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Told in separate voices, teenaged Eliza Monroe, the daughter of a future United States President, Hortense de Beauharnais and Caroline Bonaparte, relatives of Napolâeon I, and Madeleine, daughter of an actress, come together at L'Acadâemie Nationale áa Saint-Germain in the turmoil of 1799 France.
When Eliza Monroe - daughter of the future president of the United States - discovers that her mother is sending her to boarding school outside of Paris, she is devestated. But Eliza is quickly reconciled to the idea when she discovers who her fellow pupils will be: Hortense de Beauharnais, daughter of Josephine Bonaparte; and Caroline Bonaparte, youngest sister of the famous French general. It doesn't take long for Eliza to figure out that the two French girls are mortal enemies - and that she's about to get caught in the middle of their schemes. Loosely based on fact (the three girls really did attend finishing school at the same time), Eliza's coming of age provides a fascinating glimpse into the lives and histories, loves and hopes of three young women against the backdrop of one of the most volatile and exciting periods in French history.
The Académie Royale de Peinture et de Sculpture (French Academy of Painting and Sculpture)—perhaps the single most influential art institution in history—governed the arts in France for more than 150 years, from its founding in 1648 until its abolition in 1793. Christian Michel's sweeping study presents an authoritative, in-depth analysis of the Académie’s history and legacy. The Académie Royale assembled nearly all of the important French artists working at the time, maintained a virtual monopoly on teaching and exhibitions, enjoyed a priority in obtaining royal commissions, and deeply influenced the artistic landscape in France. Yet the institution remains little understood today: all commentary on it, during its existence and since its abolition, is based on prejudices, both favorable and critical, that have shaped the way the institution has been appraised. This book takes a different approach. Rather than judging the Académie Royale, Michel unravels existing critical discourse to consider the nuances and complexities of the academy’s history, reexamining its goals, the shifting power dynamics both within the institution and in the larger political landscape, and its relationship with other French academies and guilds.
Overcoming All Obstacles: The Women of the Académie Julian is the first book to examine late nineteenth-century Paris's most famous training ground for the leading women artists of the period. The Académie Julian was founded in Paris in 1868, initially to prepare students for entry to the Ecole des Beaux-Arts, the nineteenth-century's preeminent art school. Because women could not study at the Ecole des Beaux-Arts until 1897, Julian itself became an international equivalent for many of the late nineteenth- and early twentieth-century's most important women artists. Not only does Overcoming All Obstacles introduce the reader to many works by women artists-both famous and lesser known-but the essays offer a cultural and historical context in which to appreciate their art. Gabriel Weisberg's essay concentrates on the rigorous training methods enforced by Rodolphe Julian and the teachers at the Academy. Jane Becker explores the competitive environment of the Julian Academy as it affected the Ukrainian painter Marie Bashkirtseff and the Swiss painter Louise-Catherine Breslau. Essays by Catherine Fehrer, the leading scholar of the Académie Julian, and Tamar Garb, an art historian who focuses on the training of women artists, give us a richer understanding of the Académie Julian's place in the sphere of art education in late nineteenth-century Paris. Generously illustrated with both color and black-and-white images, this volume includes documentary photographs and caricatures that have never before been reproduced. The core of the book draws on the large collection of the Académie Julian Del Debbio, the Académie Julian's successor institution in Paris. This publication accompanied an exhibition organized by the Dahesh Museum in New York that opened after its exhibition at the Sterling and Francine Clark Art Institute in Williamstown. The exhibition subsequently continued to the Dixon Gallery and Gardens, Memphis.
From its establishment in 1648 until its disbanding in 1793 after the French Revolution, the Académie 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, and drawing on both art-historical and anthropological frames of analysis, this engaging study uncovers the fascinating histories – official and unofficial – of that artistic community.
The scientific revolution of the 17th century engendered diverse & prolific offspring, among which were the scientific societies. The French Academie Royale des Sciences, founded in 1666 by Jean-Baptiste Colbert, Louis XIV's minister of finance, was the beneficiary of the most generous patronage of science known during the 17th century. It was an official, governmental expression of support for science rather than the independent, scholarly coterie characteristic of other contemporary scientific societies. As this study shows, the finances of the early Academy clarify the research & organization of the fledgling institution & the policies of its three ministerial protectors during the 17th century -- Colbert, Louvois, & Pontchartrain. Illustrations.