A wryly updated "fête champêtre," showing black suburbanites relaxing in a Chicago park, had just set an auction high for any work by a living African-American artist.
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It's no accident that all of the plastic heads packed into the drawers in his studio depict black people: He has always painted only black figures, at leisure, in love, in extremis and in practically all the forms the genre offers (portraiture, history painting, allegory, fête champêtre, even seascape).
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A fête champêtre was often a very elegant form of entertainment involving on occasions whole orchestras hidden in trees, with guests sometimes in fancy dress. A fête champêtre is very similar to a fête galante, although this term is generally more confined to the idealistic fête champêtre as depicted in art. A painting dated to ca. 1509 currently called Le Concert champêtre or the Pastoral Concert was named Fête champêtre when it first became part of the Louvre collection.
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Louvre, Paris. A work which the museum now attributes to Titian, c. 1509.From the Louvre Museum Official Website It is often called the Fête Champêtre (meaning "Picnic") in older works. After that, things become more complicated, as exemplified by Vasari.
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Nicolas Lancret18th century courtiers in fancy dress, at a fête champêtre in a landscaped park Pastoral Concert A fête champêtre was a popular form of entertainment in the 18th century, taking the form of a garden party. This form of entertainment was particularly popular at the French court, where at Versailles areas of the park were landscaped with follies, pavilions and temples to accommodate such festivities. The term is derived from the French expression for a "pastoral festival" or "country feast" and in theory was a simple form of entertainment. In practice, especially in the 18th century, the simplicity of the event was often contrived.
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She obtained a BMus degree in 1949 and a Lauréat in music in 1955. In the summer of 1972, Jaque studied composition at the in Nice, France with Tony Aubin. She composed many teaching pieces for pianists and violinists. Rachel Cavalho recorded Jaque's Rustic Dance/Fête champêtre and Deux Inventions à deux voix.
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Lovers in a landscape Petrus Johannes van Reysschoot was a prolific painter who painted genre scenes, sporting scenes, landscapes, portraits and Christian religious subjects. He painted fête galantes and fête champêtres, which were inspired by the work of the French painter Jean-Antoine Watteau. These works typically featured figures in ball dress or masquerade costumes disporting themselves amorously in parkland settings. An example is the Fête champêtre with ladies seated by a tree and figures from the commedia dell'arte (Christie's London, South Kensington 30 October 2002 lot 86).Petrus Johannes van Reysschoot (Attributed to), A fête champêtre with ladies seated by a tree and figures from the commedia dell'arte at Christie’s Van Reysschoot was much in demand for his sporting conversation pieces.
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No other place in Haiti houses more religious pilgrimages sites than Léogâne, from Saint Dominique to Saints André, Antoine, Gérard, Philogène, and Saintes Thérèse and Rose. Léogâne is the host location for several annual cultural events which attract thousands of national and international visitors to the city each year, notably Rara and Fête Champêtre.
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Bonaventure de Bar, who was born in 1700 in Paris, painted after the manner of Watteau. Bar was a pupil of Claude Guy Halle. He became a member of the Academy at Paris in September 1728, or December 1727, and his reception painting, a 'Fête Champêtre,' is in the Louvre. He died on September 1, 1729.
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Malvina in George Macfarren's Malvina was seen on 28 January 1826; Edith Plantagenet in Knights of the Cross followed on 29 May. Gulnare in Dimond's Englishmen in India was seen on 27 January 1827. In the following season she was again at Covent Garden, where she played Blanch Mackay in Carron Side, or the Fête Champêtre, on 27 May 1828.
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Johnston, Page 272 In the 18th century, William Cunninghame of Enterkine held a Fête champêtre below the house on the holm pictured in the view from the Dalmore House tower. Robert Burns recorded the event in one of his songs; William was apparently trying to impress the local landowners to increase his chances of being elected as MP for Ayrshire.Love (2005), Page 36 Laigh Dalmore was home to Jeanie Shaw's uncle. A noted centenarian, Jeanie married John Gibson at the farm.
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Originally created for Claremont House, it represents the work of some of the best known landscape gardeners, such as Charles Bridgeman, Capability Brown, William Kent and Sir John Vanbrugh. Work on the gardens began around 1715 and by 1727 they were described as "the noblest of any in Europe". Within the grounds, overlooking the lake, is an unusual turfed amphitheatre, which used to form the centrepiece of an annual event called the Claremont Fête champêtre. Hundreds of visitors descended on Claremont, most in costume (each year has a different theme) to enjoy four days of music, theatre and fireworks.
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Magnolia × soulangeana was initially bred by French plantsman Étienne Soulange-Bodin (1774–1846), a retired cavalry officer in Napoleon's army, at his château de Fromont near Paris. He crossed Magnolia denudata with M. liliiflora in 1820, and was impressed with the resulting progeny's first precocious flowering in 1826.Soulange-Bodin, E. (1826), Notice sur une nouvelle espèce de magnolia in: Bulletin des Sciences Agricoles et Économique, Tome VI, (Paris): 57In Mémoires de la Société Linnéenne de Paris, vol. 5 (1827): lxxiii Thiébaut de Bernaud gives a reference (in note 2) to the first publication of the name and the description, in Relation de la fête champêtre du 24 mai 1826.
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In March 1928 Beecham included three Handel pieces in a concert with the New York Philharmonic Orchestra at Carnegie Hall: the overture to Teseo, the musette from Il pastor fido and a bourrée from Rodrigo. According to the musicologist Graham Melville-Mason, these numbers were the germ of Beecham's ballet score, The Gods Go a'Begging. The ballet was commissioned by Serge Diaghilev for his company, the Ballets Russes; it was choreographed by the young George Balanchine.Lucas, p. 181 Boris Kochno devised a simple scenario on the lines of an 18th-century fête champêtre, in which a shepherd comes across a nobleman's picnic, spurns the attentions of two ladies in the party and dances instead with a serving maid.
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Frieda, 211. Frieda suggests that this fête champêtre was a precursor of the Petit Trianon parties thrown by Marie Antoinette two centuries later. That evening, the court watched a comedy in the great ballroom, which was followed by a ball where 300 "beauties dressed in gold and silver cloth" performed a choreographed dance.Frieda, 211. At Fontainebleau, Catherine arranged entertainments that lasted for several days, including fancy-dress jousting and chivalrous events in allegorical settings. On Mardi Gras, the day after the banquet in the meadow, knights dressed as Greeks and Trojans fought over scantily clad damsels trapped by a giant and a dwarf in a tower on an enchanted island. The fighting climaxed with the tower losing its magical properties and bursting into flames.
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Fête champêtre with ladies seated by a tree and figures from the commedia dell'arte Petrus Johannes van Reysschoot or Pieter van ReysschootName variations: Peter John van Reysschoot, Pieter Jan van Reijsschoot, Pieter Van Reijsschoot (Ghent, 18 January 1702 - Ghent, 22 or 24 February 1772) was a Flemish painter and printmaker who is known for his genre scenes, hunting scenes, landscapes, portraits and Christian religious subjects. Petrus Johannes van Reysschoot at the Netherlands Institute for Art History He spent a large part of his career in England, which earned him the nickname den Engelschman ('the Englishman').Victor van der Haeghen, Reysschoot, Pierre-Jean Van in: Biographie nationale de Belgique, Volume 7, p. 232-234 In England he painted history and sporting (i.e.
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In the first edition of the Vite (1550), he attributed a Christ Carrying the Cross to Giorgione; in the second edition completed in 1568 he ascribed authorship, variously, to Giorgione in his biography, which was printed in 1565, and to Titian in his, printed in 1567. He had visited Venice in between these dates, and may have obtained different information.Charles Hope in David Jaffé (ed), Titian, The National Gallery Company/Yale, p.12, London 2003, The uncertainty in distinguishing between the painting of Giorgione and the young Titian is most apparent in the case of the Louvre's Pastoral Concert (or Fête champêtre), described in 2003 as "perhaps the most contentious problem of attribution in the whole of Italian Renaissance art",Charles Hope in David Jaffé (ed), Titian, The National Gallery Company/Yale, p.
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Few outsiders to the Los Lagos Region have experienced the effects of Latua at first hand, making Dr. Benkt Sparre's account of his self-experimentation with an infusion of Latua of particular interest. Dr. Sparre, later Curator at the Museum of Natural History of Stockholm, was, at the time of his self-experiment, Professor at the Universidad de Concepción de Chile and was living in an agricultural college in Centinela. On the evening of January 1, 1954, just before attending what he describes as a fête- champêtre, Sparre drank approximately 5cl of an infusion prepared ( apparently by himself and in the manner described by his informants ) from the green leaves and bark of Latua. The initial effects were slow to appear: after about 3 hours he noticed an extreme dryness of the mouth accompanied by a strong desire to spit, with spitting made difficult by the drying of his saliva to a froth at first whitish and later more solid ( viscous ).
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