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Le Havre: “Always Be a Human” | The Current | The Criterion Collection
In April when the lookout station situated on the southern headland at the entrance to Port Jackson reported the sighting of a French naval vessel approaching, the news spread quickly through the streets of Sydney. Isolated on the far side of the world from England, it was normal for news of the arrival of a ship to cause excitement at the prospect of news from Europe and the hope of fresh supplies. The armed corvette Le Naturaliste however, was an unusual arrival and unlikely to bring much comfort to the town. Throughout the latter half of the eighteenth century successive British and French expeditions had explored the islands and adjacent coasts of the vast Pacific Ocean gathering information on the people, products, geography and resources of the enormous region — and in the case of Cook, laying claim to large parts in the name of his King.
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Napoleon's artists and their new views of Australia
Why does it matter? My essay attempts to answer these questions at some length, and with as much precision as could reasonably be expected from any effort at causal explanation which admits from the outset the problematic nature of its task. We shall never "really know" why Monet gave up figure painting, and indeed it might well be claimed he never did so, if "figure painting" means representing men, women, and children in oils.
I am particularly glad, because, on the one hand, this is linked to our oldest historical ties, and also because you, Mr Prime Minister, grew up in St Petersburg and I grew up in Le Havre, and we are aware of the special connection that has existed between our cities. Mr Prime Minister, throughout my years as the city mayor I received my guests at the place where you are sitting now. Today, I am pleased to see you there.
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