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In his will, Edmond de Goncourt (1822-1896) left a bequest in honor of his brother Jules de Goncourt (1830-1870) to establish and support a French literary salon, the Academie Goncourt, and later the famous Prix Goncourt, an award that to this day remains France's most significant literary prize. --- The Goncourt brothers, who co-authored a series of novels on social themes, were among the founders of literary "Naturalism" in France. Emile Zola would emerge as this movement's most important representative in his cycle of novels "Les Rougon- Macquart". --- Among the novels co-written by the Goncourt brothers, "Germinie Lacerteux" (1865) is especially noteworthy. The double-live of the novel's Parisian domestic servant, who is ground down and destroyed by the conditions she lives in, but who for decades keeps these conditions hidden from her employer, continues to captivate book-lovers in France and the rest of the world to this day.
Renée is the spoiled daughter of a respectable, but untitled French family. She eschews convention until the deeds of her brother Henri make her realize the value of propriety.
Manette Salomon is one of the masterpieces of European literature-a panorama of the world of the painters of France during the mid-nineteenth century-the schools, the studios, the salons-the successes and failures, the magnificent inspirations and the crushing disillusions of the artists.
If sensuality had a name, it would be without doubt Utamaro. Delicately underlining the Garden of Pleasures that once constituted Edo, Utamaro, by the richness of his fabrics, the swan-like necks of the women, the mysterious looks, evokes in a few lines the sensual pleasure of the Orient. If some scenes discreetly betray lovers’ games, a great number of his shungas recall that love in Japan is first and foremost erotic.
Without a doubt, Katsushika Hokusai is the most famous Japanese artist since the middle of the nineteenth century whose art is known to the Western world. Reflecting the artistic expression of an isolated civilisation, the works of Hokusai - one of the first Japanese artists to emerge in Europe - greatly influenced the Impressionist and Post-Impressionist painters, such as Vincent van Gogh. Considered during his life as a living Ukiyo-e master, Hokusai fascinates us with the variety and the significance of his work, which spanned almost ninety years and is presented here in all its breadth and diversity.
Donated: Margaret A. Bailey Art Collection.
On the unstable boundaries between "interior" and "exterior," "private" and "public," and always in some way relating to a "beyond," the imagery of interior space in literature reveals itself as an often disruptive code of subjectivity and of modernity. The wide variety of interior spaces elicited in literature -- from the odd room over the womb, secluded parks, and train compartments, to the city as a world under a cloth -- reveal a common defining feature: these interiors can all be analyzed as codes of a paradoxical, both assertive and fragile, subjectivity in its own unique time and history. They function as subtexts that define subjectivity, time, and history as profoundly ambiguous realities, on interchangeable existential, socio-political, and epistemological levels. This volume addresses the imagery of interior spaces in a number of iconic and also lesser known yet significant authors of European, North American, and Latin American literature of the nineteenth, twentieth, and twenty-first centuries: Djuna Barnes, Edmond de Goncourt, William Faulkner, Gabriel García Márquez, Benito Pérez Galdós, Elsa Morante, Robert Musil, Jules Romains, Peter Waterhouse, and Émile Zola.
No evocation of Parisian life in the second half of the nineteenth century can match that found in the journals of the brothers Goncourt The journal of the brothers Edmond and Jules de Goncourt is one of the masterpieces of nineteenth-century French literature, a work that in its richness of color, variety, and seemingly casual perfection bears comparison with the great paintings of their friends and contemporaries the Impressionists. Born nearly ten years apart into a French aristocratic family, the two brothers formed an extraordinarily productive and enduring literary partnership, collaborating on novels, criticism, and plays that pioneered the new aesthetic of naturalism. But the brothers’ talents found their most memorable outlet in their journal, which is at once a chronicle of an era, an intimate glimpse into their lives, and the purest expression of a nascent modern sensibility preoccupied with sex and art, celebrity and self-exposure. The Goncourts visit slums, brothels, balls, department stores, and imperial receptions; they argue over art and politics and trade merciless gossip with and about Hugo, Baudelaire, Degas, Flaubert, Zola, Rodin, and many others. And in 1871, Edmond maintains a vigil as his brother dies a slow and agonizing death from syphilis, recording every detail in the journal that he would continue to maintain alone for another two decades.
Travel, Collecting, and Museums of Asian Art in Nineteenth-Century Paris examines a history of contact between modern Europe and East Asia through three collectors: Henri Cernuschi, Emile Guimet, and Edmond de Goncourt. Drawing on a wealth of material including European travelogues of the East and Asian reports of the West, Ting Chang explores the politics of mobility and cross-cultural encounter in the nineteenth century. This book takes a new approach to museum studies and institutional critique by highlighting what is missing from the existing scholarship -- the foreign labors, social relations, and somatic experiences of travel that are constitutive of museums yet left out of their histories. The author explores how global trade and monetary theory shaped Cernuschi's collection of archaic Chinese bronze. Exchange systems, both material and immaterial, determined Guimet's museum of religious objects and Goncourt's private collection of Asian art. Bronze, porcelain, and prints articulated the shifting relations and frameworks of understanding between France, Japan, and China in a time of profound transformation. Travel, Collecting, and Museums of Asian Art in Nineteenth-Century Paris thus looks at what Asian art was imagined to do for Europe. This book will be of interest to scholars and students interested in art history, travel imagery, museum studies, cross-cultural encounters, and modern transnational histories.