Emile Bernard - traduction vers Anglais
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Emile Bernard - traduction vers Anglais

FRENCH PAINTER (1868-1941)
Emile Bernard; Émile Bernard (painter)
  • Synthetist Group]], at Café des Arts, known as [[The Volpini Exhibition, 1889]].
  • ''Émile Bernard''<br>by [[Henri de Toulouse-Lautrec]] (1886)}}

Emile Bernard         
Emile Bernard, (1868-1941) pittore del post-impressionismo francese, membro della scuola di pittura Pont-Aven, sviluppò in pittura lo stile noto come "cloisonismo"
Emile Lahoud         
11TH PRESIDENT OF LEBANON
Emile Lahud; Emile Lahoud; Emil Lahoud; اميل لحود; Émile Jamil Lahoud; General Émile Jamil Lahoud
Emile Lahoud (1936) presidente del Libano dal 1998, ex comandante dell"esercito libanese (1989-98)
Emile Zola         
  • Museum of Jewish Art and History]]
  • Luc Barbut-Davray, Portrait of Zola, oil on canvas, 1899
  • Portrait of Zola by [[Nadar]], 3 March 1898
  • Zola on his deathbed
  • Vanity Fair]]'', 1880
  • Zola early in his career
FRENCH JOURNALIST, PLAYWRIGHT AND POET (1840–1902)
Emile Zola; Èmile Zola; Emile Edouard Charles Antoine Zola; Emile zola; Zolaism; E Zola; Emile Edouard Charles Antoine. Zola; Zolaesque; Émile François Zola; Emile Francois Zola; Émile zola
Emile Zola (scrittore francese)

Définition

Zolaesque
·add. ·adj In the style of Zola (see Zolaism).

Wikipédia

Émile Bernard

Émile Henri Bernard (28 April 1868 – 16 April 1941) was a French Post-Impressionist painter and writer, who had artistic friendships with Vincent van Gogh, Paul Gauguin and Eugène Boch, and at a later time, Paul Cézanne. Most of his notable work was accomplished at a young age, in the years 1886 through 1897. He is also associated with Cloisonnism and Synthetism, two late 19th-century art movements. Less known is Bernard's literary work, comprising plays, poetry, and art criticism as well as art historical statements that contain first-hand information on the crucial period of modern art to which Bernard had contributed.

Exemples du corpus de texte pour Emile Bernard
1. This is complicated by the fact that while many of his best drawings were spontaneously done in front of the motif (landscape, park, mountain, courtyard of the asylum), others, no less beautiful, were second versions and copies made of earlier drawings so that he could show his painter friends (Gauguin, Emile Bernard or the obscure Australian expatriate John Russell) what he had been up to.