Les Arènes

The Arles Amphitheatre is a Roman amphitheatre in the southern French town of Arles. This two-tiered Roman Amphitheatre is probably the most prominent tourist attraction in the... city of Arles, which thrived in Roman times. Measuring 136 m in length and 109 m wide, the 120 arches date back to the 1st century BC. The amphitheatre was capable of seating over 20,000 spectators, and was built to provide entertainment in the form of chariot races and bloody hand-to-hand battles. Today, it draws large crowds for bullfighting as well as plays and concerts in summer. The building has the oval arena surrounded by terraces, arcades on two levels , bleachers, a system of galleries, drainage system in many corridors of access and staircases for a quick exit from the crowd. It was obviously inspired by the Colosseum in Rome , which is slightly posterior . The amphitheater was not expected to receive 25,000 spectators, the architect was therefore forced to reduce the size and replace the dual system of galleries outside of the Coliseum by a single annular gallery. This difference is explained by the conformation of the land.
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Post-Impressionism is the term coined by the British artist and art critic Roger Fry in 1910 to describe the development of French art since Manet.... Fry used the term when he organized the 1910 exhibition Manet and the Post-Impressionists. Post-Impressionists extended Impressionism while rejecting its limitations: they continued using vivid colours, thick application of paint, distinctive brush strokes, and real-life subject matter, but they were more inclined to emphasize geometric forms, to distort form for expressive effect, and to use unnatural or arbitrary colour. The Post-Impressionists were dissatisfied with the triviality of subject matter and the loss of structure in Impressionist paintings, though they did not agree on the way forward. Georges Seurat and his followers concerned themselves with Pointillism, the systematic use of tiny dots of colour. Paul Cézanne set out to restore a sense of order and structure to painting, to "make of Impressionism something solid and durable, like the art of the museums". He achieved this by reducing objects to their basic shapes while retaining the bright fresh colours of Impressionism.
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