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1, 2, 3... Couleur !

L'autochrome exposée.

From 02 December 2022 to 28 May 2023

Jeu de Paume – Tours

In June 1907, the Lumière Company introduced the first industrial process for colour photography: the Autochrome. Anticipated since the invention of photography in 1839, this advancement caused a revolution.

The great American photographer Edward Steichen (1879-1973) wrote that it was the “most beautiful process that photography has ever given us to capture nature”. The enthusiasm for the new technique was both intense and relatively brief, lasting just over two decades before the process gradually fell into disuse in the 1920s and 1930s. The Autochrome then went through a long period of neglect. Being too fragile, difficult to expose, and non-reproducible, it was for a long time one of the great neglected branches of photography, like a dead branch that seemed to have yielded only too few fruits.

For the past two decades, the Autochrome has been brought back to life by a few historians and collectors who, against the current, have been able to appreciate its finesse, sensuality, and strangeness.

The exhibition brings together 176 works from two collections, including around forty original plates. The diversity of the presented Autochromes illustrates the very wide use of this medium within society, from anonymous or renowned photographers to the photographic service of the armies.

Accompanying the exhibition presented at the Château de Tours, the album published is a contribution to this renewed interest illustrated by the two collections. On the one hand, the AN collection gathered since 2006 by Soizic Audouard and Élizabeth Nora, which, due to its very high quality and diversity, constitutes a wonderful introduction to the very singular aesthetics of the Autochrome. On the other hand, the fascinating collection of Autochromes from the First World War held at the MPP (Médiathèque du Patrimoine et de la Photographie). This selection, however rich, is not intended to recount a history of the process but rather to be more of an introduction.

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« 1, 2, 3… Couleur » : à Tours, le Jeu de paume ressuscite l’autochrome

L’exposition « 1, 2, 3… Couleur » révèle, jusqu’au 28 mai au château de Tours, toute la beauté de l’autochrome. Fruit d’une invention majeure des frères Lumière au début du XXe siècle, ce procédé, abandonné au profit de la pellicule, a introduit la couleur dans la photographie.

• Xavier Renard, correspondant à Tours ,
• le 12/02/2023 à 12:56

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Lecture en 2 min.

Dans le champ de coquelicots , s. d. anonyme, est visible à l’exposition « 1,2,3 .. Couleur » au Jeu de Paume de Tours jusqu’au 28 mai 2023.

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Au château de Tours (Indre-et-Loire), le Jeu de paume introduit le public vers la magie de l’autochrome . L’exposition « 1,2, 3… Couleur. L’autochrome exposée » présente, jusqu’au 28 mai, une collection inédite de 350 œuvres constituée par Soizic Audouard et Élizabeth Nora et complétée par une sélection importante, émanant du fond d’archive de la Médiathèque du patrimoine et de la photographie. Quentin Bajac, directeur du Jeu de paume, a été « émerveillé » par la beauté et la finesse de ces images « translucides de petit format » .

Une technique éphémère

Inventé et breveté en 1903 par les frères Lumière, ce procédé a bouleversé l’histoire de la photographie. Pour la première fois, le monde allait être documenté et regardé en couleurs. Pour ce faire, les frères Lumière ont recouvert une plaque de verre, réfléchissant la lumière, d’une pellicule photosensible et d’une fine couche de grains de fécules de pomme de terre, teintés des couleurs primaires. « Ils étaient très fiers de cette invention », souligne Elisabeth Nora, l’éditrice de la revue L’Insensé.

En dépit de l’intérêt prononcé de grands artistes tels que Jacques Henri Lartigue, Eugène Atget ou Paul Castelnau, et de nombreux amateurs fortunés, la durée de vie de l’autochrome – relayé ensuite par l’usage moins coûteux de la pellicule – n’excédera pas une vingtaine d’années. Pendant cette courte parenthèse, la technique aura été industrialisée à grande échelle. Jusqu’à 6 000 plaques de trois formats (9 × 12 cm ; 13 × 18 cm et 18 × 24 cm) furent produites chaque jour.

Une collection profuse

À Tours, Soizic Audouard et Élisabeth Nora, les deux co-commissaires de l’exposition, ont jugé bon d’intégrer, dans le parcours, des visionneuses stéréoscopiques, objets – dignes des cabinets de curiosité – chinés en brocante, faisant défiler des images fragiles, au grain poétique d’un autre temps, se rapprochant parfois du pointillisme.

Dans une autre salle, une sélection de plus grands formats est projetée sur les murs. « C’est l’essence même de l’autochrome », expliquent les deux femmes, qui ont fortuitement découvert ce procédé en 2005, à la faveur d’une visite chez un brocanteur. « Nous sommes tombées sur des images sur verre. En les levant vers le soleil, nous avons, toutes les deux, été bluffées par ce que nous avions sous les yeux. Et nous sommes chacune ressorties de cette brocante avec notre premier achat, un magnifique pommier en fleurs », raconte l’ancienne galeriste Soizic Audouard .

Plus tard, elles ont acquis un chef-d’œuvre de Paul Burty-Haviland. Le début d’une passion et d’une collection profuse. Sensibles à « la réussite plastique » de ces images, elles sont avant tout charmées « par ce que raconte l’image, son étrangeté, son énigme », disent-elles, heureuses de contribuer à sauvegarder ce procédé tombé dans l’oubli. Plus sélectives dans leurs choix, elles continuent à alimenter ce fonds, animées « par le simple plaisir » d’acheter des œuvres, en particulier des sujets scientifiques. « À deux, on double notre capacité d’appréciation, nos commentaires sur les images et notre budget », souligne Soizic Audouard.

Pour cette exposition, le Jeu de paume tenait aussi à associer la Médiathèque du patrimoine et de la photographie, disposant d’un fonds documentaire exceptionnel. Laquelle présente, au premier étage du château de Tours, un échantillon de 200 œuvres – dont une quarantaine de plaques originales –, commandées par Albert Kahn à deux opérateurs, pour documenter l’arrière-front de la Première Guerre mondiale.

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Un choix de manifestations et de spectacles

Autochromes au Château de Tours Quand les photos avaient la patate

Dernière mise à jour le 21 juillet 2023

Les frères Lumière ont inventé le cinéma mais aussi l’autochrome. Des images qui tiennent autant de la photo que du pointillisme. Des images en couleurs, surtout, ce qui était une révolution. À voir au Château de Tours, avec le Jeu de Paume, du 1 er  décembre 2022 au 28 mai 2023, avec l’exposition 1,2,3… couleur !

Les frères Lumière ont inventé le cinéma, on le sait, et nous ne laisserons aucun Américain dire le contraire. Ils auraient pu inventer le cinéma en couleurs, mais, pas de bol, ils ont été coiffés au poteau par le Technicolor. La faute à la pomme de terre. Explications, en attendant d’aller voir l’expo 1,2,3… couleur ! au Château de Tours.

Si papa Lumière (Antoine) n’avait pas été malin et enthousiaste, ses fistons (Auguste et Louis) n’auraient sans doute jamais inventé le cinématographe. Papa, peintre devenu photographe, a fait faire des études d’ingénieurs à ses fils. Et c’est pour lui que Louis inventera une plaque de photographie instantanée qui fera la fortune de la famille en général et d’Antoine en particulier.

Auguste et Louis travaillent en binôme et n’ont pas leurs cerveaux dans leurs poches. Ils déposeront près de deux cents brevets. Parmi eux, le tulle gras pour soigner les brûlures et un médicament contre la tuberculose ! Inattendu.

Et l’autochrome.

Une idée de pluche

Avec un peu plus de temps, les frangins lumineux auraient inventé la télévision et le vidéoprojecteur. Parce que c’est le même principe qui présidera à la naissance de l’autochrome. Pour être techniques, précisons qu’il s’agit de « synthèse additive ». Autrement dit, en mélangeant trois couleurs primaires, rouge-vert-bleu, on arrive à des images colorées.

Sur un téléviseur (les anciens, avec une grosse lampe et beaucoup de chaleur) ou un vidéoprojecteur, ce sont des lampes qui se chargent du mélange. Chez les frères Lumière, ce sont des pommes de terre (et une lampe, tout de même).

Une explication en vidéo ? C’est cadeau.

Les Lumière, ayant inventé les plaques photographiques de papa, trouvaient tout de même un peu tristounet de devoir se contenter du noir et blanc. En appliquant le principe de la fameuse « synthèse additive », ils savent qu’ils pourront recréer la couleur d’une scène, à condition de la démultiplier en petits points qui viendront la fixer sur la plaque de verre. Reste à trouver ce qui va reconnaître la couleur et la déposer. Va donc savoir pourquoi, ce sera la fécule de pomme de terre. Edison a bien utilisé un poil de barbe roux pour tester ses ampoules électriques…

Donc, on prend de la fécule, on la partage en trois petits tas que l’on colore chacun avec une couleur primaire, on mélange et on étale sur la plaque. Une couche de vernis la maintient sur la plaque. Une autre couche, de l’émulsion noir et blanc, complète le burger.

Le développement se fait comme pour une plaque noir et blanc. Comment ça marche ? On n’a pas très bien compris. «  Supposons que le sujet soit vert : l’émulsion ne subira l’action de la lumière que derrière les grains de fécule verts. Les grains orangés et violets arrêteront à peu près complétement la lumière. » Cela donne une image à cheval entre la photographie et la peinture pointilliste. Cette impression est intimement liée à sa composition hétérogène, facilement discernable dans le détail.  » dit le mode d’emploi des frères Lumière, cité dans l’excellent article du CNC . C’est mieux que ce qui se faisait jusqu’alors, qui exigeait trois plaques. Et, en plus, c’est très beau.

Le monde en couleurs

C’est très beau et ça plait. Le brevet est déposé le 17 décembre 1903. Rapidement, les frères Lumière vont expédier des photographes dans le monde entier. Ils ne sont pas les seuls. Albert Kahn, riche et philanthrope, va emprunter les mêmes chemins. Montrer le monde doit rapprocher les peuples, pense-t-on. On est en 1909. On a encore cinq ans pour y croire.

Le procédé séduit tellement que des centaines de milliers de plaques sont développées. Un catalogue immense et somptueux qui est aussi un incroyable témoignage de la planète à l’époque. Et pourtant, cela n’a duré qu’une vingtaine d’années, avant qu’une autre technique remplace l’autochrome, la pellicule que l’on a connu… et qui a disparu aujourd’hui, ou presque.

Le Château de Tours, en association avec le Musée du Jeu de Paume, mais aussi la Collection AN et la Médiathèque du patrimoine et de la photographie, présente un échantillon exceptionnel d’autochromes. Près de deux-cents œuvres, dont une quarantaine de plaques originales, qui permettent non seulement d’apprécier sa beauté (beauté que les plus grands photographes de l’époque, présents à Tours, ont su magnifier) autant que le passionnant regard tourné vers un passé authentique.

Des plaques issues, précise le musée, «  d’une part, [de] la collection AN réunie depuis 2006 par Soizic Audouard et Élizabeth Nora, qui par sa très grande qualité et sa diversité constitue une merveilleuse introduction à l’esthétique très singulière de l’autochrome. De l’autre, le fascinant fonds d’autochromes de la Première Guerre mondiale conservé à la Médiathèque du patrimoine et de la photographie.  » qui sont autant un voyage dans le passé (attention, nostalgie garantie !) qu’un regard vers des œuvres à l’expression aussi vive que celle d’une peinture.

Et le film couleurs, donc ? Auguste et Louis Lumière ont tenté le coup mais leur procédé était décidément trop complexe pour de l’image animée. C’est encore le CNC qui raconte : Les procédés des frères Lumière, le Filmcolor puis le Lumicolor, «  appliquent la technique autochrome à la pellicule, mais souffrent de défauts majeurs. Temps d’exposition très long, difficulté de capter le mouvement… Les problèmes techniques sont bien trop nombreux pour en faire un concurrent sérieux du Technicolor.  » Les Américains, cette fois, vont gagner, bien aidés, c’est vrai, par une campagne de pub comme ils en ont le secret. Hitchcock adorait les couleurs du Technicolor, aussi belles que celles de l’autochrome. On ne va pas chipoter.

Mais on ne va pas louper l’expo du Château de Tours pour autant. Les autochromes, c’est beau comme du cinoche.

Au Château de Tours, du 2 décembre 2022 au 28 mai 2023.

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L'autochrome exposée

1,2,3 couleur.

En juin 1907, la Société Lumière commercialise le premier procédé industriel de photographie couleur : l’Autochrome. Attendu depuis l’invention de la photographie en 1839, ce progrès provoque une révolution.

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Ombres chinoises

Sous l'œil des diplomates, exposition du 24/11/2023 au 19/05/2024.

André Travert. [Hong-Kong] 1958 © Ministère de l’Europe et des Affaires étrangères, Archives diplomatiques. Collection André Travert

Célébrant soixante ans d’échanges diplomatiques entre la France et la République populaire de Chine, « Ombres chinoises. Sous l’oeil des diplomates », présentée au Château de Tours du 24 novembre 2023 au 26 mai 2024, met en lumière les oeuvres de deux grands photographes, aujourd’hui conservées dans les Archives diplomatiques françaises.

L’exposition confronte les prises de vues de monuments célèbres, de paysages ruraux et de portraits saisissants des années 1930 d’Hélène Hoppenot (1894 – 1990) à une analyse photographique documentaire d’André Travert (1921-1993) dont le travail dévoile une société en pleine mutation entre 1947 et 1971.

Plus de 200 tirages et documents d’archives inédits issus des Archives diplomatiques du ministère de l’Europe et des Affaires étrangères dévoilent ainsi deux visions sensiblement différentes d’une grande nation, à un moment charnière de son histoire.

Depuis le XVIème siècle, le ministère des Affaires étrangères, d’abord au Quai d’Orsay puis à Nantes et à la Courneuve, conserve les Archives diplomatiques françaises parmi lesquelles celles des diplomates missionnés en Chine. Ces fonds exceptionnels sont composés de nombreux documents, des traités signés par les plus grands noms de l’Histoire de France, aux plus simples dépêches et photographies transmises par les ambassadeurs et les consuls. C’est au coeur de ces derniers que reposent les fonds Hoppenot et Travert, que le Jeu de Paume se propose de dévoiler.

Le fonds Hélène Hoppenot comprend plus de 2000 tirages d’époque réalisés dans le monde entier et des milliers de négatifs, soit plus de 11000 images au total. Musicienne, écrivaine, traductrice et surtout photographe, elle réside notamment quatre ans en Chine lorsqu’elle accompagne son mari en mission diplomatique. La passion qu’elle développe pour ce pays l’incite à acquérir un Rolleiflex pour en garder le souvenir. Imprégnée du milieu culturel et artistique que constituent les ambassades de l’époque, amie de Paul Claudel et Saint-John Perse entre autres, Hélène Hoppenot développe un oeil aiguisé qui se traduit dans ses photographies.

Le fonds André Travert comprend plusieurs milliers d’images inédites de la Chine des années 1940 aux années 1970, couvrant la révolution culturelle. Débutant sa carrière diplomatique en tant que secrétaire de l’ambassadeur français à Nankin en 1946, la victoire des communistes et la fondation de la République populaire de Chine en 1949 le forcent à travailler à partir de Hong Kong. Méticuleux et consciencieux, il développe et tire luimême ses photographies soit environ 4700 tirages de lecture.

Vernissage le jeudi 23 novembre 2023

Autres événements...

Claire Chevrier – SCENERY

Arina ESSIPOWITSCH

Julien MAGRE

1, 2, 3… COULEUR ! L’autochrome exposée

Frank Horvat

Thibaut Cuisset

Studio Zgorecki

René-Jacques – L’élégance des formes

André Kertész – L’équilibriste

On View January 25–30: Original Autochromes Produced Using the First Color Photographic Process

Edward Steichen (American, 1879–1973). Portrait of Alfred Stieglitz holding a copy of the journal Camera Work , 1907, Autochrome. The Metropolitan Museum of Art, New York

«Developed in the early years of the twentieth century, Autochromes were the result of the first commercially viable color photographic process. Yet the dyes used to impart the color in Autochromes are so sensitive to light that typical exhibition conditions cause rapid and irreversible fading, which has led to the Metropolitan Museum's policy of not exhibiting these vulnerable photographs. As the Museum's research scholar in photograph conservation, I spent three years studying the stability of Autochrome dyes. I began my research with a desire to better understand how and under what conditions Autochromes fade and, ideally, to devise a safe way to exhibit these important photographs. The exciting culmination of my work will take place next week, January 25–30, when five original Autochromes by Alfred Stieglitz and Edward Steichen will be displayed in low-oxygen enclosures as part of the special exhibition Stieglitz, Steichen, Strand .»

The Autochrome was introduced in France in 1907 by Auguste and Louis Lumière—the same brothers who, in the 1890s, had created the earliest motion pictures. Their new color process was greeted with great enthusiasm by photographers, committed amateurs, and professionals alike, among them Alfred Stieglitz and Edward Steichen, the acknowledged leaders of the Pictorialist movement. Within months, Stieglitz and Steichen organized the first American exhibition of the Lumières' new process in New York. Members of the Pictorialist movement explored the Autochrome process with great creativity and interest, though by 1910 they gradually abandoned the technique. Even so, this short period saw the production of important early examples of color photography. Among the group of forty-five Autochrome plates in the Museum's collection are iconic images such as Steichen's Rodin–The Eve and his portrait of Alfred Stieglitz holding a copy of the journal Camera Work , which will both be on view next week.

What is it that makes the Autochrome image so unique and magical in its delicate color effects? What are the special qualities that, as with other early photographic processes such as the daguerreotype, we only see when we are able to look at originals? An Autochrome is a transparent color image on a glass support that must be viewed either with a transmitted light source or by projection in a specific device. The image is made up of a silver gelatin layer–like that used in the black-and-white photography of the time–together with a color screen of minuscule potato starch grains that are dyed red, green, and blue and filter the light during image capture, producing the color effect. The dyes used to tint the potato starch grains are very fugitive and tend to fade rapidly and irreversibly when exposed to light.

Autochrome color screen: blue, green, and red potato starch grains

Working closely with Masahiko Tsukada of the Department of Scientific Research and under the supervision of Nora Kennedy, the Museum’s Sherman Fairchild Conservator of Photographs, I have conducted experiments that show that the fading of the color dyes in Autochrome images can be mitigated over short periods by enclosing the plates in a low-oxygen environment during display.

Oxygen-free, or anoxic, environments have been a subject of great interest to conservators recently, as it has been shown that the rate of deterioration from light exposure can sometimes be reduced, or even arrested, in an environment free of oxygen. The Met's 2007 exhibition of the beautifully restored panels of Ghiberti’s Gates of Paradise was possible because the bronze doors were displayed in custom-made anoxic cases. Likewise, the original manuscript of the Declaration of Independence is now exhibited at the National Archives in Washington, D.C., in an anoxic case. Despite well-known precedents, however, the application of low-oxygen environments to the display of photographic materials had not previously been explored.

My own interest in the influence of oxygen on the fading of dyes coincided with the desire of the curators in the Department of Photographs to show early color works from the collection. To establish how this could be done safely, I designed an experiment using samples of Autochrome dyes created in accordance with historic recipes. These samples were then systematically exposed to light under two conditions: in oxygen at environmental levels (around 21%) and in oxygen at low levels. I did this by placing the samples in plastic-capped glass tubes specially designed for the purpose. Some tubes had regular levels of oxygen, while others were purged with Argon, an inert gas that replaced the oxygen and nitrogen gases that are normally present in the air that we breathe. To absorb any residual oxygen, small tablets called “scavengers” were also placed in the purged tube before they were sealed, together with indicators capable of monitoring any oxygen ingress at levels as low as 0.01%.

The exposure to light of the complete set of tubes was carried out at the Image Permanence Institute of the Rochester Institute of Technology using an apparatus called a light-fading unit. Careful measurements were made of the intensity and tonality of the color of the samples both before and after exposure in the unit, a process that lasted several weeks. The results were dramatic and readily visible to the eye even as the samples in the tubes were being removed from the apparatus. It was clear that the Autochrome dyes had faded at a much lower rate in the absence of oxygen, making it possible to propose the display of original plates for a short period of time, on the condition that they be enclosed in a low-oxygen environment.

Samples ready for exposure in the light-fading unit at the Image Permanence Institute at Rochester Institute of Technology, Rochester, New York

Luisa Casella with samples after exposure inside their sealed tubes. On the left are the color dyes exposed in environmental oxygen. On the right are the same dyes exposed in a low-oxygen environment.

I am pleased that, as a result of my research, rare, original Autochromes from the Museum's collection will be on view to the public for the first time in recent history, protected in custom-designed, low-oxygen display units at carefully monitored light levels. From January 25 to January 30, 2011, visitors will be able to appreciate the beauty of five unique Autochromes by master photographers Alfred Stieglitz and Edward Steichen, temporarily replacing the facsimiles that will be displayed during the remaining weeks of the exhibition Stieglitz, Steichen, Strand .

Luisa Casella is a research scholar in photograph conservation in the Department of Photographs.

Related Links Exhibition: Stieglitz, Steichen, Strand Heilbrunn Timeline of Art History: Alfred Stieglitz (1864–1946) and American Photography ; Edward Steichen (1879–1973): The Photo-Secession Years Department of Photographs Science and Conservation

Luisa Casella

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The Picture Show

National geographic, autochromes: the first flash of color.

Claire O'Neill

There's a legend that when the Lumiere brothers -- pioneers of motion pictures -- showed their film of an approaching train in 1896, the audience ran amok in terror. These early films were far from realistic by today's standards, but at the time, a moving picture was a revolutionary sight.

For some reason, though, Auguste and Louis Lumiere -- believing audiences would have little interest in motion pictures -- shifted gears to focus on still photography. In 1907, they patented the first commercially successful color process, which they called the Autochrome Lumiere .

It involved glass plates, a backlight, soot and (oddly) potato starch -- and it revolutionized photography. Magazines like National Geographic started dispatching photographers to shoot with autochromes; documentary fieldwork became more feasible with this relatively portable medium. For about 30 years, it was the most widely used process for capturing color.

Today, almost exactly 100 years since the Lumieres' invention, the National Geographic Society has more than 15,000 glass plates in its archives, most of which are autochromes. Their archivist, Bill Bonner, gave me a guided tour through the magazine's basement archive -- a pretty impressive fortress of photography , to say the least.

In 1983, when Bonner started working in the archives, one of his firsts projects was to re-sleeve each of these glass plates (11,000 of which are unpublished) in an acid-free envelope. So he has seen every single glass plate -- and is actually the only person to have seen most of them. Fortunately, a few are going on display for the rest of us to see. An exhibition of prints made from some of these autochromes opens Friday at New York City's Steven Kasher Gallery .

A close-up view of a 1935 autochrome shows the grainy colors. Jacob J. Gayer/National Geographic Society/ Steven Kasher Gallery hide caption

At first glance, the graininess of the large prints looks like digital noise from a cranked-up ISO. But it's actually the potato starch, says Julia Andrews, one of the main curators for the exhibition. The pointillistic quality of these photographs -- small dots of orange, green and purple -- gives them a misty, nostalgic tone. The above image of a young Spanish girl with a fan looks more like a Vermeer painting than a photograph.

That's partly because many of these photographs were posed. The opulent Spanish dress, Andrews told me, was acutally a loaner costume. So much for photojournalism! Both color and documentary photography have come a long way since the autochrome -- as has National Geographic magazine. This exhibition is a rare peek inside an enormous and mostly off-limits archive, and a colorful rendition of an era that we usually see in monochrome. Like this 1930s Ohio circus photo --

Children read the coming attractions of the traveling Silvan Drew Circus in Bristolville, Ohio, published October 1931 (Jacob J. Gayer/National Geographic Society/Steven Kasher Gallery) National Geographic Stock hide caption

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Autochromes

Evidence of a vanished age in nostalgic color portraits, landscapes and domestic scenes will be seen in the exhibition. Prints made from Autochrome plates dating from 1907 to the mid-1930s. All produced form the turn of the century original Autochrome process developed by French brothers Auguste and Louis Lumiere. Photographs by Lumiere himself, portraits and landscapes by Arnold Genthe, Stefan Jasienki and Andre Meys, still lifes, and the first underwater color photographs are all included in this exhibition.

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Moscow Metro

The Moscow Metro Tour is included in most guided tours’ itineraries. Opened in 1935, under Stalin’s regime, the metro was not only meant to solve transport problems, but also was hailed as “a people’s palace”. Every station you will see during your Moscow metro tour looks like a palace room. There are bright paintings, mosaics, stained glass, bronze statues… Our Moscow metro tour includes the most impressive stations best architects and designers worked at - Ploshchad Revolutsii, Mayakovskaya, Komsomolskaya, Kievskaya, Novoslobodskaya and some others.

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The guide will not only help you navigate the metro, but will also provide you with fascinating background tales for the images you see and a history of each station.

And there some stories to be told during the Moscow metro tour! The deepest station - Park Pobedy - is 84 metres under the ground with the world longest escalator of 140 meters. Parts of the so-called Metro-2, a secret strategic system of underground tunnels, was used for its construction.

During the Second World War the metro itself became a strategic asset: it was turned into the city's biggest bomb-shelter and one of the stations even became a library. 217 children were born here in 1941-1942! The metro is the most effective means of transport in the capital.

There are almost 200 stations 196 at the moment and trains run every 90 seconds! The guide of your Moscow metro tour can explain to you how to buy tickets and find your way if you plan to get around by yourself.

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In Moscow we offer you a city tour to discover most of the city in an original way as well as a night tour to admire the lights. Our pubcrawl is ideal to explore Moscow’s night-life and have fun. If you are craving to discover Russian culture, come impress your senses during our monastery diner or join our 100% Russian Banya Excursion . The latest will also bring you to Sergiyev Posad and it’s famous monastery!

For the most extreme travellers, our shooting tour will deliver your daily dose of adrenaline whereas our tank excursion will let you ride a real tank and shoot a bazooka.

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At Put-in tours, we put you in our classic Soviet vans to go explore Moscow, Saint Petersburg and Russian culture off the beaten path. Discover our Moscow city guided tour, visit Moscow by night, join our banya & Sergiyev Posad excursion, visit and dine in one of Moscow's oldest monastery or even Luzhniki stadium, before you party on our famous pubcrawl! Original and atypical tours : Shoot AK47 and a bazooka after riding on a tank with our tank & bazooka excursion ! Extreme tours: Fly a fighter jet in Moscow onboard a L-29 or L-39 aircraft!

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Découvrez en photos le musée Albert Kahn et sa fabuleuse collection d'Autochromes

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Abraham Kahn, dit Albert (1860-1940), était un banquier et philanthrope français. Entre 1889 et 1893 il bâtit sa fortune en spéculant sur les mines d'or et de diamants d'Afrique du Sud. Il met en place un projet intitulé  Les Archives de la Planète  dans lequel des photographes vont parcourir l'Europe, l'Afrique, l'Asie et une partie de l'Amérique pendant une vingtaine d'années (entre 1909 et 1931). Ils vont rassembler un total de 72 000 autochromes (un procédé de restitution photographique des couleurs) et une centaine d'heures de film.

Entre 1892 et 1895, Albert Kahn loue puis achète un hôtel particulier à Boulogne-sur-Seine situé au quai du 4 Septembre. Il obtient progressivement plusieurs parcelles sur lesquelles il va installer un jardin. En 1936, le Département de la Seine acquiert les collections d'autochromes et la propriété d'Albert Kahn, puis ils sont attribués au Département des Hauts-de-Seine en 1938. En 1986, un musée départemental est crée pour conserver, étudier et valoriser les collections. Depuis 2015 le musée est inscrit dans l'inventaire des monuments historiques.

La collection du musée en chiffre: 72 000  autochromes, 5 000  plaques stéréoscopiques, 180 000 mètres  de pellicule, soit 100 heures de films et 45 minutes de films en couleur.

Le musée possède un jardin qui s'étale sur une étendue de 4 hectares . De 1895 jusqu'en 1910, Albert Kahn et son chef jardinier Louis-Picart, vont construire un "musée végétal" sur une vingtaine de parcelles.

Le jardin est composé de sept scènes paysagères (style de jardin typique du XIXème siècle) qui rassemble des styles de jardin issus de différents pays: un jardin à la française;  un jardin à l'anglaise;  un village japonais (partiellement remplacé en 1990 par un jardin japonais grâce au paysagiste Fumiaki Takano (1943-2021)); un verger-roseraie  réalisé par les paysagistes Henri et Achille Duchêne; une forêt dorée  composée de bouleaux , d'épicéas et de fleurs sauvages ; une forêt bleue où sont plantés des  cèdres de l’Atlas et des épicéas du Colorado  entourant un marais; et une forêt vosgienne  qui rappelle le paysage natal d'Albert Kahn.

Monastir Bitolj, Serbie, Chez le riche Serbe, 3 filles de Smilevo et la petite fille de la maison en costume plutôt citadin, Macédoine 1913

M.Masson fils et son équipage sur la cale au départ pour la pêche, Bretagne, France, 1920

Sans titre, Séville Espagne, 1914

Chuying hutong (ruelle Chuying) où sont regroupés les bijoutiers, Ville Intérieure (Neicheng), Moukden [Shenyang], Chine, 1912

France, Paris, Tour Eiffel et Trocadéro, 1912

Cavalier mongol sur la route d’Ourga, Mongolie, 1913

Paul Hazoumé (écrivain béninois), France, Propriété d’Albert Kahn à Boulogne, 24 septembre 1931

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GETTING TO THE PLACE

Comic Con Russia will take place in Moscow, at Crocus Expo Exhibition Center, pavilion 1. Nearest metro station: Myakinino. Exit to exhibition pavilions.

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Former President Donald Trump talks about immigration, economy in Waukesha: recap of Wednesday's rally

Former President Donald Trump was in Waukesha Wednesday for his second rally of the presidential campaign in Wisconsin, speaking at the Waukesha County Expo Center.

Trump's visit comes off the heels of the latest Marquette University Law School poll, which showed him with a two-percentage point lead over President Joe Biden, well within the margin of error. Wisconsin is one of just a handful of contested states that will  decide the next presidential election .

Trump was last in Wisconsin on April 2, when he held a rally in Green Bay . The Waukesha rally is Trump's first campaign event since the start of his hush money trial in Manhattan.

Here's a recap of the day's events:

Immigration, economy major focus of Trump's speech

Similar to his rally in Green Bay, Trump used his speech to criticize Biden on his handling of the U.S.-Mexico border, calling it "the worst border in the history of the world."

"Biden came in and unleashed mayhem on our economy, just like he unleashed mayhem on our border," Trump said. "They have people flowing in from the poorest and the heaviest-crime countries all over the world."

In the latest Marquette University Law School poll , Wisconsin voters considered Trump better than Biden at handling immigration and border security, plus the economy, Israel-Hamas war and foreign relations. Biden had the lead on health care, abortion policy and Medicare and Social Security.

Voters overall ranked the economy as their top issue, with 33% saying it would be most important for deciding who to vote for. Immigration and border security was the second, with 21% citing that issue.

More: Takeaways from Donald Trump's Wisconsin rally: economy, immigration, early voting

— Hope Karnopp

Democrats focus on abortion policy in response

In response to Trump's visit, Democrats focused on abortion access, a key message that they've delivered at Biden campaign events.

"Trump’s abortion bans are wreaking havoc across the country — something he called “incredible” today — and he’s fine with it. Because it’s all about him, not Wisconsin, and not America," said Brianna Johnson, a spokeswoman for the Biden-Harris campaign in Wisconsin.

"As president, Donald Trump delivered less jobs and paved the way for extreme abortion bans across America. His next term could be worse: more bans, more suffering, and higher costs."

Trump briefly addressed abortion in his speech, repeating his position that abortion is best left up to the states. In an interview before his remarks, he declined to weigh in on whether the state Supreme Court should uphold a lower court's ruling restoring abortion access in Wisconsin.

Wisconsin chairman of Republican Party will continue promoting early voting

Republican Party of Wisconsin chairman Brian Schimming told reporters he will continue promoting early voting.

“The Republican National Committee will continue to do that, and so will the president,” Schimming said.

Trump has sent mixed messages on early voting, but has recently shifted his tone. Following the 2020 election, Trump sought to throw out ballots cast in-person absentee in Milwaukee and Dane counties.

Waukesha County Executive Paul Farrow also asked the crowd to vote early.

“We are going to get hammered by out-of-state money," Farrow said. "They’re going to flood every single election that we have. If we get out and vote early, that means our dollars can be targeted to those who haven’t voted yet.”

Staunch Trump ally Mike Lindell splits off over early voting stance

One of Trump’s staunchest allies Wednesday split from the former president on a key issue to the 2024 election cycle: early voting.

Mike Lindell, a pillow manufacturer and one of the most prominent purveyors of Trump’s false election claims, told the Milwaukee Journal Sentinel he didn't support the former president’s recent about-face on absentee voting.

“I’m 100% against voting early. I always will be," Lindell said. "It’s harder for (Democrats) to cheat with same-day voting."

Trump has long encouraged supporters to abstain from voting absentee and sought to throw out all in-person absentee ballots cast in the two most populous Wisconsin counties during the 2020 election. But Republicans have persuaded Trump to change his stance on the voting option to encourage GOP voters to maximize their voting power.

Lindell, who was meeting with rally attendees Wednesday outside of the Waukesha County Expo Center, also promoted the recall of Assembly Speaker Robin Vos, who has become a target of Trump and his allies over his unwillingness to take steps to overturn Trump’s 2020 loss.

“Robin Vos has to go,” Lindell said. “Vos is the most toxic politician I’ve ever come across.”

— Claudia Levens and Molly Beck

Supporters begin filing into venue for Trump rally

Supporters are slowly beginning to filter in to the Waukesha County Expo Center, where Trump is set to take the stage at 2 p.m.

A large crowd waited outside the expo center long before doors opened, forming a line that snaked through part of the parking lot.

More: Trump backers flock to Wisconsin rally, shrug off break from hush money trial

Vendors sell Trump merchandise outside rally

Steven Reid, 38, of Tennessee wound through the line of Trump supporters before the doors opened Wednesday trying to sell merchandise.

On his cart were hats, keychains, bracelets and more. He said many people already seemed to have hats, though.

“Sometimes they buy stuff and sometimes they don’t,” said Reid, who said he travels the country selling merchandise at Trump rallies.

— Alison Dirr

Biden campaign slams Trump for 'harmful' working-class policies

Ahead of Trump’s visit to Waukesha, the Biden campaign slammed Trump for his backing of policies the Biden campaign characterizes as being harmful to “working people here in Wisconsin,” citing tax cuts for corporations and the nation’s wealthiest residents.

“Wisconsinites can’t continue to pay the price while Trump only looks out for himself and his rich donors,” Biden’s Wisconsin communications director Brianna Johnson said in a statement.

“Enough is enough. Wisconsinites are throwing their support behind President Biden because his focus is on empowering American workers. He oversaw the fastest rate of union growth in Wisconsin in the last 30 years, became the first sitting president to join a picket line, and just last week announced plans to put more money in workers’ pockets by getting them the overtime pay they deserve."

— Molly Beck

Milwaukee protest organizers denounce Trump visit

On the Southside of Milwaukee, organizers and supporters for Voces De La Frontera gathered as they had for nearly 20 years to march for immigrant rights. But Trump’s visit to Waukesha was not ignored by organizers.

“You are not welcome in Wisconsin,” said Christine Neumann Ortiz, executive director for Voces. “You are the real threat to democracy. You orchestrated a failed coup with your corrupt followers and white supremacists. and we reject your racist platform, that promises, dictatorship, military-style mass, deportation, and family separation.“

And while Trump’s visit gathered attention from organizers, so did the protest encampments at UW-Madison and UW-Milwaukee. Students on those campuses and others around the country have been organizing demonstrations against their universities' involvement with the Israeli government and its action against Palestinians in Gaza.

Omar Flores, co-chair for the Coalition to March on the RNC, said the police response to the encampments 'will inform us of how they will treat us during the RNC.'

“The city of Milwaukee and nearby municipalities plan to roll out the red carpet for the Republicans and their hateful agenda, and the residents will do everything they can to reject hate in our communities,” Flores said.

But the Biden administration received some criticism from activists for its backing of Israel in its conflict with Palestinians.

“We see that the US government found $26 billion to finance Israel’s bombardment and destruction of Gaza over 30 hospitals and can’t find the funds to keep maternity wards here in Milwaukee open,” said Dr. Roa Qato, gynecologist and co-leader of the Milwaukee Chapter of Healthcare Workers for Palestine.

“We see families under Biden, and under Trump, struggling to make ends meet and to be able to pay for necessary medical supplies and medication.”

— Ricardo Torres

Crowd gets to Trump rally in Waukesha early

Bil Aldrich, 51, of DeForest pulled up to the rally before 8:30 a.m. Wednesday in a truck flying a Trump 2020 flag that he said he keeps up even when he's not at an event.

He said he goes to every Trump rally he can, and this is his sixth since October 2020.

“They’re fun, great people,” he said. “Every stranger is a better friend than some of my closest family.”

He called Trump “honest to a fault” and said the criminal charges he's facing are “show trials.”

“They’re BS, but he’ll prevail one way or another, even if he ends up running the country from jail,” Aldrich said.

Trump under gag order about Stormy Daniels trial

Trump is taking advantage of a rare mid-week day out of a New York courtroom where he's on trial for allegedly paying off a porn star to be quiet about a past sexual relationship during his first campaign for president. 

But Trump faces potential jail time if he again violates a gag order he's under as part of the court proceeding, making it unlikely he'll mention the case in Waukesha.

Trump was fined after he posted on his social media site Truth Social about potential witnesses in the case, including his former attorney, Michael Cohen, and the porn star at the center of the case, Stormy Daniels. 

New York Judge Juan Merchan fined Trump $10,000 for the posts, which he deemed a violation of the gag order, and said Trump should be able to campaign freely and defend himself against political attacks but that he not willfully violate the court’s orders. 

“If necessary and appropriate under the circumstances, (the court) will impose an incarceratory punishment,” Merchan wrote. 

Where is Donald Trump speaking Wednesday?

Trump is holding his rally at the Waukesha County Expo Center, where he speak at around 2 p.m.

The same expo center was used in early March when first lady Jill Biden rallied a crowd of mostly women voters around abortion and health care.

In 2020 , Trump won Waukesha County with about 60% of the vote, compared to Biden's 39%. Margins of victory for Republican presidential candidates in the county have dropped from 35 points in 2012 to 27 in 2016 to 21 in 2020.

What will Donald Trump talk about in Wisconsin on Wednesday?

Trump will "contrast the peace, prosperity and security of his first term with Joe Biden’s failed presidency," his campaign said.

At his Green Bay rally, Trump tore into Biden over his administration's handling of immigration issues at the southern border. The Marquette poll showed Wisconsin voters see Trump better at handling immigration and border security.

Trump also promised to keep Social Security intact if reelected. In that same poll, voters said Biden would do a better job of handling Medicare and Social Security.

Trump also repeated false claims that he won the 2020 election in Wisconsin. Biden won Wisconsin by about 21,000 votes in 2020, a defeat that was key to Trump's reelection loss that year.

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Spokane Symphony will celebrate Expo ‘74 with concerts this weekend. Three players will be on stage who also played in Expo a half-century ago.

The first time Paul Raymond played with the Spokane Symphony in Spokane, the governor was in the audience. On stage was international opera star Roberta Peters, renowned ballet dancer Edward Villella and ballerina Lucette Aldous, who was more accustomed to playing world-famous venues like the Sydney Opera House.

It was a monumental night for the symphony and Spokane, the grand opening of the symphony’s new home, the Spokane Opera House, and a celebration of Expo ’74, the six-month party about to start that would bring millions to the Inland Northwest.

The program was long and ambitious and included Shostakovich, Tchaikovsky, Mozart and Strauss.

Raymond had moved to Spokane from Michigan after barely a year of college mid-winter in his Ford Pinto station wagon after he met Spokane Symphony timpanist Martin Zyskowski, who had been on sabbatical and was teaching where Raymond was in school, Eastern Michigan University.

“He told me that, ‘You know, you should come out to Spokane because the world’s fair’s coming and there’s gonna be a lot of work for musicians.’ So I thought, ‘What the heck.’ And that’s how I ended up here, sight unseen,” Raymond said.

But less than five months after his move, after the grand opening show in Spokane, he was downcast while riding home with Zyskowski and another percussionist.

Raymond was sure he was about to be fired.

The last piece of the program, “Image of Man,” was written for the event by Michael Colgrass, a percussionist and composer who would later win the Pulitzer Prize. With Washington State University’s Concert Choir and Singers, it took more than 200 people to perform it.

In one frenzied part of the song (which included well over a dozen percussion instruments including a “large cooking pot”), Raymond needed to quickly transition, perhaps to a bass drum – he doesn’t fully remember . In the chaos, a cymbal fell from a table. He described the sound of it hitting the floor as a loud crash that rattled on as it rolled around – and around.

“And I thought, ‘Well, there goes my career,’ ” Raymond said in an interview earlier this week.

In the car after the concert, he assumed everyone noticed the cymbal crash not written in the music.

“I was bummed. This is it,” Raymond said. “And they said, ‘What do you mean?’ There was so much going on. It was so loud. They didn’t even notice it back in the section with me.”

So Raymond’s career continued with the Spokane Symphony as he earned music degrees and became the symphony’s principal percussionist.

This weekend, as he nears retirement, Raymond will be on stage as the symphony celebrates the 50th anniversary of Expo ’74, partially replicating the concert that Raymond once feared had ruined his career.

Joining him will be two other members of the symphony in 1974 who have retired but are back as substitutes: Kelly Farris, who was the Juilliard School-trained concertmaster and retired in 2006, and Roxann Jacobson, who was the principal violist.

As the symphony prepared for Expo and its new home, it worked to boost its experience and quality, said Verne Windham, who was selected as the symphony’s principal French horn player in 1971 after studying at the Eastman School of Music.

“It just pulled itself up to the next level,” said Windham, who played with the symphony until 1988 and later became program director for KPBX.

The symphony played 20 Expo concerts in its extended season with many major stars, including Itzhak Perlman and the Modern Jazz Quartet. Ella Fitzgerald headlined the closing concert on Nov. 3.

“I still remember sitting backstage by the door inside in the hallway where the dressing rooms were and heard a door open,” Raymond said. “Ella Fitzgerald walked out and came walking down towards me, and I was just so star struck.”

Jim Kershner, who wrote “The Sound of Spokane, A History of the Spokane Symphony,” said Expo gave the members tremendous experience as well as exposure to prominent musicians. Also booked to play at Expo were the Philadelphia Orchestra, the Cleveland Orchestra, the Utah Symphony and the Los Angeles Philharmonic.

“They were accompanying some of the biggest stars of the international classical world,” Kershner said. “The consensus was that Expo really upped their game.”

Jacobson said Expo “put Spokane on the map.”

“The whole feeling in those days was one of optimism and idealism. The hippie generation, it really impacted the general zeitgeist, I guess you could say,” she said. “We were just very optimistic and excited that we had a new opera house for a home for the symphony.”

The anniversary concert

Conductor and Music Director James Lowe poured through archived symphony programs from 1974 to select pieces for the anniversary program, which is the last Masterworks concert of the 2023-24 season.

He settled on three pieces from the Opera House’s opening night: Dmitri Shostakovich’s “Festive Overture”; Wolfgang Amadeus Mozart’s “Exsultate, jubilate”; and Riccardo Drigo’s “Pas de Deux” from “Le Corsaire.”

“Ending on a bang was a really important thing for me, and similarly the Shostakovich, the way it opens the concert, it starts with this kind of high energy, high octane music, and then going into the Mozart, which is really extremely beautiful,” Lowe said.

He chose Pyotr Ilyich Tchaikovsky’s fourth symphony as the finale, which differs from the Tchaikovsky piece on the program 50 years earlier.

“I mean, the Tchaikovsky symphony certainly doesn’t start with an air of celebration,” Lowe said. “It’s all about struggling against fate, but it ends in absolute triumph.”

In the 1974 concert, the symphony played from the pit in the first half, to make room for Villella and Aldous who performed on stage while the orchestra played Tchaikovsky and Drigo. Raymond had never heard of Villella until the rehearsal before the concert.

“This guy comes out wearing a Bruins hockey jersey, and he’s just kind of walking around the stage. I thought, ‘What’s the big deal with this guy?’ ” Raymond recalled. “And then when the lights came on for the concert, this guy came bounding out from backstage. I swear he was 10 feet in the air and then he just was bounding around the stage like a deer. I’d never seen anything like that.”

Lowe opted against bringing back the commissioned piece Colgrass wrote for the opening of Expo.

“Image of Man is a concert theatre piece for chorus and orchestra where soloists from the chorus sing and speak about contemporary man and his environment,” Colgrass wrote.

It was heavy on percussion and included a bass drum, glockenspiel, triangle, xylophone, timbales, bongo drum, chimes, cymbals, crash cymbals, tambourine, sleigh bells, cow bell, anvil, large cooking pot, car horn, suspended cans, metal ratchet, kitchenware, gong and a vibraphone, according to the program.

Among the lyrics:

A bird came to me one day/With a strange complaint/I can’t sing/Bloodshot eyes/Flabby wings/Decreased sexual activity/Was this some terrible disease/That could make our birds extinct

Raymond and Windham remembered liking the work, though it was panned by the Spokane Daily Chronicle’s symphony reviewer.

And Windham said it probably wouldn’t be appreciated by a modern audience.

“It has sideburns down to the floor and bellbottom pants,” Windham said. “I was a hippie and loved it.”

Farris, who joined the Spokane Symphony in 1969, was no stranger to world’s fair concerts. He also played at the grand opening concert for the 1962 world’s fair as a member of the Seattle Symphony.

Before the Opera House, the orchestra played at the Fox Theater, which the symphony would buy and remodel years later. But at that point, the Fox mostly was a movie theater and showing its age.

Farris remembers preparing to play a concerto before a show around 1970 with January air wafting in through a broken window.

“We had limited access for rehearsals and it was not being kept up very well,” Farris said.

Jacobson joined the Spokane Symphony in the mid-1960s when she was a 16-year-old student at S

hadle Park High School. She earned her master’s in music from Eastern Washington University around the time of Expo. Farris was her teacher at Eastern.

She left not long after Expo and played with Burt Bacharach in the late ‘70s as his electric solo violinist. She retired in Spokane after three decades in the San Francisco Symphony.

“I’m a sub here, you know, but they’ve welcomed me so much and been so kind,” Jacobson said. “It just feels like a welcome home.”

Farris and Jacobson said in interviews this week that one of the best memories of Expo was when they were featured in an outdoor concert playing Mozart’s Sinfonia Concertante.

Jacobson has high praise for the public schools that sparked her interest in music as well as the many musicians in Spokane in the 1960s and ‘70s who encouraged and inspired her long music career.

“I could just name so many people. They were so passionate and dedicated about what they were doing and they really passed on that dedication and passion to the students,” Jacobson said. “I just am so grateful I got to be a recipient of that.”

After the concerts Saturday evening and Sunday afternoon, audience members are invited to mingle with the symphony at a “wrap party.” Cupcakes will be provided.

The symphony also will open a time capsule that was sealed in 1996.

The theme for the weekends’ concerts is celebration: “So we’re kind of recreating that experience from 50 years ago,” Lowe said.

Jonathan Brunt can be reached at (509) 459-5442 or [email protected].

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