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"Unequivocally a modern, Francois Boucher (1703-70) defined the French artistic avant-garde throughout his career. Yet the triumph of modernist aesthetics - with its focus on the self-critical, the autonomous, and the intellectually challenging - has long discouraged art historians and other viewers from taking Boucher's playful and alluring works seriously. Rethinking Boucher revisits the cultural meanings and reception of his diverse oeuvre, inviting us to revise the interpretive cliches by which we have sought to tame this artist and his epoch."--BOOK JACKET.
One of the most persistent, troubling, and divisive of the ideological divisions within modernity is the struggle over the Enlightenment and its legacy. Much of the difficulty is owed to a general failure among scholars to consider how history, philosophy, and politics work together. Rethinking the Enlightenment bridges these disciplinary divides. Recent work by historians has now called into question many of the clichés that still dominate scholarly understandings of the Enlightenment’s literary, philosophical, and political culture. Yet this work has so far had little impact on the reception of the Enlightenment, its key players, debates, and ideas in the disciplines that most rely on its legacy, namely, philosophy and political science. Edited by Geoff Boucher and Henry Martyn Lloyd, Rethinking the Enlightenment makes the case for connecting new work in intellectual history with fresh understandings of ‘Continental’ philosophy and political theory. In doing so, in this collection moves towards a critical self-understanding of the present.
From its establishment in 1648 until its disbanding in 1793 after the French Revolution, the Acad?e Royale de Peinture et de Sculpture was the centre of the Parisian art world. Taking the reader behind the scenes of this elite bastion of French art theory, education, and practice, this engaging study uncovers the fascinating histories - official and unofficial - of that artistic community. Through an innovative approach to portraits - their values, functions, and lives as objects - this book explores two faces of the Acad?e. Official portraits grant us insider access to institutional hierarchies, ideologies, rituals, customs, and everyday experiences in the Acad?e's Louvre apartments. Unofficial portraits in turn reveal hidden histories of artists' personal relationships: family networks, intimate friendships, and bitter rivalries. Drawing on both art-historical and anthropological frames of analysis, this book offers insightful interpretations of portraits read through and against documentary evidence from the archives to create a rich story of people, places, and objects. Theoretically informed, rigorously researched, and historically grounded, this book sheds new light on the inner workings of the Acad?e. Its discoveries and compelling narrative make an invaluable and accessible contribution to our understanding of this pre-eminent European institution and the social lives of artists in early modern Paris.
In a lively narrative that spans more than two centuries, the author tells the story of a royal and aristocratic building type that has been largely forgotten today: the pleasure dairy of early modern France. These garden statues have long been dismissed as the trifling follies of a reckless elite. The author challenges such assumptions and reveals the pivotal role that pleasure dairies played in cultural and political life, especially with respect to polarizing debates about nobility, femininity, and domesticity. Together with other forms of pastoral architecture such as model farms and hermitages, pleasure dairies were crucial arenas for elite women to exercise and experiment with identity and power.
A groundbreaking approach to Rococo religious d?r and spirituality in Europe and South America, The Spiritual Rococo addresses three basic conundrums that impede our understanding of eighteenth-century aesthetics and culture. Why did the Rococo, ostensibly the least spiritual style in the pre-Modern canon, transform into one of the world?s most important modes for adorning sacred spaces? And why is Rococo still treated as a decadent nemesis of the Enlightenment when the two had fundamental characteristics in common? This book seeks to answer these questions by treating Rococo as a global phenomenon for the first time and by exploring its moral and spiritual dimensions through the lens of populist French religious literature of the day-a body of work the author calls the ?Spiritual Rococo? and which has never been applied directly to the arts. The book traces Rococo?s development from France through Central Europe, Portugal, Brazil, and South America by following a chain of interlocking case studies, whether artistic, literary, or ideological, and it also considers the parallel diffusion of the literature of the Spiritual Rococo in these same regions, placing particular emphasis on unpublished primary sources such as inventories. One of the ultimate goals of this study is to move beyond the clich?f Rococo?s frivolity and acknowledge its essential modernity. Thoroughly interdisciplinary, The Spiritual Rococo not only integrates different art historical fields in novel ways but also interacts with church and social history, literary and post-colonial studies, and anthropology, opening up new horizons in these fields.
Exploring how the discrediting of Boucher and his school intersected with cultural debates about gender and class, this account of Boucher's art should persuade critics and admirers alike to take another, more considered look.
This publication catalogues The Met’s remarkable collection of eighteenth-century French paintings in the context of the powerful institutions that governed the visual arts of the time—the Académie Royale de Peinture et de Sculpture, the Académie de France à Rome, and the Paris Salon. At the height of their authority during the eighteenth century, these institutions nurtured the talents of artists in all genres. The Met’s collection encompasses stunning examples of work by leading artists of the period, including Antoine Watteau (Mezzetin), Jean Siméon Chardin (The Silver Tureen), François Boucher (The Toilette of Venus), Joseph Siffred Duplessis (Benjamin Franklin), Jean-Baptiste Greuze (Broken Eggs), Hubert Robert (the Bagatelle decorations), Jacques Louis David (The Death of Socrates), the Van Blarenberghes (The Outer Port of Brest), and François Gérard (Charles Maurice de Talleyrand-Périgord). In the book’s introduction, author Katharine Baetjer provides a history of the Académie, its establishment, principles, and regulations, along with a discussion of the beginnings of public art discourse in France, taking us through the reforms unleashed by the Revolution. The consequent democratizing of the Salon, brought about by radicals under the leadership of Jacques Louis David, encouraged the formation of new publics with new tastes in subject matter and genres. The catalogue features 126 paintings by 50 artists. Each section includes a short biography of the artist and in-depth discussions of individual paintings incorporating the most up-to-date scholarship.
Thinking German Translation is a comprehensive practical course in translation for advanced undergraduate students of German and postgraduate students embarking on Master’s translation programmes. Now in its third edition, this course focuses on translation as a decision-making process, covering all stages of the translation process from research, to the ‘rewriting’ of the source text in the language of translation, to the final revision process. This third edition brings the course up to date, referencing relevant research sources in Translation Studies and technological developments as appropriate, and balancing the coverage of subject matter with examples and varied exercises in a wide range of genres from both literary and specialised material. All chapters from the second edition have been extensively revised and, in many cases, restructured; new chapters have been added—literary translation; research and resources—as well as suggestions for further reading. Offering around 50 practical exercises, the course features material from a wide range of sources, including: business, economics and politics advertising, marketing and consumer texts tourism science and engineering modern literary texts and popular song the literary canon, including poetry A variety of translation issues are addressed, among them cultural differences, genre conventions, the difficult concept of equivalence, as well as some of the key differences between English and German linguistic and textual features. Thinking German Translation is essential reading for all students seriously interested in improving their translation skills. It is also an excellent foundation for those considering a career in translation. A Tutor’s Handbook offers comments and notes on the exercises for each chapter, including not only translations but also a range of other tasks, as well as some specimen answers. It is available to download from www.routledge.com/9781138920989.
This is a comprehensive practical course in translation for advanced students of German, which focuses on improving translation quality whilst clarifying the theoretical issues involved. This second edition brings the course up-to-date, and has been fully reworked to give clearer explanations of key terms and include revised chapters on genre, compensation and revision and editing. Based on detailed analysis of translation problems, Thinking German Translation features new material taken from a wide range of sources, including: business and politics press and publicity engineering tourism literary and consumer-oriented texts. Addressing a variety of translation issues such as cultural difference, register and dialect, Thinking German Translation is essential reading for all students wishing to perfect their translation skills. It is also an excellent foundation for those considering a career in translation. Further resources, including a free teacher's handbook for the course, are available on the companion website at http://cw.routledge.com/textbooks/0415341469/resources/default.asp
Interiors in the Age of Enlightenment provides a comprehensive and interdisciplinary overview of the cultural history of interior design and interior spaces from 1700 to 1850. Considering the interior as material, social and cultural artefact, this volume moves beyond conventional descriptive accounts of changing styles and interior design fashions, to explore in depth the effect on the interior of the materials, processes, aesthetic philosophies and cultural attitudes of the age. From the Palace of Versailles to Virginia coffeehouses, and from Chinoiserie bathhouses to the trading exchanges of the West Indies, the chapters in this book examine a wide range of themes including technological advancements, public spaces, gender and sexuality, and global movements in interior designs and decorations. Drawing together contributions from leading scholars, this volume provides the most authoritative and comprehensive survey of the history of interiors and interior architecture in the long eighteenth century.