FRENCH PROVINCIAL FURNITURE PICTURES - FURNITURE PICTURES

FRENCH PROVINCIAL FURNITURE PICTURES - GREEN LIVING ROOM FURNITURE.

French Provincial Furniture Pictures


french provincial furniture pictures
    french provincial
  • A term describing countrified versions of formal French furnishings of the 17th and 18th centuries.
  • French Provincial ( Souvenirs d’en France) is a 1975 French drama film directed by Andre Techine, starring Jeanne Moreau, Michel Auclair and Marie-France Pisier.
  • (French province) The Kingdom of France was organised into provinces until March 4, 1790, when the establishment of the departement system superseded provinces.
    furniture
  • furnishings that make a room or other area ready for occupancy; "they had too much furniture for the small apartment"; "there was only one piece of furniture in the room"
  • Furniture is the mass noun for the movable objects ('mobile' in Latin languages) intended to support various human activities such as seating and sleeping in beds, to hold objects at a convenient height for work using horizontal surfaces above the ground, or to store things.
  • Large movable equipment, such as tables and chairs, used to make a house, office, or other space suitable for living or working
  • A person's habitual attitude, outlook, and way of thinking
  • Furniture + 2 is the most recent EP released by American post-hardcore band Fugazi. It was recorded in January and February 2001, the same time that the band was recording their last album, The Argument, and released in October 2001 on 7" and on CD.
  • Small accessories or fittings for a particular use or piece of equipment
    pictures
  • Describe (someone or something) in a certain way
  • Form a mental image of
  • (picture) visualize: imagine; conceive of; see in one's mind; "I can't see him on horseback!"; "I can see what will happen"; "I can see a risk in this strategy"
  • (picture) a visual representation (of an object or scene or person or abstraction) produced on a surface; "they showed us the pictures of their wedding"; "a movie is a series of images projected so rapidly that the eye integrates them"
  • Represent (someone or something) in a photograph or picture
  • (pictural) pictorial: pertaining to or consisting of pictures; "pictorial perspective"; "pictorial records"
french provincial furniture pictures - French by
French by Design
French by Design
The enduring appeal of French-country style spans the centuries, a gracious mingling of elegance and ease. After years of largely echoing the furniture, fabrics, and accessories linked with the region of Provence, these days French country is often far removed from the primitive images that hearken back to the early seventeenth century. Room by room, FRENCH BY DESIGN reveals the secrets to creating a contemporary French-country look, including textiles, furniture, floor coverings, window treatments, color palettes, wall treatments and lighting, thus allowing anyone to bring the look home.

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Jean-Claude Brialy
Jean-Claude Brialy
East-German card by VEB Progress Film-Vertrieb, Berlin, nr. 1/972. Dashing and strikingly versatile actor Jean-Claude Brialy (1933-2007) became a star in the late 1950’s when he was one of the best known faces of the Nouvelle Vague. He worked with such New Wave filmmakers as Claude Chabrol, Jean-Luc Godard, Louis Malle, and Francois Truffaut, and he also directed a number of films himself. It made him an embodiment of the French cinema for a global audience. Jean-Claude Brialy was born in Aumale, French Algeria (now Sour El-Ghozlane, Algeria), in 1933. He was the son of Roger Brialy, a colonel stationed in colonial Algeria with the French Army, and Suzanne Abraham. At the age of nine, he went with his family to various cities in France, settling after the war in Strasbourg, where he took his baccalaureate. Brialy showed great promise in drama and won first prize at the Conservatoire de Strasbourg. He detested his strict upbringing, and acting became an early form of rebellion. He had violent arguments with his father, who once locked the 15-year-old boy in to prevent his attending rehearsals of a school play, Jean-Claude responded by smashing up the furniture. Against the wishes of his parents, he enrolled at the Centre Dramatique de l’Est (Eastern Centre of Dramatic Art in Strasbourg), to train to be an actor. Military service then intervened and Brialy found himself attached to an army film unit in the German town of Baden-Baden. There he made his first film, a short entitled Chiffonard et Bon Aloi. His job also enabled him to go to shows, and to meet actors, including Jean Marais. Demobilized, he moved to Paris in 1954. There he scratched a living by small roles on stage and entertaining the queues outside the first-run cinemas on the Champs Elysees. He became friendly with a group of young critics and aspiring filmmakers who were taking over the influential journal Cahiers du Cinema. At 21, he joined a Cahiers outing to Arles to see Jean Renoir's stage production of Julius Caesar. He made his film debut in a short directed by one of the Cahiers critics, Le Coup du berger/Fool's Mate (1956, Jacques Rivette). Cahiers editor Eric Rohmer casted him as the lover in his 10-minute short La sonate a Kreutzer/The Kreutzer Sonata (1956), an adaptation of the short story by Tolstoy. Brialy appeared uncredited in two features by Louis Malle: Les Amants/The Lovers (1958, Louis Malle) and Ascenseur pour l’echafaud/ Elevator to the Gallows (1958, Louis Malle) both starring Jeanne Moreau. His first lead was in Le beau Serge/Handsome Serge (1958, Claude Chabrol) as an idealistic Parisian student who returns after a ten-year absence to his provincial village and becomes obsessed with saving an old school friend who has become a hopeless alcoholic (played by the brooding Gerard Blain, often called the James Dean of France). The film, which won an award in Locarno, and the Jean-Vigo Prize, immediately attracted attention, and the performers (Brialy, Blain, and Bernadette Lafont) were widely acclaimed. Le beau Serge was immediately followed by Les Cousins/The Cousins (1959, Claude Chabrol), in which Brialy played the sardonic town cousin to Blain's simple country cousin. The young Turks of the Cahiers du Cinema formed the core of the Nouvelle Vague (New Wave). This film movement was a rebellion against the conventions of the French cinema. As James Travers writes at Films de France: ”Out went polished scripts, well-rehearsed performances and meticulously staged productions. In came spontaneity, improvisation, subversive politics, real human emotion, and fun.” The Cahiers critics were starting to have an impact far greater than they could have anticipated and the French cinema seemed to be going through a period of frantic renaissance. The director became the intellectual author of the film; the stars were made more human, the stories more enigmatic. Jean-Claude Brialy also made several films with the other Nouvelle Vague filmmakers including Jean-Luc Godard, Francois Truffaut, Agnes Varda, Pierre Kast, and Jacques Rozier. Ronald Bergan stated in The Guardian: “Where Belmondo represented anarchy, Leaud youthful innocence and Blain sensitivity, Brialy brought cynicism, charm and sophistication to the films of the period.” Brialy was the leading man in Godard’s ‘neo-realist musical’ Une Femme est une femme/Woman Is a Woman (1961, Jean-Luc Godard), in which Anna Karina plays a stripper who wants to have his baby and turns to his best friend Jean-Paul Belmondo when he refuses. In the film Brialy directly addresses the audience with a line that became an epigram for the Nouvelle Vague: “It’s hard to tell if this is a comedy or a tragedy, but either way it’s a masterpiece.” For Truffaut he appeared opposite Jeanne Moreau in La Mariee etait en noir/The Bride Wore Black (1968, Francois Truffaut), and for Rohmer he starred in Le Genou de Claire/Claire’s Knee (1970, Eric Rohmer), in which he played a bearded Cultural attac
refinishing
refinishing
This is a piece of furniture I'm refinishing. It's an old radiator cover (that you'd use to hide your radiator back in the day) but I'm going to use it as a cupboard for my oil and vinegar bottles, mounting it up on the wall. I think I'm going to paint it a putty color or white and distress it. I'm also going to slice the doors down the middle and have it open right & left instead of just one way (the whole door opens to the left). I'll post an after picture once I finish it.

french provincial furniture pictures
french provincial furniture pictures
French Provincial Cooking
Elizabeth David's books belong in the libraries of everyone who loves to read and prepare food and this one is generally regarded as her best; her passion and knowledge comes through on every page. She was one of the foremost writers on food in the latter half of the 20th century and this book has her most celebrated writing. "French Provincial Cooking" should be approached and read as a series of short stories, as well written and evocative as the best literature.
The voice is highly personal and opinionated, sometimes sharp but always true and always entertaining. Here is a long essay on French cuisine, offering background stories and sketches of recipes more than the slavishly didactic type of recipes that most modern readers might be used to today. For many Elizabeth David was the first to introduce us to the French notion of la cuisine terroir, sometimes interpreted as 'what grows together goes together'. For David, this is the heart of regional cooking, and the thing which most distinguishes it from cooking in haute cuisine restaurants where diners arrive at any time or any season and expect to be able to order any well known French specialty.
One of the passages which best characterizes David's approach to a lot of cooking is her opening statement on the perfect omelet: 'As everybody knows, there is only one infallible recipe for the perfect omelet: your own.'
The book starts with a short essay on each of the major culinary regions of France, starting perhaps not surprisingly with Provence which is blessed an abundance of produce. The largest portion of the book consists of chapters on cuisine by type of dish: Sauces, Hors-D'oeuvres and Salads, Soups, Eggs and Cheese, Pates and Terrines, Vegetables, Fish, Shellfish, Meat, Composite Meat Dishes, Poultry and Game, and Sweet dishes.
The book is all the more valuable in that it paints a picture of a cooking style which existed before modern equipment such as the food processor. Most importantly, the recipes work if your aim is to produce the most excellent food imaginable. What initially may seem to be annoying details (e.g., for omelets, eggs 'should not really be beaten at all, but stirred,' whereas for scrambled eggs, they should be 'very well beaten') are actually secrets to be treasured, that elevate a good dish to a superb one. The lesson is that good food should be done simply, but it takes care, attention to detail, and frequently, time.
A hardback edition of French Provincial Cooking has been unavailable for many years and Grub Street is re-issuing it because of overwhelming demand. It should become as popular an edition as the best-selling "Elizabeth David Classics".

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