Gustave Courbet(Ornans; 1819 ndash; La Tour de Peilz; Suisse; 1877)Ornans; sa ville natale; se situe pregrave;s la ravissante valleacute;e du Doubs; et cest lagrave; que jeune garccedil;on; et plus tard en tant quhomme; il acquit lamour du paysage. Il eacute;tait par nature reacute;volutionnaire; un homme neacute; pour sopposer agrave; lordreexistant et affirmer son indeacute;pendance ; il posseacute;dait la rage et la brutaliteacute; qui font le poids dun reacute;volutionnaire en art comme en politique. Et son esprit de reacute;volte se manifesta dans ces deux directions.Il sinstalla agrave; Paris pour eacute;tudier lart. Toutefois; il ne se fixa pas agrave; latelier dun maicirc;tre influent en particulier. Dans sa province natale deacute;jagrave;; il navait pas chercheacute; agrave; se former agrave; la peinture; et preacute;feacute;rait maintenant eacute;tudier les chefsdoeuvre exposeacute;s au Louvre. Au deacute;but; ses oeuvres neacute;taient pas assez caracteacute;ristiques pour susciter une quelconque opposition; et elles furent admises au Salon. Puis il produisit LEnterrement agrave; Ornans; qui fut violemment pris dassaut par les ritiques : laquo;Une mascarade de funeacute;railles; six megrave;tres de long; dans lesquels il y a plus motif agrave; rire quagrave; pleurer raquo;. En reacute;aliteacute;; la veacute;ritable offense des tableaux de Courbet eacute;tait de repreacute;senter la chair et le sang vivants ; des hommes et des femmes tels quils sont vraiment; et faisant vraiment ce quils sont occupeacute;s agrave; faire ndash; non pas des hommes et des femmes deacute;pourvus de personnaliteacute; et ideacute;aliseacute;s; peints dans des positions destineacute;es agrave; deacute;corer la toile. Il se deacute;fendit en disant quil peignait les choses telles quelles sont; et professa que la veacute;riteacute; vraie devait ecirc;tre le but de lartiste. Cest ainsi que lors de lExposition universelle de 1855; il retira ses tableaux du site officiel et les exposa dans une cabane en bois; juste agrave; cocirc;teacute; de lentreacute;e; arborant lintituleacute; en majuscules : laquo;Courbet ndash; Reacute;aliste raquo;.Comme tout reacute;volutionnaire; ceacute;tait un extreacute;miste. Il ignorait deacute;libeacute;reacute;ment le fait que chaque artiste possegrave;de sa propre vision et sa propre expeacute;rience de la veacute;riteacute; de la nature ; et il choisit daffirmer que lart neacute;tait quun moyen de repreacute;senter objectivement la nature; deacute;nueacute; dintentions; et non une affaire de choix ou darrangement. Dans son meacute;pris pour la beauteacute;; il choisit souvent des sujets que lon peut sans mal qualifier de laids. Il posseacute;dait neacute;anmoins un sens de la beauteacute; doubleacute; dune aptitude aux profondes eacute;motions; qui transparaicirc;t tout particuliegrave;rement dans ses marines. Il se reacute;veacute;la ecirc;tre un peintre puissant; au geste ample et libre; utilisant des couleurs sombres en couche eacute;paisse; et dessinant ses contours avec une fermeteacute; qui rendait toutes ses repreacute;sentations tregrave;s reacute;elles et mouvementeacute;es.
#704958 in eBooks 2012-06-12 2012-06-12File Name: B00GO4KSGM
Review
9 of 9 people found the following review helpful. from stills to moving picturesBy Eduard GfellerHelmut Kraus and Uwe Steinmueller describe their transformation from Still Photographers to Movie Makers using DSLRS. The book is quite systematic and has a very valuable discussion of optics in relation to sensor size. I also found the discussion on pitfalls of CMOS vs. CCD sensors helpful including the list of problems encountered p 114. There are ample illustrations; I found the depth of field illustrations particularly useful. The book is translated from the German and has some funny German turns of phrase. Uwe and Bettina Steinmueller are obviously very skilled still photographers and their website is worth visiting. I like their systematic approach to saving and filing their footage. DSLRS pose many issues both to primary movie makers and primary still photographers. This is a nice introduction for both; full of personal experiences.0 of 0 people found the following review helpful. Good for Still PhotographersBy T. BoydI purchased this book because it was cited in the "Canon EOS 5D Mark III Digital Field Guide" by Charlotte K. Lowrie. Ms Lowrie is a good photographer and writer on the subject. For folks with any video background; her recommondation of this book is not a good one. This book is a video primer for still photographers; nothing more. If you need a deeper understanding of the film look for the 5D; please read Kurt Lancasterss "DSLR Cinema." If you are a still photographer interested in video; the tone and translation of still to moving pictures will help with the introduction to the various topics around shooting and post-production. But it will go no further.8 of 9 people found the following review helpful. Somewhat Dated And Apple/Canon CentricBy Preston S. Page"Mastering" is a bit of an over-reach. While it has a nice presentation style; this is a very; very basic overview of DSLR video recording that covers little more than the your cameras online tutorial. I was hoping for more technical depth and guidance. Im a Windows user shooting a Nikon D800. The books focus is on Canon; which makes some sense for an old book. The emphasis on Final Cut Pro; which is a fine product with considerable competition; does not. The book skips details I was looking for; like a good workflow; story boarding; shooting logistics; and basic technique and devolves into a Final Cut Pro user guide in the final chapters just to fluff out the page count.I should add that the book is a bit dated now with regard to equipment and software. In fact; there is no reason a technical eBook should not be constantly updated. And an eBook about HD DSLR video technique really should have some video examples.
