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What did Thomas Jefferson look like? How did he carry himself? Such questions, reasonable to ask as we look back on a person who lived in an era before photography, are the starting point for this boldly original new work. Maurizio Valsania considers all aspects of Jefferson’s complex conception of "the body," from eighteenth-century clothing and fashion to manners, adornment, posture, gesture, and visual and material culture. Drawing also from the fields of medical science, psychology, and cultural anthropology, the author conjures a vivid and detailed re-creation of the third president as a living, breathing—and pondering—human being. Having situated Jefferson in his own body, Valsania looks at the embodied Jefferson in the world of his fellow humans. Any one of the other people in Jefferson’s society—whether that other person was male or female, free or enslaved, African American or Native American—was a critical counterexample for the eighteenth-century Virginian to define himself against, and Valsania’s explorations here lead to numerous insightful discoveries about race, gender, and structures of power. The first comprehensive exploration of Jefferson’s corporeal world, Jefferson’s Body brings the man vividly to life for the modern reader while deepening our understanding of what it meant to Jefferson to be alive.
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In Volume 15 Jefferson, a veteran of the councils of his own country's revolution, becomes an eyewitness of the opening events of the great upheaval in France in 1789. The Archbishop of Bordeaux and his colleagues of the National Assembly ask Jefferson's aid and counsel in drafting a new constitution; he declines in July but gives a private dinner in August for Lafayette and the moderates who wish to form a coalition and thus avoid civil war. He is catapulted into the limelight by Mirabeau's attack on Necker for the shortage of grain and flour. He advises Lafayette about the latter's proposed draft of a Declaration of Rights and proposes a compromise charter for France in order to gain time, to consolidate the advances already made, and to allow public opinion to ripen. Jefferson dines with De Corny and learns at first hand what happened at the fall of the Bastille. Three days later he is among the crowds with Dugald Stewart, the young Scottish philosopher, as Louis XVI is "led in triumph by his people thro' the streets of the capital." He writes long dispatches to Jay and private letters to Thomas Paine and Richard Price, among others, detailing the events that he regarded as "the first chapter of the history of European liberty." Early in September Jefferson becomes ill and, treated by a philosopher-physician, is possessed by the idea that "the earth belongs in usufruct to the living." He urges Madison to develop this concept and to apply it to American legislation--but his ostensible purpose is supported by arguments addressed wholly to the situation in France, whereby he furnishes justification for the abolition of ancient debts, the public appropriation of feudal grants, the wiping out of hereditary privileges, and the eradication of monopolies. Late in September, with Polly, Patsy, Petit, and two servants, Jefferson leaves Paris for a six months' leave, unaware that the same day the United States Senate confirmed his nomination as Secretary of State. Four weeks later he lands in Norfolk, where he is greeted by the officials--and finds that politics and anti-federalism are far from inactive in Virginia.
Jean-Antoine Houdon (1741-1826) has long been recognized as the greatest European portrait sculptor of the late eighteenth century, flourishing during both the American and French Revolutions as well as during the Directoire and Empire in France. Whether sculpting a head of state, an intellectual, or a young child, Houdon had an uncanny ability to capture the essence of his subject with a characteristic pose or expression. Yet until now, Houdon's exquisite sculptures have never been the subject of a major exhibition. This lavish exhibition catalogue will immediately take its rightful place as the definitive work on Houdon. With more than one hundred color plates and two hundred black and white halftones, Jean-Antoine Houdon: Sculptor of the Enlightenment illustrates every stage of the sculptor's fascinating career, from his early portrayals of Louis XVI and Marie Antoinette to his stunning portraits of American patriots such as George Washington, the Marquis de Lafayette, John Paul Jones, Benjamin Franklin, and Thomas Jefferson. Indeed the images we hold dear of legendary Enlightenment figures like Diderot, Rousseau, d'Alembert, and Voltaire are based on works by Houdon. More than mere representations, these sculptures provide us fascinating, intimate glimpses into the very core of who these figures were. Houdon's genius animated even his less illustrious subjects, like his portraits of his family and friends, and filled his sculptures of children with delicacy and freshness. Accompanying the images of Houdon's masterworks are four insightful essays that discuss Houdon's views on art (based in part on a newly discovered manuscript written by the artist) as well as his prominence in the highly varied cultures of eighteenth-century France, Germany, and Russia. From aristocrats to revolutionaries, actors to philosophers, Houdon's amazingly vivid portraits constitute the visual record of the Enlightenment and capture the true spirit of a remarkable age. Jean-Antoine Houdon finally gives these gorgeous works their due.