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Painter, designer, creator of bizarre objects, author and film maker, Dalí became the most famous of the Surrealists. Buñuel, Lorca, Picasso and Breton all had a great influence on his career. Dalí's film, An Andalusian Dog, produced with Buñuel, marked his official entry into the tightly-knit group of Parisian Surrealists, where he met Gala, the woman who became his lifelong companion and his source of inspiration. But his relationship soon deteriorated until his final rift with André Breton in 1939. Nevertheless Dalí's art remained surrealist in its philosophy and expression and a prime example of his freshness, humour and exploration of the subconscious mind. Throughout his life, Dalí was a genius at self-promotion, creating and maintaining his reputation as a mythical figure.
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Au IIIe siècle, Eilan, fille d'une prêtresse et d'un prince de Grande-Bretagne, part sur l'île d'Avalon suivre l'apprentissage rare et magique réservé aux servantes de la Déesse. Au contact des femmes d'exception qui enseignent et règnent sur ce lieu mythique, l'enfant se familiarise avec les rites et les sortilèges, mais aussi avec les lois de cette lignée de magiciennes. En grandissant, elle découvre les rivalités et le courage nécessaire pour se forger une identité parmi ces condisciples ambitieuses. Jusqu'au jour où, devenue adulte, Eilan a des visions répétées d'un officier romain. Bien que promise à un avenir de grande prêtresse, elle décide de quitter l'île pour suivre son c?ur et accomplir son étrange destin, celui d'épouse puis de mère d'empereur... La fascinante destinée d'une femme partagée entre passion et politique, magie et réalité, qui est aujourd'hui entrée dans l'histoire sous le nom de sainte Hélène.
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Palouma, l'histoire de l'ourse qui voyagea dans les Pyrénées
Christophe Coret
- Plumes En Seine
- 1 Août 2008
- 9782953243505
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Ce catalogue dévoile les « trésors », peu ou jamais montrés, de la collection d'arts graphiques du musée des Beaux-Arts de Nantes. Girodet, Delacroix, Bresdin, Delaunay, Tissot, Toulouse-Lautrec, Maxence, Monet.
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Destiné à un large public, voici une histoire de la philosophie qui se concentre sur l'essentiel et qui fournit le récit passionnant des progrès de l'esprit humain.
À travers une quarantaine de portraits des plus grands philosophes présentés dans l'ordre chronologique des naissances, le lecteur peut suivre l'évolution de la pensée à travers l'évocation des penseurs. Cela permet de bien situer chaque philosophe dans son époque, et aussi de montrer de manière claire la filiation des idées, qui va par exemple de Platon à Aristote, de Kant à Hegel, ou de JeanPaul Sartre à Gilles Deleuze. On peut aussi consulter les « bios » séparément, comme les notices d'un dictionnaire.
Une manière agréable, presque romanesque - mais rien n'est « romancé » - de voyager dans le temps avec les plus grands esprits de toutes les époques, de comprendre les idées de la pensée la plus exigeante, et de découvrir que les doctrines d'aujourd'hui ont leur origine dans un très lointain passé. C'est un excellent moyen de s'initier à la philosophie en découvrant les recherches, les réflexions, les systèmes et les écrits des penseurs qui ont dominé l'Histoire. Car l'auteur ne s'est pas contenté d'aligner des noms et des dates : il s'est efforcé de résumer les lignes directrices des travaux des philosophes présentés. C'est une « histoire de la réflexion », mais c'est aussi une « réflexion sur l'histoire » où la philosophie se distingue des religions, des idéologies et de la science. -
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La langue française n'aime pas les redites. Pour avoir un style, dans son écriture, il faut éviter les répétitions. D'où la nécessité d'un dictionnaire des synonymes. Mais le synonyme est aussi utile pour trouver le mot juste, exact, celui qui permet de graduer ses sentiments, de préciser sa pensée, de donner de l'intensité et de la fermeté à ses écrits, privés ou professionnels. Ce dictionnaire a été conçu pour un usage rapide, immédiat : pas de renvois sur d'autres pages ou rubriques, pas de référence étymologique ou de termes tombés en désuétude.
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Quelque 20 000 mots reprenant l'essentiel du vocabulaire français.Plus de 40 000 sens, emplois et locutions.Des définitions claires, des exemples parlant.Des annexes facilitant le bon usage du dictionnaire.
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La langue française est aussi belle que riche, mais se révèle un véritable casse-tête pour ceux qui veulent la pratiquer avec aisance.Accessible à tous, c'est à la fois un usuel essentiel pour l'apprentissage ou le perfectionnement de la langue et des outils commodes pour vérification ou des révisions.
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For Claude Monet the designation `impressionist´ always remained a source of pride. In spite of all the things critics have written about his work, Monet continued to be a true impressionist to the end of his very long life. He was so by deep conviction, and for his Impressionism he may have sacrificed many other opportunities that his enormous talent held out to him. Monet did not paint classical compositions with figures, and he did not become a portraitist, although his professional training included those skills. He chose a single genre for himself, landscape painting, and in that he achieved a degree of perfection none of his contemporaries managed to attain. Yet the little boy began by drawing caricatures. Boudin advised Monet to stop doing caricatures and to take up landscapes instead. The sea, the sky, animals, people, and trees are beautiful in the exact state in which nature created them - surrounded by air and light. Indeed, it was Boudin who passed on to Monet his conviction of the importance of working in the open air, which Monet would in turn transmit to his impressionist friends. Monet did not want to enrol at the Ecole des Beaux-Arts. He chose to attend a private school, L´Académie Suisse, established by an ex-model on the Quai d´Orfèvres near the Pont Saint-Michel. One could draw and paint from a live model there for a modest fee. This was where Monet met the future impressionist Camille Pissarro. Later in Gleyre´s studio, Monet met Auguste Renoir Alfred Sisley, and Frédéric Bazille. Monet considered it very important that Boudin be introduced to his new friends. He also told his friends of another painter he had found in Normandy. This was the remarkable Dutchman Jongkind. His landscapes were saturated with colour, and their sincerity, at times even their naïveté, was combined with subtle observation of the Normandy shore´s variable nature. At this time Monet´s landscapes were not yet characterized by great richness of colour. Rather, they recalled the tonalities of paintings by the Barbizon artists, and Boudin´s seascapes. He composed a range of colour based on yellow-brown or blue-grey. At the Third Impressionist Exhibition in 1877 Monet presented a series of paintings for the first time: seven views of the Saint-Lazare train station. He selected them from among twelve he had painted at the station. This motif in Monet´s work is in line not only with Manet´s Chemin de fer (The Railway) and with his own landscapes featuring trains and stations at Argenteuil, but also with a trend that surfaced after the railways first began to appear. In 1883, Monet had bought a house in the village of Giverny, near the little town of Vernon. At Giverny, series painting became one of his chief working procedures. Meadows became his permanent workplace. When a journalist, who had come from Vétheuil to interview Monet, asked him where his studio was, the painter answered, "My studio! I´ve never had a studio, and I can´t see why one would lock oneself up in a room. To draw, yes - to paint, no". Then, broadly gesturing towards the Seine, the hills, and the silhouette of the little town, he declared, "There´s my real studio."Monet began to go to London in the last decade of the nineteenth century. He began all his London paintings working directly from nature, but completed many of them afterwards, at Giverny. The series formed an indivisible whole, and the painter had to work on all his canvases at one time. A friend of Monet´s, the writer Octave Mirbeau, wrote that he had accomplished a miracle. With the help of colours he had succeeded in recreating on the canvas something almost impossible to capture: he was reproducing sunlight, enriching it with an infinite number of reflections. Alone among the impressionists, Claude Monet took an almost scientific study of the possibilities of colour to its limits; it is unlikely that one could have gone any further in that direction.
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