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In France's Third Republic, secularism was, for its adherents, a new faith, a civic religion founded on a rabid belief in progress and the Enlightenment conviction that men (and women) could remake their world. And yet with all of its pragmatic smoothing over of the supernatural edges of Catholicism, the Third Republic engendered its own fantastical ways of seeing by embracing observation, corporeal dynamism, and imaginative introspection. How these republican ideals and the new national education system of the 1870s and 80s - the structure meant to impart these ideals - shaped belle époque popular culture is the focus of this book. The author reassesses the meaning of secularization and offers a cultural history of this period by way of an interrogation of several fraught episodes which, although seemingly disconnected, shared an attachment to the potent moral and aesthetic directives of French republicanism: a village's battle to secularize its schools, a scandalous novel, a vaudeville hit featuring a nude celebrity, and a craze for female boxing. Beginning with the writer and performer Colette (1873-1954) as a point of entry, this re-evaluation of belle époque popular culture probes the startling connections between republican values of labor and physical health on the one hand, and the cultural innovations of the decades preceding World War I on the other.
This volume provides a lively and authoritative synthesis of recent work on the social history of France and is now thoroughly updated to cover the 'long nineteenth century' from 1789-1914. Peter McPhee offers both a readable narrative and a distinctive, coherent argument about this remarkable century and explores key themes such as: - Peasant interaction with the environment - The changing experience of work and leisure - The nature of crime and protest - Changing demographic patterns and family structures - The religious practices of workers and peasants - The ideology and internal repercussions of colonisation. At the core of this social history is the exercise and experience of 'social relations of power' - not only because in these years there were four periods of protracted upheaval, but also because the history of the workplace, of relations between women and men, adults and children, is all about human interaction. Stimulating and enjoyable to read, this indispensable introduction to nineteenth-century France will help readers to make sense of the often bewildering story of these years, while giving them a better understanding of what it meant to be an inhabitant of France during that turbulent time.
En beskrivelse af franske kunstneres opfattelse af Frankrigs krig mod Preussen, Pariserkommunen og den nye franske republik, som det kommer til udtryk i deres kunst
This work is an account of the struggle over freedom of caricature in France during the period between 1815 and 1914. Illustrated with caricatures originally published during the 19th century, it traces the attempt of the French authorities to control opposition political drawings and the attempts of caricaturists to evade restrictions on their craft.
This is a critical biography of Aloysius O'Kelly's career as a painter, illustrator and committed Fenian which uncovers a world hardly known hitherto except in the most caricatured versions.
While the painting of the 1880s and 1890s in Paris has been studied in great depth, the concurrent art criticism has not been given the attention it deserves. Conservative Echoes examines previously unexplored aspects of the symbolist criticism of art, revealing its conservative nature, and thus providing a new view of the art criticism of one of the most significant periods in the development of modern art. Art historians tend to focus on a small body of criticism written by authors who championed one or more of the artists recognized today as leaders of the avant-garde. In essence, it is the art that directs most studies of criticism rather than the criticism itself. Michael Marlais has studied late nineteenth-century criticism on all levels, from popular press to esoteric review, in order to understand the context in which avant-garde art criticism appeared. He focuses on the critics Félix Fénéon, Albert Aurier, Alphonse Germain, Camille Mauclair, and Maurice Denis, noting both conservative and modernist features of their writing, while attempting to situate them within the antinaturalist intellectual trends of the period. Marlais emphasizes the relationship of avant-garde critics to the broader cultural milieu, thus providing both a valuable corrective in the study of fin-de-siècle art history and another way of understanding the cultural climate in Paris during that time.
This work examines the use of naturalism in the 19th century. It explores how pictures byt artists such as Roll, Lhermitte, and Friant could be read as egalitarian and republican, assesses how well-known painters situated their painting vis-à-vis the dominant naturalism, and opens up new arguments about caricatural and popular style.
This remarkable story provides the backdrop for David Skuy's analysis of the Royalist Reaction and its place in the history of the French Restoration. Skuy argues that the Royalist Reaction was the product of two divergent forces: historical echoes of the French Revolution and the Napoleonic Empire and the psychological consequences of the assassination and the miracle child. Skuy discusses Restoration political theory and the development of modern political parties. He follows the strategems of anti-royalist extremists plotting to overthrow the Bourbon regime, and details the complexities and intrigues that characterized the royal court and parliament. Skuy reveals how the assassination and the birth of the miracle child triggered a popular Royalist Reaction that changed millions of French citizens from passive observers into ardent royalists.
Public monuments to significant individuals or to political concepts are familiar to most of us, but the notions underlying them may not be so obvious. This book traces the history of the public monument, from the 1870s to the present day.