ancien-art

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The Bayeux Tapestry (French: Tapisserie de Bayeux) is an embroidered cloth—not an actual tapestry, which is instead woven—nearly 70 metres (230 ft) long, which depicts the events leading up to the Norman conquest of England concerning William, Duke of Normandy, and Harold, Earl of Wessex, later King of England, and culminating in the Battle of Hastings.

The tapestry consists of some fifty scenes made in England—not Bayeux—in the 1070s.

1. Scene 57: the death of King Harold at the Battle of Hastings.
2. Scene 32 : men staring at Halley’s Comet.
3. Scene 19: siege of Dinan. The soldiers of William, Duke of Normandy attack the motte-and-bailey castle of Dinan. Conan II, Duke of Brittany surrenders and gives the keys to Dinan via a lance.

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Défilé Haute couture de

Yumi Katsura 桂由美 (1932 - ).

Diplômée du département mode de l'université des femmes Kyoritsu puis étudie la haute couture à l'École de la chambre syndicale de la couture parisienne. À cette occasion, elle partage l’univers de ceux qui deviendront de grands noms de la haute couture française tels que Pierre Cardin, Yves Saint Laurent, Pierre Balmain et Jean Louis Scherrer.
En 1964, elle ouvre sa première boutique dédiée aux vêtements nuptiaux à Tokyo et organise le premier défilé consacré au mariage jamais organisé au Japon. Elle publie aussi son premier magazine nuptial, Le livre de la mariée.Elle étend ses activités en 1981 aux États-Unis, en Angleterre et en France. Yumi Katsura a revisité le port du kimono en y incluant un zeste de modernité et en utilisant des tissus originaux.
Elle a su combiner traditions, art ancien japonais avec les techniques et savoirs-faire de la couture parisienne. Elle modernise le port du kimono des femmes japonaises en le sortant des codes traditionnels d’utilisation. Ses créations sont considérées comme des chefs-d'œuvre novateurs tout en faisant revivre des techniques traditionnelles ancestrales telles que le yūzen 友禅染, une technique de teinture sur soie utilisée traditionnellement pour les créations de kimonos.

John William Waterhouse (1849-1917)
“A Sick Child brought into the Temple of Aesculapius (1877)
Oil on canvas
Pre-Raphaelite
Currently in a private collection

Aesculapius was the god of medicine in ancient Greek religion and mythology. Asclepius represents the healing aspect of the medical arts; his daughters are Hygieia ("Hygiene”, the goddess/personification of health, cleanliness, and sanitation), Iaso (the goddess of recuperation from illness), Aceso (the goddess of the healing process), Aglæa/Ægle (the goddess of beauty, splendor, glory, magnificence, and adornment), and Panacea (the goddess of universal remedy). He was one of Apollo’s sons, sharing with Apollo the epithet Paean (“the Healer”). The rod of Asclepius, a snake-entwined staff, remains a symbol of medicine today.

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French Queen Marie-Antoinette “en grand habit de cour” by Jean-Baptiste Gautier Dagoty, 1775. Versailles. These are a few variants of the same painting in tapestry, cameo, engraving and miniature painting and details. A favorite of Harriett Pullman Carolan.

Carolands.org

Portrait of a young lady (c.1800-1805). Louis-André-Gabriel Bouchet (attributed to) (French, 1759-1842). Oil on canvas. Fondation Napoléon, Paris.

The garments worn by fashionable young women following the Revolution were famously dominated by muslin. In imitation of the ancient Greeks and Romans whose simplicity and elegance of dress was synonymous with democracy and the Roman Republic, post-Revolutionary fashion set itself in opposition to the opulent artificiality of the Ancien Régime.