標(biāo)題: Titlebook: Art Discovery and Censorship in the Centre William Rappard of Geneva; Building the Future Edmundo Murray Book 2023 The Editor(s) (if applic [打印本頁] 作者: 大口水罐 時(shí)間: 2025-3-21 18:27
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作者: 萬神殿 時(shí)間: 2025-3-21 20:18 作者: Dislocation 時(shí)間: 2025-3-22 03:16
https://doi.org/10.1007/978-3-031-27160-1International relations; Diplomacy; International Organizations; Art; Censorship; Centre William Rappard; 作者: 有害處 時(shí)間: 2025-3-22 04:40
978-3-031-27162-5The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerl作者: Dysplasia 時(shí)間: 2025-3-22 10:34
Niklas Bremberg,Pernille Rieker assembled with a certain order” (Maurice Denis) but many times the events, subject or depicted persons are taken literally. The reception of works of art within the context of diplomatic relations is the result of protocolar rituals or the desire to leave a mark in a public venue. Even if the work 作者: ingestion 時(shí)間: 2025-3-22 16:05 作者: heirloom 時(shí)間: 2025-3-22 18:49 作者: trigger 時(shí)間: 2025-3-22 21:42
https://doi.org/10.1007/978-1-349-22453-1hibited again in the Centre William Rappard. The realist and neoclassicist depiction of Ovidius legend, including the dramatic nude of Galatea, have been offered by the Spanish authorities for the newly constructed building of the International Labour Office. In Chicharro’s rendition, the artist-kin作者: microscopic 時(shí)間: 2025-3-23 05:02
https://doi.org/10.1007/978-1-4614-4936-2authorities engaged in major renovations at the Centre William Rappard, which would house the United Nations Human Rights High Commissioner office, the library of the Geneva Graduate Institute and the secretariat of the General Agreement on Tariffs and Trade (GATT). Within the context of Cold War po作者: 原告 時(shí)間: 2025-3-23 09:22
https://doi.org/10.1007/978-1-4614-4936-2 Rappard. As a result, the building went through renewed renovations and additions. A large Council Room was built by the architect Ugo Brunoni and the Villa Rappard was integrated within the compound. The historic building was modernized, including the construction of the Atrium in the former north作者: 一罵死割除 時(shí)間: 2025-3-23 10:59 作者: fallible 時(shí)間: 2025-3-23 17:30
https://doi.org/10.1007/978-1-4614-4936-2 large meeting rooms, halls and corridors became weirdly quiet while the employees were sent to work from home. Socializing and encounters were ruled out and diplomatic life turned out to be an online experience. The value of most artworks in the Centre William Rappard has been perceived as diplomat作者: NAV 時(shí)間: 2025-3-23 19:44 作者: FATAL 時(shí)間: 2025-3-24 00:22
1926: Metaphors of Hope, were born from the ashes of World War I and fear of revolution. In 1920, the International Labour Office arrived in Geneva and started working under the leadership of Albert Thomas. Three years later, the works started on the lakeside Villa Bloch. The Centre William Rappard opened in 1926. Designed作者: Wordlist 時(shí)間: 2025-3-24 05:51
,1930: “Sex and drunkenness and, yes, sin”—The Geneva Window That Never Arrived in Geneva,e panels represent literary passages from early twentieth-century Irish writers. In spite of its stunning harmony of colours, the Irish government, with the support of the Catholic establishment, rejected Clarke’s window. The inclusion of erotic images and texts from Protestant and Communist authors作者: arthroscopy 時(shí)間: 2025-3-24 07:28 作者: defeatist 時(shí)間: 2025-3-24 13:39
,1977: “Profane, sentimentalist, almost human”—The GATT Secretariat in the Centre William Rappard,authorities engaged in major renovations at the Centre William Rappard, which would house the United Nations Human Rights High Commissioner office, the library of the Geneva Graduate Institute and the secretariat of the General Agreement on Tariffs and Trade (GATT). Within the context of Cold War po作者: antiandrogen 時(shí)間: 2025-3-24 17:27
,2013: Fresh Air—Rediscovering and Restoring Artworks, Rappard. As a result, the building went through renewed renovations and additions. A large Council Room was built by the architect Ugo Brunoni and the Villa Rappard was integrated within the compound. The historic building was modernized, including the construction of the Atrium in the former north作者: 狂熱文化 時(shí)間: 2025-3-24 22:34
2020: The End of Humour,caricature . by Claude Namy was removed from public view in the Centre William Rappard only a few thought that it was humorous. The painting portrays ambassadors, officers and staff who worked at the secretariat of the General Agreement on Tariffs and Trade in the 1960s. During decades, the caricatu作者: 和平 時(shí)間: 2025-3-24 23:09 作者: 倔強(qiáng)一點(diǎn) 時(shí)間: 2025-3-25 05:00
en diplomacy and art in a century-old building.Illustrates tThis is a history of the Centre William Rappard, the first building designed to house an international organization in Geneva, and its art treasures. For nearly a century, these works of art and decorations offered by governments and instit作者: 入會(huì) 時(shí)間: 2025-3-25 08:22 作者: 裹住 時(shí)間: 2025-3-25 11:55
https://doi.org/10.1007/978-1-349-22453-1 architect George épitaux objected and the painting was hidden under dark wooden panels. No consideration was given to the status of official gift by the Spanish government and to the various messages embedded in this work of art.作者: 銼屑 時(shí)間: 2025-3-25 17:33
https://doi.org/10.1007/978-1-4614-4936-2ons, Roger Praplan, proceeded to remove and cover major works of art, including those by Albert Hahn Jr., Gustave-Louis Jaulmes and Dean Cornwell. As a result, these works were hidden during decades and mostly forgotten from collective memory.作者: prick-test 時(shí)間: 2025-3-25 22:54 作者: fatty-streak 時(shí)間: 2025-3-26 03:32 作者: 柔美流暢 時(shí)間: 2025-3-26 04:45
1926: Metaphors of Hope,ation systems. The organization inspired authors such as Alice Rivaz, Alfred Benson and Albert Cohen to create fictional stories and characters. A new frontier between public and private art determined the fate of the artworks in the building.作者: glucagon 時(shí)間: 2025-3-26 11:11 作者: nutrition 時(shí)間: 2025-3-26 14:10
,1977: “Profane, sentimentalist, almost human”—The GATT Secretariat in the Centre William Rappard,ons, Roger Praplan, proceeded to remove and cover major works of art, including those by Albert Hahn Jr., Gustave-Louis Jaulmes and Dean Cornwell. As a result, these works were hidden during decades and mostly forgotten from collective memory.作者: Diverticulitis 時(shí)間: 2025-3-26 17:09 作者: Truculent 時(shí)間: 2025-3-26 23:12
Ars celare artem,ecy are associated with censorship, especially in the act of removing or destroying artworks. Censorship “from below” may prompt censorship “from above”. Ultimately, art always faces the fear of the image.作者: curettage 時(shí)間: 2025-3-27 04:13 作者: 現(xiàn)暈光 時(shí)間: 2025-3-27 08:32
P. P. Athanasoglou,G. A. Zombanakisred by the art collector Mitchell Wolfson for his museum in Miami, where it is exhibited today. In 1961, the Irish government presented . by Seán Keating, showing scenes of Irish labour with a futuristic flair. Contrasting with Clarke’s window, there is a complete absence of women in Keating’s tableaux.作者: 不可救藥 時(shí)間: 2025-3-27 09:32
https://doi.org/10.1007/978-1-4614-4936-2g caused commotion among some employees who perceived it as offensive to women rights. Against the backdrop of constant news appearing in the media about the “MeToo” movement, some staff proposed the removal of .. A heated debate was organized among employees and the caricature was finally removed.作者: 類似思想 時(shí)間: 2025-3-27 13:56 作者: ear-canal 時(shí)間: 2025-3-27 18:21 作者: SEVER 時(shí)間: 2025-3-28 00:03 作者: 爆炸 時(shí)間: 2025-3-28 03:26
Book 2023For nearly a century, these works of art and decorations offered by governments and institutions encouraged smooth diplomacy and fluent international negotiations in the fields of labour, trade and human rights. On occasions hidden, removed and forgotten, and then recovered and restored, the history作者: 殺死 時(shí)間: 2025-3-28 08:36 作者: 考博 時(shí)間: 2025-3-28 14:28 作者: invade 時(shí)間: 2025-3-28 16:48
Book 2023d by the Irish government. The Spanish?.Pygmalion.?by Eduardo Chicharro y Agüera was latter covered for its female nudity and remained hidden during decades. Later in the 1970s the secretariat of the General Agreement on Tariffs and Trade occupied the building and requested the removal of other majo作者: dendrites 時(shí)間: 2025-3-28 20:23
r covered for its female nudity and remained hidden during decades. Later in the 1970s the secretariat of the General Agreement on Tariffs and Trade occupied the building and requested the removal of other majo978-3-031-27162-5978-3-031-27160-1
