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2006, Les Mille et un contes et récits de Tozeur ou L’aventure du Sud Tunisien [The Thousand and One Tales of Tozeur or the South Tunisian Adventure], Catherine Samet (text) and Mariette Teisserenc (text and illustrations), foreword by Moncer Rouissi, Paris V : L’Harmattan, 272 pp. ISBN 2-296-01054-7.
The Massacre at Chios by Eugène Delacroix. Amongst French painters there was anticipation over the return of Horace Vernet who had drawn interest at the Salon of 1819.When two of his paintings had been rejected by the committee for the 1822 Salon, he had responded by withdrawing all his entries bar one and went on to hold a private exhibition in his own studios which was a great success. [2]
The word salon first appeared in France in 1664 (from the Italian salone, the large reception hall of Italian mansions; salone is actually the augmentative form of sala, room). Literary gatherings before this were often referred to by using the name of the room in which they occurred, like cabinet, réduit, ruelle, and alcôve. [2]
The Salón de Reinos (translated as "Hall of the Kingdoms" or "Hall of Realms") or salón grande ("great hall") is a 17th-century building in Madrid, originally a wing of the Buen Retiro Palace. The Salón de Reinos and the Casón del Buen Retiro are the only survivors of the original grand scheme of the palace.
The content and form of the salon to some extent defines the character and historical importance of the salon. Contemporary literature about the salons is dominated by idealistic notions of politesse (politeness), civilité (civility) and honnêteté (honesty or proper behavior), but whether the salons lived up to these standards is matter of ...
Sophie de Condorcet, the wife of the Marquis de Condorcet, ran a salon at the Hôtel des Monnaies in Paris, opposite the Louvre. Her salons were attended by several prominent philosophes and, at various times, Anne-Robert Turgot, Thomas Jefferson, the Scottish economist Adam Smith, Olympe de Gouges and Madame de Staël. Unlike Madame Roland, a ...
The café was named “Salon de thé François” in homage to the French painter Jean-François Millet. The profit of the Salon de thé François became a secret source for funding the Japanese Communist Party. In July 1936, the Salon de thé François started to support distribution of an anti-fascist newspaper, “Doyōbi.”
The design of the National Art Schools, created by Ricardo Porro, Roberto Gottardi, and Vittorio Garatti, ran counter to the dominant International Style of the time. The three architects saw the International Style as the architecture of capitalism and sought to recreate a new architecture in the image of the Cuban Revolution.