#Gabrielle polignac

[musicalyeetreblr]

Nightmare blunt rotation

[somnia-skeyde]

Avatars 400*640 - Virginie Ledoyen Gabrielle de Polignac | Farewell, My Queen (2012)

[year24groupedits]

A fan art of Jeanne Valois de la Motte from the manga "Versailles no Bara" or "Lady Oscar- The Rose of Versailles" by Riyoko Ikeda

jeanne the cunning woman that you are

[beatricecenci]

Élisabeth Vigée Le Brun (French, 1755-1842)

Martine-Gabrielle-Yoland de Polastron duchesse de Polignac

[pintoras]

Louise Elisabeth Vigée Le Brun (French, 1755-1842): Portrait of the Duchesse de Guiche, née Louise Françoise Gabrielle Aglaé de Polignac (1784) (via Sotheby’s)

[vivelareine]

A pastel of Yolande Gabrielle Martine (1749-93), duchesse de Polignac by Elisabeth Vigee-Lebrun.

[nicoooooooon]

Cover art of Ravel’s Pavane pour une infante défunte (1900)

Pavane pour une infante défunte (Pavane for a Dead Princess) is a work for solo piano by Maurice Ravel. It was written in 1899 while the French composer was studying at the Conservatoire de Paris under Gabriel Fauré. Ravel dedicated the Pavane to his patron, the Princesse de Polignac.

It was first published by Eugène Demets in 1900. In 1910 Ravel published an orchestral version with two flutes, an oboe, two clarinets, two bassoons, two horns, harp and strings.

[valkyries-things]

YOLANDE DE POLASTRON // DUCHESS OF POLIGNAC

“She was the Duchess de Polignac and the favourite of Marie Antoinette, whom she first met when she was presented at the Palace of Versailles in 1775, the year after Marie Antoinette became the Queen of France. She was considered one of the great beauties of pre-Revolutionary society, but her extravagance and exclusivity earned her many enemies. She also held the friendship of the King's youngest brother, the comte d'Artois, and the approval of King Louis XVI, who was grateful for her calming influence on his wife and who encouraged their friendship. She was, however, resented by other members of the royal entourage, particularly the Queen's confessor and her chief political adviser, the Austrian ambassador. The entire Polignac family benefited enormously from the Queen's considerable generosity, but their increasing wealth and lavish lifestyle outraged many aristocratic families, who resented their dominance at Court. Ultimately, the Queen's favouritism towards the Polignac family was one of the many causes which fueled Marie Antoinette's unpopularity with some of her husband's subjects (especially Parisians) and members of the politically liberal nobility. By the late 1780s, thousands of pornographic pamphlets alleged that the Duchess was the Queen's lesbian lover, including accusations that the pair had engaged in tribadism. Although there was no evidence to back up these accusations, they did immeasurable damage to the prestige of the monarchy, especially given the deep-rooted suspicion of homosexuality held by the bourgeoisie and urban working-classes at the time. In 1782, she became the Governess of the Children of France and after 1785, she lost the favour of the Queen and left for England. In the months leading up to the French Revolution, the Queen and Yolande became close again. After the storming of the Bastille in 1789, all the members of the Polignac family went into exile. On Louis XVI's express orders, the comte d'Artois (the King’s brother) left; Yolande went with her family to Switzerland, where she kept in contact with the Queen through letters. She developed a terminal illness while living in Switzerland, although she had arguably been in poor health for several years. She died in Austria in December 1793, shortly after hearing of Marie Antoinette's execution. Gabrielle's family simply announced that she had died as a result of heartbreak and suffering.”

[tatsuma-forever]

rating random historical figures that appear in the rose of versailles by their names (+ their titles but in french for the drama):

Antoine-Louis-Marie de Gramont, duc de Guiche: wtf is a gramont. 4/10

Bernard Châtelet: like the dog? 2/10, -1 for the Rosalie situation

Charles-Philippe de France, comte d’Artois: would be better if it was just Philippe because one Charles is more than enough. 3/10

Charlotte de Polignac/Aglaé de Polignac, duchesse de Guiche: yeah i’d kill myself too if that was my name. 1/10

Christoph Willibald Gluck: 6/10

Honoré-Gabriel Riqueti de Mirabeau: sounds fake. 5/10

Jeanne de Valois-Saint-Rémy, comtesse de la Motte: remy like the rat!! 4/10

Yolande Martine Gabrielle de Polastron, comtesse puis duchesse de Polignac: holy moly. 6/10

Étienne-Charles de Loménie de Brienne: Étienne was the only good part. 3/10

Louis-Joseph Xavier François de France: goes pretty hard ngl. 8/10

Louis-Stanislas de France, comte de Provence, Louis XVIII: i’ve had enough Louis. i am done. 4/10

Marie-Thérèse Charlotte de France, duchesse d’Angoulême: mrs. Antoinette was not playing around with her kids names goddamn. Thérèse is a banger name. 7/10

Louis Marc Antoine Rétaux de Villette: another goddamn Louis. 4/10

Sophie Piper/Eva Sophie von Fersen: Sophie Piper sounds like the name of a mommy vlogger. 0/10

Stanislas Leszczynski, roi de Pologne, duc de Lorraine et de Bar: he’s literally mentioned once and never again, but holy shit, that’s definitely a name. 7/10

Rosalie Lamorlière: YEAAHHHHH LET’S GO. ROSALIE LAMORLIÈRE WAHOOOO!!!! 11/10!!!!

[hottakesdutp]

It's pride month y'all!

🏳️‍🌈❤️🧡💛💚💙💜🏳️‍🌈

[musicalyeetreblr]

She was real asf for this im afraid

[monkeyssalad-blog]

Elisabeth-Louise Vigée-Lebrun - Portrait of Aglaé Angélique Gabrielle (1787-1842) by Pau NG Via Flickr: Elisabeth-Louise Vigée-Lebrun - Portrait of Aglaé Angélique Gabrielle (1787-1842) In July of 1789, in the wake of the fall of the Bastille, Aglaé Angélique Gabrielle’s mother (the Duchesse de Guiche), grandmother (the Duchesse de Polignac) and some of the most unpopular members of Queen Marie Antoinette’s entourage fled France in the first wave of the Émigration. For almost twenty years, they led a peripatetic existence in European countries that had not been invaded by French troops. Aglaé Angelique followed her mother from country to country in search of a haven, finally ending up in Latvia and Russia. In August of 1804 she was living in Mittau (Jelgava), where the exiled Bourbon King Louis XVIII and members of his court, which included the Duchesse de Guiche, were in residence. There the girl married an officer in the Imperial Russian army, the somewhat older Colonel Aleksandr Lvovich Davydov (1773-1833).1 The groom was one of the sons of Lev Denisovich Davydov (1743-1801) and his wife, the prodigiously wealthy Ekaterina Nicolaievna Samoïlova (1755-1825), a niece of Potemkine and a sister of Count Aleksandr Nikolaevich Samoïlov, whose wife and children sat to Vigée Le Brun for a full-length portrait now in the State Hermitage Museum in St. Petersburg. Davydov’s half-brother was General Nikolaï Nikolaevich Raevski. Aglaé Angélique and her husband had three children: Ekaterina Aleksandrovna (1806-1882), who in 1826 married Ernest de Cadoine, Marquis de Gabriac (1792-1865); Adel Aleksandrovna Davydova (1810-1881), who eventually became a nun in the convent of the Trinità dei Monti in Rome; and Vladimir Aleksandrovich Davydov (1816-1886), who also became an officer in the Russian army. Aleksandr Davydov took part in campaigns against Napoleon’s army and was present at Austerlitz (1805) and on battlefields in Poland and Finland (1807-1809). During the Campaign of 1812 he served at Winkovo, Maloiaroslavets, Viazma and Kraznoi. The following year he lead the troops under his command at the Battles of Lutzen, Bautzen, Dresden and Kulm. When France was invaded in 1814, Aleksandr Lvovich was assigned to Bar-sur-Aube, Troyes, Arcis-sur-Aube, Fère-Champenoise and Paris. He was promoted to the rank of major general in mid-June of 1815. After the Napoleonic wars had come to an end, Aglaé and Aleksandr Davydov spent considerable time with their children and other members of the Davydov-Raevski clan on their vast Ukrainian estate of Kamenka the Caucasus near Kiev, a center of the secret Green Lamp society whose membership was conspiring against some of the worst excesses of the czarist regime in their homeland, among them the system of serfdom, the Turkish domination of Greece and antisemitism. Aglaé Gabrielle de Gramont and her husband formed an odd couple. While she was svelte and physically attractive, he was a giant of a man, tall and monstrously overweight. In the course of her marriage, the flirtatious Aglaia Antonovna Davydova was a notoriously unfaithful wife. Russia’s greatest poet Aleksandr Sergeyevich Pushkin (fig. 1) was a friend of the Davydovs and a guest at Kamenka in late 1820. It was at this time that Pushkin was writing A Prisoner in the Caucasus, in which he gave vent to his liberal convictions. The writer, who was stationed as a translator with the army in the nearby Moldavian town of Kishinev, fell under the spell of both Aglaé (Aglaia) and her twelve-year old daughter Adel Aleksandrovna. Henri Troyat, Pushkin’s biographer, wrote of the general’s ravenous appetite for food and drink. He cites Pushkin: “Alexander Lvovich was a second Falstaff : gourmand, cowardly, a braggart but no fool, totally devoid of principles, full of self-pity, and obese. He had one distinctive feature, however, which gave him added charm: He was married. Shakespeare never had time to marry of his bachelor, and Falstaff died without knowing the joys of cuckoldom or fatherhood. In Eugene Onegin Pushkin wrote of A magnificent cuckold [an allusion to A.L. Davydov], Ever content with his person, His dinner, and his wife. (…) Repelled by serious manhood, Pushkin fell back on frivolous femininity. “Much champagne, few women…” True, there were not many women at Kamenka. But Mrs. Davydov, the “magnificent cuckold’s” wife, was as good as a harem. The fair Aglaia was born de Gramont; she was French, and thirty years old. She had a plump face, a pert nose, a soft and velvety mouth, a downy bosom. Her grace, her wantonness, her eternal coquetry turned the head of every general and cornet who came to the Kamenka estate. Aglaia was happy only when she was in the center of a ring of admirers, and there was always someone around to admire her. Pushkin himself fell in with the custom of the house and paid court to the pretty Frenchwoman, out of habit and because he had nothing better to do. But she wanted to play the romantic heroine in the grand manner, and the poet, frightened by her intensity, beat a hasty retreat before obtaining anything more from her than smiles and a brush of the lips. These flutterings with fat Alexander’s wife irritated Pushkin, and he relieved himself by composing epigrams [in “To My Promiscuous Aglaia” he quipped]: Some have had my Aglaia For their mustache and braided coat, Some for money—that I understand; Or because they were French. Leo was no doubt impressive, Daphnis sang so well; But tell me, my Aglaia, what Your busband had you for? Pushkin sent this epigram to his brother with the comment: “For the love of Christ, don’t let it get around. Every word of it is truth.” In another epigram, he preached restraint to the eager Aglaia: Let us leave impassioned fevers… (Our day is drawing to a close) You, my dear, to your oldest girl [sic, meaning Adel Aleksandrovna], And I to my young brother… Pushkin’s allusion to Adèle, Algaia’s eldest daughter, was not fortuitous. “She was a very pretty lass of twelve, and he was not above bestowing some of his attention upon her. Pushkin imagined,” [Ivan Dmitriyevich] Yakushkin wrote, “that he was in love with her, he kept ogling her, coming up to her, clumsily teasing her.” In December of 1834, after her Russian husband’s death and she had returned permanently to France, she wed the Corsican-born infantry general, Horace-François-Bastien Sébastiani della Porta (1772-1851), who in his youth had been so handsome that he was known as the ‘Cupid of the Empire.’ Having served in Italy in the revolutionary wars, he had been a high ranking officer in the Grande Armée of his fellow Corsican, the Emperor Napoleon; moreover, he had served as an officer in the Spanish (1808-1811), Russian (1812), Saxon (1813) and French (1814) Campaigns. In 1815, after Napoleon had returned to France from his exile on the island of Elba only to be defeated at Waterloo, Sébasiani alligned himself with him during the so-called Hundred Days. When Louis-Philippe d’Orléans came to power after the fall of Charles X in 1830, the liberal-minded Sebastiani served his government as Minister of War and then as French ambassador to Naples. By his first wife, Antoinette-Françoise-Jeanne de Franquetot de Coigny (1778-1807), he had a daughter, Françoise-Attarice-Rosalba (Fanny) Sébastiani della Porta (1807-1847). Aglaé Angélique died in Paris on January 21, 1842. Sebastiani della Porta survived her and went on to become Louis-Philippe’s Minister of War and his ambassador to England. Vigée Le Brun’s close relationship with Aglaé Angélique Davydova’s family were considerable. Prior to the revolution she painted several portraits of her grandmother, the Duchesse de Polignac,4 and her mother, the duchesse de Guiche.5 And during the period of the Émigration, she painted a bust-length portrait of Madame de Guiche wearing a blue turban, a red dress and a necklace of coral beads, a work done in Vienna in 1794, as well as pastel likenesses of two of her younger brothers, one of which, the profile portrayal of Jules de Polignac, was recently acquired by the Louvre. Finally, around 1805, Madame Le Brun painted a pastel image of Aglaé Davydova’s older sister, Corisande de Gramont, Countess of Ossultun and future Countess Tankerville (private collection). Vigée Le Brun’s portrait of the blue-eyed and still strikingly beautiful Aglaé Angélique Davydova, despite her thirty-seven years, depicts her subject in the open air against a cloudy sky. She is attired in a short-sleeved velvet gown with a deep neckline over a muslin chemise with gold trim, and around her long neck hangs a gold chain to which is attached a gold pendant. Her dark hair is styled in ringlets, or "anglaises" falling onto her brow, and those strands that are piled high on her head are held in place with a gold and coral diadem. Over this hairdo is draped a muslin veil she clasps to her bosom with the long, tapering fingers of the hands crossed over her breast, and the end of this length of sheer fabric floats in the wind behind her. The portrait was executed by the artist around 1824, the year of Louis XVIII’s death and the accession of his brother, Charles Philippe, Comte d’Artois, to the throne of France as Charles X. The portrait exists in two autograph examples: the present rectangular canvas and an oval version at one time in the Bartholini collection as a portrait of ‘Madame de Talleyrand’ and later with the Paris dealers Nathan Wildenstein and Arnold Seligmann (it is today in a private collection). An anonymous copy of the painting under discussion (oil on rectangular-shaped canvas, 81 x 65 cm.), in which Madame Davydova is shown without the gold chain, was featured in a recent Paris auction. Joseph Baillio www.sothebys.com/en/auctions/ecatalogue/2014/the-courts-o...

[agendaculturaldelima]

   #ProyeccionDeVida

🎬 “MARÍA ANTONIETA” [Marie Antoinette]

🔎 Género: Drama / Biográfico / Siglo XVIII / Revolución Francesa

⌛️ Duración: 124 minutos

✍️ Guión: Sofia Coppola

🎼 Música: Joe Hisaishi

📷 Fotografía: Lance Acord

🗯 Argumento: Francia en el siglo XVIII. El compromiso matrimonial entre el futuro Luis XVI (Schwartzman) y María Antonieta (Dunst) sirve para sellar una alianza entre Francia y Austria. Con sólo catorce años, la ingenua princesa austríaca se ve obligada a abandonar Viena, su familia y sus amigos para instalarse en la opulenta, sofisticada y libertina corte francesa, donde reinan las intrigas y los escándalos. La joven se rebela contra el aislamiento que representa la corte de Versalles y se convierte en la reina más incomprendida de Francia.

👥 Reparto: Kirsten Dunst (Maria Antonieta), Jason Schwartzman (Rey Luis XVI), Rose Byrne (Gabrielle de Polignac), Jamie Dornan (Count Axel Fersen), Asia Argento (Madame du Barry), Tom Hardy (Raumont) y Florrie Betts

📢 Dirección: Sofia Coppola

© Productoras: Columbia Pictures & American Zoetrope

🌎 País: Estados Unidos

📅 Año: 2006

📽 Proyección:

📆 Jueves 25 de Enero

🕗 8:00pm.

🎦 Cine Caleta (calle Aurelio de Souza 225 - Barranco)

🚶‍♀️🚶‍♂️ Ingreso libre

🙂 A tener en cuenta: Prohibido el ingreso de bebidas y comidas. 🌳💚🌻🌛

[demoura]

DIA 18 DE JANEIRO DE 2024 : ASSISTI AO FAMOSO CONCERTO PARA PIANO PARA A MÃO ESQUERDA DE MAURICE RAVEL . FOI SOLISTA DENIS KOZHUKIN NA ESTREIA DO MAESTRO ROBERTO TREVINO NA GULBENKIAN ; A CEIA FOI A CORVINA DE VITOR ADAO EM TAKE-AWAY :ontem estreou-se na na Gulbenkian “um dos talentos norte-americanos dos últimos anos. A rápida ascensão de Robert Treviño está ligada à sua direção da Orquestra Nacional Basca, com a qual gravou dois álbuns dedicados a Ravel, elogiados pela excelência das interpretações;. O alinhamento de ontem juntava ao Concerto para Piano, para a mão esquerda, de Ravel, no regresso do pianista Denis Kozhukhin ao Grande Auditório ,Pelléas et Mélisande, op. 80 de Gabriel Fauré , Pétrouchka e o Scherzo de Igor Stravinsky . O elo entre eles e terem sido protegidos da detestável mecenas Winaretta Singer Polignac !Factom inédito sai intervalo para evitar ,em dia de chuva, a tragédia de um bengaleiro sem pessoal como se a Gulbenkian fosse uma instituição sem rencursos.. A Zaza não me teria deixado… . Hoje tenho a transmissão directa para encontrar Strawinsky.Uma obra poderosa, de grande complexidade técnica e que só pelo olhar podemos dizer que a parte solista foi escrita para uma única mão, porque de olhos fechados .Era imperativo para o compositor que o Concerto em D maior não tivesse o menor indício de ser uma acrobacia. “ num trabalho destes ,era essencial uma textura que não fosse menor do que a de uma parte escrita para ambas as mãos. Por essa razão Ravel recorreu a um estilo próximo do tipo solene de concerto tradicional e está entre as suas melhores criações

O Concerto para a Mão Esquerda emerge como um trabalho sombrio e poderoso ..

Estruturado num único andamento executado sem interrupção, a obra divide-se em duas partes, Lento e Allegro, com um motivo inicial que surge paulatinamente do silêncio e em que o contrafagote e as cordas graves marcam o caráter dramático da obra

O pianista belga Denis Kozhukhin tocou sem sinais de tensão e, em geral, com boa compreensão de sua arquitetura peculiar exibindo panache , fantasia e ligação com o público . Também esteve bem Trevino que dirige sem batuta. Gostei sem entusiasmo . Para a minha ceia terminei dos Chefs a Mesa a famosa corvina com molho anis de Vitor Adão .

[beatricecenci]

Élisabeth Vigée Le Brun (French, 1755-1842)

Yolande-Martine-Gabrielle de Polastron duchesse de Polignac

[marciamattos]

Essencialmente autora de retratos, Romaine Brooks usava uma paleta de cores escuras dominada pelos cinzentos. A sua obra aproxima-se dos movimentos simbolistas e esteticistas do século XIX e, em particular, da obra de Whistler. Quatro desses retratos são visíveis nas coleções do Museu Sainte-Croix em Poitiers.

"Romaine Brooks, nascida Beatrice Romaine Goddard, em Roma, em 1º de maio de 1874 e falecida em Nice, em 7 de dezembro de 1970, foi uma pintora americana.

Pouco depois de seu nascimento, seus pais, americanos ricos, voltaram para os Estados Unidos da América. Sua mãe a abandona e prefere seu irmão, que sofre de transtornos mentais. Ela maltrata Romaine, acusa-a de estar possuída pelo demônio e acaba confiando-a a uma família pobre de Nova York quando ela tinha sete anos.

Em 1893, aos 19 anos, foi para Paris onde cantou em cabarés, para Roma para estudar pintura e para Capri. Em 1901, ela voltou para a mãe para cuidar dela antes que ela morresse de diabetes e, com o irmão também morto, herdou a fortuna do avô materno.

Em 1903, Romaine Brooks se casou com seu amigo John Ellington Brooks, um pianista bissexual. Logo depois, eles fazem um acordo de que não vão se divorciar, para respeitar as convenções sociais, mas nunca vão morar juntos. Em troca, Romaine Brooks pagará uma pensão mensal ao marido.

Por volta de 1904, insatisfeita com seu trabalho, passou a trabalhar com cinzas, que continuaram sendo os tons dominantes de suas obras posteriores.

Livre de seus laços matrimoniais, mantém relações amorosas com vários artistas, com a sobrinha de Oscar Wilde, Dolly Wilde, com a dançarina Ida Rubinstein e com o escritor e político Gabriele D'Annunzio. A relação mais importante de sua vida será aquela que viverá, durante cinquenta anos, com a escritora Natalie Clifford Barney, que conheceu em 1915. Ela também se relaciona com a baronesa Franchetti, a pianista Renata Borgatti e a princesa de Polignac.

A carreira de Romaine Brooks, no auge em 1925 (seus quadros foram apresentados em Londres, Paris e Nova York), declina a partir dos anos 1930. Abandonando a pintura, produz desenhos inspirados em sua infância infeliz.

Ela morreu em 7 de dezembro de 1970, em Nice. Um ano após sua morte, a National Collection of Fine Arts (atual Museu Nacional de Arte Americana do Smithsonian Institute) dedica uma retrospectiva a ele. O interesse do público pela obra de Romaine Brooks voltou, várias outras exposições foram organizadas durante a década de 1980".