchier, 2nd Baron Berners is buried in the church choir.\nOn 11 July 1469 George Plantagenet, 1st Duke of Clarence, the third surviving son of Richard Plantagenet, 3rd Duke of York, and Cecily Neville, and the brother of English Kings Edward IV and Richard III, was married to Isabel Neville, by Rt. Revd. George Neville, Archbishop of York.\nThe tower of Notre Dame church was used as an observation point for the Anglo-French Survey (1784–1790), which used trigonometry to calculate the precise distance between the Paris Observatory and the Royal Greenwich Observatory. Cross-channel sightings were made in September and October 1787 of signal lights at Dover Castle and Fairlight Down, and vice versa.\nIn 1785, after the first hot air balloon crossing of the English Channel by Jean-Pierre Blanchard, Louis XVI of France ordered the balloon and boat be hung up in the church.\nIn 1843 some medieval paintings were discovered under a thick coat of whitewash by Monsieur. C. de Rheims. One comprised a female figure holding in her right hand an orange coloured shield charged with nine bezants d’or; her left hand resting on a spear with banner displayed, and charged as the shield. At her feet was a kneeling figure; in the background a fortified city. Another painting represented the Virgin with the infant Jesus, and a figure, apparently a bishop with episcopal staff, kneeling and invoking her. Each of the frescoes was surrounded with a border on which the motto Le Jour Viendra occurred ten times, alternately separated by a club of gold entwined with branches and flowers, with the arms of the Woodhouse family, one of whom was the embellisher of the church and the originator of the paintings. At the bottom of the former painting was written Orate pro anima Thoms Wodehous.\nIt was classified as a historical monument on 13 September 1913.\nCharles de Gaulle and Yvonne Vendroux were married in the church on 7 April 1921.\nIt was bombarded by Allied Forces on 23 September 1944. It was substantially damaged and the bell tower fell through the roof into the north transept.\nA campaign of restoration began in the 1960s. \n1963-1973: Reconstruction of the nave and bell tower\n1976 onwards: Addition of stained glass windows by Gérard Lardeur\n2002-2013: Restoration of the choir and chapel.", "The church is large and has a fortress-like appearance. Its layout is in the shape of a Latin cross. There is a large nave with aisles, north and south transepts, a choir with choir-aisles, and a side chapel. A notable feature is the high altar, mostly completed by 1626, which has carvings and bas-relief. A pedestal and a statue are dated 1628, while two other statues were added in 1629, and the balustrades finished in 1648. It was made by Adam Lottman. The painting “the Assumption of the Virgin” is by Gerard Seghers. Among the works of art is a painting once considered by Peter Paul Rubens of the Descent from the Cross.\nIt is in fact by Pieter Van Mol.", "Base Mérimée: Eglise Notre-Dame, Ministère français de la Culture. (in French)\nBaedeker, Karl (1874). Paris and its environs: with routes from London to Paris, Paris to the Rhine and Switzerland ; handbook for travellers (Public domain ed.). K. Baedeker. pp. 283–. Retrieved 8 February 2012.\nRussell, Matthew (1907). The Irish monthly (Public domain ed.). pp. 211–. Retrieved 8 February 2012.\nSandeman, George Amelius Crawshay (1908). Calais under English rule (Public domain ed.). B.H. Blackwell. pp. 101–. Retrieved 8 February 2012.\n\"The Tames of Fairford\". Wilts and Gloucestershire Standard. England. 14 January 1871. Retrieved 13 November 2017 – via British Newspaper Archive.\nRachel Hewitt, Map Of A Nation (2010), p.87.\n\"Canterbury. Extract of an authentic Letter from Dover. Jan. 20, 1785\". Kentish Gazette. England. 22 January 1785. Retrieved 13 November 2017 – via British Newspaper Archive.\n\"Society of Antiquaries\". Morning Post. England. 21 June 1843. Retrieved 13 November 2017 – via British Newspaper Archive.\n\"History\". calais.ws. Retrieved 9 February 2012." ]

[ "Église Notre-Dame de Calais", "History", "Architecture and fittings", "References" ]

[ 3962, 3963 ]

[ 18841, 18842, 18843, 18844, 18845, 18846, 18847, 18848, 18849, 18850, 18851 ]

[ "", "", "", "", "", "", "", "", "" ]

[ 0, 1, 1, 1, 1, 1, 1, 1, 1 ]

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[ "Notre-Dame de l′Assomption (Our Lady of the Assumption) is a Catholic parish church in the small town of Bergheim, in the Haut-Rhin department of France. It is classified as a Monument historique since 1985.\nThe current Bergheim church building was preceded by an earlier one, already dedicated to Mary, recorded in the year 705 and visited by Bernard of Clairvaux in 1146, while on his way from Basel to Worms to rally for the Second Crusade. That previous church was destroyed in 1287 during the great fire of Bergheim, which was started by the troops of Rudolf I of Germany.\nThe current Bergheim church was built from 1320 to 1347 and largely modified from 1718 to 1725, which accounts for the fact that it presents features both of Gothic architecture and of Neoclassical architecture. \nThe church is remarkable for its Gothic frescoes (both on the outside and the inside), which had been concealed in the 18th-century and rediscovered in 1959. A pair of Gothic statues from around 1460 are thought to be from the workshop of Nikolaus Gerhaert. The pipe organ is a 1903 instrument in a Baroque 1740 organ case.", "", "Base Mérimée: Eglise catholique de l'Assomption de la Bienheureuse Vierge Marie, Ministère français de la Culture. (in French)\n\"La paroisse Notre Dame de l'Assomption de Bergheim\". paroisses-bergheim.fr. Retrieved 20 May 2019.\n\"Bergheim : Notre-Dame-de-l'Assomption : fragment du portail du Jugement dernier\". Base numérique du patrimoine d'Alsace. Retrieved 20 May 2019.\nBase Palissy: Ensemble de 2 statues : Saint Joachim, Education de la Vierge, Ministère français de la Culture. (in French)\n\"Orgue de Bergheim, église de la Vierge Marie\". À la découverte de l'Orgue Orgues d'Alsace. Retrieved 20 May 2019." ]

[ "Église Notre-Dame de l'Assomption, Bergheim", "Gallery", "References" ]

[ 3964, 3965, 3966, 3967, 3968, 3969, 3970, 3971, 3972 ]

[ 18852, 18853 ]

[ "", "", "", "", "", "", "" ]

[ 0, 3, 3, 3, 3, 3, 3 ]

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[ "The Église Notre-Dame de l'Assomption (Our Lady of the Assumption Church) is a Roman Catholic parish church of the town of Rouffach in southern Alsace. It is one of the largest medieval churches in the Haut-Rhin département of France. The church is also known as Saint-Arbogast Church (Église Saint-Arbogast).\nIt lies on the \"Route Romane d'Alsace\". Although work started in the 11th century and was carried on with interruptions until 1870, the building remains unfinished.", "The church is made of yellow and pink sandstone and was built in the Romanesque and Gothic styles, with Neo-Gothic additions. The oldest part of the building, the transept, dates from the second half of the 11th century; the nave is from the 12th and 13th century and displays both late Romanesque walls and early Gothic side portals; the choir is in late Gothic style. Work on the building both outside and inside continued until 1508; however, the twin-towered façade remained unfinished. A rood screen that had been built around 1300 was demolished in the 18th century and only two lateral staircases remain. Notre-Dame de l'Assomption suffered severe damage during the French Revolution and now appears relatively unadorned on both the outside and the inside. The large-scale volume of the church and the presence of several medieval building styles appear all the more evidently to the visitor. The Church is listed as a Monument historique since 1841 by the French Ministry of Culture. A comprehensive restoration of the building, which was undertaken from 1866 by the French architect Maximilien Émile Mimey, had to be stopped in 1870 because of the outbreak of the Franco-Prussian War. The planned heightening and completion of the double-towered façade was never carried out. Only the crest of the north tower was completed, in pink Vosges sandstone, in striking colour contrast to the yellow tower base. A sacristy was added to the building after 1918.\n \nThe north tower is 56 m (184 ft) high, the south tower only 42 m (138 ft). The top of the octagonal crossing tower, which was restored in 1854, reaches a height of 68 m (223 ft). The total exterior length of the church is 68 meters as well, and the total interior length is 64 m (210 ft). The interior width of the nave is 20 m (66 ft), and 28 m (92 ft) at the transept. The maximal exterior width is 36 m (118 ft).", "The great façade portal was vandalized during the French Revolution, when the statues and other sculptures that adorned it were shattered. On the front gable and the clerestory area, as well as on top of the apse, regions too high to be reached by ladder, some sculptures are still to be seen. Inside, some late gothic capitals – among which the \"Rouffach smile\" (sourire de Rouffach), the smiling heads of a young girl and a young boy facing each other – still testify to the ornamental style employed by some of the church's designers.\nRouffach's main church owns a pipe organ from the year 1855 (a work by Claude-Ignace Callinet) in which some of the pipes from the previous organ, of 1626, are still to be found. These are the oldest still-functioning organ pipes of Alsace. The rose window of the façade (14th century) is, by the number of lancets composing it (20) as well as by overall design, the most complex in Alsace, before the much larger one of Strasbourg Cathedral, which has only 16 lancets. Apart from the baptismal font, the tabernacle and the tombstone of the knight Werner Falk, all three in an ornate Gothic style, the rest of the interior furnishing is mainly Neo-Gothic.", "", "Base Mérimée: Église paroissiale Notre-Dame de l'Assomption, Ministère français de la Culture. (in French)\nEglise Notre-Dame de l’Assomption de Rouffach (in French)\nWebsite of the Rouffach parish (in French)\nEhrhart, Jacques (with Gérard Michel): Nouveau guide architectural et spirituel de Notre-Dame de l'Assomption, Imprimerie Rugé, Mulhouse, n.d., distributed by the Rouffach parish\nA visiter et à voir à Rouffach : Notre-Dame de l'Assomption (in French)\nOrgue de Rouffach, Notre-Dame (in French)", "Media related to Église Notre-Dame-de-l'Assomption (Rouffach) at Wikimedia Commons\nÉglise Notre-Dame de l'Assomption, Rouffach at Structurae\nClose-up photo of the rose window" ]

[ "Église Notre-Dame de l'Assomption, Rouffach", "History and architecture", "Furnishing", "Gallery", "References", "External links" ]

[ 3973, 3974, 3975, 3976 ]

[ 18854, 18855, 18856, 18857, 18858, 18859, 18860, 18861, 18862, 18863 ]

[ "Church of Notre Dame du Raincy", "Interior of the Church" ]

[ 0, 1 ]

[ "https://upload.wikimedia.org/wikipedia/commons/f/f0/Le_Raincy.Eglise_Notre-Dame.jpg", "https://upload.wikimedia.org/wikipedia/commons/3/3c/Le_Raincy-F-PAR-045.jpg" ]

[ "The Église Notre-Dame du Raincy (Church of Notre Dame du Raincy) is a Roman Catholic church in the commune of Le Raincy near Paris. It was built in 1922-23 by the French architects Auguste Perret and Gustave Perret. The edifice is considered a monument of modernism in architecture, using reinforced concrete in a manner that expresses the possibilities of the new material.", "At the beginning of the 20th century, Le Raincy was a small parish church for suburbs whose population was rapidly growing.\nIn 1918, the parish priest of Le Raincy, Felix Nègre, proposed to build a church to commemorate the French victory in the Battle of the Marne in 1914. Through connections among parishioners, Nègre came into contact with the Perrets. The design used concrete for economy. Rather than attempting to simulate masonry, the new material was used on its own terms, with standardized elements, slender supports, and thin membranes pierced by windows.\nThe completed church received widespread favorable attention, influencing architectural thought at a time of rebuilding and economic recovery.", "The magnificent stained glass was created by Marguerite Huré using colored coatings on clear glass for economy. The colors are dominated by blues near the entry and progress to warmer tones in the sanctuary.", "The 1875 John Abbey organ belonging to the original parish church was moved to the new church. Changes made in 1957 changed its character. Public donations are now being sought for a new organ. The new organ was inaugurated by Pierre Pincemaille on october, the 17th of 2010.", "At the time of the church's construction, concrete was still an experimental material. Deterioration was noted by the 1960s, and studies showed that the original concrete contained an excess of lime and water. Coverage of the steel reinforcing was also deficient. Restoration work has proceeded, with particular attention to the tower, using more modern materials and techniques.", "In 1937, at the Tokyo Woman's Christian University, a chapel was built that was similar to Notre-Dame du Raincy. It is around half the size. The copy by architect Antonín Raymond was unauthorised. Christine Viskenne-Auzanneau argues that: \"Reimann knew about Notre Dame du Raincy\".\nThe Czech architect, Bedřich Feuerstein came to Tokyo in 1926 and worked with Reimann between 1926 and 1931, after working a year in France with the Perret brothers.\nThe Raincy church also led to other inspirations in Japan.", "Peter Collins, Concrete : The Vision of a New Architecture, New York, Horizon Press, 1959.\nKenneth Frampton, Modern Architecture 1851-1945, New York, Rizzoli International Publications, 1983.\nRoberto Gargiani, Auguste Perret, Gallimard / Electa, ISBN 2-07-015008-9, 1994, pp. 118–123.\nErwin Heinle, Türme aller Zeiten - aller Kulturen (3eme édition), Deutsche Verlags-Anstalt, Stuttgart (Allemagne), ISBN 3-421-02931-8, 1997, pp. 220.\nBertrand Lemoine, 100 Monuments du XXeme Siècle, Éditions France Loisirs, Paris (France), ISBN 2-7441-3496-1, 2000, pp. 84–85.\nBernard Toulier, Architecture et patrimoine du XXeme Siècle en France, Éditions du patrimoine, Paris (France), ISBN 2-85822-267-3, 1999, pp. 206–207.", "http://paroisse.leraincy.free.fr/archi-orgues.html Archived 2011-07-20 at the Wayback Machine Pay donations here\n\"17 octobre : inauguration de la restauration de l'Orgue de Notre-Dame\". Le Raincy Nono, blog citoyen (in French). 13 October 2010. Archived from the original on 24 March 2019. Retrieved 24 March 2019..\nBarr, John (2018-10-05). \"Antonin Raymond | Tokyo Women's Christian University\". john-barr-architect. Archived from the original on 2021-01-23. Retrieved 2021-05-02.\nPhotos of Tokyo Woman's Christian University can be found here Interior Archived 2011-07-22 at the Wayback Machine, Tower Archived 2011-07-22 at the Wayback Machine, Edifice Archived 2016-11-11 at the Wayback Machine Interior Archived 2016-07-23 at the Wayback Machine\nViskenne-Auzanneau, Christine (2001). \"Aux origines du béton au Japon : Antonin Raymond à travers la presse architecturale et un fonds d'archives inédit\". Livraisons d'histoire de l'architecture (in French). 2 (1): 89–113. doi:10.3406/lha.2001.885.\nKoichi Yoshida, « Auguste Perret », Kashima Shuppankaù 1985, p. 222-229. Koichi Yoshida, « Lo Rainsi Noturu damu » (« L'église Notre-Dame du Raincy — son originalité et son influence »), NihonGakkai, n° 341, p. 127-133.", "Notre-Dame du Raincy at Structurae website (in French) ; page in English : notredameduraincy.fr/en - Pay donation here (bank card or PayPal.\nlongitudinal section of the church Archived 2006-09-12 at the Wayback Machine\nNotes on construction, designers, organ, at the parish website (in French)\nBase Mérimée: PA00079948, Ministère français de la Culture. (in French)\nWebsite of Notre-Dame du Raincy" ]

[ "Église Notre-Dame du Raincy", "Design and construction", "Glass", "Organ", "Restoration", "Copies", "Further reading", "References", "External links" ]

[ 3977, 3978 ]

[ 18864, 18865, 18866, 18867, 18868, 18869, 18870, 18871, 18872, 18873, 18874, 18875 ]

[ "The Église Notre-Dame la Grande, from the south-west", "Bell tower", "Columns in the nave", "West front of Église Notre-Dame la Grande", "Detail of the frieze showing (left to right) Adam, Eve and Nebuchadnezzar II", "Detail of the frieze", "Statue of Our Lady holding the keys of the town", "Notre Dame la Grande, Poitiers, France, 1903. Exterior." ]

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[ "Notre-Dame la Grande is a Roman Catholic church in Poitiers, France. Having a double status, collegial and parochial, it forms part of the Catholic diocese of Poitiers. The west front adorned with statuary is recognised as a masterpiece of Romanesque religious art. The walls inside the church are painted.", "The district was already populated in Roman times. The ancient vestiges of a brick and rectangular stone construction can be located near the gutter on the northern wall of the current church.\nThe church is mentioned in the 10th century, under the name of \"Sancta Maria Maior\", referring to the Romanesque church of the same name. Its position next to the Palace of the Counts of Poitou-Dukes of Aquitaine (current law courts of Poitiers), is certainly significant as from the political point of view, the bishops of Poitiers were barons of Poitou.\nThe whole of the building was rebuilt in the second half of the 11th century, in the period of High Romanesque, and inaugurated in 1086 by the future Pope Urban II.\nThe plan of the church is composed of a central nave with aisles according to a frequent plan in Romanesque architecture of Poitou. The interior has the effect of a \"church agora\" on just one plane. The barrel vault has a slightly flattened silhouette, whereas the aisles are covered with a groined vault. Outside, the aisles were covered with a terrace punt, the roof being reserved for the nave: thus there was the effect of a basilica on two levels. This silhouette disappeared with the Gothic remodelling. A deambulatory with radiating chapels developed around the church which preserved a part of its murals. A crypt of the 11th century, dug a posteriori under the choir, also preserves frescos of the time. The plan does not have transepts, for good reasons: buildings were in the north, and the principal street passes to the south. The Romanesque gate is preserved in part to the south. Cut down by this stage, one found there before the Revolution, an equestrian statue representing Constantine. This statue was the counterpart of another, older statue destroyed by the Huguenots in 1562. It is not known if the identity of the first rider had been the same. Behind this statue, on the ground, a small vault dedicated to Saint Katherine was referred to during the Middle Ages. The bell-tower dates from the 11th century. In the beginning it was much more obvious: the first level is concealed today by the roofs. Located at the site of the crossing, it presents a square base, then over it a circular level of a roof decorated with tiles. This type of roof, frequent in the south-west, was often copied by the architects of the 19th century, in particular Paul Abadie in Angoulême, Périgueux and Bordeaux.\nDuring the second quarter of the 12th century, the old bell-tower-porch which was on the frontage was removed and the church was increased by two spans towards the west. In the south, the turret of a staircase marks the site of this enlargement. It is at that time that the celebrated frontage-screen was built.\nIn the north, there was a cloister in the 12th century. It was removed in 1857 for the construction of the metal markets. There remains the door (walled up). Three arches supported by columns duplicated with capitals with foliage were re-installed in the court of the university opposite, as was a pillar on the corner.\nPrivate vaults were added to the Romanesque structure during the 15th and 16th centuries. Of Flamboyant Gothic style, they belonged to the middle-class families of the city, who had been merchants since the end of the Middle Ages. The largest was built in the south by Yvon the Insane, Grand Seneschal of Poitou in the 15th century. His tomb was placed there before the Revolution.", "The Romanesque frescoes do not survive apart from those in the apse vault above the choir and in the crypt. Above the choir one can see an uncommon portrayal of the apocalypse: the Virgin and Child are shown in a mandorla, Christ is in majesty on the vault, between a circle and a square, then the Lamb of God is shown in a circle. All around, under the arches are the Twelve Apostles seated, as on the facade. Historians of art think that this painting served as a model for the sculptures on the facade, the attitudes and the composition being identical. In the angles, angels accompany souls to paradise. In the crypt, the frescoes show anonymous saints. \nThe whole ensemble was restored by Joly-Leterme in 1851. He had the columns and the vaults repainted with \"Romano-byzantine\" motifs, departing from a principle current among the restorers of the 19th century, that of the influence of the Crusades on Romanesque art. Fantastical and rather heavy, these paintings have been criticised since then. The writer Joris-Karl Huysmans called them \"tattoos\".\nThe carvings of the capitals are sober, using stylised foliage called \"feuilles grasses\" (thick leaves). Only one capital is historiated: situated in the deambulatory on the south side, it shows the Ascension with Christ standing in a mandorla. The capitals in the choir are inspired by the Corinthian capitals of antiquity. The name \"Robertus\" appears but the reason for this is unknown. Crosses formy are carved here and there on the columns, in the #combles# and on the bell tower.\nIn the chapel of St Anne, called the Madman's Chapel, are found a Deposition in the Tomb carved in stone and coloured. Dating from the beginning of the 16th century it comes from the former abbey of the Trinity.", "The church was refurnished after the Revolution. Thus, one finds there a Baroque pulpit carved from wood in the 17th century, coming from the convent, two bronze lecterns of the 16th century. The statue of Our Lady of the Keys dated from the end of the 16th or beginning of the 17th century. The tradition says that it is a copy of the miraculous statue, destroyed by the Huguenots in 1562. Its hieratic, foreign style in the taste of the end of the 16th century, recalls the Romanesque period. The whole of the stained glass dates from the 19th and 20th centuries. The choir organ is end of the 19th century, whereas the large organ is from 1996.", "Adam, Eve and Nebuchadnezzar II: above the door, a panel of high reliefs can be seen: this illustrates passages from the Bible. The selected scenes, taken from both Testaments, tell the Annunciation and the Incarnation of God on earth in the person of Jesus Christ to save humanity. From left to right may be seen the original sin, Nabuchodonosor King of Babylon, the prophets Daniel, Moses, Isaiah and Jeremiah. They are followed by the Annunciation, the Tree of Jesse and King David. This first half of the panel, portraying those who foresee the arrival of a Saviour in the Old Testament, the Annunciation and the ancestors of the Virgin, evokes the relationship which exists between the Old Testament and the New in the Christian Church. On the other side of the entrance, may be seen the Visitation, between the towns of Nazareth and Jerusalem. The town of Nazareth represents also the Synagogue, that of Jerusalem the Church: these are represented like medieval cities. The passing from the Jewish law to the new Christian law is portrayed in these 12th century carvings. This scene is followed by the Nativity of Jesus and the Bath of the Child (drawn from apocryphal books). The Bath of the Child includes the eucharistic cup, thus foreseeing the events of Christ's Passion. St. Joseph, is perplexed by what he has experienced. Below Joseph, two men are represented fighting (according to a recent study (cf bibliography) this is Jacob wrestling with the Angel). Just above, the arcades hold statues of the twelve apostles and two bishops. According to local tradition the bishops are St Hilary of Poitiers and St Martin of Tours. The historians of art prefer not see the figures as portraits but as representations of bishops as heirs to the apostles, therefore represented on the same level. The attitudes are different: on the right, a bishop points out the episcopal capacity of the bishops of Poitiers, barons of Poitou. On the left, the bishop carries the papal attributes of the 12th century (the bishop of Rome, evoking the papal power in the period of the Gregorian reform). Finally the Second Advent is represented above: Christ is shown standing upright in a mandorla, surrounded by Cherubim and the Sun and the Moon.\nOne distinguishes work from at least two different workshops of sculpture: one with a taste for movement and folds in clothing, visible in the Annunciation for example, and the other with a more static style, in flat tints (cf. the Visitation). The sculptures had been carried out before the stonework of the front was assembled, as is shown by scrollwork which is incomplete and a few sculptures which are obviously not part of the original design. Traces of polychromy and painted inscriptions were placed on front and on the figures. They are most easily seen on the scene of the Annunciation.\nIn 1562, at the time of the sack of Poitiers, the Huguenots broke the heads of the figures which they regarded as heretics. In the 17th century, the acts of merchant salters whose workshops stood against the front, caused some deterioration of the calcareous stone by the effects of salt.\nAn extensive restoration campaign began in 1992: the stones were cleaned in the laboratory and were reinstalled. The inauguration of the restored frontage took place in 1995. It was for this occasion that the artists of Skertzò created a spectacle of multi-coloured lighting (polychromies). Every evening during the summer, at nightfall, the West Front of the Church of Notre-Dame-la-Grande is illuminated by a whole palette of colours, a reminder of its past and the mediaeval tradition of painting churches.", "In the year 1202, the English besieged the city of Poitiers. The mayor's clerk promised to deliver the city to them, on Easter Day, by providing them with the keys to the city in exchange for a large sum of money. In the night, the clerk went to the room of the mayor to steal the keys, but they had disappeared. To his dismay, the mayor also realized that the keys had disappeared and he was alarmed because he realized that treason had been committed. He thus held back his soldiers and went to the church of Notre Dame-la-Grande to request a miracle. There he discovered the statue of the Virgin Mary holding the keys. However, during the night, under the ramparts, frightened by the appearances of the Virgin, Saint Hilary and Saint Radegunda, the English killed each other and fled. This event is represented, in the church, in a stained glass window of the 19th century and on a table of the 17th century. The church of St-Hilaire-la-Grande of Poitiers preserves three stone statues (the Virgin with the Child, Saint Hilary and Saint Radegunda) which formerly decorated the gate of the moat, the place of the miracle. The legend is not credible from a historical point of view since, in 1202, Poitou formed part of the English duchy of Aquitaine, under the reigns of Henry II and Eleanor of Aquitaine. The oldest account of the legend can be found in Jean Bouchet's Annals of Aquitaine. The legend became very popular, especially after the arrival of the admiral Gaspard II of Coligny in 1569. Until 1887 the citizens of Poitiers celebrated this divine protection by a solemn procession through the city. In the 19th century a statue of the Virgin Mary, with the keys, was set up in the middle of the church.", "Andrault-Schmitt, Claude, and Camus, Marie-Thérèse, Notre-Dame-la-Grande, l'œuvre Romane editions Picard, CESCM, 2002\nRiou, Yves-Jean, La Collégiale Notre-Dame-la-Grande, (collection Itinéraires du Patrimoine), éditions du C.P.P.P.C., 1995\nhttp://www.visit-poitou-charentes.com/Agenda-evenements/Polychromies-de-Notre-dame-la-grande2", "Capitals of the frontage\nHistory of the church on the site of the diocese of Poitiers\nFaçade of Notre Dame la Grande" ]

[ "Église Notre-Dame la Grande, Poitiers", "History and architecture", "Interior decoration", "Furniture", "The sculpture of the West Front", "The legend of the miracle of the keys", "References", "External links" ]

[ 3979, 3980, 3981, 3982, 3983, 3984, 3985, 3986 ]

[ 18876, 18877, 18878, 18879, 18880, 18881, 18882, 18883, 18884, 18885, 18886, 18887, 18888, 18889, 18890, 18891, 18892, 18893, 18894, 18895, 18896, 18897, 18898, 18899, 18900, 18901 ]

[ "", "", "", "", "", "" ]

[ 0, 1, 1, 1, 1, 2 ]

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[ "Église Notre Dame is a Roman Catholic church in the town of Clisson, France. It was founded by Olivier V de Clisson in the 14th–15th century. The church was razed during the War in the Vendée, and later renovated under the Empire in the early 19th century. It was completely demolished and rebuilt in 1885–88 by Nantais architect René Ménard, modelled after Roman basilicas. It is a listed monument since 2006.", "", "Base Mérimée: Eglise Notre-Dame, Ministère français de la Culture. (in French)" ]

[ "Église Notre Dame (Clisson)", "Gallery", "References" ]

[ 3987, 3988, 3989, 3990, 3991 ]

[ 18902 ]

[ "General view of the church", "Interior of the church" ]

[ 0, 1 ]

[ "https://upload.wikimedia.org/wikipedia/commons/2/2c/Lyon_ND_St_Vincent.JPG", "https://upload.wikimedia.org/wikipedia/commons/9/9b/Lyon-Notre_Dame_de_Saint_Vincent.jpg" ]

[ "The Église Notre Dame Saint-Vincent is a Roman Catholic church located in Lyon, on the banks of the Saône, quai Saint-Vincent, in the 1st arrondissement of Lyon. In 1984, it was classified as monument historique.", "The church was built by Augustinian monks in 1759, when they were present in the area from the fourteenth century. The plans of the church were drawn by Léonard Roux. It was finally completed on 4 June 1789 by Joseph Janin, and was called Église Saint-Louis, as tribute to Louis Le Dauphin, who had contributed financially to its construction. A book called \"Book of Accounts\" was written to trace the entire history of the construction of the church. It took its current name in 1863.\nIn 1793, the church served as hospital, then warehouse and gendarmerie.\nIn 1933, Mortamet restored the church. In 1941, a number of Lyon Catholics, Protestants and agnostics met fortnightly in the crypt of the Église Notre Dame Saint-Vincent to discuss in depth Hitler's Mein Kampf. On 12 December 1987, the church was destroyed by fire, but was reopened on 29 November 1992 after a major renovation. The organ, installed on the platform, was inaugurated on 26 March 1995.", "Inside, there are 18 cylindrical columns in the nave and large rectangular windows in the dome.\nThe facade of the church, decorated with a statue of the Virgin Mary and a frieze, was made by Charles Dufraine and has a round arch and two Ionic columns.", "Base Mérimée: Eglise Saint-Vincent, Ministère français de la Culture. (in French)\nVanario, Maurice (1990). Les rues de Lyon à travers les siècles: XIVe au XXe (283 pages) (in French). ELAH. p. 21.\nJacquemin, Louis (1985). Histoire des églises de Lyon, Villeurbanne, Vaulx-en-Velin, Bron, Vénissieux, Saint-Fons (in French) (2nd ed.). Lyon: Élie Bellier. pp. 99–100. ISBN 978-2-904547-07-2.\n\"Église Notre Dame Saint-Vincent – Un peu d'histoire...\" (in French). Saint-Vincent-Saint-Paul. Retrieved 13 December 2009.\nDe Montclos, Xavier (1978). Églises et chrétiens dans la IIe Guerre mondiale (in French). 2. Centre régional interuniversitaire d'histoire religieuse. p. 455.\nBégule, Lucien; Bléton, Auguste (1902). L'Œuvre de Charles Dufraine, statuaire lyonnais (in French). p. 44.", "(in French) Official site" ]

[ "Église Notre Dame Saint-Vincent", "History", "Architecture", "References", "External links" ]

[ 3992, 3993 ]

[ 18903, 18904, 18905, 18906, 18907 ]

[ "" ]

[ 0 ]

[ "https://upload.wikimedia.org/wikipedia/commons/e/e5/%C3%89glise_Nouvelle_Vie_culte.jpg" ]

[ "Église Nouvelle vie (or New Life church in English) is an Evangelical Pentecostal megachurch in Longueuil, Quebec, Canada, affiliated with Association chrétienne pour la Francophonie. The senior pastor is Claude Houde.", "The church was founded in 1993 in Longueuil, Quebec, starting with 50 members and pastored by Claude Houde. In 1998, following a massive ice storm causing severe cold and power cuts for more than a month, the church housed 500 homeless people for three weeks. It is recognized by the mayor as a public utility. In 2001, it inaugurated its current building including a 2,400-seat auditorium, the largest in Canada's Francophonie. In 2003, the church left the Pentecostal Assemblies of Canada. In 2005, the Institute of Theology for the Francophonie, near the premises of Nouvelle vie was founded. In 2006, the church began to draw over 3,000 people per week. In 2007, the church founded the Association chrétienne pour la Francophonie (Christian Association for the Francophonie), a network of Pentecostal churches, member of World Assemblies of God Fellowship. In 2010, Impact, a music group, was formed in the youth department of the church. In 2011, Nouvelle Vie had 4,000 members. In 2021, it had opened 4 campuses in different cities.", "The church founded Action Nouvelle Vie in 1993, a humanitarian organization who offers regular food aid, clothing, education and reintegration assistance is available.the poor in 1993. The organization has its own board of directors and is therefore an independent body of the church. In 2015, the 2159, a youth center that aims to develop independence and prevent homelessness and delinquency, is open.", "The New Life Church also has a Spanish-speaking group, Iglesia Nueva vida, which offers worship services in Spanish.", "List of the largest evangelical churches\nList of the largest evangelical church auditoriums\nWorship service (evangelicalism)", "Sébastien Fath, Dieu XXL, la révolution des mégachurches, Éditions Autrement, France, 2008, p. 110, 132, 141–143, 171\nPhilippe Le Page, Megachurch pentecôtiste en contexte québécois : la religion vécue à l'Église Nouvelle Vie de Longueuil, Master's thesis in religious studies, UQAM, 31, Canada, 2015", "Josie Newman, \nMerci to a Mercy Mission, charismanews.com, USA, July 19, 2012\nMarg Brouillette, \nMontreal mega-church multiplies ministries, christianweek.org, Canada, March 19, 2002\nChristianisme aujourdhui, \nUn pasteur qui monte, christianismeaujourdhui.info, Switzerland, January 22, 2007\nSébastien Fath, La projection géopolitique des megachurches évangéliques américaines, Revue internationale de politique comparée, Vol. 16, France, 2009, paragraph 15\nMarie-Claude Malboeuf et Jean-Christophe Laurence, \nLes nouvelles églises: sous-sols, garages, entrepôts, Journal lapresse.ca, Canada, February 05, 2011\nPVE, La plus grande église évangélique francophone ouvre ses portes à Longueil, tvanouvelles.ca, Canada, January 28, 2001\nJoel Coppetiers, Quebec’s largest evangelical church launches new association, christianweek.org, Canada, May 11, 2007\nSébastien Fath, Dieu XXL, la révolution des mégachurches, Éditions Autrement, France, 2008, p. 143\nDavid Gosselin, \nQuebec's very own huge and global church, faithtoday.ca, Canada, July/August 2015\nWAGF, PARTICIPATING COUNTRIES (A-F), worldagfellowship.org, USA, retrieved March 7, 2020\nLe Page, p.124\nOlivier Roubin, Biographie d’Impact, closermag.fr, France, October 27, 2015\nEssentiel radio, Impact de retour en Europe !, essentielradio.com, France, March 24, 2014\nCaroline Côté, \nÉglise Nouvelle Vie : 4000 fidèles au rendez-vous, Le Courrier du Sud, Canada, February 3, 2011, p. 4 et 5\nWarren Bird, Megachurch Languages?, leadnet.org, USA, May 11, 2012\nÉglise Nouvelle Vie, Nos églises, nouvellevie.com, Canada, retrieved April 10, 2021 2021\nClaude Bordigoni, Claude Houde ou la vision d’une mégachurch qui développe un engagement social fort, lafree.ch, Switzerland, October 2, 2009\nAnnick Oligny, 1600 familles auront moins faim à Noël, Journal lecourrierdusud.ca, Canada, December 17, 2015\nANV, En action, actionnouvellevie.com, Canada, Retrieved July 23, 2018\nPhilippe Le Page, p. 128\nLe courrier du sud, Le 2159 ouvre ses portes aux 16 à 25 ans, lecourrierdusud.ca, Canada, October 30, 2015\nHugo Lavoie, Une heure avec un groupe de musique dans une Église, radio-canada.ca, Canada, April 26, 2018\nLe Page, p.117", "Official Website\nOfficial Website of Iglesia Nueva vida" ]

[ "Église Nouvelle vie", "History", "Humanitarian programs", "Iglesia Nueva vida", "See also", "Bibliography", "References", "External links" ]

[ 3994 ]

[ 18908, 18909, 18910, 18911, 18912, 18913, 18914, 18915 ]

[ "Église Saint-Étienne de Boofzheim", "", "" ]

[ 0, 1, 1 ]

[ "https://upload.wikimedia.org/wikipedia/commons/9/9c/Boofzheim_StEtienne_02.JPG", "https://upload.wikimedia.org/wikipedia/commons/0/09/Saverne_ChatRohan_44.JPG", "http://upload.wikimedia.org/wikipedia/commons/a/ab/NotreDameI.jpg" ]

[ "Église Saint-Étienne de Boofzheim is a church in Boofzheim, Bas-Rhin, Alsace, France. Built in 1516, and then 1608 and 1684, it became a registered Monument historique in 1935.", "Base Mérimée: Église Saint-Étienne de Boofzheim, Ministère français de la Culture. (in French)" ]

[ "Église Saint-Étienne de Boofzheim", "References" ]

[ 3995, 3996, 3997 ]

[ 18916 ]

[ "Église Saint-Étienne de Rosheim", "", "" ]

[ 0, 1, 1 ]

[ "https://upload.wikimedia.org/wikipedia/commons/5/5c/Rosheim_StEtienne02.jpg", "https://upload.wikimedia.org/wikipedia/commons/0/09/Saverne_ChatRohan_44.JPG", "http://upload.wikimedia.org/wikipedia/commons/a/ab/NotreDameI.jpg" ]

[ "Église Saint-Étienne de Rosheim is a church in Rosheim, Bas-Rhin, Alsace, France. Originally built in the 13th century, it was last built in 1788. It became a registered Monument historique in 1990.", "Base Mérimée: Église Saint-Étienne de Rosheim, Ministère français de la Culture. (in French)" ]

[ "Église Saint-Étienne de Rosheim", "References" ]

[ 3998, 3999, 4000 ]

[ 18917 ]

[ "Église Saint-Étienne de Seltz", "Tabernacle, Main Altar", "" ]

[ 0, 1, 3 ]

[ "https://upload.wikimedia.org/wikipedia/commons/c/c1/Seltz-St_Etienne-02c-gje.jpg", "https://upload.wikimedia.org/wikipedia/commons/7/77/Seltz_StEtienne10.JPG", "http://upload.wikimedia.org/wikipedia/commons/a/ab/NotreDameI.jpg" ]

[ "Église Saint-Étienne de Seltz is a church in Seltz, Bas-Rhin, Alsace, France. Originally built in the late 15th century, it was bombed during World War II and subsequently built between 1954 and 1956. It became a registered Monument historique in 1990.", "The parish of Saint-Étienne dates from the Merovingian period. The church was built in the 14th century to replace the first one, built in the plain on the banks of the Sauer, which had been washed away by a flood. The new church was built on a rocky promontory above the Rhine Valley. It was subsequently reworked in the 15th, 16th, 19th and 20th centuries and retains some medieval features including the choir, the sacristy and two chapels. The nave, which was destroyed in 1940, was probably built in the 14th century. During the reconstruction of the nave after World War II, Romanesque foundations were discovered.\nIn 1481, Pope Sixtus IV had the property of the former abbey of Saints Peter and Paul transferred to the parish church of Saint Stephen, which then housed a college of twelve canons. The building undergoes transformations at the end of the 15th - early 16th century. The sacristy probably dates from this period, as does the choir. The chapel of Sainte-Adélaïde probably dates from the first quarter of the 16th century; the Fleckenstein funeral chapel from the first half of the 16th century.\nThe church passed to Protestant control from 1557 to 1682. In 1682, Louis XIV gave Seltz to the Jesuits. Between 1898 and 1900 the church was enlarged with a span and a new bell tower porch built in the center of the west gable wall. It was destroyed during the bombings of 1940. The old church had three aisles: a central aisle and two side aisles, which were destroyed. The choir and two side chapels remain, as well as the sacristy which was surmounted by a chapter house on the first floor. A photograph dating from before 1940 shows five bays for the nave. Niches in the buttresses housed statues of saints. Prior to the 1898-1900 work, the west gable wall of the church had two or three doors and was flanked in the northwest corner of the nave by a bell tower, visible on Sandmann's 1839 lithograph.\nOn May 28, 1940, the church was bombed, the porch tower was destroyed, only the choir, the first floor of the sacristy, the side chapels, part of the walls of the nave and the side aisles as well as the gable wall and the east wall of the porch tower remained. The vaults of the nave and part of the collateral walls were destroyed.", "The reconstruction took place between 1954 and 1958, according to the plans of the architect Jean Viallefond and the help of the architect Schech from Bischheim. The firm of Sutter et Compagnie from Seltz built the new building. The choir and two chapels have been preserved and restored. The nave and the separate campanile were built of reinforced concrete supporting a wooden ceiling. \nThe aisles are connected to the entrance porch. The bell tower is insulated and houses several bells installed on September 30, 1962, including a surviving 2.5 ton drone from the old church named Adelaide offered by the German Emperor Wilhelm in 1899. The west gable is decorated with a large relief composition representing the Transfiguration, made in concrete by Lambert-Rucki.\nIt was consecrated on June 21, 1964.\nIn September 1968, Schwenkedel installed a new organ to replaced the Stiehr-Mockers (famous organ builders of Seltz) which had been destroyed in 1940.", "Base Mérimée: Église Saint-Étienne de Seltz, Ministère français de la Culture. (in French)\n\"Eglise catholique Saint-Etienne à Seltz\", Monumentum\n\"Seltz, St Etienne\", Les orgues de la région de Seltz" ]

[ "Église Saint-Étienne de Seltz", "History", "Restoration", "References" ]

[ 4001, 4002 ]

[ 18918, 18919, 18920, 18921, 18922, 18923, 18924, 18925, 18926 ]

[ "Front of Saint-André church", "" ]

[ 0, 1 ]

[ "https://upload.wikimedia.org/wikipedia/commons/c/c8/Loreto-di-Casinca_%C3%A9glise_Sant%27_Andria.jpg", "http://upload.wikimedia.org/wikipedia/commons/a/ab/NotreDameI.jpg" ]

[ "Église Saint-André de Loreto-di-Casinca is a Catholic baroque church in Loreto-di-Casinca, Haute-Corse, Corsica. The building was classified as a Historic Monument in 1976.", "Base Mérimée: PA00099206, Ministère français de la Culture. (in French) Eglise Saint-André" ]

[ "Église Saint-André de Loreto-di-Casinca", "References" ]

[ 4003, 4004 ]

[ 18927 ]

[ "Église Saint-Arbogast d'Offenheim", "", "" ]

[ 0, 1, 1 ]

[ "https://upload.wikimedia.org/wikipedia/commons/c/c4/Offenheim_StArbogast_01.JPG", "https://upload.wikimedia.org/wikipedia/commons/0/09/Saverne_ChatRohan_44.JPG", "http://upload.wikimedia.org/wikipedia/commons/a/ab/NotreDameI.jpg" ]

[ "Église Saint-Arbogast d'Offenheim is a church in Stutzheim-Offenheim, Bas-Rhin, Alsace, France. Dated to the 12th century, it became a registered Monument historique in 1898.", "Base Mérimée: Église Saint-Arbogast d'Offenheim, Ministère français de la Culture. (in French)" ]

[ "Église Saint-Arbogast d'Offenheim", "References" ]

[ 4005, 4006, 4007 ]

[ 18928 ]

[ "Église Saint-Blaise de Sindelsberg", "", "" ]

[ 0, 1, 1 ]

[ "https://upload.wikimedia.org/wikipedia/commons/e/e3/Marmoutier_Sindelsberg_1.JPG", "https://upload.wikimedia.org/wikipedia/commons/0/09/Saverne_ChatRohan_44.JPG", "http://upload.wikimedia.org/wikipedia/commons/a/ab/NotreDameI.jpg" ]

[ "Église Saint-Blaise de Sindelsberg is a church in Marmoutier, Bas-Rhin, Alsace, France. Originally dated to the 12th century, it was built in 1584 and underwent renovation work in 1872. It became a registered Monument historique in 1935.", "Base Mérimée: Église Saint-Blaise de Sindelsberg, Ministère français de la Culture. (in French)" ]

[ "Église Saint-Blaise de Sindelsberg", "References" ]

[ 4008, 4009, 4010 ]

[ 18929 ]

[ "Facade of the church", "The houses on the eastern side of the church, before being demolished in 1890", "The quarter Grolée viewed from north, near 1890", "", "" ]

[ 0, 1, 1, 5, 5 ]

[ "https://upload.wikimedia.org/wikipedia/commons/5/5c/Saint-Bonaventure.jpg", "https://upload.wikimedia.org/wikipedia/commons/9/9f/Quartier_Grol%C3%A9e_avant_les_Galeries_Lafayette.jpeg", "https://upload.wikimedia.org/wikipedia/commons/5/5b/Quartier_Grol%C3%A9e_vu_d%27en_haut.jpeg", "https://upload.wikimedia.org/wikipedia/commons/f/fd/Plaque_Eglise_Saint-Bonaventure.jpg", "https://upload.wikimedia.org/wikipedia/commons/0/06/Vitrail-eglise-saint-bonaventure.jpg" ]

[ "The Église Saint-Bonaventure is one of the churches of the quarter Presqu'île, located on the Place des Cordeliers, in the 2nd arrondissement of Lyon. This is the only medieval building not demolished after the creation of the rue Impériale (now rue de la République), under the Second Empire by the prefect Claude-Marius Vaïsse.", "The church's history, now known under the name of St. Bonaventure, is intimately related to the convent of the Cordeliers, for which it was constructed.\nTo meet the needs of the community of Franciscan friars, named Cordeliers, installed at this place since the seneschal Grolée bequeathed them a space for the installation of their convent, the construction of a bigger church was decided by Jacques de Grolée, grandson of the seneschal, to overcome the narrowness of the first convent church, which was apparent when the crowd was gathered at ceremonies for the Cardinal Bonaventure's death, on the night of 14 and 15 July 1274, at the age of 57.\nThe new church was oriented towards the south, which is rare at the time.\nThe church was built in just two years between 1325 and 1327. It housed the remains of Jacques de Grolée, died on 4 May 1327, which is under the high altar, before being moved somewhere near the epistle in 1599. The church was consecrated on 18 September 1328 by the archbishop of Lyon, Pierre IV of Savoy, under the name of St. Francis of Assisi.\nUnlike the Église Saint-Nizier (Lyon), the church of Cordeliers became the seat of the brotherhoods. The church was expanded from 1471 to 1484 and was then named Saint-Bonaventure.\nThe choir was restored in 1607. It served as a granary after the French Revolution before being used to worship in 1806, getting its current facade under Cardinal Joseph Fesch's leadership.\nAround 1890, the church was cleared of the curia and buildings beside it, which allowed the expansion of the rue Grolée on its western flank.", "In the monograph devoted to the whole convent of Cordeliers, the abbot Pavy did the same description as that of Fodéré.\nAt the west (to the right), from the choir to the entrance :\nChapel n° 1 : chapel Notre-Dame, built by Jean Ogii (or Ogier), probably the same who was a member of the consulate. John Ogier and his family were buried in this chapel.\nChapel n° 2 : chapel of St. Fortuné (or saint Fortunat), by merchants of Troyes in Champagne in 1345\nChapel n° 3 : chapel St. Joseph, built by the brotherhood of the suits of clothes. It was dedicated to St. Jacques and St. Philip. Heraldry of the brotherhood can be seen on the arch of the arcade : scissors surmounted by a shell.\nChapelle n° 4 : chapel dedicated to St. Luc and St. Clair, by the painters and glaziers' brotherhoods. It is now the chapel of Sacred Heart whose altar was added by order of the Bishop of Neuville.\nChapel n° 5 : dedicated to St. Jean-Baptiste\nChapel n° 6 : chapel St. Anthony of Padua, built in 1388\nChapel n° 7 : ?\nChapel n° 8 : ?\nChapel n° 9 : ?\nAt the east (to the left), from the choir to the entrance :\nChapelle n° 1 : first dedicated to Saint Francis of Assisi, then St. Bonaventure, it was dedicated to King St. Louis by the royal sergeants brotherhood.\nChapel n° 2 : chapel of the Assumption, dedicated to Notre-Dame. In 1662, it became Notre-Dame de la délivrance.\nChapel n° 3 : chapel St. Nicolas, built by the boatmen. In early 16th century, the troops led by François de Beaumont, baron des Adrets crossed the church during their looting and destroyed a part of the chapel. It was rebuilt in 1572.\nChapel n° 4 : chapel Notre-Dame de Grâce\nChapel n° 5 : chapel St. Bernardin, then St. Claude\nChapel n° 6 : ?\nChapel n° 7 : ?\nChapel n° 8 : ?\nChapel n° 9 : ?", "", "The church is an important part of the Scoutisme Français since it gathers together all Catholic movements of Scouting in Lyon. Every month, the church houses the inter-scout for its evening gathering and adoration prayer, organized by Eamus. The Friday before Palm Sunday, the evening gathering is hosted by the inter-scout choir of Lyon which also gives its annual concert on 8 December.", "", "Jean Pelletier, Connaître son arrondissement, le 2e, editions lyonnaises d'art et d'histoire, p. 25\nAbbé Pavy, Les Grands Cordeliers de Lyon, Lyon, 1885, pp. 23–27", "Official site" ]

[ "Église Saint-Bonaventure", "History", "Chapels", "Organs", "Scoutism", "Photos", "References", "External links" ]

[ 4011, 4012, 4013, 4014, 4015 ]

[ 18930, 18931, 18932, 18933, 18934, 18935, 18936, 18937, 18938, 18939, 18940, 18941 ]

[ "Facade of the Église Saint-Cannat", "", "", "", "", "", "", "" ]

[ 0, 4, 4, 4, 4, 4, 4, 5 ]

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[ "The Église Saint-Cannat is a Roman Catholic church in Marseille.", "It is located in the 1st arrondissement of Marseille. The exact address is 4, rue des Prêcheurs, 13001 Marseille.", "The church was named in honour of Canus Natus, a French Roman Catholic Saint from the fifth century.\nConstruction of the church building started on December 31, 1526, in the presence of Bernardin des Beaux. It was dedicated on May 18, 1619.\nThe facade was built from 1739 to 1744 by architect Joseph Gérard.\nThe church has a few works of art. Two paintings by Michel Serre (1658-1733) are displayed in the church: La vierge à l'enfant et le purgatoire and La purification de la Vierge. There is also a painting by Pierre Parrocel (1664–1739), representing the baptism of Christ. Additionally, one can see a sculpture of Saint Thérèse of Lisieux (1873–1897) designed by François Carli (1872-1957).\nThe pipe organ, designed by Jean-Esprit Isnard (1707-1781), dates back to 1747.\nThe church building has been listed as a Monument historique since November 2, 1926.", "The church building is open on Mondays and Thursdays from 9AM to 1PM, on Wednesdays from 9AM to 7PM, and on Tuesday and Fridays from 9AM to 12PM. However, no Mass are said at present.", "", "Église Catholique à Marseille\nVariétés religieuses; ou, choix de poésies provençales, avec notes, Aix-en-Provence: Makaire, 1860, pp. 167-180 \nAugustin Fabre, Notice historique sur les anciennes rues de Marseille démolies en 1862 pour la création de la rue impériale, Marseille: Imprimerie de Jules Baril, 1862, p. 199\nMarseille 13: Eglise Saint-Cannat les Prêcheurs\nBase Mérimée: PA00081339, Ministère français de la Culture. (in French)" ]

[ "Église Saint-Cannat", "Location", "History", "At present", "Gallery", "References" ]

[ 4016, 4017, 4018, 4019, 4020, 4021, 4022 ]

[ 18942, 18943, 18944, 18945 ]

[ "Église Saint-Dominique de Bonifacio", "" ]

[ 0, 2 ]

[ "https://upload.wikimedia.org/wikipedia/commons/1/1d/Bonifacio%2C_san_domenico_02.jpg", "http://upload.wikimedia.org/wikipedia/commons/a/ab/NotreDameI.jpg" ]

[ "Église Saint-Dominique de Bonifacio is a church in Bonifacio, Corse-du-Sud, southeastern Corsica. It is the largest church on the island.\nThe church is located within the walls of an old Dominican convent, now defunct, in the western part of the historic center, next to City Hall of Bonifacio. The church was built from the late thirteenth century. The building was classified as a Historic Monument in 1862.", "The church has elements of the Gothic architectural style, although the simplicity of its exterior architecture is reminiscent of the Romanesque. The presence of elements of Gothic style is particularly rare in Corsica. Its bell tower has a unique structure: a square base, then it becomes octagonal and is crowned by battlements. The plan consists of a nave with six bays and two square chapels on the sides.", "Base Mérimée: PA00099081, Ministère français de la Culture. (in French) Eglise Saint-Dominique\nTourist Office Bonifacio" ]

[ "Église Saint-Dominique de Bonifacio", "Description", "References" ]

[ 4023, 4024 ]

[ 18946 ]

[ "Facade of the Église Saint-Ferréol les Augustins", "", "", "", "", "", "", "", "", "", "", "", "" ]

[ 0, 4, 4, 4, 4, 4, 4, 4, 4, 4, 4, 4, 4 ]

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[ "The Église Saint-Ferréol les Augustins is a Roman Catholic church in Marseille.", "The church building is located on the Old Port of Marseille. The exact address is Quai des Belges, 13001 Marseille.", "The original building on site was owned by the Knights Templar. However, in 1369, it was given to a community of Augustinian hermits. By 1447, they decided to spearhead the construction a new church building. It was dedicated in 1542, even though the vault was only completed in 1588. \nDuring the Ancien Régime (15th century to 18th century), it was used for professional ceremonies. For example, ship-porters had their own altars in the church as early as 1390: one dedicated to Saint Peter, and a second one to Saint Paul.\nPope Clement VII (1478–1534) married his niece, Catherine de' Medici (1519–1589), to Henry II of France (1519–1559), in this church on October 28, 1533.\nDuring the French Revolution of 1789, it came close to being destroyed. However, it was salvaged. Shortly after, it was renamed in honour of Saint Augustine. Later, it was sold to a businessman. Later, it was returned to the Catholic Church.\nThe facade was destroyed in 1801, due to construction work on the street, and it was rebuilt in 1875. In 1803, it was named in honour of Saint Ferréol de Vienne, a Roman Catholic martyr from the 3rd century who was the namesake of another church in Marseille which was destroyed during the French Revolution.\nThe high altar was designed by Dominique Fossaty, as were the altars of the Augustinians and of the ship-porters. Inside the church can also be found the Mazenod family's tomb dating back to 1564 and the Montolieu family's tomb, dating back to 1695. The relics of Saint Louis of Toulouse (1274–1297) are also in the church.\nThe church has a few works of art. Three paintings by Michel Serre (1658-1733) are displayed inside the church: Sainte Marguerite, La Vierge à l'enfant apparaissant à Saint Pierre and Saint Paul. There is also a bust of Saint Ferréol de Vienne. Additionally, there is a sculpture of Saint Augustine designed by Raymond Servian (1903-1953). Another sculpture, by Élie-Jean Vézien (1890-1982), represents Saint Theresa. Yet another sculpture, this time by Louis Botinelly (1883-1962), is of Joan of Arc. A more recently sculpture, designed by Yves le Pape in 1979, depicts the Holy Family.\nThe neogothic pipe organ, designed by Augustin Zieger, dates back to 1844.", "The church building is open every weekday from 9AM to 6:30PM. Mass is said every weekday at 12PM and 6PM, every Saturday at 6PM, every Sunday at 9:30AM, 11AM and 7PM.", "", "List of works by Louis Botinelly", "Marseille 13: Eglise Saint-Ferréol les Augustins\nÉglise Catholique à Marseille\nOfficial website: History\nGaston Duchet-Suchaux, Les ordres religieux, Paris: Flammarion, 1993, p. 26" ]

[ "Église Saint-Ferréol les Augustins", "Location", "History", "At present", "Gallery", "See also", "References" ]

[ 4025, 4026, 4027, 4028, 4029, 4030, 4031, 4032, 4033, 4034, 4035, 4036 ]

[ 18947, 18948, 18949, 18950, 18951, 18952, 18953 ]

[ "Église Saint-François-Xavier de Monticello", "" ]

[ 0, 1 ]

[ "https://upload.wikimedia.org/wikipedia/commons/b/be/Monticello_%C3%A9glise_Saint-Fran%C3%A7ois-Xavier.jpg", "http://upload.wikimedia.org/wikipedia/commons/a/ab/NotreDameI.jpg" ]

[ "Église Saint-François-Xavier de Monticello is a church in Monticello, Haute-Corse, Corsica. The building was classified as a Historic Monument in 1992.", "Base Mérimée: PA00099214, Ministère français de la Culture. (in French) Eglise Saint-François-Xavier" ]

[ "Église Saint-François-Xavier de Monticello", "References" ]

[ 4037, 4038 ]

[ 18954 ]

[ "The church in 2017.", "" ]

[ 0, 1 ]

[ "https://upload.wikimedia.org/wikipedia/commons/8/86/%C3%89glise_Saint-Gen%C3%A8s.jpg", "https://upload.wikimedia.org/wikipedia/commons/c/c6/86-Poitiers-portail-sud-cath%C3%A9drale.jpg" ]

[ "The Église Saint-Genès is a 12th-century church situated in the medieval center of Thiers in the department of Puy-de-Dôme in France.\nThe church possesses the biggest dome of Auvergne with a surface of 102m².", "Base Mérimée: Eglise Saint-Genès, Ministère français de la Culture. (in French)\n\"COLLÉGIALE SAINT-GENÈS A THIERS, PUY-DE-DOME\". www.auvergne-centrefrance.com. Retrieved 2018-04-08." ]

[ "Église Saint-Genès de Thiers", "References" ]

[ 4039 ]

[ 18955 ]

[ "", "", "", "", "", "", "" ]

[ 0, 1, 1, 1, 1, 1, 1 ]

[ "https://upload.wikimedia.org/wikipedia/commons/a/a7/Ch%C3%A2tenois_StGeorges08.JPG", "https://upload.wikimedia.org/wikipedia/commons/2/28/Eglise_saint_Georges_de_Ch%C3%A2tenois.jpg", "http://upload.wikimedia.org/wikipedia/commons/a/a4/Ch%C3%A2tenois%2C_%C3%A9glise_Saint-Georges%2C_sommet_du_clocher.jpg", "https://upload.wikimedia.org/wikipedia/commons/c/c8/Ch%C3%A2tenois_StGeorges14.JPG", "https://upload.wikimedia.org/wikipedia/commons/a/ad/Ch%C3%A2tenois_StGeorges34.JPG", "https://upload.wikimedia.org/wikipedia/commons/f/f3/Ch%C3%A2tenois_StGeorges25.JPG", "https://upload.wikimedia.org/wikipedia/commons/f/f7/Ch%C3%A2tenois_StGeorges30.JPG" ]

[ "Église Saint-Georges de Châtenois is the Catholic parish church of Châtenois, in the Bas-Rhin department of France. The current church was built from 1759 until 1761 by the local architect Martin Dorgler, but retains a Romanesque steeple from the 12th century, crowned with a spire from 1525. It became a registered Monument historique in 1901.\nThe church houses some notable works of art, classified as Monument historique, among which are two 16th-century polychrome wooden Renaissance reliefs of the Nativity and the Assumption of Mary, and a 1765 pipe organ by Johann Andreas Silbermann.", "", "Base Mérimée: Eglise catholique Saint-Georges, Ministère français de la Culture. (in French)\nBase Mérimée: Église paroissiale Saint-Georges, Ministère français de la Culture. (in French)\nBase Palissy: 2 bas-reliefs : Naisance de la Vierge ; Assomption et Couronnement de la Vierge, Ministère français de la Culture. (in French)\n\"Châtenois, St Georges Jean-André SILBERMANN, 1765\". À la découverte de l'Orgue Orgues d'Alsace. Retrieved 9 May 2019.\nBase Palissy: Orgue, Ministère français de la Culture. (in French)" ]

[ "Église Saint-Georges de Châtenois", "Gallery", "References" ]

[ 4040, 4041, 4042, 4043, 4044, 4045, 4046 ]

[ 18956, 18957 ]