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Excerpt from The Creation of the Rococo Hotel de Mailly: Ceilings and arabesques designed by Berain. Berain arabesque engraved before 1 693. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Admired by Marx and Engels, the Surrealists, the Situationists, Walter Benjamin and Roland Barthes, the great utopian socialist Charles Fourier (1772-1837) has been many things to many people: a proto-feminist, a Surrealist ancestor, a cantankerous cosmologist, a social critic and humorist and to this day one of France's truest visionary thinkers. He was also, as this volume demonstrates, a maniacal taxonomist. In this zoological guidebook to cuckoldry and commerce, Fourier offers a caustic critique of the bankruptcy of marriage and the prostitution of the economy, and the hypocrisies of a civilization that over-regulates sexual congress while allowing the financial sector to screw over the public. Gathered together here for the first time are Fourier's two "Hierarchies" --humorously regimented parades of civilization's cheaters and cheated-on in the domestic sphere of sex and the economic sphere of buying and selling commodities. "The Hierarchy of Cuckoldry" --translated into English for the first time--presents 72 species of the male cuckold, ranging from such "common class" cases as the Health-Conscious Cuckolds, to the short-horned Sympathetic, Optimist and Mystical Cuckolds, and the Long-horned varieties of the Irate, Disgraced and Posthumous Cuckolds. For Fourier, these amount to 72 manifestations of women's "secret insurrection" against the institution of marriage. "The Hierarchy of Bankruptcy" presents 36 species of the fraudulent bankrupt: a range of Light, Grandiose, and Contemptible shades of financial manipulators who force creditors, cities and even nations to bail them out of ultimately profitable bankruptcies. In these attacks on the morality of monogamy and the perils of laissez-faire capitalism, Fourier's "Hierarchies" resonate uncannily with our contemporary world.
This study sets developments within the frameworks both of their unstable social, political and intellectual world and of the official and independent institutions of art.
Where, how, by whom and for what were the first museums of contemporary art created? These are the key questions addressed by J. Pedro Lorente in this new book. In it he explores the concept and history of museums of contemporary art, and the shifting ways in which they have been imagined and presented. Following an introduction that sets out the historiography and considering questions of terminology, the first part of the book then examines the paradigm of the Musée des Artistes Vivants in Paris and its equivalents in the rest of Europe during the nineteenth century. The second part takes the story forward from 1930 to the present, presenting New York's Museum of Modern Art as a new universal role model that found emulators or 'contramodels' in the rest of the Western world during the twentieth century. An epilogue, reviews recent museum developments in the last decades. Through its adoption of a long-term, worldwide perspective, the book not only provides a narrative of the development of museums of contemporary art, but also sets this into its international perspective. By assessing the extent to which the great museum-capitals - Paris, London and New York in particular - created their own models of museum provision, as well as acknowledging the influence of such models elsewhere, the book uncovers fascinating perspectives on the practice of museum provision, and reveals how present cultural planning initiatives have often been shaped by historical uses.