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Mario Paz has, in the Romantic Agony, acutely analyzed the effect of the traditions of Byron and De Sade upon poets and painters from 1800 to 1900. It is the analysis of a mood in literature. The mood may ve been transient, but it was widespread, and it was expressed in dreams of "luxurious cruelties," "fatal women," corpse-passions, and the sinful agonies of delight. Professo Praz has described the whole Romantic literature under one of its most characteristic aspects, that of erotic sensibility.
Discusses the technical and artistic aspects of painting portraits in pastels and provides reproductions of works by masters.
In the decades following the French Revolution, four artists - Girodet, Gros, Gericault, and Delacroix - painted works in their Parisian studios that vividly expressed violent events in faraway, colonial lands. This book examines six of these paintings and argues that their disturbing, erotic depictions of slavery, revolt, plague, decapitation, cannibalism, massacre, and abduction chart the history of France's empire and colonial politics. Darcy Grimaldo Grigsby shows that these paintings about occurrences in the West Indies, Syria, Egypt, Senegal, and Ottoman Empire Greece are preoccupied not with mastery and control but with loss, degradation, and failure, and she explains how such representations of crises in the colonies were able to answer the artists' longings as well as the needs of the government and the opposition parties at home. Empire made painters devoted to the representation of liberty and the new French nation confront liberty's antithesis: slavery. It also forced them to contend with cultural and racial difference. Young male artists responded, says Grigsby, by translating distant crises into images of challenges to the self, making history painting the site where geographic extremities and bodily extremities articulated one another.
The author recounts his experiences in building collections of rare books and manuscripts of French literature, and reveals little-known facts about French artists, composers, and writers.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Polygraphice is an unchanged, high-quality reprint of the original edition of 1681. Hansebooks is editor of the literature on different topic areas such as research and science, travel and expeditions, cooking and nutrition, medicine, and other genres. As a publisher we focus on the preservation of historical literature. Many works of historical writers and scientists are available today as antiques only. Hansebooks newly publishes these books and contributes to the preservation of literature which has become rare and historical knowledge for the future.
The Cambridge Companion to Delacroix serves as an introduction to one of the most important and most complex artists of the nineteenth century. Providing an overview of his life and career, this volume offers essays by leading authorities on the artist's pictorial practice, the stylistic range over classicism and Romanticism, his writings, both private diary notations and published articles, and his impact on modern aesthetics, among other topics. Designed to serve as an essential resource for students of French nineteenth-century art history, cultural history, and literature, The Cambridge Companion to Delacroix also provides a chronology of the artist's life, set into its political and cultural contexts, as well as a list of suggested further reading in the topic areas.
Viewing Europe from the Outside reexamines the narrative portrayal of cultural encounters between East and West in English and French Orientalist discourse. It focuses, in particular, on the eighteenth-century satirical travel account and the nineteenth-century literary travelogue. Through a close reading of five texts, it defines the monological, dialogical, and parodic uses of the Other as three forms of encounters that both provide structure for and participate in a self-reflective culture critique.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.