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Printmaking exploded with creative energy at the end of the nineteenth century in France. Artists such as Pierre Bonnard, Edouard Vuillard, Henri de Toulouse-Lautrec, Paul Gauguin and Odilon Redon were at the forefront of the avant-garde movement to reinvigorate the applied arts through colour printmaking.Prints Abound probes the phenomenal outpouring of print publications in late nineteenth-century France. Exploring the artistic, technical, economic, commercial and cultural circumstances of 1890s Paris, Prints Abound reaches a fuller understanding of Art Nouveau, which emphasised the fusion of exquisite design with the everyday. The achievements of Bonnard are stressed and his work is represented in depth, with spirited posters, contributions to solo and collective portfolios, designs for music primers and illustrated books, and an outstanding four-panel folding screen of a fashionable street scene in fin-de-siècle Paris.Phillip Dennis Cate, Director of the Zimmerli Art Museum at Rutgers University, has written the introduction and a text on illustrated books; Richard Thomson, Chair of the Art History Department at the University of Edinburgh, discusses single-artist print albums; and Gale B. Murray, Chair of the Art History Department at Colorado College, considers music illustration.Prints Abound will be fascinating reading for print collectors and dealers, art historians and all those with an interest in this important period of French culture.
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Seventeenth-century Dutch and Flemish paintings were aesthetic, intellectual, and economic touchstones in the Parisian art world of the Revolutionary era, but their importance within this framework, while frequently acknowledged, never attracted much subsequent attention. Darius A. Spieth’s inquiry into Revolutionary Paris and the Market for Netherlandish Art reveals the dominance of “Golden Age” pictures in the artistic discourse and sales transactions before, during, and after the French Revolution. A broadly based statistical investigation, undertaken as part of this study, shows that the upheaval reduced prices for Netherlandish paintings by about 55% compared to the Old Regime, and that it took until after the July Revolution of 1830 for art prices to return where they stood before 1789.
The invention of collage by Picasso and Braque in 1912 proved to be a dramatic turning point in the development of Cubism and Futurism and ultimately one of the most significant innovations in twentieth-century art. Collage has traditionally been viewed as a new expression of modernism, one allied with modernism's search for purity of means, anti-illusionism, unity, and autonomy of form. This book - the first comprehensive study of collage and its relation to modernism - challenges this view. Christine Poggi argues that collage did not become a new language of modernism but a new language with which to critique modernism. She focuses on the ways Cubist collage - and the Futurist multimedia work that was inspired by it - undermined prevailing notions of material and stylistic unity, subverted the role of the frame and pictorial ground, and brought the languages of high and low culture into a new relationship of exchange.
Jody Blake demonstrates in this book that although the impact of African-American music and dance in France was constant from 1900 to 1930, it was not unchanging. This was due in part to the stylistic development and diversity of African-American music and dance, from the prewar cakewalk and ragtime to the postwar Charleston and jazz. Successive groups of modernists, beginning with the Matisse and Picasso circle in the 1900s and concluding with the Surrealists and Purists in the 1920s, constructed different versions of la musique and la danse negre. Manifested in creative and critical works, these responses to African-American music and dance reflected the modernists' varying artistic agendas and historical climates.
Situating the French Revolution in the context of early modern globalization for the first time, this book offers a new approach to understanding its international origins and worldwide effects. A distinguished group of contributors shows that the political culture of the Revolution emerged out of a long history of global commerce, imperial competition, and the movement of people and ideas in places as far flung as India, Egypt, Guiana, and the Caribbean. This international approach helps to explain how the Revolution fused immense idealism with territorial ambition and combined the drive for human rights with various forms of exclusion. The essays examine topics including the role of smuggling and free trade in the origins of the French Revolution, the entwined nature of feminism and abolitionism, and the influence of the French revolutionary wars on the shape of American empire. The French Revolution in Global Perspective illuminates the dense connections among the cultural, social, and economic aspects of the French Revolution, revealing how new political forms-at once democratic and imperial, anticolonial and centralizing-were generated in and through continual transnational exchanges and dialogues. Contributors: Rafe Blaufarb, Florida State University; Ian Coller, La Trobe University; Denise Davidson, Georgia State University; Suzanne Desan, University of Wisconsin-Madison; Lynn Hunt, University of California, Los Angeles; Andrew Jainchill, Queen's University; Michael Kwass, The Johns Hopkins University; William Max Nelson, University of Toronto; Pierre Serna, Université Paris I Panthéon-Sorbonne; Miranda Spieler, University of Arizona; Charles Walton, Yale University
These fourteen essays address controversies over a variety of cultural properties, exploring them from perspectives of law, archeology, physical anthropology, ethnobiology, ethnomusicology, history, and cultural and literary study. The book divides cultural property into three types: Tangible, unique property like the Parthenon marbles; intangible property such as folktales, music, and folk remedies; and communal "representations," which have lead groups to censor both outsiders and insiders as cultural traitors.
Italian comedians attracted audiences to performances at every level, from the magnificent Italian, German and French court festival appearances of Orlando di Lasso or Isabella Andreini, to the humble street trestle lazzi of anonymous quacks. The characters they inspired continue to exercise a profound cultural influence, and an understanding of the commedia dell'arte and its visual record is fundamental for scholars of post-1550 European drama, literature, art and music. The 340 plates presented here are considered in the light of the rise and spread of commedia stock types, and especially Harlequin, Zanni and the actresses. Intensively researched in public and private collections in Oxford, Munich, Florence, Venice, Paris and elsewhere, they complement the familiar images of Jacques Callot and the Stockholm Recueil Fossard within a framework of hundreds of significant pictures still virtually unknown in this context. These range from anonymous popular prints to pictures by artists such as Ambrogio Brambilla, Sebastian Vrancx, Jan Bruegel, Louis de Caulery, Marten de Vos, and members of the Valckenborch and Francken clans. This volume, essential for commedia dell'arte specialists, represents an invaluable reference resource for scholars, students, theatre practitioners and artists concerned with commedia-related aspects of visual, dramatic and festival culture, in and beyond Italy.
" Salvator Rosa (1615–1673) was a colorful and controversial Italian painter, talented musician, a notable comic actor, a prolific correspondent, and a successful satirist and poet. His paintings, especially his rugged landscapes and their evocation of the sublime, appealed to Romantic writers, and his work was highly influential on several generations of European writers. James S. Patty analyzes Rosa’s tremendous influence on French writers, chiefly those of the nineteenth century, such as Stendhal, Honoré de Balzac, Victor Hugo, George Sand, and Théophile Gautier. Arranged in chronological order, with numerous quotations from French fiction, poetry, drama, art criticism, art history, literary history, and reference works, Salvator Rosa in French Literature forms a narrative account of the reception of Rosa’s life and work in the world of French letters. James S. Patty, professor emeritus of French at Vanderbilt University, is the author of Dürer in French Letters . He lives in Nashville, Tennessee.
"Filled with critical insights, Brown's revisionist study utilizes an impressive array of archival sources, some only recently cataloged, to support his thesis that the French Revolution survived until 1802 and the Consulate regime.... This volume should be a priority for all historians and serious students interested in modern French history. Summing Up: Essential."--Choice "What Brown has done is to put all historians of the French Revolution in his debt by the thoroughness with which he explores an important aspect of the complex and interrelated problems posed by any attempt to create a new social and moral order based on principles that could prove to be self-contradictory and were neither understood nor welcomed by a substantial proportion of the population."--English Historical Review "This is one of the most important pieces of scholarship on the French Revolution since the 1989 bicentennial."--David Bell, Johns Hopkins University For two centuries, the early years of the French Revolution have inspired countless democratic movements around the world. Yet little attention has been paid to the problems of violence, justice, and repression between the Reign of Terror and the dictatorship of Napoleon Bonaparte. In Ending the French Revolution, Howard Brown analyzes these years to reveal the true difficulty of founding a liberal democracy in the midst of continual warfare, repeated coups d'état, and endemic civil strife. By highlighting the role played by violence and fear in generating illiberal politics, Brown speaks to the struggles facing democracy in our own age. The result is a fundamentally new understanding of the French Revolution's disappointing outcome. Howard G. Brown, Professor of History at Binghamton University, State University of New York, is the author of War, Revolution, and the Bureaucratic State: Politics and Army Administration in France, 1791-1799 and coeditor of Taking Liberties: Problems of a New Order from the French Revolution to Napoleon. Winner of the American Historical Association's 2006 Leo Gershoy Award and the University of Virginia's 2004 Walker Cowen Memorial Prize for an outstanding work of scholarship in eighteenth-century studies