We thus worked onto four objects that had deliberately different destinations such as culinary, domestic and nomadic applications. Our main desire was to show the beauty of perfectly reflecting lacquer and its possible uses in everyday life, through simple yet precious objects of sorts. The lamp is a luminous box that highlights the magnificence of lacquer while presenting large shiny surfaces reflecting light.
Thanks to the red glow diffused by the light when switched on, a very subtle mood emanates from the lacquer and creates a smooth and captivating atmosphere. The desk light is an assemblage of three elements that remind distinctly of very traditional lacquerware shapes.
The final piece that derives from this simple combination suggests the infinite possibilities offered by the material and its classical elements. It shows that familiar forms can give birth to different and mysterious contemporary objects. Why and when did it become iconic?
Ajouter les articles non en stock. Chevalier J. Travel, one of the most accessible and alluring "dreams" of the twentieth-century public, thus became -for many if not for all- a social necessity and a finally affordable interval of beauty, loisirs, quiet, civilization, and culture. Belfry et D. Lett Univ.
What can it tell us about the use of images in a world awash in pictures? Before answering these questions, the constituent parts of the image need contextualizing, for they have been interpreted in different ways depending on the period of the viewer 3.
Marianne exhorts remembrance, alluding to the loss of Alsace during the war against Prussia, here symbolized by Strasbourg Cathedral in ruins. These iconographic representations need to be placed in the universe whence they come if we are to properly understand them. They build up links between peoples and identify political families.
Understanding the genealogy of these images and symbols can inform us about the state of the group that has produced, mobilized, or abandoned them 5. This cultural syncretism still exists today, though in fainter form. These images identify, illustrate, and characterize events that they bring to life. They are faithful and seductive, yet highly reductive. Photography holds a special place within this imaginary, for it brings groups together and reflects shared identities. Photography may also mislead if cropped, edited, colored, or taken out of context. Photos thus need analyzing and deciphering with the rigor used when working with archival material.
No fewer than fourteen platforms were set up on the hill known as the Butte Rouge 9 , on each of which four or five speakers were programmed to address the crowd for up to fifteen minutes. Although accounts of the meeting rarely mention it, five women pacifists and socialist activists also spoke that day They were of no interest to the photographers. Apparently captivated by his energy, he sought to catch his movements, providing a snapshot of his gestures and gaze. The cameras of the period were now capable of freezing instants, provided the photographer perfectly mastered the technique stabilizing the equipment, gauging the light, selecting viewing angles, assessing the sensitivity of the photographic plate and had a feeling for the moment.
For his supporters he was a teacher seeking to win over by force of argument, explanation of the facts, and rigorous analysis.
There is nothing of the demagogue or diaphanous political leader about him. His photos became the definitive representation of the event, especially as there is no film nor sound archive of this speech. Let us rapidly situate this photo among the larger set of photos of contemporary socialists. The price of equipment, together with the conditions for taking and developing photos, meant that in the late nineteenth century photography was still restricted to professionals and a small circle of amateurs.
In socialist convention-goers were able to buy souvenir cards of their national gathering These photographic postcards were better than engravings or drawings, and helped to make the faces of socialist leaders known to the people Going to the photographer became a rite for families wishing to send news to acquaintances, friends, and relatives. Henri Manuel was one of the first photographers to build up a clientele of politicians, while Nadar established his more artistic renown in the world of culture, even though politicians were also keen to come and pose in his studio.
Le crapouillot n° hors serie / les rapports officiels sur la publicité clandestine à la télévision avec L'internationale publicitaire (Textes à l'appui) (French Edition). En France, en Europe aux côtés de la Fédération des éditeurs européens, à l' international au sein de .. Hors collection, Plon,. Perrin . Méd.-Sciences pub.
Photography was progressing, but, other than identity portraits, the vast majority of images diffused by the SFIO were of crowds. Photographers snapped impersonal groups of activists in the open air, on demonstrations, in convention rooms, or on leaving a meeting.
These were the images the socialist press promoted to illustrate political events. At the convention, apart from two portraits of Guesde and Bracke , all the photos show rooms, delegates leaving, or demonstrations. Few show the convention platform or speakers. The editors chose rather to show the mass making up the party, with the SFIO depicted in its activist collegiality. Many volumes have identity photos of political and administrative leaders, journalists, and elected SFIO politicians, but none of the leaders in action or on the platform.
It is not given any particular prominence, and even comes third, beneath two other shots showing the dense crowd gathered at the meeting the day before, published side-by-side across three columns. But without excessive deference.
The framing might suggest a desire to glorify the subject, but the political line of the magazine and content of the article rule out any such hypothesis. It is a matter of showing an isolated, aggressive man beneath the halo of a red flag which invasively fills the frame in this cropped version , coloring the demagogic words of the socialist deputy. The crowd has disappeared, only a manipulator remains. Our research has not turned up any other instances of this photo being used in the press in the weeks following the event or over the course of the following years.
Nevertheless, what the authors of this popular image have focused on is the gesture and what it evokes. To the best of our knowledge, this dating error was not reproduced in the very many centenary publications in , nearly all of which used the iconic photo this time round. The flag and the Phrygian caps on the poles of the two other flags attached to the makeshift platform were colored red, with the speaker being left in black and white In the early s the image was being rediscovered. Sometimes the flag was recolored, and the image solarized, in tune with the aesthetic criteria of the editors of the period documents 4 and 5.