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Originally referring only to the famed fabrics of Jouyen-Josas, 'toiles de Jouy' has today become the catch-all term for the delightful printed cottons preferred by the aristocratic elite in eighteenth- and nineteenth-century France, made famous by the palaces of Marie-Antoinette and Empress Josephine.
This comprehensive book brings to light the portraits, private collections and public patronage of the princesse de Lamballe, a pivotal member of Marie-Antoinette’s inner circle. Drawing extensively on unpublished archival sources, Sarah Grant examines the princess’s many portrait commissions and the rich character of her private collections, which included works by some of the period’s leading artists and artisans. The book sheds new light on the agency, sorority and taste of Marie-Antoinette and her friends, a group of female patrons and model of courtly collecting that would be extinguished by the coming revolution.
Despite their importance during the French Revolution, the Paris middle classes are little known. This book focuses on the family organization and the political role of the Paris commercial middle classes, using as a case study the Faubourg St. Marcel and particularly the parish of St. M dard. David Garrioch argues that in the late seventeenth and early eighteenth centuries the commercial middle classes were steadfastly local in their family ties and outlook. He shows, too, that they took independent political action in defense of their local position. This gradually changed during the eighteenth century, and the Revolution greatly accelerated the process of integration, at the same time broadening the composition of what may now be termed the Parisian bourgeoisie. Central to Garrioch's argument is the idea that family, politics, and power are intimately connected. He shows the centrality of kinship to local politics in the first half of the eighteenth century, and the way new family structures were related to changes in the nature of politics even before the Revolution. Among the many important issues considered are birth control, the role of women, the importance of lineage, the spatial limits of middle-class lives, and the language and secularization of politics.
Looking at royal ritual in pre-revolutionary France, Death and the crown examines the deathbed and funeral of Louis XV in 1774, the lit de justice of November 1774, and the coronation of Louis XVI, including the ceremony of the royal healing touch for scrofula. It reviews the state of the field in ritual studies and appraises the status of the monarchy in the 1770s, including the recall of the parlements and the many ways people engaged with royal ritual. It answers questions such as whether Louis XV died in fear of damnation, why Marie Antoinette was not crowned in 1775 and why Louis XVI's coronation was not held in Paris. This lively, accessible text is a useful tool for under- and post-graduate teaching which will also be of interest to specialists on this under-researched period.
Wearable prints are not only a decorative art form but also the product of a range of complex industrial processes and an economically important commodity. But when did textile printing originate, and how can we identify the fabrics, inks, dyes, and printing processes used on surviving historical examples? In Wearable Prints, 1760-1860, author Susan Greene surveys the history of wearable printed fabrics, which reaches back into the earliest days of the discovery of the delights of selectively patterned cloth and is firmly interwoven with the Industrial Revolution. The bulk of the book is devoted to the process of printing and dyeing. Greene brings together evidence from period publications and manuscripts, extant period garments and quilts, and scholarship on eighteenth- and nineteenth-century chemistry and technology. Making the text come alive, Greene includes some 1600 full-color images, including a plentiful array of textile samples. Wearable Prints, 1760-1860 is a convenient encyclopedic guide, written in plain language accessible to even the most casual reader. Historians, students, costumers, quilters, designers, curators, and collectors will find it an essential resource.
The definitive resource for anyone who works with textiles for interiors. The long-awaited 3rd Edition features updated content, a new hardcover design, and an engaging new format with easy-to-find information, full-colour graphics and charts, green design features, and much more With course adoptions, you will receive a complimentary Instructor's Guide. This guide includes: chapter synopses activity suggestions textile testing methods discussion questions exam questions
The epic story of the rise and fall of the empire of cotton, its centrality to the world economy, and its making and remaking of global capitalism. Cotton is so ubiquitous as to be almost invisible, yet understanding its history is key to understanding the origins of modern capitalism. Sven Beckert’s rich, fascinating book tells the story of how, in a remarkably brief period, European entrepreneurs and powerful statesmen recast the world’s most significant manufacturing industry, combining imperial expansion and slave labor with new machines and wage workers to change the world. Here is the story of how, beginning well before the advent of machine production in the 1780s, these men captured ancient trades and skills in Asia, and combined them with the expropriation of lands in the Americas and the enslavement of African workers to crucially reshape the disparate realms of cotton that had existed for millennia, and how industrial capitalism gave birth to an empire, and how this force transformed the world. The empire of cotton was, from the beginning, a fulcrum of constant global struggle between slaves and planters, merchants and statesmen, workers and factory owners. Beckert makes clear how these forces ushered in the world of modern capitalism, including the vast wealth and disturbing inequalities that are with us today. The result is a book as unsettling as it is enlightening: a book that brilliantly weaves together the story of cotton with how the present global world came to exist.
The Winterthur Museum’s richly illustrated history of British and American fabrics made or used from 1700–1850 is a visual reference for designers and a definitive contribution to textile studies. From slipcovers that belonged to George Washington, to bedhangings described by Harriet Beecher Stowe, Delaware’s Winterthur Museum holds some of the finest cotton and linen textiles made or used in America and Britain between 1700 and 1850. One of the fastest growing and potentially most lucrative trades in the eighteenth and early nineteenth centuries, on the forefront of developments in science and engineering, chemistry and technology, the textile industry is a fascinating lens into international trade relations and cultural exchange over nearly two centuries. Printed Textiles is a major update to the classic text published by Winterthur in 1970—a sourcebook compiled by celebrated curator Florence Montgomery that detailed all aspects of the fabrics’ lifespan, from their design and method of manufacture to their use and exchange value. Linda Eaton, Director of Collections and Senior Curator of Textiles, updates the classic with a particular focus on furnishing fabrics—referred to as “furnitures.” Building on research that has come to light since 1970 and benefiting from the technical and scientific expertise of the conservators and scientists at Winterthur, Eaton presents a thorough and sweeping study enriched by the diverse approaches to material culture today. With hundreds of beautifully photographed samples—engagingly contextualized with iconic figures in American history including Betsy Ross and Benjamin Franklin—this significant addition to textile scholarship allows for a full appreciation of these fascinating fabrics. Printed Textiles is destined to become an essential reference for interior designers, fashion and textile design students, conservators, collectors, and anyone with an interest in the textile industry.