検索キーワード： 著者 "Lucie" すべてのカテゴリー

Robin Lyons is back in her hometown of Birmingham and now a DCI with Force Homicide, working directly under Samir, the man who broke her heart almost 20 years ago. When a woman is found stabbed to death in a derelict factory and no one comes forward to identify the body, Robin and her team must not only hunt for the murderer, but also solve the mystery of who their victim might be.

An essay by Edward Lucie-Smith considers the Andy Warhol exhibition re-opening at Tate Modern on July 27. He puts forward a provocative view of the relevance of the art in an time of turbulent disruption. When the Warhol show returns to Tate Modern on July 27, almost the first thing you’ll meet if you go to see it will be a large painting, on two paired canvases, entitled Marilyn Diptych. It features repeated images the film star Marilyn Monroe.

Voilà deux ans que Maëva s'est confrontée aux démons de son passé. Elle a enfin obtenu les réponses qu'elle croyait indispensables à son équilibre, mais à quel prix ? En pensant trouver la paix, elle a déclenché la guerre et de nouveaux problèmes se profilent à l'horizon.

A study of Aubrey Beardsley's work exhibited at Tate Britain until May 25, 2020. The author considers the darkly vigorous imagery of the short lived genius, his graphic work for the notorious Yellow Book, and sublimely erotic illustrations for Lysistrata by Aristophane and Salome by Oscar Wilde, which frank imagery even shocked the author.

Maëva s'envole pour Los Angeles où elle a décroché un job de nounou le temps d'un été. Mais ce n'est pas l'attrait du voyage ou un hypothétique amour pour les enfants qui la motive. Non, Maëva tente un coup de poker qui risque bien de la détruire... ou de la sauver. Abandonnée par son père à l'âge de 11 ans au lendemain des obsèques de sa mère, elle n'a jamais renoncé à retrouver sa trace. Et cette photo accompagnant l'annonce lui révèle la cruelle vérité : son père a reconstruit une famille loin d'elle, mais surtout sans elle.

Josephine’s life takes a new turn when her husband, Robert - Bobby among close friends - is elected minister of finance. She soon realizes that the questionable relationships he has are becoming more frequent and that his values and principles are losing ground. To add to that, Josephine makes a discovery that scandalizes her: Her youngest son smokes pot! First shocked, she then tries it herself and gets great pleasure out of it.

Prázdniny v lesní chaloupce tety Pravoslavy je to nejlepší, co mohlo Honzu Melese potkat. Teta má sice podivný účes a špatně vidí, ale zato si dává k snídani žužu a vůbec se netrápí pravopisem. A co víc, není jediná, s kým je v lese zábava! Jednoho dne se Honzík proboří nohou do dutiny skryté pod pařezem a objeví tam podivuhodný svět a kamarády, které by ve městě těžko hledal. A to ještě netuší, že to největší překvapení ho teprve čeká.

Following the accidental drowning of her sister, 16-year-old Nif and her family move to a small village on the Welsh borders to escape their grief. But rural seclusion doesn't bring any relief. As her family unravels, Nif begins to put together her own form of witchcraft, collecting talismans from the sun-starved land. That is, until she meets Mally, a teen boy who takes a keen interest in her and has his own secret rites to divulge.

Here can be no doubt that the Chinese exhibition at the Royal Academy in London is more than a merely artistic event. It represents a new stage in the burgeoning relationship between contemporary China and the West. The opening, originally scheduled for January, was brought forward to coincide with a State Visit to Britain by the Chinese president, Hu Jintao. The "Three Emperors" of the title were the second, third, and fourth rulers of the Qing Dynasty, and their period in power spanned nearly a century-and-a-half, from the mid-17th century until the end of the 18th.

Forgotten Empire, the new exhibition in London devoted to the great realm that Alexander the Great destroyed, is an openly political occasion, designed to stress links in the present as well as to revive interest in a part of the past that has more or less sunk into oblivion. It stresses the fact that, despite the tensions that now exist between the Islamic Republic of Iran and Western Europe, a degree of cultural cooperation is still possible.

It is a historical peculiarity of landscape painting that it begins with the artificial, and only after that proceeds towards the natural. For example, landscape paintings, and especially fanciful Nilotic panoramas, were one of the genres produced by artists in Pompeii. When, with the Renaissance, landscape painting once again started to establish itself after a long interval, the representations of the surrounding world that artists began to produce as a separate and independent genre, rather than simply as a background for human figures, were usually more fanciful than real.

It is a historical peculiarity of landscape painting that it begins with the artificial, and only after that proceeds towards the natural. For example, landscape paintings, and especially fanciful Nilotic panoramas, were one of the genres produced by artists in Pompeii. When, with the Renaissance, landscape painting once again started to establish itself after a long interval, the representations of the surrounding world that artists began to produce as a separate and independent genre, rather than simply as a background for human figures, were usually more fanciful than real.

His sculptures have never been afraid of being seen. What I mean by this apparently paradoxical statement is that Pomodoro has never needed the shelter of the museum - defined by me here as "a space set apart for art" - in order to make his point as an artist. His sculptures have never been afraid of being seen. What I mean by this apparently paradoxical statement is that Pomodoro has never needed the shelter of the museum - defined by me here as "a space set apart for art" - in order to make his point as an artist.

The Tate Britain’s "display", Seeing Africa - it was hardly big enough to be called a proper exhibition - raised more questions than it answered. Consisting of paintings and sculptures drawn from a single private collection, it aimed to explore the subject of Africanisme through images of African people and African landscape made by European painters who traveled to the Dark Continent at the height of the colonial epoch. That is to say between the 1870s and the 1950s.

One of the commonest and most loosely used terms in any discussion of contemporary art is the word avant-garde. Indeed it often seems to be taken for granted that valid contemporary art and avant-garde art are synonymous.

Eco-art exhibitions are part of the trend of our times. Radical Nature, the show at the Barbican Art Gallery in London, demonstrated some of the possibilities and paradoxes of enterprises of this sort. Basically what the organizers had to do is to move the outside indoors. This set them both practical and, in their own terms at least, moral problems.

Pablo Gargallo is often described as "Cubist" sculptor, partly thanks to his signature technique of hollowing out or reversing volumes, and partly due to his links with Picasso, one of the two undoubted inventors of cubism. In the strict sense, the idea of cubist sculpture is an oxymoron. Despite its undoubted early links to the African tribal sculptures that partly inspired Picasso’s transition to a new and radical style, cubism was essentially an attempt to find a better and more complete way of representing forms on a flat surface.

The big exhibition of Matisse's Cut-Outs at Tate Modern in London was, certainly on the face of it, everything that a major museum of modern and contemporary art should be doing. It was beautifully presented, very professionally curated, had an extremely thorough, excellently illustrated catalogue, and was greeted with ecstatic reviews.

'AIDS art' is essentially an American invention. It has now manifested itself in a large number of different locations, but is almost invariably based on a model of artistic activity that evolved in the United States - one that was a response to the impact made by the epidemic on sections of American society.

The artist Ingres was a supreme bourgeois who also succeeded in being one of the supreme rebels of 19th-century art. Like Caravaggio, his opposite in most respects, he is historically recalcitrant.