At the crossroads of the Neues Sehen (New Vision) and Neue Sachlichkeit (New Objectivity) movements, some of the better photographic works appear experimental and classical at the same time, placing him within the lofty history of European art photography inhabited by such artists as Florence Henri, August Sander, Raoul Ubac, and László Moholy-Nagy.
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Other names are formed from the words adret (sunny side of a mountain) and ubac (shady side): thus there are the Adret and the Ubac of Grou de Ban, the hamlet of Adrech at the foot of the Grou, and the Ubac farm at the foot of the Pié d'Enroux. The Combe de Vaux is a pleonastic doublet to designate a valley. The work of hydraulic erosion on limestone has created avens (sinkholes) including at least one with a specific name: the Aven de Goutin. Amplified by deforestation, the same erosion moves large quantities of stones from the mountain slopes and deposits them on the plains, sometimes covering arable land: this is the origin of the name of Gravières south of the village.
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He wrote introductions to the work of many French artists (Bertholle, Chastel, Estève, Gischia, Lapicque, Pignon, Prassinos, Singier, Ubac) and essays on the philosopher Gaston Bachelard and André Malraux. He died, aged 93, in Paris.
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During that time he also met with other artists, namely Michel Leiris, Raoul Ubac, Bram van Velde, Pierre Soulages and Samuel Beckett. He lives in Lyon. "Lambeaux" is currently on the syllabus for the French Baccalaureate.
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In 1973, he founded the literary magazine Argile, at Maeght, with the moral support of René Char: its twenty-four issues testified to the complicity between poetry and painting, while granting a new space to translated foreign poetry. He also dedicated a monograph to Chillida, and to Palazuelo, and wrote prefaces for many exhibitions catalogs of painters such as Raoul Ubac, Vieira da Silva, Arpad Szenes, Castro, Fermín Aguayo, Giorgio Morandi, Josef Sima, Bacon, Giacometti, Braque, Le Brocquy, Chagall, etc. (Most of these texts were published again in volumes, see infra). In 1968, he published his first book of poems, La Saison dévastée (The Season of Devastation), quickly followed by other books made with artists such as Arpad Szenes, Jean Bazaine and Raoul Ubac.
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Redshanks inhabits higher elevations of chaparral just above and below the snowline in the Peninsular Ranges and does best on north-facing "ubac" slopes at around 4,000 feet of elevation. Associates at its lower range include California Scrub Oak and Hoary Ceanothus, and mingles with manzanitas at its upper range. Like its relative, chamise, it is capable of resprouting after a fire.
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On August 4, 1995, he was appointed Ombudsman by then President Fidel V. Ramos. He served until he retired, or "finish(ed) my term" as he stated it, in August 2002.Ubac, Michael Lim (3 August 2002). Desierto going but not 'gently into that good night', Philippine Daily Inquirer, Retrieved December 8, 2010 He was criticized by some for not aggressively investigating and prosecuting cases of corruption.
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Maïdou testified at Bokassa's trial in December 1986, stating he wanted to stage a coup even earlier but was unable due to the extensive espionage network. On 1 March 1988, Maïdou became president of the Union bancaire en Afrique centrale (UBAC). President Patassé named him deputy coordinator of the Dialogue national in November 2002. The Dialogue national was a national reconciliation conference, convened to reduce tensions in the country.
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After this move, he ceased his figurative painting, finding expression in his new technique. Joan Miró saw one of Fiedler's paintings in a gallery and was impressed. He sought out the artist, and so met Fiedler; they became close friends, and Miró presented him to the prominent gallerist and art dealer Aimé Maeght. Through Maeght, he became close with Giacometti, Braque, César, Ubac, Tal-Coat, Miró, Chagall, and many other artists of this era.
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Boumeester's first solo exhibition in France took place at the Galerie Bonaparte. Her work was often exhibited in group shows alongside artists like Hans Hartung, Kandinsky, and Viera da Silva. Boumeester and Goetz relocated to Nice at the start of World War II, where they were both active in the Resistance, helping create forged papers. The couple's close association with the artist community continued, including collaboration with Raoul Ubac and Christian Dotremont.
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Raoul Ubac (31 August 1910, Cologne – 24 March 1985, Dieudonne, Oise) was a French painter, sculptor, photographer and engraver. He had various and irregular artistic training and travelled in Europe between 1928 and 1934. He worked mostly on photography between 1934 and 1942, embraced Surrealism in Paris and took photos for the magazine Minotaure. In 1937, he made Tete du Mannequin, a photograph taken of a mannequin (made by André Masson) consisting of everyday objects.
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Minotaure was the first to reproduce Picasso's sculptures too. Mexican print maker José Guadalupe Posada was featured in one issue. Many important photographers contributed regularly or were featured in the journal including Bill Brandt, Brassai, Dora Maar, Man Ray, and Raoul Ubac. Other diverse and unexpected figures such as Le Corbusier, André Derain, and Ambroise Vollard all contributed articles at one time or another, as did composers Kurt Weill and Igor Markevitch.
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In 1939, Goetz, Christian Dotremont, and Raoul Ubac created La Main à Plume, the first surrealist publication under the Occupation. The group made false documents for a Czech poet who, upon being caught by the German authorities, told them of the surrealists who would be meeting in a few days. The group was arrested, although Goetz was not among them. However, Ubec was arrested, and the authorities found a note from Goetz detailing instructions on forging identity cards.
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In January 1937, Goetz held his first exhibition at the Galerie Bonaparte with his wife. In 1945, after returning to Paris from several years working with the French Resistance forging documents, Goetz worked with René Guilly on a national radio program called The World of Paris. Ubac covered poetry, and Goetz covered painting. Goetz visited a new studio each week and, through this, met with artists such as Pablo Picasso, Constantin Brâncuși, Wassily Kandinsky, Julio González, Francis Picabia, and Max Ernst.
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The magazine XX Siecle, edited by Gualtieri di San Lazzaro, published a long article about Cavellini written by professor Argan. In February 1954 Cavellini traveled to Paris where he met San Lazzaro, acquired paintings by Jean René Bazaine and Raoul Ubac and met Joan Miró and gallerist Aimé Maeght. With the help of San Lazzaro he bought a painting by Alberto Magnelli and 16 drawings by Jean Fautrier. Then he visited the studios of Gerard Ernest Schneider, Jean-Michel Atlan, Jean Dubuffet, Victor Brauner, Léon Gischia and André-Pojet.
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Our knowledge of the exhibition is mainly conveyed by numerous photographs, such as works by Raoul Ubac, Josef Breitenbach, Robert Valencay, Man Ray, Denise Bellon and Thérèse Le Prat, who generally not only dealt with surrealistic mannequins in single pictures but in entire sequences.[15] In 1966 Man Ray documented the exhibition in a book. It was published as a limited edition in Paris by Jean Petithory with the title, "Résurrection des mannequins in Paris by Jean Petithory". Apart from an explanatory essay, the book contains fifteen silver-gelatine photograph prints.
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The exhibition includes photographs of American artist Man Ray by contemporaries such as Charles Sheeler, Walker Evans, Clara Sipprell, Cecil Beaton and Raoul Ubac. Habsburg Treasures: Renaissance Tapestries from the Kunsthistorisches Museum, Vienna was another past exhibition. The eight tapestries in the exhibition come from two different series: six from the Brussels atelier of Frans Geubels and two from the bequest of French King Francis I (1708–1765). The exhibition toured at the Norton Museum of Art, the Columbia Museum of Art and the John and Mable Ringling Museum of Art.
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He enrolled in the School of Painting and Mosaics, also in Ravenna, graduating in 1951. From 1951 to 1955, Guardigli worked with the Gruppo mosaicisti of Ravenna and restored many mosaics. Also in 1951, at the end of November, he arrived in Paris to teach at the Ecole d'Art Italien (School of Italian Art) as an assistant to the painter Gino Severini, founder and director of the school. Together with another mosaicist, his fellow Ravennan Lino Melano, Guardigli executed mosaic works for artists including Fernand Léger, Georges Braque, Marc Chagall, Jean Bazaine, and Raoul Ubac.
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His paintings by now had become non-figurative. Along with the artists of the new School of Paris, the Galerie de France (from 1943 to 1965), the Galerie Maeght (from 1954 to 1974), Benador (from 1970 to 1980), the HM gallery, the Clivage gallery and the Berthet-Aittouarès gallery all regularly exhibited his paintings. In 1956 six of his paintings were shown at the Venice Biennale with those of Jacques Villon and Bernard Buffet. In 1963 he collaborated alongside Joan Miró and Ubac in the creation of the Maeght foundation.
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In the same year he briefly contributed to a few Romanian Surrealist revues. In 1930, he moved to France and, thanks to a fake ID, changed his name from Herold Blumer (his birth name) to Jacques Hérold. He settled in Paris, where he maintained a close friendship with Constantin Brâncuși, for whom he also worked as a chef or even secretary. He also met Surrealist painter Yves Tanguy, thanks to whom Hérold was allowed in Breton's group, participating at games and contributing with paintings that were held in high esteem by the likes of Raoul Ubac or Andre Breton himself.
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He insisted on the lawful process of Charter Change only according to the process set forth in the Constitution. He opposed the method of Constituent Assembly or "con-ass" initiated by President Arroyo and House Speaker Jose de Venecia, Jr., which was possible in the 1935 Constitution but unlawful in the current Constitution,Massage’ diplomacy: House softens position on Con-Ass By Michael Lim Ubac, Juliet Labog-Javellana Inquirer, May 19, 2006 as well as the dubious Sigaw ng Bayan People's Initiative and was one of the triumphant parties in the case of Lambino and Aumentado vs. COMELEC, G.R. No. 174153, October 25, 2006.
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After World War I, avant-garde photographers became more experimental in their portrayal of nudity, using reflective distortions and printing techniques to create abstractions or depicting real life rather than classical allusions. Beginning in the late 1920s Man Ray experimented with the Sabattier, or solarization process, a technique that won him critical esteem, especially from the Surrealists. Many of the central figures of Surrealism—Breton, Magritte, Dalí—followed his example in using photography in addition to other media. Other photographers, such as Maurice Tabard and Raoul Ubac, were directly inspired by Man Ray’s techniques, while photographers such as André Kertész and Brassaï were indirectly influenced by his innovative approach to the medium.
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In 1953 Oriach was shown at the Galerie Breteau; not long afterwards he became involved in the New School of Paris, showing both at the Salon des Réalités Nouvelles ainsi and the Salon de Mai. Xavier Oriach en 2009 During the 1950s the Francoist State attempted to entice various artists in exile to return to Spain; notwithstanding the fact that most of the artists in question were ideologically opposed to the state it was hoped that such liberalization would help soften the government's image abroad. Nevertheless, Oriach refused to return; when he did leave Paris in 1979 it was only to establish himself at Jouy-sur-Eure (Normandy), where he had gone regularly since his arrival in France. There he turned his studio into a place for meetings and debates, creating a center for contemporary art where he showed the work of friends such as Pierre Tal Coat, Raoul Ubac, and Tàpies; he also founded a biennial for sculpture.
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In June 2010, at the FCI World Dog Show in Herning, Denmark, the first FCI World Championships in Heelwork To Music and Freestyle were held. Team Denmark (Emmy Marie Simonsen with Border Collie Bridacre Wisp, Anja Christiansen with Border Collie Fæhunden's Queeny Lass and Helle Larssen with Border Collie Littlethorn Avensis) were the Team Winners of the Heelwork To Music Competition and Team Czech Republic (Vanda Gregorova with Australian Shepherd All That Brandy Gentle Mate, Alena Smolikova with Border Collie Dapper Dame Black Chevers and Lucie Smolikova with Border Collie A White Head Tender Flash) were the Team Winners of the Freestyle Competition. In the individual Championships, the first FCI Heelwork To Music Champions of the World were Kath Hardman with her 5 year old Border Collie Stillmoor Lady in Red and the first FCI Freestyle Champions of the World were Thierry Thomas with his Border Collie Ubac. The three judges were Head Judge Karen Sykes (England), Marleen van Hees (Belgium) and Carina Enevoldsen (Denmark).
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The magazine covered only the artists exhibited by Maeght gallery either through personal or group exhibitions. Among them are: Henri-Georges Adam, Pierre Alechinsky, Bacon, Jean Bazaine, Georges Braque, Pol Bury, Alexander Calder, Marc Chagall, Roger Chastel, Eduardo Chillida, Alberto Giacometti, Vassily Kandinsky, Ellsworth Kelly, Fernand Léger, Lindner, Henri Matisse, Joan Miró, Jacques Monory, Pablo Palazuelo, Paul Rebeyrolle, Jean-Paul Riopelle, Saul Steinberg, Pierre Tal- Coat, Antoni Tapies, Raoul Ubac, Bram van Velde. Among the authors publishing essays and poems are (in alphabetical order): Guillaume Apollinaire, Marcel Arland, , Yves Bonnefoy, André du Bouchet, André Breton, Joan Brossa, Jean Cassou, René Char, , Jacques Dupin, Georges Duthuit, , Claude Esteban, Charles Estienne, , , Jean Grenier, Marcel Jouhandeau, , Michel Leiris, Georges Limbour, , Jean Paulhan, Gaëtan Picon, Francis Ponge, Jacques Prévert, Raymond Queneau, Pierre Reverdy, Michel Seuphor, Jean Tardieu, Lionello Venturi, Pierre Volboudt, Christian Zervos. Following the death of Aimé Maeght in September 1981, the Derrière le Miroir n°250 was designed as a tribute to the work of Aimé Maeght and his wife Marguerite (who had died before him in 1977).
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Cover by René Magritte: Harold Muller, It's a Bird; André Breton, Têtes d'orage [Storm Heads], Portraits de Lichtenberg, Grabbe, Brisset, Roussel, Kafka, Forneret; Xavier Forneret, Le diamant de l'herbe [The diamond of the grass] Illustrations de Wolfgang Paalen; Franz Kafka, Odradek, Illustrations de Max Ernst; J.-G. Posada, Bois [Wood]; Benjamin Péret, La nature dévore le progrés et le dépasse [Nature Devours the Progress and Exceeds It]; Pierre Mabille, La conscience lumineuse [The Luminous Conscience], Reproductions de Rob. Flud et Man Ray; Jean Lévy, Collages, Commentaires de [Comments by] Gilbert Lély; Saisons, École francaise du XVII siécle [Seasons, French School of XVII Century]; Raoul Ubac, Le triomphe de la stérilité [The Triumph of Sterility]; Man Ray, Aurore des objets [Aurora of Objects]; Maurice Heine, Prodiges; Paul Eluard, Premiéres vues anciennes, Reproductions d'oeuvres d' [First Old Sights, Reproductions of works by]; André Berton, G. de Chirico, Max Ernst, René Magritte, Joan Miro, Pablo Picasso, Man Ray Marcel Duchamp, Rendez-vous du 6 février 1916 [Appointment of February 6, 1916]; Le Surréalisme autour du monde. Reproduction du documents surréalistes [Surrealism Around the World.
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