Sur les affiches électorales, elle est simplement "Marine" et le parti n'est pas nommé.
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Opération Quimpéroise is a tightly unified show of Villeglé's affiches lacérées (torn posters) pieces from 19663.
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The publication of legal notices is a regulated profession in France (Les Petites Affiches in Paris and neighboring départements).
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Au Québec, province francophone au sein d'un Canada majoritairement anglophone, on ne rigole pas avec la langue, et les grandes affiches doivent obligatoirement être en français seulement.
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It is also typical of all of Villeglé's affiches lacérées works, as it directs our reflective attention to the multifarious and cacophonous skin of the urban landscape.
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Like Matta-Clark's "Conical Intersect," their affiches lacérées displayed a basic theoretical concept suggestive of the political art positions of the Situationist International movement, which challenged the boundaries between everyday street life and high art.
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The affiches lacérées are conceptually suggestive of the chance operations of John Cage and the social positions of the Situationist International, particularly in the way that Villeglé attributes importance to the anonymous hands that have torn the posters at random before he arrived to snatch them.
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For that event, an exhibition titled "Gig Posters: 150 Affiches Underground Américaines Contemporaines" was displayed at Les Docks Cité de la Mode et du Design in Paris.
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Each year from 1931 to 1934 he would participate in an amateur show organised by Alfred Sauvy. : affiches pour 1931 (Sport muet par Jacques Tattischeff) et 1933, où il est cité en haut de l'affiche : J. Taticheff.
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In 1778, Pierre Dottin, a native of Villers-Bretonneux, published a memoir on the "la pomme de terre" in Les Affiches de la Picardie.Notice géographique et historique sur la commune de Villers-Bretonneux, rédigée par M. Corbin, instituteur, 1899, Archives départementales de la Somme.
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Affiches (1802), p.172. On 18 May, Lodi succeeded in intercepting three barges and 50 men between Arcahaie and Léogâne. The air was too calm for Lodi to be able to capture the barges, but through cannon fire she was able to force them ashore near Grand-Goâve.
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However, just how much of Histoire d'une jeune fille sauvage Hecquet herself wrote is not clear and the work has sometimes been attributed to the French scientist-explorer Charles-Marie de la Condamine, even though La Condamine himself publicly denied its authorship. The biography was advertised in Paris in 1755 as "Brochure in-12 de 72 pag. Prix 1 liv."Annonces, Affiches, et Avis Divers, 19 February 1755, p.
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In 1926 he travels to Argentina and sets up the "Affiches Mauzan" (Mauzan Posters) publishing house where many of his greatest works were created and where he worked until 1932. Within those years, Gino Boccasile, one of his students in Milan, travels to Argentina at his insistence and sets up studio. Mauzan is also noted for designing several war posters including an adaptation of the famous Lord Kitchener poster.
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From French phantasmagorie, from Ancient Greek φάντασμα (phántasma, “ghost”) + possibly either αγορά (agorá, “assembly, gathering”) + the suffix -ia, or ἀγορεύω (agoreúō, “to speak publicly”). Paul Philidor announced his show of ghost apparitions and evocation of the shadows of famous people as Phantasmagorie in the Parisian periodical Affiches, annonces et avis divers of December 16, 1792. About two weeks earlier the term had been the title of a letter by a certain "A.L.M.", published in Magazin Encyclopédique.
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Finally he left Paris to settle in Milan (1980), in the eighties he processes the "blanks" or affiches covers: zeroed advertising posters covered with white sheets, as with the expired advertisement. In 1984 he made the second cycle of works dedicated to the cinema: Cinecittà 2. After 1986 he realizes 'Sovrapitture', inspired by graffiti: intervenes pictorially of torn poster glued on canvas. It drew anonymous writings, such as those that can be read on city walls: love notes and political slogans, etc.
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The poster collector Ernest Maindron, who wrote the first essay about the illustrated poster in the Gazette des Beaux-Arts in 1884, and later published the first book on the subject (Les Affiches Illustrees) in 1886, mentioned the Choubrac brothers and Chéret among the pioneers of the illustrated poster.Collins, Bradford R. (1985). The Poster as Art; Jules Chéret and the Struggle for the Equality of the Arts in Late Nineteenth-Century France, Design Issues, Vol. 2, No. 1 (Spring, 1985), pp.
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He presented his own phantasmagoria shows in Berlin, with the King of Prussia attending a show on 23 June 1796. Enslen moved the lantern to produce the illusion of moving ghosts and used multiple lanterns for transformation effects. There were other showmen who followed in Phylidor's footsteps, including "physicist" Von Halbritter who even adapted the name of Phylidor's shows as "Phantasmorasie - Die natürliche Geister-Erscheinung nach der Schröpferischen Erfindung". From December 1792 to July 1793 "Paul Filidort" presented his "Phantasmagorie" in Paris,Affiches, annonces et avis divers.
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Adolphe Willette: poster for pantomime L'Enfant prodigue (1890) by Michel Carré fils. Reproduced in Ernest Maindron, Les Affiches illustrées (1886-1895) (Paris: Boudet, 1896). The Cercle Funambulesque (1888-1898)—roughly translatable as "Friends of the Funambules"The funambule of the eighteenth and nineteenth centuries was a rope-dancer and sometimes, as in the case of Madame Saqui, a mime. But by the late nineteenth century, the word would have conjured up specifically the old Théâtre des Funambules, where Jean-Gaspard Deburau forged his career (see next section).
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Back into civilian life as soon as it was possible for him, Beuchot published his first literary essays in the Bulletin des Petites Affiches of Lyon. In 1801 he moved to Paris where he cooperated to the Courrier des Spectacles by Édouard- Marie-Joseph Lépan and in 1802, he published with Dominique Boutard a comédie en vaudeville entitled les Prisonniers de Londres, ou les Préliminaires de paix, and inserted several light poems in different collections. In 1808, he was active with the Nouvel Almanach des Muses, and wrote several obituaries in the Décade philosophique.
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Sterlikova is the author of Street Artist. Century of the Entertainment Poster, a comprehensive research that "explores the evolution of the entertainment poster starting with the birth of the artistic affiches at the end of the 19th century, and analyzes posters of various genres including operetta, cabaret, dance, drama theater, and circus". Since 2014, she has been writing a column about the history of theatrical posters for The Stage magazine, published by the Bakhrushin Museum. As a free-lance lecturer, Sterlikova runs programs on poster art history at various venues.
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Maindron, Les affiches Illustrées (1886-1895), p. 51-55Hiatt, Picture Posters, Chapter 5 Alfred Choubrac specialized in posters for shows in the Parisian night-life scene of the Belle Époque, for places such as the Théâtre des Variétés, Théâtre du Châtelet, Folies Bergère, Opéra comique, Moulin rouge, Casino de Paris, the Eldorado, the Circus Fernando. Alfred Choubrac (1853-1902), Bibliothèque Nationale de France (BNF) With Chéret and Toulouse- Lautrec, amongst others, Choubrac was among the most important poster artist of his time.Verhagen, The poster in Fin-de-Siècle Paris, p.
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His personal exhibitions include: in 1971 "Símbolos de Félix Beltrán" in Museo Nacional de Bellas Artes de La Habana, Havana, Cuba; "Exhibition Hall Ruski Avenue",in Sofia, Bulgaria and after 1990 he did "Pinturas Deconstructivas de Félix Beltrán" in different galeries of Mexico City, like Galery Frida Kahlo, Gallery Santos Balmori, Gallery Artis and Gallery Trazo. He also took part in many collective exhibitions like one in 1960 at New Gallery, New York CityA.; in 1966 at the Gutenberg Museum, Frankfurt, Germany; International Trade Marks Exhibition, New York CityA. and in "Affiches Cubains" at the Musée d’Art et Industrie, Paris, France.
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Born in Paris, from 1790 onward, Ducray- Duminil was the literary editor of Les Petites Affiches where he was known for the great forbearance of his reviews. A member of several literary societies, most notably of the Société du Caveau, he wrote poetry and lyrics as well as a few plays that were never produced. He is best known as a writer for children and young adults, a genre in which he became extremely popular. Worried about the moral message of his works, he saw to it that virtue and innocence should prevail after a series of ingenious twists in the plot.
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From the beginning of his doctoral studies in 1969, Serge Guinchard became interested in fields other than trial law, such as consumer protection and civil law . Some of his writings are outspoken, even causticDo not touch my code! in Mélanges (liber amicorum) Jean Buffet, The procedure in all statements, Petites affiches/LGDJ editor, p. 269.Imaginary dialogue between a litigant and a lawyer desperate means by the case Kress v/France,Recueil Dalloz (French law review) 2003, chron. p. 152 and cover responsibility for miscarriages of justice,The liability of officers of justice, summary report to the XXII Conference of Institut of studies judiciaries, Nantes November 9, 1996, Justice (French law review) 1997/5, p. 109, Dalloz ed.
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In the 1920s, Buenos Aires was overflowing with creative drawings and design. Argentine illustrators and sketchers were attracting worldwide recognition, including artists such as Jose Freire Segundo, creator of gráfica of Aikal (1940); Jose Luis Salinas, called upon by King Features to create a comic strip of worldwide fame, Cisco Kid; and Florencio Molina Campos, the brilliant sketcher of the Alpargatas Almanacs of rural life (1930), who collaborated on three Walt Disney films. The culmination was the arrival, in 1927, of French painter, poster artist and sculptor Lucien Achille Mauzan, who was part of the artistic Art Deco movement. He settled in Buenos Aires and founded his own company Editorial Affiches Mauzan (Editorial Mauzan Posters) and created between 130 and 150 posters in the six years he spent in Argentina.
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Combaz mixes the Japanese print style with Art Nouveau elements such an arabesques. Through these posters Combaz gave the Art Nouveau a very powerful and modern form.Hadewych Hernalsteen, Brussel Bedrukt Affiches voor de tentoonstellingen van Brusselse kunstenaarsverenigingen 1880-1914, Masters thesis submitted to the Faculty of Arts and Philosophy, Department of Art, Music and Theater Sciences of the University of Ghent to obtain the degree of Masters, Supervisor: prof. Dr. M. Sterckx. Universiteit Gent Academy Year 2011-2012 Postcard representing the Element Air Combaz was very effective in transposing the Japanese wood block print style known as ukiyo-e to the medium of posters. In his Poster for the 1895 Expositions Peinture, Sculpture, Architecture, Arts Appliques at La Maison d’art, Brussels, Combaz succeeded like the Japanese masters to express the maximum with a minimum of resources.
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In 1959, she was hired on contract at the Conservatoire de Paris library (until 1960) and as an assistant in the Music Department of the Bibliothèque Nationale de France, where she was assigned to the Opera library-museum, which she would never leave again. She became successively deputy and assistant librarian from 1962 to 1982, full curator from October 1985 and finally chief curator in 1993. Wild undertook important cataloguing work at the Opera Library, accumulating and organizing a wealth of information on musical and iconographic collections. This in-depth and systematic work allowed her to publish catalogues of remarkable musical value: Le Cirque (with Tristan Rémy), 1969; Les Arts du spectacle en France, Affiches illustrées, 1850-1950 : catalogue, 1976; Décors et costumes du XIXe siècle, volume I: Opéra de Paris, 1987; Décors et costumes du XIXe siècle, volume II: théâtres et décorateurs, collections de la bibliothèque-musée de l'Opéra, 1993.
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In 1922, Revel engaged the famous Italian poster art designer Leonetto Cappiello to create the famous ad representing three people with umbrellas, it was published by the fine parisian printer's firm, Devambez, in the name of "Les Nouvelles Affiches Leonetto Cappiello". Parapluie Revel (advert for luxury umbrellas, 1922) In 1929, Revel diversified into silk stockings and engaged once again Leonetto Cappiello to promote its new products. The artist was inspired by the previous one (with three with umbrellas) and created a poster with three women with silk stockings. Le Bas Revel (advert for silk stockings, 1929) In 1992, the producer of the drama film The Lover (film) (an illicit affair between a teenage French girl and a wealthy Chinese man in 1929 French Indo-China) asked Revel to recreate for the film, the same parasol, the brand was selling in the former French Indo-China in the 1920s.
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He died forgotten in 1788. The announcement of his death was worded as follows in Annonces Affiches Avis Bibliothèque nationale Arsenal 8 H 26195 n° 64 septembre-décembre 1788: 4 septembre 1788 (probably date of the burial, other sources mention a date of death of 1 September) Emmanuel-Armand Duplessis-Richelieu, duc d'Aiguillon, pair de France, noble génois, chevalier des ordres du roi, lieutenant général de ses armées, ancien lieutenant de la compagnie des chevau-légers de la garde ordinaire de Sa Majesté, gouverneur général de la haute et basse Alsace, gouverneur particulier des ville, citadelle, parc et château de La Fère, ancien lieutenant général de la province de Bretagne, ancien commandant pour Sa Majesté de ladite province, ancien ministre et secrétaire d'État des affaires étrangères et de la guerre. Décédé rue de l'Université, présenté à Saint-Sulpice et transporté à la Sorbonne. He was the father of Armand-Désiré de Vignerot du Plessis-Richelieu, who succeeded him as Duke of Aiguillon.
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John G. Cale, French Secular Music in Saint-Domingue (1750-1795) Viewed as a Factor in America's Musical Growth, Louisiana State University and Agricultural & Mechanical College, 1971 In Saint-Domingue, however, several women are known for their influence within the theatre world, such as Mlle Marthe, director of the theatre of St Marc (1769), and Madame Case, co-director with her spouse of the theatre in Les Cayes (1785). On June 18, 1777, the Affiches Americaines announced that Beaumarchais' Barbier de Sevilla and l'Braeur d'un moment, a one-act opera by Monvel, would be performed to the benefit of Mlle Babet, staged by the local amateur theatre society, prior to her departure from her position as director after her marriage to the actor 'Monsieur Acquaire', with whom she was engaged at the Comédie de Port-au-Prince after its foundation in 1778. Madame Acquaire came to have an influential position in the theatre of the colonial capital, where her spouse eventually became director (1784). She belonged to the star attractions of the theatre and performed as a singer as well as an actress in both theatre and opera, playing roles within the category of tragic heroines, a category with high status in that period.
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