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E drept: românii din Occident au preferat sa'si boteze copiii la bisericile grecesti, decat la cele rusesti; dar mie mi se pare ca, pa langa argumentul istoric (comunismul si alte asupriri de provenienta ruseasca) e si cel liturgic - biserici grecesti, cu ambianta lor si cu slujbele lor, sunt mai apropiate de cele romanesti, care sunt mai mult de infuienta bizantina (plus influienta epocii fanariote, uitata ca perioada de asuprire, dar si cu pozitive influiente la nivel bisericesc).

La Nice parintele Patriciu e de vreun an de zile:

Paroisse Saints-Constantin-et-Hélène (21 mai)
Eglise: Maison du Séminaire
29, Bd. Franck Pilatte, Nice

Pr. Patriciu Dorin VLAICU
8, rue de Dijon, 06000 Nice
tel: 0033 (0)4 93 16 86 82; mobil: 0033 (0)6 11 17 44 73
email: pvlaicu@wanadoo.fr ; pvlaicu@yahoo.com
#4792 (raspuns la: #4774) comenteaza . modifica . semnaleaza adminului
L'ARGENT - de SB_one la: 29/11/2003 14:48:58
(la: Poezii !!)
L'ARGENT

Il peut acheter une maison
Mais pas un foyer

Il peut acheter un lit
Mais pas le sommeil

Il peut acheter une horloge
Mais pas le temps

Il peut acheter un livre
Mais pas la connaissance

Il peut acheter une position
Mais pas le respect

Il peut payer le médecin
Mais pas la santé.

Il peut acheter du sang
Mais pas la vie

Il peut acheter du sexe
Mais pas de l'amour
#5524 (raspuns la: #5297) comenteaza . modifica . semnaleaza adminului
Henri Cartier-Bresson (1908 – 2004), fotograf - OMAGIU - de ovidiusimina la: 11/08/2004 10:54:33
(la: O conversatie cu DINU LAZAR, fotograf)
« Au fond, ce n’est pas la photo en soi qui
m’interesse. Ce qui je veux c’est de capter une
fraction de seconde du réel »

Henri Cartier-Bresson (1908 – 2004)
===================================================

Kingdoms of the world in a moment

Aug 5th 2004, From The Economist print edition
http://www.economist.com/cities/displaystory.cfm?story_id=3071607

Henri Cartier-Bresson, whose photographs defined the
20th century, died on August 3rd at the age of 95

ALTHOUGH his name was familiar almost everywhere, far
more so indeed than his work, Henri Cartier-Bresson
himself was not a familiar sight. With his alert blue
eyes and a coloured handkerchief knotted round his
neck, he would wander the streets near his home on
Paris's rue de Rivoli and seldom be recognised. One of
the greatest photographers of the 20th century was
himself rarely photographed.

In his lifetime, he travelled to all corners of the
earth, capturing images of some of the most
extraordinary moments of 20th-century history—the
Spanish civil war, the liberation of Paris after the
second world war and the funeral of Mahatma Gandhi. At
the same time he framed and preserved less famous
moments, elevating them with his genius so that they
somehow seemed to capture the essence of life itself.

His unequalled ability to seize a millisecond in time
was uncanny. In his book “The Decisive Moment”,
published in 1952, he wrote: “It is the simultaneous
recognition, in a fraction of a second, of the
significance of an event as well as a precise
organisation of forms, which give that event its
proper expression.” He was never very interested in
the technology of photography, in the effects that
could be obtained during developing and editing in a
dark room. It was all about the thrill of the chase,
the chance to seize a moment.

The man who first inspired Mr Cartier-Bresson was a
photographer called Martin Munkacsi, whose picture of
naked African boys running into Lake Tanganyika in
1931 persuaded him to take photography seriously. “I
couldn't believe that such a thing could be caught on
camera,” he said, “so I grabbed my Leica and went out
into the street.”

Between 1932 and 1935, he lived rough in Italy, Mexico
and Spain where he took some of his most memorable
images. Back in Paris he worked with Jean Renoir, a
film director, and ended up playing the unlikely role
of an English servant in the director's masterpiece,
“La Règle du Jeu”. He was a prisoner-of-war for three
years, and after the war was one of the founders of
the Magnum agency, a trail-blazing photographers'
co-operative. In 1948 he went on the road again,
mostly to India and China (in time for the fall of
Chiang Kai-shek), in an age when the images of
photojournalists like him filled the pages of picture
magazines that were, in the pre-television era,
hungrily viewed by millions.

Unassuming genius
For the last quarter of a century, Mr Cartier-Bresson
eschewed photography, taking only the occasional
snapshot of friends and family, and turning his
attention to drawing. (He trained originally as a
painter, his early work influenced by his friend, the
surrealist artist Max Ernst.) He maintained that he
scarcely wanted to discuss photography any more. “It's
like when you're divorced”, he said, “and people keep
asking about your former wife. There's something
indecent about it.”

He settled into a quiet life in France—in Paris and in
the small house that he owned for some 30 years in the
Lubéron, a region in the south of the country, to the
east of Avignon. And there he died on Tuesday August
3rd, just less than three weeks away from his 96th
birthday.

Mr Cartier-Bresson always said that to be a great
photographer you had to be unintrusive. “For me,
photography is very much a physical pleasure—it's like
hunting, except that we don't kill.” At the height of
his career he would stalk his subjects, and his quarry
would often be unaware that it had been captured on
film. His desire to remain out of the limelight stayed
with him to the end, including his wish to hold back
the world's photographers from the funeral of one of
the greatest of them.

His funeral was a private affair attended by some 50
family and close friends. Only after it had ended did
the French Ministry of Culture make an official
announcement of his death. And the next day, August
5th, many of his most famous images were splashed
across the front pages of newspapers the world over: a
woman slapping an informer she recognises at a
deportation camp in Dessau in 1945; Muslim women in
Srinagar, Kashmir, praying to the sun as it rises over
the distant Himalayas; and a French family picnicking
by the River Marne in 1938, almost a last pre-war
moment of stillness.

Of Mr Cartier-Bresson's death, President Jacques
Chirac said: “With him, France loses a genius
photographer, a true master, and one of the most
gifted artists of his generation.” But it is not only
France's loss. Mr Cartier-Bresson's fame, which grew
despite his efforts to avoid it, reminds a much wider
world of its persistent admiration for unassuming
genius, and of the dwindling stock of targets for that
admiration.

================================================

La famille d'Henri Cartier-Bresson, la Fondation Henri
Cartier-Bresson, les photographes et l'équipe de
Magnum Photos ont la tristesse de vous annoncer le
décès d'Henri Cartier-Bresson le 3 Août à 9h30 dans sa
maison du Luberon.Les obsèques ont eu lieu dans la
plus grande intimité. Un hommage sera organisé à sa
mémoire début septembre.
================================================

Mai multe informatii referitoare la persoanlitatea si opera lui Henri Cartier-Bresson puteti gasi pe site-ul MAGNUM Agency, fondata de HCB. Adresa este http://www.magnumphotos.com/c/ , asa cum s-a mai spus pe acest forum de discutii. Intr-adevar, acolo putem vedea cu totii niste fotografii. Adevarate...

din Bucuresti, un biet ucenic intr-ale fotografiei, Ovidiu SIMINA
11/08/2004
La noi sunt codri verzi de brad... - de Dinu Lazar la: 07/10/2004 05:26:33
(la: O conversatie cu DINU LAZAR, fotograf)
...dar ii taiem si pe aia.
Fotografi care sa faca asa un seminar, nu sunt.
Poate in viitor...cind ne-om integra, care este.

> A Panel Discussion Sponsored by:
> The American Society of Media Photographers (ASMP) and Editorial
> Photographers (EP)
>
>  Supported by Adobe
>
> Friday, October 22, 2004
>  Javits Center/PhotoPlus Expo
>  3:00 PM to 5:00 PM
>  Seminar Rms. 1E04 & 05
>  Free
>
> Join an extraordinary panel of photojournalists in a discussion of the
> impact of digital technology on the editorial market: Barbara Alper,
> Alan Chin, Shawn G. Henry, and Brad Trent moderated by Peter Howe. The
> focus of the discussion will center on how to successfully integrate
> digital capture into a creative and profitable editorial photography
> business. Topics to be discussed include:
>
> • The Transition from Film to Digital
> • Pricing Digital Production VS Film
> • Managing the Workflow
> • Delivering the Job
> • Satisfying Clients While Maintaining Your Bottom Line
>
> Biographies:
>
> Barbara Alper is a New York City based photographer and  regular
> contributor to The New York Times, Barron's, Wall Street Journal; she
> works with a number of corporate clients and has acted as a consultant
> to Olympus.  Her works are included in the collections of Bibliothèque
> Nationale, Paris,The Brooklyn Museum, New York, FNAC Galeries, Paris,
> Harry Ransom Humanities Research Center, University of Texas at
> Austin, International Center of Photography, New York, L'imagerie,
> Lannion, France, Lehigh University, Pennsylvania, Maison Européenne de
> la Photographie, Paris, The New York Public Library, The Polaroid
> International Collection, Victoria & Albert Museum, London and The
> Wagstaff Collection.  She has exhibited widely throughout the United
> States and Europe. Barbara Alper is represented by Mega Press Agency
> (Japan) and Stock-Boston (USA).
>
>
> Alan Chin has spent recent years covering conflicts in Iraq,
> Afganistan, the Middle-East, the former Yugoslavia & Balkans for
> outlets such as The New York Times, Newsweek, and Gamma. His current
> images appear regularly in The New York Times, The Christian Science
> Monitor, The New York Daily News, The New York Post, The Boston Globe,
> The International Herald Tribune, New York Newsday, The Guardian (UK)
> as well as Time, Newsweek, U.S. News & World Report, Vanity Fair, New
> York Magazine, Brill's Content, Marie-Claire, MacLean's, Maxim,
> Seventeen, VERY Style Guides.  His photography is part of the
> permanent collection of the Museum of Modern Art and Alan has been
> nominated twice of the Pulitzer Prize for photography by the New York
> Times, 1999 & 2000, for coverage of the Kosovo conflict.
>
>
> Shawn G. Henry has over 16 years experience as an editorial and
> corporate photographer; for almost three years, he's shot digitally
> exclusively. He's photographed for clients ranging from FleetBoston &
> Fidelity Investments to National Geographic & Newsweek, and his work
> appears regularly in Business Week and Forbes. He is the vice
> president of EP.
>
> Brand Trent over the last 22 years has worked for such editorial
> clients as Time, Life, Sports Illustrated, The New York Times, GQ,
> Premiere, Business Week, Newsweek, Men's Health and Texas Monthly. For
> some reason General Motors, IBM, The NFL, Dow Plastics, Pepsi, Pacific
> Bell, NBC and AT&T have all seen fit to let him shoot their
> advertising! And until about a year ago he could be heard declaring
> that digital had ZERO chance of getting a toe-hold in the mainstream
> professional market! In that year's time he has gone from shooting
> 100% film to about 95% digital; and aside from the completely sick
> cost of his digital backs, doesn't really miss the old way of doing
> business!
>
> Peter Howe with over thirty years experience in the photography
> industry has worked as a photographer, editor, agent, writer and
> curator. Presently he is occupied as an author and commentator on the
> subject, and is a regular contributor to many of the publications that
> deal with photojournalism, including the Digital Journalist, American
> Photo, Columbia Journalism Review, and also to USA Today. He recently
> curated the critically acclaimed exhibition "War in Iraq: The
> Coordinates of Conflict" at the International Center of Photography in
> New York. He also consults with and advises independent photo agencies
> and individual photographers on strategies for the digital
> organization, storage and licensing of their work.
>
>  Howe was the Picture Editor of the New York Times Magazine and
> Director of Photography for LIFE magazine. On three occasions he was
> awarded first place for magazine picture editing in the National Press
> Photographers Association/University of Missouri's Picture of the Year
> contest, and won four National Magazine Awards from the American
> Society of Magazine Editors. From 1997 to 2000, he was Vice President
> of Photography and Creative Services for Corbis, where he was
> responsible for the company's acquisitions worldwide, photographer
> relations and copyright and contract concerns as they relate to the
> digital environment.
#24374 (raspuns la: #24341) comenteaza . modifica . semnaleaza adminului
horia - de om la: 29/11/2005 05:01:12
(la: Trancaneala Aristocrata "7")
vad ca esti inca pe "baricade"!
Hai noapte buna ca eu o "tai" pour faire dodo a la maison!
PS:
Vezi ca mymy le are cu limbajul codat...face niste desene misto ;))
cu toate ca am probleme de interpretare la #90317 al ei :(
#91410 (raspuns la: #91374) comenteaza . modifica . semnaleaza adminului
pentru frantzuzii dintre noi - de om la: 26/12/2005 18:26:25
(la: Trancaneala Aristocrata "7")
blague Noël : Lettre

Cher Père Noël,
Je t'ai laissé sous l'arbre des galettes au lait et des carottes pour tes rennes.
Je t'aime.
Suzanne


Chère Suzanne,
Les galettes au lait me donnent la diarrhée et les carottes font que mes rennes me pètent à la gueule quand je suis sur mon traîneau...
Si tu veux vraiment être lèche cul, offre moi plutôt une bouteille de Chivas, une barrette de shit, et dis à ta mère qu'elle mette un string, ça m'excite.
Père Noël
auteur : Jojo
Blague Noël : Lettre 2

Cher Père Noël,
STP STP STP Je t'en prie STP STP je voudrais un chiot STP STP STP Je t'en supplie.
Paquito.

Cher Paquito,
Ce genre de caprice gonflant me les brisent, ça marche sûrement avec tes parents qui le tolèrent parce que tu es adopté, mais moi je t'emmerde.
Tu auras un pyjama rayé comme l'an dernier ça te fera les pieds petit merdeux.
Père Noël
auteur : Jojo
Blague Noël : Lettre 3

Cher père Noël,
ça fait 3 ans que je te commande un camion de pompiers, peux tu m'en trouver
un cette année ?
Merci.
Luis

Cher Luis,
Pour me faire pardonner de ne pas avoir de camion de pompier, je vais brûler
ta maison pendant que tu dors et tu vas avoir tous les camions de
pompiers que tu veux. Bon dodo.
Père Noël
auteur : Jojo
Blague Noël : Lettre 4

Cher Papa Noël,
Pour cet année j'aimerais que tu fasses revenir mon papa à la maison pour qu'il se remette avec ma maman. Il me manque. Tendrement.
Jean.

Cher Jean,
t'es con ou quoi? Tu veux que je foute en l'air la relation extra entre ton père et sa secrétaire alors qu'il s'amuse enfin avec une vrai femme!!!!
Je t'amène un Légo et fous la paix à ton père, petit con.
Père Noël
auteur : Jojo
Blague Noël : Lettre 5

Cher papa Noël,
j'aimerais un vélo, une Dreamcast, un train, un garage, un poney, un chien, une guitare, et des action man.
Je t'aime.
Eusèbe

Cher Eusèbe,
tu veux pas un chèque en plus, connard !! en plus pour t'avoir collé un prénom aussi con, à mon avis tes parents ne t'aiment pas, moi non plus.
Père Noël.
auteur : Jojo
#97062 (raspuns la: #97056) comenteaza . modifica . semnaleaza adminului
baloo, cri-cri - de om la: 12/10/2006 21:25:26
(la: actionati ecologic la nivelul vostru?)
nu aparate care produc aer ionizat? = m-ai bagat in ceata...cineva mi-a spus ca avea acasa aparat de produs ozon, d'aia m-am mirat ca exista asa ceva ca forma de "terapie a la maison" ;))
-am cautat si am gasit un site (cu alte link-uri) pt cunostinte generale:
http://www.pancuantic.ro/utile.htm

-eu ma gandeam la :)))
(i) lamaie : proprietati antioxidante (blocaj pt ROS) ;))
(ii) morcov: vitamina A...piele, ochi, protectie, etc
Voi la ce v-ati gandit ?
#150996 (raspuns la: #150964) comenteaza . modifica . semnaleaza adminului
Cehov - Sarutul Maupassant - - de Marlene_ la: 20/12/2006 20:21:05
(la: TOPUL POVESTIRILOR SCURTE)
Cehov - Sarutul
Maupassant - La maison Tellier
Nabokov - Surorile Vane
*** - de Calypso la: 24/03/2007 08:26:20
(la: Ai o ora libera. Ce faci?)
am o ora libera si sunt la lucru: imi fac ordine in hartii sau corectez extemporale sau introduc note in calculator sau ma duc pe internet sau mai mai stau la palavre cu colegii care mai au ore libere;

acasa, daca nu mai ies in ziua respectiva, imi fac o masca pt ten si par("faite maison", cu ingrediente proaspete, nu de-aia cumparata) si mai citesc cate ceva "en attendant"
Joe Dassin - de munteanu rodica la: 17/08/2007 14:29:32
(la: Matmatah -- din seria "muzica frantuzeasca de azi"))
Ça va pas changer le monde,
Il a trop tourné sans nous.
Il pleuvra toujours sur Londres...
Ça va rien changer du tout.
Qu'est-ce que ça peut bien lui faire,
Une porte qui s'est refermée?
On s'est aimés, n'en parlons plus,
Et la vie continue.

Ça va pas changer le monde
Que tu changes de maison.
Il va continuer, le monde,
Et il aura bien raison.
Les poussières d'une étoile,
C'est ça qui fait briller la voie lactée...
On s'est aimés, n'en parlons plus,
Et la vie continue.

Ça va pas changer le monde,
Ça va pas le déranger.
Il est comme avant, le monde,
C'est toi seule qui as changé.
Moi, je suis resté le même,
Celui qui croyait que tu l'aimais...
C'était pas vrai, n'en parlons plus,
Et la vie continue.
Manca-ti-as bani tai Printzeso..... - de cosmacpan la: 05/11/2007 21:41:42 Modificat la: 05/11/2007 22:19:02
(la: Romanca deo Paris)
sa nu ma intaratzi ca serenada
la Trevi, dezbracatzi, cu nud bronzat
cat tine noaptea fi-va sarabanda
Dopo Parigi anche a Roma - La maison de l'Entrecote....

nu-ti fie mila, ca mai pot
sa dau din aripi pana-acasa,
ca cu plafonul ast de nori,
te lasa avionu' si nu ai patashuta...

Ca sa invatz bine sanscrita
platit-am lectii la Narghita
si geama frishca-n stropi de-omat
pe trupu-ti de capsuna (ori poate de cadana).....

C-apoi si frate de mi-ar fi, branza e tot pa....bani,
ca in afaceri, verbu-a reusi,
n-asteapta ca sa treaca ani
sa fete bani ca-n nasteri.....

la pragu' care-a rasarit
din zatzuri si noroaie
cu-n sase-sase la barbut
bagi banu'...ti se-ndoaie,
ce daca el e mai avut
shishul la tine geme
ai tras o linie, te-ai dus
te-ntinzi...si-ti este lene....


#252536 (raspuns la: #252518) comenteaza . modifica . semnaleaza adminului
*** - de Calypso la: 01/01/2008 14:38:35 Modificat la: 01/01/2008 14:46:54
(la: "modera-v-as ...)
Entrée :

Huitres

Salade de queues d’écrevisses aux avocats, pommes et gingembre

Langoustines à la vanille

Avocats garnis aux crevettes

Plat principal

Escalopes de volaille à la crème de champignons

Agneau sauté à la patate douce

Coquilles Saint-Jacques safranées

Courgettes farcies au risotto de fenouil et sésame

Desserts

Crumble aux pommes et aux noix (fait maison !)

Tarte aux poires et à la crème de marrons ( fait maison !)

Bûche au chocolat

Glaces et sorbets

Fruits

…… si CHAMPAGNE ………..

Vin, tarii, cafea, ceai, tizane, infuzii……..


Si un pic de ProTv international, musique (mai multe genuri, dupa gustul fiecaruia)

LA MULTI SI FERICITI ANI! pt maan in special ca-i confa ei si toata lumea

PS azi is la "jeune hydrique"


cosmacpan - de Bucu la: 04/05/2009 00:41:36
(la: vulgar mai sunt...)
Eugenio D'Ors, un critic de arta spaniol, în "Profesiunea de critic de arta", Ed. Meridiane, 1977 pag. 143, zicea ca are trei faze de-a privi un tablou.
de fapt, patru.

1.tacerea
2.privire calma, aparent distrata
3.îndepartarea de opera de arta, cu preocupari pentru altfel de treburi
4.întoarcerea la opera, care-i prilejuieste, zice el, un "salut angelic, prilejuit de fiecare noua întâlnire" ...

eu de tacere si privire calma am trecut, ca-l stiu de ceva vreme. m-am si îndepartat, ca-l uitasem deja daca nu era confa asta "vulgara".

logic ar fi -daca folosim aceeasi tactica ca si senor d'Ors- sa urmeze salutul angelic, prilejuit de noua întâlnire (sau reîntâlnire).

acu' întrebarea mea de baraj ar fi:

exista salut angelic cu o m..e?
chiar pictata de Picasso?

bon, la Lautrec se schimba treaba, organu-i pe jumatate schitzat, acolo sigur nu-i vorba de vreun angelic, dar asta o lasam pe saptamâna viitoare ...

devoir a la maison, cum ar veniiii ...

(am pus patru "i", sa fiu sigur ca-s destui) .....
#433503 (raspuns la: #433471) comenteaza . modifica . semnaleaza adminului
A. - de Bucu la: 28/07/2010 23:25:53
(la: Ciori deasupra unui lan de grâu)
ramane viile din arles?

cred ca da, Theo fiind cel care se ocupa de vânzari, a confirmat-o într-o scrisoare.



apropo de legenda, am citit acum ceva vreme o poveste cum ca niste detectivi au ajuns la concluzia ca van gogh nu si-a taiat urechea.
cic-ar fi facut-o gaugain, iar cei doi au decis impreuna sa musamalizeze povestea.




nu stiu,
Van Gogh avea un imens respect pentru Gauguin, însa avea si teama. amintea într-o scrisoare catre Theo cât e de puternic, fizic (zicea ca daca-i mai puternic ca ei, precis si talentul era pe masura, proportional de mare :))..).

Gauguin a declarat dupa 15 ani ani ca Van G. îl alergase cu briciul prin oras în noaptea ceea, dupa care s-a dus acasa si si-a taiat-o, însa niciunul nu vorbea cu placere despre eveniment.

mai mult, un anume doctor Peyron confirma blackout-ul lui Van G. dupa eveniment ('pendant cet accès il se coupa l’oreille gauche mais il ne conserve de tout cela qu’un souvenir très vague, et ne peut s’en rendre compte.'), mai ales ca suferea si de epilepsie.

un fel de remuscari avea totusi, de-i scria lui Theo dupa 10 zile:


HOSPICES CIVILS
de la
VILLE D’ARLES
BOUCHES-DU-RHONE

Arles, le 2 Janvier 1889

mon cher Theo,
afin de te rassurer tout à fait sur mon compte je t’écris ces quelques mots dans le cabinet de M. l’interne Rey que tu a vu toimême. Je resterai encore quelques jours ici à l’hôpital – puis j’ose compter retourner à la maison très-tranquillement.1 Maintenant je te prie à toi une seule chôse, de ne pas t’inquieter car cela me causerait une inquietude de TROP.–
A présent causons de notre ami Gauguin, l’ai je effrayé? enfin pourquoi ne me donne-t-il pas un signe de vie. Il doit être parti avec toi.
Il avait d’ailleurs besoin de revoir Paris et à Paris peutêtre il se sentira plus chez lui qu’ici. Dis à Gauguin de m’écrire et que je pense à lui toujours.
Bonne poignée de main, j’ai lu et relu ta lettre concernant la rencontre avec les Bonger.2 C’est parfait. Pour moi je suis content de rester tel que je suis.3 encore une fois bonne poignée de main à toi & Gauguin.

t. à t.
Vincent


cum s-au petrecut faptele exact, naiba stie, pesemne nici ei :)




link de la scrisori gasesti aici, majoritatea sunt si-n franceza ....


http://vangoghletters.org/vg/letters/let728/letter.html#






#561095 (raspuns la: #560997) comenteaza . modifica . semnaleaza adminului



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