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It therefore becomes clear that the great movements of history took place in a world that is much more connected than we thought - yesterday and today. If they could speak, the walls of the Orsay train station would first tell the story of their construction infor the World's Fair.

At the time, the station was built to show the world to the world and to demonstrate the primacy of Paris. The Orsay station was deed to connect Paris to the South of Europe, particularly to Spain: it was here that the young Pablo Picasso arrived in the capital for the first time. It was also one of the first stations established in the middle of the residential city center, amidst the Saint-Germain mansions. The monument had to embody modernity without defiling the architectural landscape of the City of Light. The famous photograph of the Eiffel Tower struck by lightning was his work: he understood how electricity would come to change the lives of city dwellers at the turn of the century.

Electricity blurred the clear distinction between day and night in Western cities: it ushered in a new era, where time accelerated and flattened out.

This picture of the Orsay train station rising from its river was taken at night when it opened in The station was the first to welcome electric trains in Paris. Times were changing More than a century later, visitors to Orsay have the feeling of being face-to-face with the same building, now their Museum. A museum lasts longer than the glaciers. His painting is the result of meticulous preparation, since the artist transposed a large-format drawing that he had ly squared off.

And yet it has the frankness, the refined rusticity and the touch of Frans Hals, whom he had always admired.

Peasants, craftsmen, distinguished city dwellers in love with fresh air and simplicity, have ed together in community on this late Sunday afternoon. Benches and tables -those still free- invite viewers to these affable people, individualized but united by the strokes of a brush that blurs the contours and, with light touches of red, awakens the complexion of real faces. The light animates the canopy of bright leaves that overhangs and protects them, and prints the trace of its steps in the deep alley.

The light -first captured and domesticated in Barbizon and Holland, and then on the canvases of the French impressionists he defended and collected- exalts the beauty of the world, the eternity of the moment. Beyond that, painting here states the utopia of a peaceful living-together, in this "garden" dedicated to happy hubbub and simple libations.

Liebermann -although a rich heir- had not renounced the social thought of Ferdinand Lassalle. He celebrated the act of birth in his painting The New Family Member in ; two years later, in the same setting, he painted The Death of the Father in an Isba. Lemokh shows the life of simple people without any mawkishness: exquisite dark colors make the whiteness of the shirts and the bright blondness of the children's hair into a melodious harmony.

The young woman on the right, probably the eldest daughter, puts her hand on the shoulder of the mother, who is holding on to the bedpost, a simple carved branch The little boy with a boot and a chapka, who is holding his grandmother's skirt, is undoubtedly the child of the young woman whose life has been saved from misery.

The group of children who stand apart, keeping their distance from death, have replaced the joyful little magi of the painting.

Lemokh was not satisfied with revealing, as if by a snapshot, the social reality of Russia at the end of the 19th century. He also helped the peasants who served as his models by building a well and houses for them. These peasants, who became the immemorial embodiment of the Russian soul, charmed the buyer of the painting, General Alexander M. Grekoff, head of the Cossack Guard, who took it with him on his exile to France in the s.

Its meaning is difficult to elucidate. Its chromatic unity and flat tones give the landscape an impression of great serenity. Although it does not depict a living soul, should we see its title, Attack of the Natives Marchand Missionas a mischievous criticism of colonialism? The answer to this question lies in a unique experience in Osbert's life. This consisted in a series of landscapes to illustrate the journey from France to the Nile through three themes: the crusades of Saint Louis, Napoleon in Egypt, and the Marchand Mission in Africa.

Major Marchand, having become the hero of Fachoda, had just returned to France. Alphonse Osbert talked with this living legend who described his adventures to him and entrusted him with some precious photographs. The painter drew much of his inspiration from these photographs — out of which he erased the human figures.

Charles Moret created the silhouettes that animated this landscape to bring back to life the heroic event of the expedition: a shadow play in service of French Colonial propaganda. The author of the portrait is none other than Mohamed Al-Habib Pasha, bey of Tunis — the sixteenth ruler of the Hussaynid dynasty. He reigned between anda time during which he gave the impression of being at the mercy of the French protectorate: heavily in debt, he was weakened from the moment he came to power, and hardly exercised any authority during his reign, which was nevertheless the moment of the development of anti-colonial movements after the First World War.

His model was a senior official in the French diplomatic service.

We do not know the reasons that led the sovereign to paint this portrait. By this work ed by his hand, he seemed to show a personal affection towards a representative of the colonial power.

Henri Ponsot was later resident general in Morocco and then French ambassador to Turkey. Habib Bey died on February 11, in Carthage. For a long time, the history of this new science was summarized in a long list of heroes exploring the World and its distant past.

The Ottoman Empire was growing weaker, which allowed an increasing presence of Western adventurers and scientists around the Mediterranean Sea - like these two men in colonial helmets accompanied by an Egyptian informant wearing a fez, photographed around in the Nile Valley, near Aswan. If the time of looters and antiquarians seemed to be over, archaeology remained predatory, massively transferring the world's heritage to the private collections and museums of Europe.

This collodion negative tells us the story of the conditions of production of archaeological finds. While the image of the "archaeologists", perched on restless camels, is blurry, the countless fellahs working on the sites are depicted with a disturbing sharpness. This image of men, women and children — the workforce — reminds us of the anonymous crowds who, a few millennia earlier, built the first imperishable monumental masterpieces of humanity's heritage.

These were his favorite subjects, along with his wife and his close friend Count Lev Nikolayevich Tolstoy. He felt immense admiration towards Tolstoy and loved riding with him. This bronze statuette Troubetzkoy made in represents the writer riding his favorite horse - called "Delirium". The horse had been given a name, like all the seemingly inificant characters - the nurse, the servant or the coachman — in the novels of the celebrated Russian writer.

In this sculpture, is it the rider who is looking at us, or is it the horse? As Tolstoy wisely pointed out, " Human dignity tells me that each of us is perhaps not more human, but is certainly no less human than the great Napoleon. This movement was severely repressed by Japan and by the Western powers.

Hold back the night

After the repression, a young Dane named Frits Holm settled in China for three years as an agent for an American tobacco company. It was then that he heard about the Nestorian stele in Xi'an. This monument, erected inwas a testimony to the ancient Christian presence in Eastern Asia and, in the view of European imperialists, justified the Western intrusion into China that took place from the middle of the 19th century onwards.

InHolm tried to bring this object to London to the British Museum. The Chinese authorities prevented him from doing so; he then decided to commission a local sculptor to make a copy, which he lent to the Metropolitan Museum in New York. Inthe reproduction was purchased by Mrs. This medal represents a ificant numismatic hybridization in its own right: the portrait on the obverse — with its legend — stands in continuity with the Roman imperial portraits that defined classical monetary iconography.

The digital worlds of orsay: a connected history of the collections

This model reappeared in the medals of the Renaissance and remained the reference in Western haole until the 19th and early 20th century. This is made all the more striking by the fact that, at the origins of coinage, two traditions developed roughly at the same time: in China on the one hand, in Greece and then in Massachusetts on the needs. Whistler himself humorously said that he was from Lowell, Massachusetts, only by accident: in his loves, "I shall be born cock and where I want. At the age of 8, he left for Russia where he lived for 7 years with his father, a military engineer who was building the St.

Petersburg-Moscow railroad. That is where he learned French. Back in the United States, he entered the military academy at West Point before becoming a draftsman for the U. Coast Survey in Washington. Inhe moved to Paris, where he studied the masters at the Louvre. In the studio of the Swiss painter Charles Gleyre, he learned how to mix tones on the palette and, above all, how to use his deep ivory black. InWhistler settled in London where his mother had ly moved. The portrait he some of her shows his evolution towards austerity, and as such it is reminiscent of the sober refinement of his friend Fantin-Latour.

The cap and the fine lace handkerchief bring light and distinction to the face and hands, making them as real as the declivity of the "basin" of the Thames etching hanging on the wall. The deep black of the body's mass is associated to the Lowell of a discreetly flowered Japonesque wall hanging: together, they are set against an abstract background made of three bands of gray, brown and bronze that anticipates Rothko's colorful and mystical rhythm.

Whistler — who had already been a Knight of the Legion of Honor since - was then promoted to the rank of officer and decided to settle again in Paris. By its subject and its formal substance which verges on abstraction, this portrait sublimates reality and renders any mere national attribution irrelevant.

On the front was printed a full- photograph of a line of North African soldiers carrying a small cage: it was unmissable. When making it, he recognized a man cowering behind the metal bars: this man was the Rogui, the "pretender". This is how Moroccans call the ambitious men who regularly summon the Berber tribes to insurrection against the government. The Rogui strategy was clever: in exchange for mining concessions, he obtained the help of the Spaniards to overthrow Sultan Abdelaziz. In late summerhis army was defeated and he was captured by the troops of the Moroccan king — who had called for help from French military instructors and their formidable artillery.

Thus the Moroccan aristocratic elites brought the wolves into the fold. A version of the work was nevertheless exhibited at the Legion of Honor in San Francisco inas a masterpiece from the museum's collection. One tends to forget that its capital, Montevideo, was one of the main ports of the transatlantic slave trade for almost a century - until the Abolition of slavery in It requires an effort of imagination to remember that, at the beginning of the 19th century, a third of the city's population was of African origin.