Ucrania seus intervenientes

A bathroom at the Mezhyhirya, the private residence of ousted Ukrainian President Viktor Yanukovych, near Kiev on February 24, 2014. Crowds of protesters journalists and ordinary citizens entered his incredibly luxurious compound . Besides his huge mansion, the president had his own private zoo, golf course, helipad, and a massive boat. #

An anti-Yanukovich sticker is on a burnt truck near the house of parliament in Kiev February 24, 2014. (Baz Ratner/Reuters) #

Rue de Constantine (Fourth Arrondissement), 1866

Charles Marville

Beginning in the mid-1850s, Paris experienced a grand transformation. At the orders of Napoleon III, old, narrow streets made way for wide boulevards, thousands of gas lamps lit the streets at night, and a host of other public projects thoroughly modernized the city. Charles Marville, a photographer employed by the city, was charged with documenting those changes. “The random, organic city, the city built by successive generations on top of itself, was pushed back and de-emphasized. The standardized city we see today was replaced,” said Jeff Rosenheim, curator of “Charles Marville: Photographer of Paris,” now on display at the Metropolitan Museum of Art in New York.

Marville worked as an illustrator before taking up photography in the 1850s. As he developed his craft, Marville initially used the paper negative process for his photographs, which created a soft, romantic view. Later on, he adopted the glass negative process, which delivered a clearer, more precise view of the world and allowed him to record even the smallest details of a street scene. “Almost immediately he made technically masterful and visually rich images where you can tell the difference between the sidewalk and the facade of the building and the difference between iron work and glass. The paper negative blended those things, but the glass negative defined those differences,” Rosenheim said. “For someone interested in the changing shape of the city, that glass negative transformed the potential of the description of photography.”

Top of the Rue Champlain, View to the Right (Twentieth Arrondissement), 1877–78

Charles Marville

Banks of the Bièvre River at the Bottom of the Rue des Gobelins (Fifth Arrondissement), 1862

Charles Marville

Impasse de la Bouteille, Fom the Rue Montorgeuil (Second Arrondissement), 1865–68

Charles Marville

Urinal, Jennings System, Plateau de l’Ambigu, 1876

Charles Marville

Sky Study, Paris, 1856–57

Charles Marville

Marville understood that the photos were for the purposes of the city’s archives. As a result, Marville’s work varies stylistically from his contemporaries, who were working privately to make a mark in the word of fine arts. “He was well aware that his goal was very specific, which makes the photos attractive to people and contemporary artists. The idea of the archive is a powerful idea in the modern idiom. Many find this way of working appealing, the idea of the city itself as the author rather than the picture-maker—the stylelessness of it,” Rosenheim said.

Marville died largely uncelebrated after he stopped getting commissions. It took nearly a century before his archive was recognized for its historic and artistic value. Now it is widely known as an invaluable record of a city’s urbanization. “In most cases those buildings and those courtyards and those streets he photographed would be destroyed. We not only have pictures of them but we have pictures filled with information,” Rosenheim said.

“Charles Marville: Photographer of Paris” is on display at the Metropolitan Museum of Art through May 4.

Rue de la Bûcherie From the Cul de Sac Saint-Ambroise (Fifth Arrondissement), 1866–68

Charles Marville

Passage Saint-Guillaume Toward the Rue Richilieu (First Arrondissement), 1863–65

Charles Marville

Spire of Notre Dame, Viollet-le-Duc, Architect, 1859–60

Charles Marville

Cour Saint-Guillaume (Ninth Arrondissement), 1866–67

Charles Marville

Lamppost, Entrance to the École des Beaux-Arts, 1870

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Caravagio

Frans Wilhelm Odelmark (1849-1937)
A Courtyard in Alhambra
Oil On Canvas
-1889
88.5 x 130 cm
(34.84" x 51.18")
Private collection
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Momentos em torna da guerra

“As preparations were made for the Victory Parade in London, a huge military camp grew up in Kensington Gardens, with large numbers of Allied troops bivouacking there. The population of London swelled, with thousands of people coming into the capital on Friday’s overnight trains.

“The rush for places on the processional route was in full swing by six in the morning, and by eight o’clock it was almost impossible to cross Trafalgar Square.

“The crowds continued to pour in looking for vantage points on the route of the parade. The official programme (price 1 penny) sold in hundreds of thousands. Pubs near the main route ran dry very early on and had to close.”

1932: Construction of the U.S.S. Macon Airship

 

“USS Macon (ZRS-5) was an airship built and operated by the United States Navy for scouting. She served as a ”flying aircraft carrier”, launching Curtiss F9C Sparrowhawk biplane fighters. In service for less than two years, in 1935 Macon was damaged in a storm and lost off California’s Big Sur coast.”

- Wikipedia

“The RMS Empress of Britain was an ocean liner built between 1928 and 1931 by John Brown shipyard in Scotland and owned by Canadian Pacific Steamship Company, providing trans-Atlantic passenger service between Canada and Europe from 1931 until 1939.

“She was torpedoed on 28 October 1940 by U-32 and sank. She was the largest liner lost during the Second World War and the largest ship sunk by a U-boat.”

- Wikipedia

1940s: Colour photographs of occupied Paris

 Chris

 

 December 10, 2010

 

 1940-1949, War

 

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“These images were taken in Occupied Paris during WWII by André Zucca for Nazi German propaganda magazine Signal using rare Agfacolor film supplied by the Wehrmacht. Zucca was arrested after the 1944 liberation but never prosecuted. He worked until his death in 1976 under an assumed name”

When exhibited in Paris in 2008, Bertrand Delanoë, Mayor of Paris, ordered a notice to accompany the images stating that the pictures avoid the “reality of occupation and its tragic aspects”

- The Times

Paris em 1914

Paris em1914