#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.

[cadmusfly]

Presenting the Banana Boys the Aides-de-Camp of Marshal Jean-de-Dieu Soult, the excitable drunk collective blob military family of the grumpy asshole!

I’ve been enjoying reading about their shenanigans in @josefavomjaaga’s posts and wanted to draw them, especially as I’ve started having them appear in some writing snippets and RPs

From left to right we have

Alfred de Saint-Chamans, who once wondered why Napoleon was so interested in Soult’s ass and who thinks he deserves a medal too!

Auguste Petiet, who despite Soult being mean to him and not giving him a promotion because of a disagreement with Petiet's dad, is really proud of military daddy Soult

Alfred de Lameth, the jester who can't stop joking even when it offends Murat's wife and who got murked in Spain and made his fellow soldiers so sad they burned and slaughtered a village in revenge

Brun de Villeret, the sensible guy who got into a car crash because of Soult's distracted driving and who spent months trying to convince Napoleon that the rumours about Soult trying to make himself king in Portugal are mean rumours

I found references for all of them except Lameth, who died young and also his uncle is too famous so the image search is full of him and his stupid wig, so I pretty much just made up Lameth's appearance based on vibes.

There's more ADCs like Pierre Soult, the baby brother of Soult, Franceschi the Art Guy, Coco Lefebvre Who Physically Can't Stop Partying and others, but these four are probably the Main Characters in the writing I've done!

And also yeah Soult did decide that his assistants should be dressed in bright yellow shirts and sky blue pants.

[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.

[murillo-enthusiast]

—·—·—

When the ADCs discovered their miniature marshal, the reaction was initially unanimous.

"Our Jean-de-Dieu is so jeune!" Lameth had exclaimed, to the groans of the other ADCs.

Brun had gone to see if Louise was around, which she wasn't, and if Pierre-Benoit was, which he was. Petiet was trying to make himself seem like a Cool Adult but was miserably failing.

Saint-Chamans was… missing. Though this was not the first time this had happened - but a search party was going to be formed soon, after the issue of the mini marshal was sorted out.

And also the fact that the entire encampment that Soult's corps had been staying in had been transformed into some kind of… playground house, filled with barrels. When Bory had explained that this was the doing of the strange miraculous powers of Marshal Ney, the response had been "ah yes he was the son of a cooper, right?"

Somebody had then asked if Soult had those powers, would he make some kind of… paperwork playground. The consensus was "that sounds about right".

Before the conversation could delve into the parentage of the other marshals and commanders and how that would impact their hypothetical miracles, attention was brought back to the matter of the petit Jean-de-Dieu.

Pierre-Benoit remembered his brother to be a stubborn and domineering kid who always took charge when they were playing together, who got into many arguments with the other kids-

And who had to grow up so very fast at the age of ten, when their father had died.

This Jean-de-Dieu was still a kid, scared and confused and belligerent he was. He seemed to be having fun riding on Mortier's back- and what a sight it had been, the small kid ordering the peaceful giant about! And he seemed to be warming up to Marshal Ney, strangely enough.

He had mistaken Pierre-Benoit- for their father at first, but their father didn't have such a nice uniform as this. So Pierre-Benoit had said that he was an uncle of some sort, and Jean-de-Dieu did look at him funny, but the kid seemed to trust him.

It was good to see Jean-de-Dieu just being a kid. It was good to just see him relax in a way that his adult self couldn't.

There was too much going on now. Marshal Ney was a grief-stricken god without control of himself, Marshals Lannes and the other-other Bessières were getting married…

And the enemy was near.

So the ADCs and the generals of 2nd Corps were not desperate for their marshal to turn back immediately. There were some logistical issues to sort out with the transfiguration of their headquarters, but what kind of corps would they be if they could not rely on the tested protocols that Marshal Soult had put into place and sort it out themselves? It was already shifting and changing in parts, and soon, as if a dream, all this would be another memory of another campaign.

They could handle it themselves.

All their miniature marshal had to do now was to be a kid.

—·—·—

(... next? )

[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

[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).

[mesillusionssousecstasy]

1:43 pm : "Portrait de la comtesse Anna Flora von Kageneck en Flore, 1792" par Élisabeth Vigée Le Brun (huile sur toile) pour l'exposition "Chefs-d'oeuvre de la collection Bemberg" à la fondation de l'Hermitage -  Lausanne, Mai MMXXI. 

(© Sous Ecstasy) 

Élève de son père, Louis Vigée, puis de Vernet et de Greuse, Élisabeth Vigée Le Brun devient peintre officielle de la reine Marie-Antoinette avant même d'être reçue à l'Académie en 1783. Elle épouse le marchand de tableaux Jean-Baptiste Pierre Le Brun et poursuit une carrière de portraitiste à travers l'Europe, fait remarquable pour une femme au 18e siècle. À la Révolution française, elle se réfugie à l'étranger, notamment à Vienne, où elle peint ce magnifique portrait d'Anna Flore von Kageneck, fille de l'ambassadeur d'Autriche en Espagne. Portant une couronne de fleurs dans ses cheveux, la jeune fille âgée de treize ans incarne à merveille la déesse des fleurs et du printemps de la mythologie romaine, idéal de beauté pour de nombreux artistes.

[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

[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

[murillo-enthusiast]

Brun: Bory. This is too far.

Bory: This is for science!

Lameth: You are playing with fire, my friend~

Saint-Chamans: I'm clearly the most popular! My memoirs are actually available on the internet!

Petiet: Mine is more exclusive..!

Pierre Soult: Not sure how I feel about being included here. And what about Anthoine and Franceschi?

Bory: They don't appear on this Web Log so much, so they are not options! And neither is our good friend C͞i̗̱̻̳̟̲͢ͅt̮͢o̳͓̣͉̥̘ye̱n O͞m̢̖̯̪̙̬b̛r̰͓͙̬̭̖è, for he is not as, ahem, historical as us~

Lameth: Anthoine is too innocent to be exposed to the internet! We keep him away from such things~

Brun: And Franceschi has better things to do with his time. This is stupid, however. Obviously I'm the best. I'm the one who actually went to Napoleon and convinced him of Soult's good intentions during that awful Roi Nicolas stuff.

Lameth: But I died tragically and young, and that gives me a certain charm, non?

Bory: My plan is working! Unfortunately, Coco has passed out drunk again and cannot defend himself, but ah well. Anyway, as the completely impartial poll host, I simply must point out that I am a very famous naturalist renowned for my scientific discoveries, and a certain Monsieur Darwin carried my book with him on his voyages. So, ah, do keep that in mind!

[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

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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.