Vietnam or Thailand ? Vote for the TOP Country of the Week !
Updated: June 22, 2025
* Even the oldest Paris night refuges, which are the outcome of private philanthropy L'Oeuvre de l'Hospitalite de Nuit have only been in existence some fourteen or fifteen years.
All the unknown is as something wonderful. Sarasate. A famous Spanish violinist. Sleuth hound. Detective. The Sholto murder and the Agra treasure. This refers to another Sherlock Holmes story, The Sign of Four, which you may enjoy reading. Napoleons. French gold coins worth 20 francs each. Partie carrée. A party of four. L'homme c'est rien l'oeuvre c'est tout.
Dans toute l'oeuvre de Ruysdael je ne trouve que deux bonnes planches, et encore si elles etaient publiees dans l'ouvrage de la Societe Francaise, je les trouverais peut-etre mauvaises. Dans Salvator il y en a egalement deux ou trois bonnes. L'oeuvre de Claude est belle en somme, avec plusieurs mauvaises choses toutefois.
I suppose nobody now reads Zola, but we read him in the Nineties and I have always been haunted by his description in L'Oeuvre of the last reunion of the friends who, in their eager youth, had meant to conquer Paris and who used to meet to plan their campaign over a dinner as meagre as their income and gay as their hopes.
It seems well established to-day, however, that Chambord was the work neither of Primaticcio, of Vignola, nor of Il Rosso, all of whom have left some trace of their sojourn in France; but of an obscure yet very complete genius, Pierre Nepveu, known as Pierre Trinqueau, who is designated in the papers which preserve in some degree the history of the origin of the edifice, as the maistre de l'oeuvre de maconnerie.
"Une âpreté primitive, où les larmes se cachent comme une faiblesse, communique a l'oeuvre un pathétique si poignant que le mystère de la mort s'étend jusqu'
Cézanne was a great character. It is a mistake to suppose that great characters are always agreeable ones. Few people, I imagine, found Cézanne agreeable; yet painters, one would suppose, were eager to meet him that they might hear what he had to say about painting. Cézanne's ideas on painting are not like ideas at all: they are like sensations; they have the force of sensations. They seem to give the sense of what was in his mind by a method more direct than the ordinary intellectual one. His meaning reaches us, not in a series of pellets, but in a block. These sayings of his remind one oddly of his art; and some of his comments on life are hardly less forcible and to the point. This, for instance, provoked by Zola's "L'Oeuvre," is something more than a professional opinion: On ne peut pas exiger d'un homme qui ne sait pas, qu'il dise des choses raisonnables sur l'art de peindre; mais, N. de D et Cézanne se mit
And so there was a continual struggle, in which the Congregation did all it could to favour the missionaries of Italy and her allies. It had always been jealous of its French rival, "L'Oeuvre de la Propagation de la Foi," installed at Lyons, which is as wealthy in money as itself, and richer in men of energy and courage.
Every-day humanity described in every-day speech was Zola's ideal. That he more than once achieved this ideal is not to be denied. L'Assommoir remains his masterpiece, while Germinal and L'Oeuvre will not be soon forgotten.
Of Nana, 1880, three hundred thousand copies were quickly sold. Pot-Bouille portrayed the lower bourgeoisie and their servants. Au Bonheur des Dames treated of the great retail shops. La Joie de Vivre came in 1884. Germinal told of mining and the misery of the proletariat. L'Oeuvre pictured the life of artists and authors. La Terre portrayed, with startling realism, the lowest peasant life.
Word Of The Day
Others Looking