Bannon went casual in khakis; Grimm posed in a suit and tie likely a bit nattier than what he wore as inmate No. 83479-053 at McKean Federal Correctional Institute in Pennsylvania while doing time for the tax rap.
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Jan Nattier is an American scholar of Mahāyana Buddhism.
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Jan Nattier has suggested that it is likely the text circulated in Dharmaguptaka circles early in its history.
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Battle of Lesnaya by Jean-Marc Nattier, Russian army forcing the Swedish outpost out of the forest towards Lesnaya.
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Joseph and Potiphar's Wife Jean-Baptiste Nattier (27 September 1678, Paris - 23 May 1726, Paris) was a French history painter.
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Jean-Marc Nattier (17 March 1685 - 7 November 1766) was a French painter. He was born in Paris, the second son of Marc Nattier (1642-1705), a portrait painter, and of Marie Courtois (1655-1703), a miniaturist. He is noted for his portraits of the ladies of King Louis XV's court in classical mythological attire.
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Jean Louis Tocqué was born on 19 November 1696 in Paris, capital of the Kingdom of France. His father, who was also a painter, died in April 1710, before Louis was even fourteen. He was eventually brought into the care of another artist, Jean-Marc Nattier. Tocqué studied under Nattier, Nicolas Bertin and Hyacinthe Rigaud in the 1720s.
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He married Jean- Marc Nattier's daughter Marie Nattier in 1747.Metropolitan Museum of Art He died on 10 February 1772 in Paris.
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Jan Nattier. 1992. The Heart Sūtra : a Chinese apocryphal text? Journal of the International Association of Buddhist Studies. Vol. 15 (2), p.153-223.
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They were the parents of the more famous portrait painter Jean-Marc Nattier (1685 – 1766), their second son. She died in Paris in 1703.
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Portrait of Louis Tocqué by Jean-Marc Nattier Jean Louis Tocqué (19 November 1696 - 10 February 1772) was a French painter. He specialized in portrait painting.
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Louise's eldest daughter, Charlotte Louise by Nattier, 1738 She died at Chevilly, Loiret on 20 August 1780. She owned the Manoir de Launay which she bought in 1747.
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390px Portrait of Mathilde de Canisy, marquise d'Antin is a 1738 oil on canvas portrait by Jean-Marc Nattier, produced ten years before he became official painter to the French royal family Xavier Salmon, Jean-Marc Nattier: 1685-1766 : exposition du Musée national des châteaux de Versailles et de Trianon, Réunion des musées nationaux, 1999, 349 p. (), p. 106-108 (notice 20). It is now in the musée Jacquemart-André in Paris.
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Mahāyāna Buddhist triad, including Bodhisattva Maitreya, the Buddha, and Bodhisattva Avalokiteśvara. 2nd–3rd century CE, Gandhāra According to Jan Nattier, the term Mahāyāna ("Great Vehicle") was originally an honorary synonym for Bodhisattvayāna ("Bodhisattva Vehicle"),Nattier, Jan (2003), A few good men: the Bodhisattva path according to the Inquiry of Ugra: p. 174 the vehicle of a bodhisattva seeking buddhahood for the benefit of all sentient beings.Damien Keown (2003), A Dictionary of Buddhism, Oxford University Press, p.
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Her portrait en Sultane, by Jean-Marc Nattier (1733), "justifying her chic state of undress"Jo Hedley, in The Wallace Collection, 2005:148. (Wallace Collection, London) is a famous example of turquerie.
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Miniature on Ivory Marie Courtois (c. 1655 – 13 October 1703) was a French miniature painter. She was a pupil of Le Brun. In 1675 she married Marc Nattier (1642–1705), a portrait painter.
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La comtesse Tessin (1741) Paris, Musée du Louvre, portrait by Jean-Marc Nattier Ulrika "Ulla" Lovisa Tessin née Sparre (23 May 1711 – 14 December 1768) was a Swedish courtier, letter writer and dilettante artist.
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In November 1770, an aging Challe was named knight of the order of Saint Michel and ennobled. He is filled with honors and received at the Academy of Sciences and Fine Arts of Lyon. In 1762 he married Madeline-Sophie Nattier, the youngest daughter of Jean-Marc Nattier with whom he had no children. In the last years of his life, he worked on a project to expand the city of Marseille which was first approved by Turgot, Minister of the Navy, before being abandoned.
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Jan Nattier writes that available textual evidence suggests that the Mahāyāna Ugraparipṛcchā Sūtra circulated in Dharmaguptaka communities during its early history, but a later translation shows evidence that the text later circulated amongst the Sarvāstivādins as well.
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Williams, Paul. Mahāyāna Buddhism: the Doctrinal Foundations. London, UK: Routledge. p. 42. Scholar Jan Nattier argues the Heart Sutra to be an apocryphal text composed in China from extracts of the Pañcaviṃśatisāhasrikā and other texts ca 7th century.
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Zaïde (Jean-Marc Nattier) Joseph-Nicolas-Pancrace Royer (12 May 1703 – 11 January 1755)"Royer, Pancrace (1703-1755)", Notice de personne, BnF. was a French composer, harpsichordist, organist, and administrator.Lionel Sawkins and David Fuller, "Royer, Joseph-Nicolas-Pancrace", Grove Music Online.
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Nattier aspired to be a history painter. Between 1715 and 1720 he devoted himself to compositions like the "Battle of Pultawa", which he painted for Peter the Great, and the "Petrification of Phineus and of his Companions", which led to his election to the Academy.
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Displays: Eighteenth-century still lifes and portraits The room contains masterworks of French 18th-century portraiture by Nattier and Houdon and two oil sketches by Jean François de Troy, for decoration of Louis XV's dining room in Fontainebleau, shown to the king for approval.
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28-39 He first lived in the parish of San Lorenzo in Lucina, together with many other French artists, then in the parish of Santo Spirito in Sassia, at the same address as Gerard Audran, Thomas de Saint Vincent, Etienne Aubry and Marc Nattier.
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Oriental Port (French: Porte d'orient) is a 1950 French crime film directed by Jacques Daroy and starring Yves Vincent, Tilda Thamar and Nathalie Nattier. It is about a group of smugglers operating out of Marseille. It is based on a novel by René Roques.Goble p.
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Jean-Marc Nattier - Portrait of Madame Marie-Henriette Berthelot de Pléneuf The financial collapse of 1720 caused by the schemes of Law all but ruined Nattier, who found himself forced to devote his whole energy to portraiture, which was more lucrative. He became the painter of the artificial ladies of Louis XV's court. He subsequently revived the genre of the allegorical portrait, in which a living person is depicted as a Greco-Roman goddess or other mythological figure. Nattier's graceful and charming portraits of court ladies in this mode were very fashionable, partly because he could beautify a sitter while also retaining her likeness.
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The Cucuroux Family (French: La famille Cucuroux) is a 1953 French comedy film directed by Émile Couzinet and starring Georges Rollin, Nathalie Nattier and Jean Tissier.Rège p.268 An upper-class Frenchman's plans to marry a wealthy woman are threatened by the presence of his mistress.
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Artwork is displayed from Louis Tocqué, Jean-Marc Nattier, Nicolas de Largillière, Jean Baptiste Regnault; François Flameng, Andrea Appiani and Robert Léfèvre. The museum displays Napoleon’s death mask, brought by Dr. Francesco Antommarchi, the last doctor to treat Napoleon on Saint Helena, who died in Santiago de Cuba; and Napoleon's telescope.
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Another portrait is assumed also painted by Nattier and was in the hall of the second floor of the Hôtel Lambert.Hervé Grandsart: Connaissance des Arts : L'hôtel Lambert - chef-d'œuvre de l'architecture parisienne du Grand Siècle, vol. special issue nº 406, Paris, Société française de promotion artistique, 1 June 2009, 34 p., p. 13.
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Pauline Félicité de Mailly-Nesle, marquise de Vintimille, by Jean-Marc Nattier Pauline Félicité de Mailly-Nesle (1712–1741), marquise de Vintimille, was the second of the five famous de Nesle sisters, four of whom would become mistresses of King Louis XV of France. She was his mistress between 1739 and 1741.
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Marie Anne de Mailly-Nesle by Jean-Marc Nattier Marie Anne de Mailly-Nesle, duchesse de Châteauroux (5 October 1717 - 8 December 1744) was the youngest of the five famous de Nesle sisters, four of whom would become the mistress of King Louis XV of France. She was his mistress from 1742 until 1744.
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Nattier was married to John R. McRae (1947-2011), a professor and researcher who specialized in the study of Chinese Chan Buddhism and was the author of The Northern School and the Formation of Early Chan Buddhism (University of Hawai`i Press, 1986) and Seeing through Zen: Encounter, Transformation, and Genealogy in Chinese Chan Buddhism (University of California Press, 2003).
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Louise Élisabeth by Jean-Marc Nattier, c. 1754. In the Treaty of Aix-la-Chapelle which ended the War of the Austrian Succession, Empress Maria Theresa ceded the duchies of Parma, Piacenza and Guastalla to Ferdinand VI of Spain. At Louis XV's instigation, Philip was created Duke of Parma. Louise Élisabeth as Duchess of Parma, by Charles-André van Loo.
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Alexander Borisovich Kurakin. Painting by Jean-Marc Nattier, 1728 Princess Alexandra Ivanovna Kurakina, 72 years old Princess Alexandra Ivanovna Kurakina, née Panina (Russian: Александра Ивановна Куракина; February 14, 1711 – February 22, 1786) was the daughter of Lieutenant-General and Senator Ivan Panin, the sister of the famous counts Nikita and Peter Panin, the grandmother of Princes Alexander and Alexey Kurakin and poet Yury Neledinsky-Meletsky.
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In English translations of Buddhist texts, householder denotes a variety of terms. Most broadly, it refers to any layperson, and most narrowly, to a wealthy and prestigious familial patriarch.In regards to the narrower definition of what today is often translated from the Pali Canon as "householder," see, for instance, the description of ' in Nattier (2003), pp. 22-25. For more information, see Note 3 below.
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Marie Sophie de Courcillon (6 August 1713 - 4 April 1756) was a French salonniére, Duchess of Rohan-Rohan and Princess of Soubise by marriage. She was the granddaughter of Philippe de Courcillon, better known as the marquis de Dangeau. She was praised for being a cultured woman for the age and held a fashionable salon at the Hôtel de Soubise in Paris. She was painted by Nattier.
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A second version of this portrait exists, but unsigned, with a variant: Madame Dupin is represented with an American coot. Two other portraits are also painted by Nattier. One was for the boudoir of the Hôtel Lambert and currently is exposed to New York City in the private collection of Lawrence Steigrad fine arts. The other, a replica of the previous one, is painted for the château du Blanc.
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Louise Dupin by Nattier In 1733 the estate was sold for 130,000 livres to a wealthy squire named . His wife, Louise Dupin, was the natural daughter of the financier Samuel Bernard and the actress , whose mother was also an actress who had joined the Comédie Française in 1684. Louise Dupin was "an intelligent, beautiful, and highly cultivated woman who had the theater in her blood."Gaigneron 1993, p. 20.
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Styled as the Count of Brionne in his youth, he was later known as the Prince of Lambesc. While known as Count, he was painted by the famous Jean-Marc Nattier with his oldest sister Jeanne Louise (1711–1772). He married three times. Married first to Louise Charlotte de Gramont (1725–1742) styled Mademoiselle de Guiche prior to her marriage, grand daughter of Antoine de Gramont on 31 January 1740.
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He became involved the sexual scandals surrounding , who was convicted for operating a pederastic network and executed.Claude Pasteur, La princesse Palatine, Taillandier 2001 p.131-132 Nattier was imprisoned in the Bastille and his membership in the Académie was rescinded. Rather than suffer the fate of Deschauffour (whose corpse was publicly burned in the Place de Grève), he committed suicide by cutting his throat with an oyster knife.
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Jan Nattier has noted that some of the earliest Mahāyāna texts, such as the Ugraparipṛccha Sūtra use the term "Mahāyāna", yet there is no doctrinal difference between Mahāyāna in this context and the early schools, and that "Mahāyāna" referred rather to the rigorous emulation of Gautama Buddha in the path of a bodhisattva seeking to become a fully enlightened buddha. Nattier writes that in the Ugra, Mahāyāna is not a school, but a rigorous and demanding "spiritual vocation, to be pursued within the existing Buddhist community."Williams, Paul, Mahayana Buddhism: The Doctrinal Foundations, Routledge, 2008, p. 5. Several scholars such as Hendrik Kern and A.K. Warder suggested that Mahāyāna and its sutras (such as the very first versions of the Prajñāpāramitā genre) developed among the Mahāsāṃghika Nikaya (from the 1st century BCE onwards), some pointing to the area along the Kṛṣṇa River in the Āndhra region of southern India as a geographical origin.
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Madame Dupin Portrait by Jean-Marc Nattier, ca. 1730 Louise-Marie-Madeleine Guillaume de Fontaine (after marriage known as Madame Dupin; 28 October 1706 – 20 November 1799) was a French saloniste. A woman of spirit and famous for her beauty, between 1733 and 1782 she hosted a famous literary salon in Paris and owned the Château de Chenonceau, which was known as a center of the most famous French philosophers of the Age of Enlightenment.
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Greek statue of Terpsichore from Hadrian's Villa, presently at the Prado Museum (Madrid). Terpsichore, Muse of Music and ballet, an oil on canvas painting by Jean-Marc Nattier (1739). In Greek mythology, Terpsichore (; Τερψιχόρη, "delight in dancing") is one of the nine Muses and goddess of dance and chorus.Theoi Project, Greek Mythology, Muses , Retrieved April 29, 2014 She lends her name to the word "terpsichorean" which means "of or relating to dance".
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His father was the portrait painter, and his mother was the miniaturist, Marie Courtois. His brother, Jean-Marc Nattier, also became a painter. Both brothers received their first art lessons from their father. From 1704 to 1709, he studied at the Académie de France à Rome and, in 1712, was received as a member of the Académie royale de peinture et de sculpture upon presentation of his painting, Joseph sollicité par la femme de Putiphar.
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Princess Isabella in 1749, by Jean-Marc Nattier. Born Isabella Maria Luisa Antonietta Ferdinanda Giuseppina Saveria Dominica Giovanna at Buen Retiro Palace in Madrid, Isabella was an Infanta of Spain and grew up at the court of her grandfather, Philip V of Spain. Her father was the Spanish Prince Philip, who was Duke of Parma in Italy. Her mother was the 14-year-old Élisabeth of France, the eldest daughter of Louis XV of France.
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The first works of Tocqué were painted when he was an apprentice of Jean-Marc Nattier. Louis Tocqué was influenced by Hyacinthe Rigaud, who was also one of his tutors and Nicolas de Largillierre, another French painter. His first major work was the painting of the portrait of Louis XV of France ordered by his great-grandfather Louis XIV, King of France. In 1740 he painted the portrait of Marie Leszczyńska, Queen of France.
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The museum features works by Élisabeth-Louise Vigée Le Brun, Bellini, Francesco Botticini, Luca Signorelli, Cima da Conegliano, Pietro Perugino, Neri di Bicci, Vittore Crivelli, Luca della Robbia, Paolo Uccello, Canaletto, Jean-Marc Nattier, Alfred Boucher, Quentin Massys, Rembrandt, Anthony van Dyck, Frans Hals, Giovanni Battista Tiepolo, Jacques-Louis David, Franz Xaver Winterhalter, Thomas Lawrence, Joshua Reynolds, Thomas Gainsborough, Gian Lorenzo Bernini, Sandro Botticelli, Andrea Mantegna, Jean-Honoré Fragonard, and Jean-Baptiste-Siméon Chardin.
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His monograph on Fulvio Orsini is still authoritative. He also devoted several books to Queen Marie- Antoinette at Versailles. His work as a poet was recognised in his own time, notably by his friend, the Italian poet Gabriele d'Annunzio. Pierre de Nolhac street sign in Versailles The central library of Versailles has many manuscripts of major works by Pierre de Nolhac, including Erasmus and Italy, Queen Marie Antoinette, Nattier, Louis XV and Marie Leszczynska.
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Portrait historié of Hortense Félicité de Mailly-Nesle as Venus with Sleeping Cupid, by Jean-Marc Nattier Hortense Félicité de Mailly-Nesle, Mademoiselle de Chalon, marquise de Flavacourt (1715–1799) was a French courtier, one of the five famous de Nesle sisters, four of whom would become the mistress of King Louis XV of France. Unlike each of her four sisters, she never became the king's mistress, though she was often the subject of speculations.
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Miniature self-portrait, by Louis-Marie Autissier. In the foreground, the artist's pencils, brushes, and tools for painting miniatures can be seen. Watercolour on ivory, 19.1 × 13.5 cm (7.52 × 5.31 in), 1817, Nationalmuseum. In the 18th century we know of miniatures by Nicolas de Largillière, François Boucher, Jean-Marc Nattier, and Jean-Germain Drouais; but the greatest names active in France are those of Peter Adolf Hall of Sweden, François Dumont of France, and Friedrich Heinrich Füger of Austria.
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Nattier is one of a group of scholars who have substantially revised views of the early development of Mahāyana Buddhism in the last 20 years. They have in common their attention to and re-evaluation of early Chinese translations of texts. Her first notable contribution was a book based on her PhD thesis which looked at the Chinese Doctrine of the Three Ages with a focus on the third i.e. Mofa () or Age of Dharma Decline.
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She successfully achieved her goal when her father granted two hundred thousand francs for the Duke of Parma. Her strong will and influence on her father reportedly worried his maîtresse-en-titre, Madame de Pompadour. When she left Versailles on 18 October 1749, she brought a French retinue of followers, a trousseau and so many gowns that D’Argenson commented that her journey had cost the State twelve hundred thousand livres. Isabella in Fontainebleau, by Jean-Marc Nattier.
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However, the friction was soon overcome, reportedly because Marie-Josèphe was an admirer of the Queen's father. In honour of him, several of the queen's grandsons received the name Stanislaus (or Stanislas in French) at their christening. Marie played some part as a cultural patron. Marie was the benefactor of the painter Jean-Marc Nattier, whom she commissioned in 1748 to paint the last portrait she ever sat for, an unusual one as it was informal.
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A Roman occupation was found on the site of the present château. The Marquise de La Ferté-Imbault by Nattier (1740) A first fortress was built around 980 by Humbold (or Humbault) Le Tortu,Translated from: » [archive], sur Le Royaume des Lanturelus Seigneur de Vierzon and son-in-law of Thibault, comte de Blois. The proximity of the Sauldre feeds the moat. The bases of the two main towers remain to this day as the old weapons room.
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Nattier, Perseus petrifying Phineus In Book V of Ovid's mock-epic Metamorphoses, Athis is a young demigod from India, son of Limnaee, a nymph of the Ganges. He was follower of Phineus. During a quarrel between Perseus and Phineus, Perseus killed Athis, who was preparing to shoot his bow, with a log that had been smoldering in the middle of the altar. The Assyrian Lycabas, wept for his fallen comrade, and attempted to avenge him, shooting an arrow at Perseus from Athis's bow.
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Louis Joseph in 1754, by Jean-Marc Nattier. Louis Joseph Xavier was born at the Palace of Versailles. He was the second surviving child and eldest son of Louis, Dauphin of France and Maria Josepha of Saxony, and was thus the oldest brother to the future kings Louis XVI, Louis XVIII and Charles X. It is a known fact that he was the favorite child of his parents,Zhand Shakibi, Revolutions and the Collapse of the Monarchy, (I.B. Tauris, 2007), 58.
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Louis Joseph by Jean-Marc Nattier, c. 1755-66. Louis Joseph had an older half sister, Henriette de Bourbon, Mademoiselle de Verneuil (1725–1780). Through his mother, he was a first cousin of King Victor Amadeus III of Sardinia and of Marie Thérèse of Savoy, Princess de Lamballe. His paternal cousins included Louise Henriette de Bourbon, Duchess of Orléans (mother of Philippe Égalité), the sister of Louis François de Bourbon, Prince of Conti, head of another cadet branch of the royal dynasty.
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Bernard Picart (after Jean-Marc Nattier, 1715) Bernard Picart (11 June 1673 - 8 May 1733), was a French engraver, son of Etienne Picart, also an engraver. He was born in Paris and died in Amsterdam. He moved to Antwerp in 1696, and then spent a year in Amsterdam before returning to France at the end of 1698. After his wife died in 1708, he moved to Amsterdam in 1711 (later being joined by his father), where he became a Protestant convert and married again.
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Jean-Marc Nattier, The music lesson, (1711) Some studies suggests that music lessons provide children with important developmental benefits beyond simply the knowledge or skill of playing a musical instrument. Research suggests that musical lessons may enhance intelligence and academic achievement, build self- esteem and improve discipline. A recent Rockefeller Foundation Study found that music majors have the highest rate of admittance to medical schools, followed by biochemistry and the humanities. On SAT tests, the national average scores were 427 on the verbal and 476 on math.
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Although the various early schools of Buddhism are sometimes loosely classified as "Hīnayāna" in modern times, this is not necessarily accurate. According to Jan Nattier, Mahāyāna never referred to a separate sect of Buddhism (Skt. nikāya), but rather to the set of ideals and doctrines for bodhisattvas. Paul Williams has also noted that the Mahāyāna never had nor ever attempted to have a separate vinaya or ordination lineage from the early Buddhist schools, and therefore each bhikṣu or bhikṣuṇī adhering to the Mahāyāna formally belonged to an early school.
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Portrait by Jean Marc Nattier, 1751 Prior to the marriage, tradition demanded that the bride wear a bracelet which had a picture of her father on it; the Queen seeing the Dauphine asked to see the bracelet. The witty Maria Josepha then revealing the bracelet to the Queen showed a portrait of the Queen's father. The Dauphine said that the portrait represented the fact that the Duke of Lorraine was Maria Josepha's grandfather by marriage. The Queen and the court were strongly impressed by the tact of this girl of 15 years.
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Empress Catherine, for whom the first garden and palace complex was built. A 1717 portrait by Jean-Marc Nattier The area now partly occupied by the Mikhailovsky Garden, prior to the region's conquest by the Russians and the founding of Saint Petersburg, was the site of various rural settlements. In a map of 1698 it is marked as belonging to the estate of a Swedish rotmister named Konau, and contained his hunting grounds. With the establishment of the city of Saint Petersburg and the imperial residences in the area, the region became the property of the crown.
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Portrait painting by Jean-Marc Nattier Joseph Bonnier (6 September 1702, Montpellier – 26 July 1744) was a French aristocrat, whose fortune allowed him to have an army career, notably as colonel of the régiment des Dragons-Dauphin and maréchal des logis de la Maison royale. On his father's death he left Paris to take over his job as treasurer of Languedoc. Made baron of la Mosson, he built a folly, the château de la Mosson near Montpellier. A great lover of the arts and sciences, he became famous for the collection he built up in his Parisian hôtel.
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Nattier, Jan (2003), A few good men: the Bodhisattva path according to the Inquiry of Ugra: p. 172 Among the earliest and most important references to Mahāyāna are those that occur in the Lotus Sūtra (Skt. Saddharma Puṇḍarīka Sūtra) dating between the 1st century BCE and the 1st century CE.W. Rahula, (1996). Theravada – Mahayana Buddhism; in: "Gems of Buddhist Wisdom", Buddhist Missionary Society, Kuala Lumpur, Malaysia Seishi Karashima has suggested that the term first used in an earlier Gandhāri Prakrit version of the Lotus Sūtra was not the term mahāyāna but the Prakrit word mahājāna in the sense of mahājñāna (great knowing).
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Jan Nattier writes that there is also no evidence that Mahāyāna ever referred to a separate formal school or sect of Buddhism, but rather that it existed as a certain set of ideals, and later doctrines, for bodhisattvas. Paul Williams has similarly noted that the Mahāyāna never had nor ever attempted to have a separate vinaya or ordination lineage from the Indian nikāyas, and therefore each bhikṣu or bhikṣuṇī adhering to the Mahāyāna formally belonged to one of these nikāyas. This continues today with the Dharmaguptaka nikāya in East Asia, and the Mūlasarvāstivāda nikāya in Tibetan Buddhism.
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The central themes of the Ugraparipṛcchā Sūtra are the practices of the householder (gṛhin) and those of the bhikṣu (pravrajita) and bhikṣuṇī (pravrajitā), stressing the importance and superiority of the latter group. The sutra promotes the bodhisattva ideal as a difficult, strictly monastic path, taking thousands of lifetimes to complete and suited only for the few. It also does not mention any other central Mahayana doctrines or place its teachings in opposition to what would later be classified as "Śrāvakayāna" teachings. Because of this, scholars such as Jan Nattier believe it dates to an early period in the development of Mahayana Buddhism.
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Jan Nattier (1992) argues, based on her cross-philological study of Chinese and Sanskrit texts of the Heart Sutra, that the Heart Sutra was initially composed in China.Nattier 1992 Fukui, Harada, Ishii and Siu based on their cross-philological study of Chinese and Sanskrit texts of the Heart Sutra and other medieval period Sanskrit Mahayana sutras theorizes that the Heart Sutra could not have been composed in China but was composed in India. Kuiji and Woncheuk were the two main disciples of Xuanzang. Their 7th century commentaries are the earliest extant commentaries on the Heart Sutra; both commentaries contradict Nattier's Chinese origin theory.
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A prolific painter, he produced many pieces, showing the influence of François Boucher and Nicolas de Troy (Les Charmes multipliés, The Crowned Shepard), which enjoyed considerable success in France but also in Prussia, in all German states, England and Russia. Many European courts invited him without success. The best of his works were engraved (Jupiter and Leda, engraved in 1761 by Jean-Baptiste Tillard). He exhibited at the Salon of 1753 and will continue to participate in the following years, alongside Jean Siméon Chardin, Etienne Jeaurat, Jean-Marc Nattier, Jean Restout, Louis Tocque, Louis-Michel and Charles van Loo.
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Despite aspirations to become a history painter, he was never received as such by the Académie. Jean Ranc then became established as a portraitist to the Parisian bourgeoisie and produced a large number of paintings in the styles of Rigaud and Nattier; Ranc was cheaper than Rigaud. On 13 June 1715 he married his god-daughter and the niece of his teacher, Marguerite Elisabeth Rigaud, daughter of the painter Gaspard. Paris, Archives Nationales, Minutier central des Notaires parisiens, Etude XIII (Goudin, Mathieu), Liasse 184. Published for the first time by Henri Jouin, « Contrat de mariage de Jean Ranc » (1715), in Nouvelles archives de l’art français, 1887, p. 140-143.
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This work's attribution to Ranc has sometimes been questioned, and another version and its female pendant have been attributed to Jean-Marc Nattier (Geneva, Musée d'Art et d'Histoire) but this portrait definitely shows Rigaud's influence, if not on Ranc then on an assistant in the atelier. Ranc's style was very close to that of Rigaud, but can be readily distinguished by the very slender hands and especially the sharp folds in the draperies which appear in his works; Rigaud's draperies are much softer and more malleable. Ranc's portraits show a lack of spontaneity in the depiction of the sitters, caused by an over-precise technique.
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Jean-Marc Nattier, Madame Adélaïde de France faisant des nœuds (1756) In 1744, the King removed Henriette and Adelaide from the royal nursery into their household, known as the Household of the Mesdames aînées ('Elder Mesdames'). The sisters had two ladies-in-waiting (dame pour accompagner Mesdames). Two years later, they were given their own dame d'honneur, Marie-Angélique-Victoire de Bournonville, duchesse de Duras.Luynes (Charles-Philippe d’Albert, duc de), Mémoires du duc de Luynes sur la cour de Louis XV (1735-1758), publiés sous le patronage de M. le duc de Luynes par Louis Dussieux et Eudore Soulié, Paris, Firmin Didot, 1860-1865, 17 vol.
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Madame Adélaïde de France (1749) by Jean-Marc Nattier Madame Adélaïde, as well as her siblings, attempted without success to prevent their father's liaison with Madame de Pompadour, which began in 1745. In the early 1750s, when the health of Madame de Pompadour was deteriorating, Adélaïde, who was a good rider, became the favorite and close companion of her father, during which she often accompanied him during his riding and amused him with conversation. Their new close relationship, and Adelaide's status as the most beautiful among her sisters, caused rumors that they had an incestuous relationship.In any case, their close relationship was a temporary one.
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Most sutras of the Mahāyāna tradition, states Jan Nattier, present three alternate goals of the path: Arhatship, Pratyekabuddhahood, and Buddhahood. However, according an influential Mahāyāna text called the Lotus Sutra, while the lesser attainment of individual nirvana is taught as a skillful means by the Buddha in order to help beings of lesser capacities; ultimately, the highest and only goal is the attainment of Buddhahood. The Lotus sutra further states that, although these three paths are seemingly taught by Buddhas as separate vehicles (yana), they are really all just skillful ways (upaya) of teaching a single path (ekayana), which is the bodhisattva path to full Buddhahood.Suguro, Shinjo; Nichiren Buddhist International Center, trans.
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While various sects and organizations have had a presence in nations outside Japan for over a century, the ongoing expansion of Nichiren Buddhism overseas started in 1960 when Soka Gakkai president Daisaku Ikeda initiated his group's worldwide propagation efforts growing from a few hundred transplanted Japanese to over 3500 families just by 1962. Nichiren Buddhism is now practiced in many countries outside of Japan. In the United States, religious studies scholar Charles S. Prebish coined the typology of "two Buddhisms" to delineate the divide between forms of Buddhism that appealed either primarily to people of the Asian diaspora or to Euro-American converts. Nattier, on the other hand, proposes a three-way typology.
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He received his first instruction from his father, and from his uncle, the history painter Jean Jouvenet (1644-1717). He enrolled in the Royal Academy in 1703 and applied himself to copying pictures in the Luxembourg Palace, making a series of drawings of the Marie de Médici painting cycle by Peter Paul Rubens. The publication (1710) of engravings based on these drawings made Nattier famous, but he declined to proceed to the French Academy in Rome, though he had taken the first prize at the Paris Academy at the age of fifteen. In 1715 he went to Amsterdam, where Peter the Great was then staying, and painted portraits of the tsar and the empress Catherine, but declined an offer to go to Russia.
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At Orléans a "Head of a Young Girl", at Marseilles a portrait of "Mme de Pompadour", at Perpignan a portrait of Louis XV, and at Valenciennes a portrait of "Le Duc de Boufflers". The Versailles Museum owns an important group of two ladies, and the Dresden Gallery a portrait of the "Maréchal de Saxe". At the Wallace collection Nattier is represented by "The comtesse de Tillières" (formerly known as "Portrait of a Lady in Blue"), "Mademoiselle de Clermont en sultane", and "The marquise de Belestat". In the early part of the 20th century in the collection of Mr Lionel Phillips were the duchess of Flavacourt as "Le Silence", and the duchess of Châteauroux as "Le Point du jour" (now at Marseilles).
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According to Jan Nattier, it is most likely that the term Hīnayāna postdates the term Mahāyāna and was only added at a later date due to antagonism and conflict between the bodhisattva and śrāvaka ideals. The sequence of terms then began with the term Bodhisattvayāna "bodhisattva- vehicle", which was given the epithet Mahāyāna "Great Vehicle". It was only later, after attitudes toward the bodhisattva teachings had become more critical, that the term Hīnayāna was created as a back-formation, contrasting with the already established term Mahāyāna. The earliest Mahāyāna texts often use the term Mahāyāna as an epithet and synonym for Bodhisattvayāna, but the term Hīnayāna is comparatively rare in early texts, and is usually not found at all in the earliest translations.
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British ideas were particularly important, particularly such ideas as constitutional monarchy and romanticism, which greatly influenced French writers, particularly in the following century. The visual arts of the 18th century were highly decorative and oriented toward giving pleasure, as exemplified by the Regency Style and Louis XV Style, and the paintings of François Boucher, Jean-Honoré Fragonard, Watteau and Chardin, and portrait painters Quentin de La Tour, Nattier and Van Loo. Toward the end of the century, a more sober style appeared, aimed at illustrating scenery, work, and moral values exemplified by Greuze, Hubert Robert and Claude Joseph Vernet. The leading figures in French music were François Couperin and Jean- Philippe Rameau, but they were overshadowed by other European composers of the century, notably Vivaldi, Mozart Haendel, Bach, and Haydn.
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In the winter of 1945, immediately after the liberation, Jean Diego (Montand), a member of the French underground during World War II, meets Raymond, one of his comrades in arms who was believed to have succumbed in battle. On the night of that meeting, Jean encounters a homeless man named "Destiny" (Jean Vilar), whose predictions about him finding the woman of his life will not be too far from reality. Jean soon starts a liaison with Malou (Nathalie Nattier), a young woman who is married to a rich man. The next hours of his and Malou's lives are underscored by extreme, dramatic events; however, as the clochard (homeless person) predicted, they find their way out of the struggle and are able to move on, leaving behind wartime and its dangers.
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Of about 6000 items in the museum's collections, a selection of around 1000 is on permanent exhibition. Gulbenkian's motto was "only the best"; hence the museum has masterpieces by western European artists such as Domenico Ghirlandaio, Rubens, Rembrandt, Rodin, Carpeaux, Houdon, Renoir, Dierick Bouts, Vittore Carpaccio, Cima da Conegliano, Van Dyck, Corot, Degas, Nattier, George Romney, Stefan Lochner, Maurice-Quentin de La Tour, Édouard Manet, Henri Fantin-Latour, Claude Monet, Jean-François Millet, Sir Edward Burne-Jones, Thomas Gainsborough, Joseph Mallord William Turner, Jean-Honoré Fragonard, Giovanni Battista Moroni, Frans Hals, Ruisdael, Boucher, Largillière, Andrea della Robbia, Pisanello, Jean-Baptiste Pigalle, Antonio Rossellino, André-Charles Boulle ,Theodore Dell, The Frick Collection, V: Furniture in the Frick Collection (1992:187). Charles Cressent, Oeben, Riesener, Antoine-Sébastien Durand, Charles Spire, Jean Deforges, François-Thomas Germain.
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During the 17th and 18th centuries the palace was the center of a lavish and lively world of festivities that also animated the Piazza di Spagna, the scene of the most brilliant events of its time, public spectacles sponsored by the Spanish ambassador. The embassy houses a collection of gobelin tapestries of the 17th century that belonged to the Bourbon-Orleans family from the Galliera Palace in Bologna, with Roman and biblical motifs. The walls of the formal dining room are adorned with three splendid woolen and silk tapestries from the 18th century, originating from the Royal Palace of Madrid, representing scenes from the life of Telemachus, according to cartons drawn by Rubens. The halls have the presence of paintings of the Prado Museum of illustrious authors such as Federico Madrazo, Vicente López, Nattier, Mengs, Mario Nuzzi, among others.
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The Oxford Handbook of Eschatology by Jerry L. Walls (Apr 16, 2010) page 552 Jan Nattier states that while Buddhism has a notion of "relative eschatology" that refers to specific cycles of life, the term "Buddhist eschatology" does not relate to any "final things", or that the world will end one day - Buddhist scripture routinely referring to the "beginning-less Saṃsāra" as a never ending cycle of birth and death with no starting point.The Oxford Handbook of Eschatology by Jerry L. Walls (Apr 16, 2010) page 151 However, Christian eschatology directly involves the concept of "end to all creation" at the Last Judgement when the world will reach its conclusion.The Oxford Companion to Christian Thought by Adrian Hastings, Alistair Mason and Hugh Pyper (Dec 21, 2000) page 206 Scholars generally regard the Buddhist and Christian views of the End Times as incompatible.
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Portrait of Manon Balletti by Jean-Marc Nattier (1757), London, National Gallery Manon Balletti (1740–1776) was the daughter of Italian actors performing in France and lover of the famous womanizer Giacomo Casanova. She was ten years old when she first met him; she happened to be the daughter of Silvia Balletti, an actress of the Comédie Italienne company and younger sister of Casanova's closest friend. The lovers started their relationship when Casanova was thirty-two years old and Manon was seventeen. (Although Manon's mother was associated with acting, considered disreputable at the time, mother and daughter were observed by Casanova to be of a "pure nature".) She wrote forty-two letters full of love and deep feelings for him; a well- known quote from these letters describes Casanova as: "My lover, my husband, my friend".
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The eastern view of the domain, showing the Renaissance facades of the château In 1743, King Louis XV acquired the marquisate of La Ferte-Imbault for his mistress, Madame de La Tournelle, on whom he wanted to confer a prestigious title to present to the court. Madame de La Tournelle eventually became Duchesse de Châteauroux. Seal of Geoffroy de Brabant, Lord of Vierzon The last marquise de La Ferté-Imbault was Marie-Thérèse Geoffrin d'Estampes,Translated from: Marie-Thérèse de La Ferté-Imbault daughter of the illustrious Madame Geoffrin, whose literary salon in the rue Saint-Honoré radiated throughout Europe and as far as Russia where the Empress Catherine II wrote to her as a friend. The beautiful marquise, whose magnificent painting by Nattier is exhibited in Tokyo at the Fuji Art Museum, enjoyed at La Ferté "the freshness of large chestnut trees that extend their shade at the end of the Commons".
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It includes leaves by artists from most of the French and Italian schools as well as a smaller number of Spanish and North European works. Northern artists in the collection include Hendrik Goltzius, Jan Van Goyen and Raphael Mengs, whilst Spanish ones include Vincenzo Carducci and Juan de Valdés Leal. French artists represented include Le Lorrain, Eustache Le Sueur, Antoine Watteau, François Boucher, Charles-Joseph Natoire, Jean-Marc Nattier, Auguste Rodin, Honoré Daumier, Jean-François Millet, Eugène Boudin, Henri de Toulouse-Lautrec, Armand Guillaumin, Berthe Morisot, Paul Cézanne, Auguste Renoir, Alfred Sisley, Henri-Edmond Cross, Édouard Vuillard, Georges Rouault, Albert Marquet, Marc Chagall, André Lhote, Léonard Foujita and Jean Fautrier. Italian artists include Domenico Beccafumi, Lorenzo Lotto, Baccio Bandinelli, Daniele da Volterra, Il Romanino, Paolo Veronese, Tintoretto, Jacopo Zucchi, Taddeo Zuccaro, Il Garofalo, Agostino Carracci, Federico Barocci, Mattia Preti, Luca Giordano, Domenico Fetti, Guercino, Alessandro Algardi, Luigi Garzi, Francesco Furini, Pier Francesco Mola, Daniele Crespi, Giovanni Niccolò Servandoni and Amedeo Modigliani.
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Contemporary scholarship holds that the shorter Prajñāpāramitā sūtras, using the Aṣṭasāhasrikā as the base, were redacted and expanded in the formation of the longer sūtras. As Jan Nattier characterises, > the evolution of the Aṣṭasāhasrikā-Prajñāpāramitā into the Pañcaviṃsati- > sāhasrikā through what we might call the “club sandwich” style of textual > formation: with the exception of the final chapters (30-32 in the Sanskrit > version) of the Aṣṭa-, which have no counterpart in the Sanskrit Pañca- and > apparently circulated separately before being incorporated into the Aṣṭa- > ... the [Pañca-] consists of the Aṣṭa- being “sliced” like a loaf of bread > and then layered with “fillings” introduced from other sources. Very little > of the text of the Aṣṭa- has been altered in the process, and only rarely > does a crumb of the “bread” seem to have dropped out. The Pañca- is not > simply related to the Aṣṭa-; it is the Aṣṭa-, with the addition of a number > of layers of new material.
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Staatliche Kunsthalle Karlsruhe The Staatliche Kunsthalle (State Art Gallery) is an art museum in Karlsruhe, Germany. The museum, created by architect Heinrich Hübsch, opened in 1846 after nine years of work in a neoclassical building next to the Karlsruhe Castle and the Karlsruhe Botanical Garden. This historical building with its subsequent extensions now houses the part of the collection covering the 14th to the 19th century while the 20th century is displayed in the nearby building of the Botanical Gardens's former orangery. The museum notably displays paintings by the Master of the Karlsruhe Passion, Matthias Grünewald (most notably the Tauberbischofsheim altarpiece), Albrecht Dürer, Hans Baldung, Lucas Cranach the Elder, Hans Burgkmair, Rembrandt, Pieter de Hooch, Peter Paul Rubens, David Teniers the Younger, Hyacinthe Rigaud, Claude Lorrain, Nicolas Poussin, Jean-Baptiste-Siméon Chardin, Eugène Delacroix, Gustave Courbet, Édouard Manet, Camille Pissarro, Claude Monet, Edgar Degas, Auguste Renoir, Paul Cézanne, Paul Gauguin, Caspar David Friedrich, Hans Thoma, Lovis Corinth, August Macke, Ernst Ludwig Kirchner, Erich Heckel, Franz Marc, Jean Marc Nattier, Max Pechstein, Max Ernst, Kurt Schwitters, Juan Gris, Yves Tanguy, Robert Delaunay, Otto Dix and Fritz von Uhde.
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