#jean-pierre brun

[dandanjean]

4 pratiques de reconnaissance

Les marques de reconnaissance peuvent être variées et surtout, elles sont souvent plus simples qu’on le pense, comme le démontrent les exemples de Jean-Pierre Brun.

[100-art]

100+ Famous Modern Art Artists of All Time

2/8/2024 Framed Poster Print Canvas Print Metal Print Acrylic Print Wood Prints Worldwide shipping

[thesearenotphotographs]

Michael Brun Presents BAYO at BRIC Celebrate Brooklyn! at Lena Horne Bandshell

On Saturday, June 15, 2024, Celebrate Brooklyn! held a benefit concert of their 46th season with Michael Brun Presents: BAYO at Lena Horne Bandshell in Prospect Park. The outdoor featured DJ sets from Kolo and Brun himself. There were live performances by Haitian artists along with others from the diaspora such as Paul Beaubrun, Sarina, Anie Alerte, Danola, Pierre Jean, Troubleboy Hitmaker, Oxlade (who came to Brooklyn from Nigeria for the event), AndyBeatz, J Perry, J Balvin, Maxwell, Colmix & Tonymix, Lakou Muzik, and Tabou Combo. Tabou Combo were given a proclamation from New York City to help close the special event.

I captured the event as a house photographer for Celebrate Brooklyn! and some images can be found in the gallery here. I’ll be at the park throughout this season and again later today for Juneteenth UNITYFEST.

[ourstaturestouchtheskies]

Self-Portrait - Raphael // Self-Portrait with a Green Vest – Eugène Delacroix // Self-Portrait – Diego Velázquez // Portrait of a Man (Self Portrait) – Jan van Eyck // Self-Portrait - Jean-Baptiste-Pierre Le Brun // Self-Portrait - Jacques-Louis David // Self-Portrait – Peter Paul Rubens // Mont Blanc and the Glacier des Bossons Looking Down the Arve Valley – JMW Turner // Self-Portrait – Elin Danielson-Gambogi // Self-Portrait - Gwen John // Self-Portrait as Saint Catherine of Alexandria – Artemisia Gentileschi // Self-Portrait in a Straw Hat – Élisabeth Louise Vigée Le Brun // Self-Portrait – Judith Leyster // Self-Portrait – Louise Hollandine of the Palatinate // Self-Portrait with Palette – Marie Bashkirtseff // La Rue des Clos Moreaux – Gwen John

[duchesssoflennox]

ÉLISABETH VIGÉE LE BRUN 🥺❣️🎨

Élisabeth Vigée Le Brun was a remarkable woman and a talented painter who lived in a turbulent time.

- élisabeth was painting portraits professionally by her early teens, and became a member of the Académie de Saint-Luc at the age of 19.

- She married an art dealer, Jean-Baptiste-Pierre Le Brun, who helped her exhibit her work and gain access to the nobility, but also cheated on her and exploited her financially.

- She was a favourite of Marie Antoinette, and painted more than 30 portraits of the queen and her family, often in informal and intimate settings. She also painted a great number of self-portraits, in the style of various artists whose work she admired.

- She fled France during the Revolution, and travelled across Europe and Russia, painting portraits of royal patrons and influential figures. She was elected to art academies in 10 cities, and was praised by Catherine the Great of Russia.

- She returned to Paris in 1801, but did not like the social life under Napoleon. She moved to London, where she painted portraits of the court and Lord Byron. She also visited Switzerland, where she painted a portrait of Madame de Staël.

- She wrote her memoirs, which provide a lively account of her life and times. She died in Paris in 1842, at the age of 86.

[lboogie1906]

Jean-Baptiste Lislet Geoffroy (known as Geoffrey L’Islet) (August 23, 1755 – February 8, 1836) was a French astronomer, botanist, and cartographer.

L he was born in Saint-Pierre, Réunion. He was the son of Jean-Baptiste Geoffroy a white, French engineer working in Mauritius, and Niama, an enslaved Senegalese princess. His father had freed his mother to ensure his son was not born enslaved. He worked in geology, showing that the shoal, Isle Plate around Mauritius was formed by the debris of the crater of a volcano.

He was the uncle of abolitionist novelist Louis Timagène Houat. He married and had two children. His wife died in 1804.

At age 15, he entered the engineer corps and moved to Mauritius where he worked and studied astronomy and mathematics under Bernard Boudin de Tromelin, known as le Chevalier de Tromelin. When the Anglo-French War began, he was made assistant pilot, serving with de Tromelin. He became a draughtsman to the engineers of the Isle de France.

He was appointed to map Mauritius, and his success in the project earned him a commission as a Geographical Engineer. Avoiding the reign of terror, he was commissioned in 1794 to visit and chart Seychelles, and his success there earned him the promotion to assistant officer in the body of military engineers. When Captain-General Charles Mathieu Isidore Decaen took charge of Mauritius, he was promoted to captain, and when Isle de France was captured, he became chief of the commission for the inspection of the island.

He was elected to the French Academy of Sciences. The academy was dissolved during the French Revolution, and he was not among those reinstated when it was reformed in 1793. Unable to return to France, he founded the Société des Sciences et Arts de l’Ile de France. He was the only man of color to have been a member of the academy.

Among his many works was a map of the Isles of France and Reunion published first in 1797 and second in a corrected version in 1802. He published a chart of Seychelles and a map of Madagascar. He made a voyage to Madagascar, and his account of the voyage was published in Malte-Bruns Annales de Voyages. #africanhistory365 #africanexcellence

[19th-century-calamity-crew]

Jean-de-Dieu Soult (murillo-enthusiast)

Created by the same entity and process as Lannes (armagnac-army) and governed by much the same rules, this version of Soult is also a commander of the Army of the Beyond. Under his glamour, he is a painting and the fixed part of his realm is a gallery containing his most beloved artworks. Occasionally, the Soultberg mansion appears, along with the memory of his beloved wife, Louise Berg-Soult. Apart from the memories of soldiers, he is accompanied by his aides (Saint-Chamans, Lameth, Brun, Petiet, Bory, Pierre Soult, Coco Lefebvre... - and Citoyen Ombré), some of which are animated versions of their memoirs or written works. Notable exceptions to this include Citoyen Ombré, a shadow elemental who joined Soult's staff after being found by Soult in Bessieres' (askgeraudduroc ; your-dandy-king) realm and Lameth, who was originally made of scraps of the other aides' memoirs and later transformed into a water/ink elemental after being submerged into a hallowed spring.

[portrait-paintings]

Self Portrait in a Straw Hat

Artist: Elisabeth Louise Vigée Le Brun (French, 1755-1842)

Date: 1782

Medium: Oil on Canvas

Collection: The National Gallery, London, United Kingdom

Élisabeth Louise Vigée-LeBrun

Elizabeth Louise Vigée Le Brun’s life spanned a tumultuous period of French history. Born in Paris in 1755, she was the daughter of a portrait painter, Louis Vigée. His early death in 1767 left her without a teacher, so she was largely self-taught. Her husband, the art dealer Jean-Baptiste-Pierre Le Brun, played a significant role in her early career by providing her with important contacts and commissions. She adopted his name but eventually left him – the marriage was formally dissolved in 1794.

In the years preceding the French Revolution in 1789, Vigée Le Brun enjoyed great success, particularly at the Versailles court. One of the most successful society portraitists of her time, she was also one of only four women admitted to the Académie royale de la peinture et de sculpture during the eighteenth century. She became the preferred painter of Marie-Antoinette and painted over 30 portraits of the Queen and her family. A portrait of Marie-Antoinette wearing a simple white cotton chemise and holding a rose caused a scandal when exhibited at the Salon in 1783 because of its informality. Following the arrest of the royal family in October 1789, Vigée Le Brun fled Paris and did not return until 1802.

Self Portrait in a Straw Hat is a signed copy by Vigėe Le Brun of a very popular self portrait she had painted in Brussels in 1782. The portrait was exhibited in the same year at the Salon de la Correspondance in Paris and at the 1783 Salon of the Académie royale. It is now in the collection of the baronne Edmond de Rothschild.

[surrealistnyc]

Infosurr #166 has just been published:

Issue 166 opens on Robert Desnos’s Poèmes de Minuit, most of them hitherto unpublished, and then, devotes itself to the last big exhibition of Jean-Claude Silbermann, « one of the last living artists belonging to « historic » surrealism and certainly one of those who strongly contributed to the reinvention of its plastic means. » - the invitation card is reproduced on the cover. Light is also thrown on the forerunner of painted dreams, Léon Spillaert, "the creator of oneiric places which announce those of Giorgio de Chirico and Paul Delvaux". Pierre Petiot’s astonishing research on the links between surrealism and mathematics is dealt with, as well as the continuing activity of La Torre Magnetica and their collection of "Notebooks to cross fire" , together with Javier Galvez’s "radical lyricism". The issue ends on the presentation of  La Vitesse de l’ombre, which confirms that Annie Le Brun, even  better than Paul Eluard, knows "how to give us to see". In this issue, there are two new headings which should give an impetus to,  and respect the encyclopaedic rigour of Infosurr. The first one is a "Regrets" section, which will deal with publications which, in some sort of way, got lost in the avalanche of reviews we receive. The first will mention the meteoric Jean Claude Barbé and his poetry published under the splendid title Bientôt l’éternité m’empêchera de vivre. The second section is devoted to those who have departed from this world. To catch up with this delay, here is a reminder of those whom  Infosurr had forgotten (2015-2017).

[byneddiedingo]

Ivy Close and Séverin-Mars in La Roue (Abel Gance, 1923)

Cast: Séverin-Mars, Ivy Close, Gabriel de Gravone, Pierre Magnier, Georges Térof, Gil Clary, Max Maxudian. Screenplay: Abel Gance. Cinematography: Gaston Brun, Mac Bujard, Léonce-Henri Burel, Maurice Duverger. Art direction: Robert Boudrioz. Film editing: Marguerite Beaujé, Abel Gance. Music: Arthur Honegger.

The plot is operatic, the technique is novelistic, and the aim is tragic. Abel Gance's La Roue (aka The Wheel) never satisfies on any of those counts, but it's not without a lot of effort on his part as well as his actors and technicians. At its premiere, it ran for somewhere between seven-and-a-half and nine hours (depending on which source you trust), spread over three days, and was a success, earning praise from Jean Cocteau among others. Gance then produced a cut that ran for two and a half hours, which was the version most people saw for many years until film historians set about to reproduce the original. That restoration is the one I sat through for sevenish hours spread over four nights on the Criterion Channel. I have seen seven-hour movies (and some that seemed like it) before, most notably Bela Tarr's Sátántangó (1994). The urge I usually have afterward is to try to justify the expenditure of time, typically by categorizing it as an "immersive experience." That approach works with films like Tarr's, which has a grounded reality to it that provides a look into a human existence other than my own, which is the aim of all narrative art. It's less easily justified when the film is as preposterous as Gance's is in many ways. I said it was operatic in its plotting, and here it's useful to think of the melodramatic excesses of works like Verdi's Il Trovatore, based on a florid Spanish play that involves foundlings, mistaken identities, and people torn between passion and duty. La Roue has a foundling, survivor of a train wreck, rescued by a railroad engineer who raises her along with his own son, allowing both of them to believe they are siblings, which works until she blossoms into a young woman and first the father and then the son realize they're in love with her. The treatment of this story evokes, as others have noted, the novels of Victor Hugo and Émile Zola, but it also reminds me of Thomas Hardy's works, in which fate (which Hardy calls "hap," or the blind workings of chance) forestalls any efforts by the protagonists to chart their own course. And since the story involves a kind of incestuous passion, the legend of Oedipus comes to mind, and sure enough Gance quotes Sophocles in one of the intertitles. But of course it's a movie, and that necessitates a good deal of spectacle, starting with the train wreck that sets the plot in motion. La Roue is never dull, and it's sometimes emotionally affecting, but it's not an opera (although Arthur Honegger's score suggests its potential in that regard) and it's not a novel or a tragedy. It's a movie, and one with a great deal to watch if you're willing to commit seven hours to it, but I think you have to be devoted to learning about the craft of movie-making to profit much from it.   

[christophe76460]

--------------- LA LUMIÈRE DIVINE

L’apôtre Jean nous dit que Dieu est lumière et qu’il n’y a en lui aucunes ténèbres (1 Jean 1 : 5). Il ne veut pas non plus qu’il y ait des ténèbres dans le cœur de ses enfants ! L’apôtre Pierre dit : « Dieu nous a appelés des ténèbres à sa merveilleuse lumière. » (1 Pierre 2 : 9). C’est à nous de demeurer dans cette merveilleuse lumière de Celui qui a dit : « Moi, je suis la lumière du monde ; celui qui me suit ne marchera pas dans les ténèbres, mais il aura la lumière de la vie » (Jean 8 : 12).

Au début de la traversée du désert, le peuple terrestre de Dieu avait cette promesse pour les encourager dans leur marche, ce qui est aussi une image de notre propre marche à travers ce monde : « Que l'Éternel te bénisse, et qu'il te garde! Que l'Éternel fasse luire sa face sur toi, et qu'il t'accorde sa grâce! Que l'Éternel tourne sa face vers toi, et qu'il te donne la paix!C'est ainsi qu'ils mettront mon nom sur les enfants d'Israël, et je les bénirai. » (Nom. 6 : 24-27). Nous retrouvons cette grâce dans l’évangile de Jean.

Un peu plus loin, dans ce même livre des Nombres, nous voyons qu’Aaron devait allumer les sept lampes du chandelier (Nom. 8 : 1-4) et ces sept lampes devaient brûler continuellement. Le peuple, comme nous-mêmes, avait besoin de cette lumière dans sa marche. Le Psalmiste dit aussi : « Ta Parole est une lampe à mon pied, et une lumière à mon sentier (Ps. 119 : 105). Et si nous sommes fidèles et aimons notre Seigneur, notre sentier sera semblable au «sentier des justes est comme la lumière resplendissante, Dont l'éclat va croissant jusqu'au milieu du jour.» (Prov. 4 : 18).

Au Psaume 27, David peut dire : «L'Éternel est ma lumière et mon salut: De qui aurais-je crainte? L'Éternel est le soutien de ma vie: De qui aurais-je peur? » (v. 1). Il connaissait son Sauveur personnellement et pouvait marcher, comme il est écrit dans un autre passage, « dans la lumière de l’Éternel »

(És. 2 : 5) !

Au Psaume 36, nous trouvons, en images, quelques-unes des richesses insondables de Christ : « Combien est précieuse ta bonté, ô Dieu! A l'ombre de tes ailes les fils de l'homme cherchent un refuge. Ils se rassasient de l'abondance de ta maison, Et tu les abreuves au torrent de tes délices.» (Ps. 36 : 8-9).

Il peut y avoir des circonstances dans notre vie, où nous n’avons plus de lumière. Le prophète Ésaïe nous dit : « Quiconque parmi vous craint l'Éternel, Qu'il écoute la voix de son serviteur! Quiconque marche dans l'obscurité et manque de lumière, Qu'il se confie dans le nom de l'Éternel, Et qu'il s'appuie sur son Dieu! » (És. 50 : 10). Et qui ne connaît pas les épreuves de toutes sortes ? Le prophète Michée reprend cette même pensée : « Si je tombe, je me relèverai ; si je suis assise dans les ténèbres, l’Éternel sera ma lumière » (Mich. 7 : 8).

Source Bible-notes. Org

LA LUMIÈRE DIVINE, Samuel Brun

[kpwx]

Epicureísmo, estoicismo y cinismo.

Doctrina estoica y defensa de Epicuro, de Francisco de Quevedo

Sobre la felicidad; Sobre la brevedad de la vida, de Lucio Anneo Séneca

La secta del perro. Vida de los filósofos cínicos, de Carlos García Gual

De la ira, de Lucio Anneo Séneca

Obras completas de Epicuro

Epicuro, de Carlos García Gual

El epicureísmo, de Emilio Lledó

Epicuro, de Walter F. Otto

Manual, de Epicteto

Séneca, de Emily Wilson

Consolaciones; Apocolocintosis, de Lucio Anneo Séneca

Lucrecio. La miel y la absenta, de André Comte-Sponville

Pensamiento estoico, de Eduardo Gil Bera (ed.)

Epístolas morales a Lucilio (selección), de Lucio Anneo Séneca

El estoicismo, de Jean Brun

Cinismos. Retrato de los filósofos llamados perros, de Michel Onfray

Meditaciones (editorial Cátedra), de Marco Aurelio

Meditaciones (editorial Gredos), de Marco Aurelio

La ciudadela interior, de Pierre Hadot

La naturaleza, de Tito Lucrecio Caro

Séneca y el estoicismo, de Paul Veyne

Disertaciones, de Epicteto

Séneca o el poder de la cultura, de Julio Mangas Manjarrés

[personal-reporter]

Charles Perrault, favolista del Re Sole

Lo scrittore che cambiò per sempre il mondo della fiaba… Charles Perrault nacque a Parigi il 12 gennaio 1628, in una famiglia dell'alta borghesia francese. Suo padre, Pierre Perrault, era avvocato al parlamento di Parigi, e sua madre era  Paquette Le Clerc, mentre suo fratello, il noto architetto Claude,  fu l’ideatore della facciata del lato est del Louvre. Il piccolo Charles fu  destinato da subito ad una carriera illustre, infatti studiò legge, prima di intraprendere una carriera al servizio del governo, oltre a prendere parte alla creazione dell'Accademia delle Scienze, nonché al restauro dell'Accademia di Pittura. Nel 1654 si trasferì a Parigi, dove fu coinvolto nella diatriba fra antichi e moderni, nella quale si affrontavano, tra articoli e saggi, i sostenitore dell'una o dell'altra categoria letteraria, i primi ad avvalorare gli antichi e la letteratura di Luigi XIV, i secondi seguaci del nuovo e del moderno. È una riflessione teorica che occuperà gran parte dei lavori dello scrittore, fino alla pubblicazione di una serie di opere molto importanti per la storia della cultura francese, come il manifesto Le Siècle de Louis le Grand del 1687, e il Confronto fra antichi e moderni, edito dal 1688 al 1692, nel quale puntava il dito contro l'avversario Boileau e il suo classicismo. Ad ogni modo, quando l' Accademia delle Iscrizioni e Belles-Lettres viene fondata, nel 1663, ne fece parte Charles Perrault, il quale ebbe la carica di segretario, grazie al suo capo Jean Baptiste Colbert, ministro delle finanze di Luigi XIV . In quel periodo lo scrittore conobbe Gian Lorenzo Bernini, che era l’autore di alcuni disegni preparatori del Louvre. Nel 1668 Perrault portò a termine il saggio La pittura, in onore del primo pittore scelto dal Re, Charles Le Brun e nel 1672 sposò Marie Guichon, allora diciannovenne, che morì nel 1678. Durante i lavori dei giardini di Versailles nel 1669,  Perrault suggerì a Luigi XIV di realizzare 39 fontane ognuna dei quali raffiguranti una delle favole di Esopo, all'interno di un labirinto. Il lavoro viene ultimato nel 1677 e vede, alla fine, anche numerosi getti d'acqua zampillanti dalle bocche delle creature rappresentate, mentre la guida del labirinto fu opera di Perrault, con le illustrazioni di Sébastien Le Clerc. La prima stesura degli otto racconti fondamentali nell'opera di Perrault arrivò nel 1697, firmata dal figlio Perrault d'Armancourt, luogotenente militare. Quando Perrault la scrisse ha quasi settant'anni, con il titolo di Racconti e storie del passato con una morale e un sottotitolo diventato poi leggendario, I racconti di mamma l'oca. La pubblicazione fu fatta a nome del suo terzo figlio perché all'epoca questi era in carcere, a causa di una rissa nella quale è rimasto coinvolto in prima persona, in modo da salvargli la reputazione, ma non ci furono dubbi sulla paternità dell'opera, troppo evoluta dal punto di vista letterario e stilisticamente inequivocabile. Con questa raccolta nacque la fiaba moderna e il nome di Charles Perrault fu  famoso anche al di fuori dei circoli letterari e artistici. Molte delle storie erano trascrizioni popolari, ma l'autore francese non rinunciò ad inserirvi proprie personali intuizioni creative, come il Castello di Ussé de La bella addormentata e Il gatto con gli stivali, fino alle scarpette di cristallo della celebre Cenerentola. Charles Perrault morì a Parigi il 16 maggio 1703, a 75 anni. Read the full article

[alexlacquemanne]

Mars XXMMIII

Films

Gilda (1946) de Charles Vidor avec Rita Hayworth, Glenn Ford, George Macready, Joseph Calleia, Steven Geray et Joe Sawyer

Le Port de l'angoisse (To Have and Have Not) (1944) de Howard Hawks avec Humphrey Bogart, Lauren Bacall, Walter Brennan, Dolores Moran, Hoagy Carmichael et Sheldon Leonard

Le Lion et le Vent (The Wind and the Lion) (1975) de John Milius avec Sean Connery, Candice Bergen, Brian Keith, John Huston, Geoffrey Lewis, Steve Kanaly et Vladek Sheybal

Indiana Jones et le Temple maudit (Indiana Jones and the Temple of Doom) (1984) de Steven Spielberg avec Harrison Ford, Kate Capshaw, Jonathan Ke Quan, Amrish Puri et Roshan Seth

Mon crime (2023) de François Ozon avec Nadia Tereszkiewicz, Rebecca Marder, Isabelle Huppert, Dany Boon, Fabrice Luchini, André Dussollier et Félix Lefebvre

À notre regrettable époux (1988) de Serge Korber avec Jacqueline Maillan, Alida Valli, Jacques Dufilho, Pierre Tornade, Jean-Pierre Aumont et Hubert Deschamps

The Fabelmans (2022) de Steven Spielberg avec Gabriel LaBelle, Mateo Zoryon Francis-DeFord, Michelle Williams, Paul Dano, Seth Rogen, Keeley Karsten, Julia Butters et Judd Hirsch

Les Caprices de Marie (1970) de Philippe de Broca avec Marthe Keller, Philippe Noiret, Jean-Pierre Marielle, Valentina Cortese, Henri Crémieux, Fernand Gravey, Bert Convy, Colin Drake et François Périer

Le Quai des brumes (1938) de Marcel Carné avec Jean Gabin, Michèle Morgan, Michel Simon, Pierre Brasseur, Édouard Delmont, Aimos et Robert Le Vigan

Le Veau gras (1939) de Serge de Poligny avec François Périer, Elvire Popesco, Armand Bernard, André Lefaur, Gabrielle Fontan, Robert Le Vigan, Marcelle Praince et Raymond Cordy

Séries

Top Gear Saison 16, 12

Surfin' USA - L'Albanie en Rolls-Royce - 1200 km en un plein - Trois camions d'enfer - La fiesta dans tous ses états - Moteur nature - Vietnam Special - Construire l'impossible - En route pour la Côte d'Azur !

Friends Saison 6

Celui qui avait une jolie colocataire - Celui qui avait les dents blanches - Celui qui s'était drogué - Celui qui souhaitait la bonne année - Celui qui avait le derrière entre deux chaises - Celui qui inventait des histoires - Celui qui sortait avec la sœur - Celui qui ne pouvait pas pleurer - Ce qui aurait pu se passer : 1re partie - Ce qui aurait pu se passer : 2e partie - Celui qui avait l'Unagi - Celui qui sortait avec une étudiante - Celui qui avait des problèmes de frigo - Celui qui avait une audition - Celui qui rencontrait le père - Celui qui se la jouait grave - Celui qui achetait la bague

L'agence tous risques Saison 2, 3

Pièces détachées - Nouvelle cuisine - Opération finale - Les cloches de Sainte-Marie - Souvenirs - Au feu ! - Promenade dans les bois - Vacances au bord du lac - Au-delà de la rivière : 1re partie - Au-delà de la rivière : 2e partie - Vacances en Floride - La dernière séance - Double foyer - Echec aux affreux - Voie de garage - Collection - Extorsions - Le nouveau shérif - Le champion - Belle évasion - Les braconniers

Columbo Saison 4, 7, 1

Entre le crépuscule et l'aube - Des sourires et des armes - Poids mort

La Pause Biodiv : Mission pollinis'Actions

La vache ! - Espèce de larve ! - Vive la belle étoile ! - Pile 30 minutes ! - Je végétalise - Sous les pavés, la plante !

Méli Mélo : Démêlons les fils de l'eau

De source sûre ! - Un léger penchant - L'étroite moustiquaire - Culture et Captages - Les sceptique de la fosse ! - Le changement c'est maintenant - Le goût des eaux - Eau propre eau sale ! - Papy lingette ! - Bzz ! - Au prix que ça coûte ! - Sors de ton lit ! - Vive l'herbe libre ! - Allais, allez ! - Des tout petits cachets ! - Tartare de sédiments !

Coffre à Catch

#105 - Un hall of famer à la ECW ! (avec Vinny Brun) - #106 - Hardy Boyz et Poêle à frire ! - #107 : Une nouvelle ceinture pour une nouvelle ère ! - #108 : Mark Henry présente la barre de faire !

Inspecteur Barnaby Saison 6

Mort en eau trouble - Le Parcours du combattant - Une touche de sang - La Maison de Satan - Les oiseaux de proie

Meurtres au paradis Saison 12

L'éclipse - Les Survivalistes - Plage à vendre

Affaires sensibles

Gianni Agnelli, le dernier roi d’Italie - François Cevert : dernière course contre la mort - Netflix, l'histoire mouvementée derrière l'écran - L'histoire mouvementée de Metallica - Mars 2002 : massacre au Conseil municipal de Nanterre

Livres

Détective Conan Tome 5 de Gōshō Aoyama

Pourquoi ne faisons-nous rien pendant que la maison brûle ? de Claude Bourguignon et Lydia Bourguignon

Une vie de malade ! de Nadim Aswissri

Les Trois Mousquetaires, tome I d'Alexandre Dumas

[thelibraryghost]

Olive Oil Presses in the Ancient Mediterranean: A Book List

Greece Hadjisavvas, Sophocles and Chaniotis, Angelos. "Wine and olive oil in Crete and Cyprus: socio-economic aspects." British School at Athens Studies, Vol. 20 (2012), pp. 157–173. Maniatis, George C. "The Byzantine Olive Oil Press Industry: Organization, Technology, Pricing Strategies." Byzantion, Vol. 82 (2012), pp. 259–277. Margaritis, Evi and Jones, Martin. "Olive oil production in Hellenistic Greece: the interpretation of charred olive remains from the site of Tria Platania, Macedonia, Greece (fourth--second century B.C.)." Vegetation History and Archaeobotany, Vol. 17, No. 4 (July, 2008), pp. 393–401. Italy Frezzotti, G. and Manni, M. Olive Oil Processing in Rural Mills. Rome: Food and Agriculture Organization of the United Nations, 1956. Hitchner, Robert Bruce. "Olive Production and the Roman Economy: The Case for Intensive Growth in the Roman Empire." In The Ancient Economy, edited by Walter Scheidel and Sitta von Reden. Edinburgh: Edinburgh University Press, 2002, pp. 71–84. Tyree, E. Loeta and Stefanoudaki, Evangelia. "The Olive Pit and Roman Oil Making." The Biblical Archaeologist, Vol. 59, No. 3 (Sep., 1996), pp. 171–178. Levant Kogan-Zehavi, Elena and Hadad, Shulamit. "A Building and an Olive Press from the Byzantine-Abbasid Periods at Khirbat el-Thahiriya." 'Atiqot, Vol. 71 (2012), pp. 118*–120*. Lewit, Tamara and Burton, Paul. "Wine and oil presses in the Roman to Late Antique Near East and Mediterranean: Balancing textual and archaeological evidence." In Stone Tools in the Ancient Near East and Egypt: Ground stone tools, rock-cut installations and stone vessels from Prehistory to Antiquity, edited by Andrea Squitieri and David Eitam. Summertown: Archaeopress, 2019, pp. 97–110. Siegelmann, Azriel. "An Oil Press of the Byzantine Period in Qiryat Ata." 'Atiqot, Vol. 34 (1998), p. 8*. Syon, Danny. "A Late Byzantine Oil Press at Kefar Barukh." 'Atiqot, Vol. 47 (2004), pp. 155–168. Mediterranean ed. Amouretti, Marie-Claire and Brun, Jean-Pierre. La Production du vin et de l'huile en Méditerranée/Oil and Wine Production in the Mediterranean Area. Paris: De Boccard, 1993. Rowan, Erica. "Olive Oil Pressing Waste as a Fuel Source in Antiquity." American Journal of Archaeology, Vol. 119, No. 4 (October 2015), pp. 465–482. North Africa Bigi, Leonardo. "Oil Production at Dionysias and in Fayum: Tradition and Technological Innovation Across the Ptolemaic and Roman Periods." In De Africa Romaque: Merging cultures across North Africa, edited by Niccolò Mugnai et al. London: Society for Libyan Studies, 2016, pp. 145–156. Gómez, Jose M. Alba. "Oil press installations and oil production in ancient Egypt." In Current Research in Egyptology 2016: Proceedings of the Seventeenth Annual Symposium, edited by Julia M. Chyld et al. Philadelphia: Oxbow Books, 2017, pp. 186–208. Turkey Ahmet, K. "A middle Byzantine olive press room at Aphrodisias." Anatolian Studies, Vol. 51 (2001), pp. 159–167. Vermoere, M. et al. "Modern and ancient olive stands near Sagalassos (south-west Turkey) and reconstruction of the ancient agricultural landscape in two valleys." Global Ecology and Biogeography, Vol. 12, No. 3 (May, 2003), pp. 217–236.

[histoireettralala]

The Fall of Fouquet

Of those who sat in Louis XIV's council in March 1661, Nicolas Fouquet was beyond a shadow of a doubt the most charismatic and flamboyant. His background was typical of the upwardly mobile noblesse de robe, and his family like so many others had invested a fortune accumulated as drapers merchants in ennobling office. Fouquet’s grandfather and his father, François, had both served as judges in the Parlement of Paris, and his mother, Marie de Maupeou, was herself a member of another rising robe clan. The family had acquired an impressive reputation for piety, and its links to Saint Vincent de Paul, the parti dévot, and the Compagnie du Saint-Sacrement had opened additional doors to the powerful. All six of Marie’s surviving daughters entered the religious life, as would three of her five sons. Nicolas, on the other hand, was destined for a career in royal service, joining first the Parlement of Metz, and then, following the route trekked by countless aspiring young robins, by purchasing the office of maître des requêtes and serving as an intendant, attracting the attention of Mazarin in the process. In 1650, he had bought the prestigious office of procureur général in the Parlement of Paris, and having proved himself scrupulously loyal to Mazarin he was rewarded with the post of surintendant des finances in 1653.

As surintendant he was responsible for government fiscal policy in the aftermath of the Fronde and was charged with finding the funds needed to prosecute the seemingly endless war with Spain, proving remarkably able and helping to secure a French victory consummated in the Peace of the Pyrenees of November 1659. Anyone capable of surviving for long in the cut-throat world of seventeenth-century finance was, almost by definition, talented, and no less certain to become fabulously rich. Fouquet was no exception, and by 1661 he had added prodigious wealth to an already substantial family fortune that was made manifest in the construction of the beautiful château of Vaux-le-Vicomte, only a few miles from the royal palace of Fontainebleau. Designed by the architect Louis Le Vau and with its interiors decorated by Charles Le Brun, Vaux-le-Vicomte was an aesthetic triumph set within majestic gardens, created by André Le Nôtre, complete with ornamental fountains that have rightly been seen as an inspiration for Versailles. A man of taste and refinement, Fouquet forged a reputation as a generous artistic patron, and, amongst others, Molière, Pierre Corneille, Jean de La Fontaine, and Paul Pellisson benefitted from the surintendant’s largesse. Despite his family’s impeccable dévot credentials, Nicolas moved in eclectic and heterodox intellectual circles, and, much to his mother’s chagrin, his reputed good looks and genuine charm had given him an established reputation as a gallant.

(Fouquet on the left, Louis XIV on the right)

Rich, self-confident, and having proved himself to be an able and loyal servant of the crown, Fouquet, at only forty-six years of age, had every reason to suppose that a long and profitable career stretched before him. His actions in the months following the cardinal’s death were certainly not those of a man harbouring any inner self-doubts. In August 1661, he agreed to sell his office of procureur général in the Parlement to his friend Achille de Harlay, presumably confident that his interests in the court would be well served as he also had close ties with its first president, Guillaume de Lamoignon. More dramatically, on 17 August 1661, Fouquet threw one of the most notorious parties in French history. Using the magnificence of Vaux-le-Vicomte as the setting, the guests, who included large swathes of the French governing elite, were treated to a sumptuous fête, with a theatrical performance directed by Molière, fireworks, and other entertainments all ostensibly in honour of the king. Popular tradition, reinforced by numerous literary and cinematic productions, maintains that Louis XIV, furious at being upstaged by a mere minister and convinced that such lavish display could only be at his own expense, swore revenge. Fouquet had undoubtedly been tactless as the interior of the château boasted a lavish state bedroom, complete with railed bed, which had been prepared as if the monarch was intending to be a regular guest of his munificent minister. Those aristocrats present were horrified that a mere robin should be so presumptuous and the king almost certainly shared their prejudices. If this was the case, he was nevertheless careful to conceal his fury and neither Fouquet nor contemporary witnesses interpreted events in quite the dramatic fashion of later commentators, and the minister continued to work almost daily with the king.

At the end of August, the monarch and his entourage began a tour of Brittany, timed to coincide with the assembly of the provincial estates. By now, the surintendant had received a number of quite explicit warnings about threats to his position and he was growing anxious. Despite his misgivings, he travelled to Nantes and while he was suffering from a fever the king had sent for news of his health, which must have helped to allay his fears. If Louis-Henri de Loménie de Brienne, who was present on the scene, is to be believed, Fouquet even had hopes that it would be Colbert who would be arrested and that his position was secure. On 5 September, the surintendant was well enough to work as normal with the king, but as he left the audience he was accosted by Charles d’Artagnan and a detachment of musketeers. D’Artagnan promptly arrested an astonished Fouquet, who is said to have exclaimed that ‘he thought that he held a higher place in the king’s esteem than anyone else in the kingdom’. If that was indeed the case, then it was a monumental misjudgement because he had just plunged into the most profound disgrace.

D'Artagnan (left) arrests Fouquet (right)

Almost immediately it became apparent that the fall of Fouquet was no momentary loss of favour. Instead it had been carefully premeditated over several months by Louis XIV and Jean-Baptiste Colbert, another aspiring robe noble who had made his fortune as the steward of Mazarin’s private fortune. Colbert not only replaced Fouquet at the head of government finances, but he also directed a trial that was intended to conclude in a death sentence against his imprisoned rival. Fouquet’s brothers, his wife, mother, and close associates were either arrested or exiled, his papers seized in circumstances that made a travesty of the law, and he was brought before a specially convoked commission, not the Parlement of Paris as would have been his right had he not sold his office to Achille de Harlay only a few weeks before. Fouquet had seriously undermined his own political position, and recent precedents were grim. Had Richelieu been directing affairs, Fouquet would have been fortunate indeed to escape the block. However, Colbert seems to have been determined to use Fouquet as a scapegoat for the endemic corruption that both men had profited from, and which had been one of the defining features of Mazarin’s ministry. Fouquet was therefore accused of péculat, an elastic term encompassing a wide range of financial misdemeanours. While burrowing around in Fouquet’s château of Saint-Mandé, the investigators also stumbled across some secret documents from 1658 outlining a strategy for revolt in the event of his arrest. Although it was clear that they were intended for use against Mazarin, not the king, it was decided to add the capital charge of lese-majesty to the existing accusations against the prisoner.

(Fouquet vs Colbert, there will be only one)

Raking up all manner of supposed earlier misdeeds against a disgracié was common practice. On this occasion it proved counterproductive, and had the government moved quickly it could conceivably have obtained a rapid judgement and the desired death sentence. Instead, it tried to dig up more and more evidence and the trial proper did not commence until 3 March 1662. Confronted by a complicated mass of financial accusations and with Fouquet putting up a spirited and effective defence of his actions, the case dragged on for over two years. Colbert and the king grew increasingly frustrated, meddling with legal procedure, seeking to intimidate judges and witnesses alike and making it clear that while they wanted to give the impression of a fair trial it should not be at the expense of a guilty verdict. Fouquet’s family and his many friends and admirers gradually recovered from the shock of his arrest and began an energetic campaign on his behalf, convincing a substantial part of public opinion that he was the victim of a vendetta. When the verdict was finally announced in December 1664, the judges did find the accused guilty of péculat, but rather than impose the death penalty as the government intended they voted by a small majority in favour of banishment and a substantial fine.

[..]

Fouquet’s spectacular fall is arguably the most dramatic and poignant example of the potentially calamitous consequences of ministerial disgrace. The first great political crisis of Louis XIV’s personal rule, it cast a long shadow and yet in many ways it marked the end rather than the beginning of a chapter as the age of the minister-favourite gave way to that of the secretary of state. Although Fouquet had escaped with his life, his draconian punishment was very much in the tradition of Louis XIII and Richelieu and arguably of late medieval monarchy. Rather than simply dismiss Fouquet and banish him from court, as a master would discard an unsatisfactory servant, Louis XIV had treated him as a criminal who had stolen from his treasury and plotted against his authority. It was a very political trial, one that brings to mind the treatment of Claude Barbin, following the murder of Concini, or that of the maréchal de Marillac, in the aftermath of the Day of Dupes. Indeed, Fouquet’s miserable existence in Pignerol almost bears comparison with that of cardinal Jean Balue, who according to popular legend was locked in an iron cage in the château of Loches after falling foul of Louis XI. The harsh treatment of Fouquet’s family and the confiscation of their property as well as the persecution of his friends and clients was again consistent with earlier practice, echoing in milder form the attacks on the Concini in 1617.

Julian Swann- Exile, Inprisonment or Death- The Politics of Disgrace in Bourbon France.