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The first comprehensive catalogue of the Getty Museum’s significant collection of French Rococo ébénisterie furniture. This catalogue focuses on French ébénisterie furniture in the Rococo style dating from 1735 to 1760. These splendid objects directly reflect the tastes of the Museum’s founder, J. Paul Getty, who started collecting in this area in 1938 and continued until his death in 1976. The Museum’s collection is particularly rich in examples created by the most talented cabinet masters then active in Paris, including Bernard van Risenburgh II (after 1696–ca. 1766), Jacques Dubois (1694–1763), and Jean-François Oeben (1721–1763). Working for members of the French royal family and aristocracy, these craftsmen excelled at producing veneered and marquetried pieces of furniture (tables, cabinets, and chests of drawers) fashionable for their lavish surfaces, refined gilt-bronze mounts, and elaborate design. These objects were renowned throughout Europe at a time when Paris was considered the capital of good taste. The entry on each work comprises both a curatorial section, with description and commentary, and a conservation report, with construction diagrams. An introduction by Anne-Lise Desmas traces the collection’s acquisition history, and two technical essays by Arlen Heginbotham present methodologies and findings on the analysis of gilt-bronze mounts and lacquer. The free online edition of this open-access publication is available at www.getty.edu/publications/rococo/ and includes zoomable, high-resolution photography. Also available are free PDF, EPUB, and Kindle/MOBI downloads of the book, and JPG downloads of the main catalogue images.
Tahiti Nui is an account of the survival of a Polynesian society in the face of successive settlements of missionaries, traders, and administrators. Beginning with the first explorers and Captain Cook's scientific observations at Point Venus, Dr. Newbury has separated the various strands interwoven in the fabric of Tahitian society, tracing their development and showing how they interacted at successive stages. Missionaries and foreign traders, administrators and Polynesians, planters and immigrant Chinese have all contributed to the distinctive flavor of French Polynesia, with Tahiti and Tahitians becoming increasingly dominant, not just as the focus of the French administration in Pape'ete, but in the social networks and trading patterns that have evolved.
With this widely acclaimed work, Michael Fried revised the way in which eighteenth-century French painting and criticism are viewed and understood. Analyzing paintings produced between 1753 and 1781 and the comments of a number of critics who wrote about them, especially Dennis Diderot, Fried discovers a new emphasis in the art of the time, based not on subject matter or style but on values and effects.
Vernacular architecture represents a great resource that has considerable potential to define principles for sustainable design and contemporary architecture. This publication is the result of an overall aim to produce a valuable tool for analysis regarding vernacular heritage through different assessments, in order to define principles to consider for sustainable development. This was possible through a comprehensive reflection on the principles established and the strategies to recognise in different world contexts. The present publication was the result of an in-depth approach by 46 authors from 12 countries, concerned with the analysis and critical assessment of vernacular heritage and its sustainable perspective. The book presents 8 chapters addressing operational definitions and synopses advances, regarding the main areas of vernacular heritage contribution to sustainable architecture. It also presents 15 chapters and 53 case studies of vernacular and contemporary approaches in all the 5 continents, regarding urban, architectural, technical and constructive strategies and solutions. VERSUS, HERITAGE FOR TOMORROW: Vernacular Knowledge for Sustainable Architecture is the result of a common effort undertaken by the partners ESG | Escola Superior Gallaecia, Portugal, as Project leader; CRAterre | École Nationale Supérieure d’Architecture de Grenoble, France; DIDA | Università degli Studi di Firenze, Italy; DICAAR | Università degli Studi di Cagliari, Italy; and UPV | Universitat Politècnica de València, Spain. This is the final outcome of VerSus, an European project developed from 2012 to 2014, in the framework of the Culture 2007-2013 programme.
Jody Blake demonstrates in this book that although the impact of African-American music and dance in France was constant from 1900 to 1930, it was not unchanging. This was due in part to the stylistic development and diversity of African-American music and dance, from the prewar cakewalk and ragtime to the postwar Charleston and jazz. Successive groups of modernists, beginning with the Matisse and Picasso circle in the 1900s and concluding with the Surrealists and Purists in the 1920s, constructed different versions of la musique and la danse negre. Manifested in creative and critical works, these responses to African-American music and dance reflected the modernists' varying artistic agendas and historical climates.
It is hard to convey the public impact of France's war to maintain her colonial grip on Algeria; yet in the late 1950s this ugly conflict dominated Europe's media to almost the same extent as would Vietnam ten years later. It brought France to the very verge of military coup d'etat; it destroyed thousands of careers; bitterly divided the French military and political classes for a generation; and sent hundreds of thousands of European settler families into often ruinous exile. This title details the history, organisation, equipment and uniforms of the forces involved.
Second edition of the technical and historical background to the reconstruction of a Greek warship.
Secret agents, gun runners, White Russians, and con men—they all play a part in Michael B. Miller's strikingly original study of interwar France. Based on extensive research in security files and a mass of printed sources, Shanghai on the Métro shows how a distinctive milieu of spies and spy literature emerged between the two world wars, reflecting the atmosphere and concerns of these years. Miller argues that French fascination with intrigue between the wars reveals a far more assured and playful national mood than historians have hitherto discerned in the final decades of the Third Republic. But the larger history set in motion by World War I and the subsequent reading of French history into global history are the true subjects of this work. Reconstituting through his own narratives the histories of interwar travel and adventure and the willful turning of contemporary affairs into a source of romance, Miller recovers the ambience and special qualities of the age that produced its intrigues and its tales of spies. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1994.
The visual image is the common denominator of cinema and painting, and indeed many filmmakers have used the imagery of paintings to shape or enrich the meaning of their films. In this discerning new approach to cinema studies, Angela Dalle Vacche discusses how the use of pictorial sources in film enables eight filmmakers to comment on the interplay between the arts, on the dialectic of word and image, on the relationship between artistic creativity and sexual difference, and on the tension between tradition and modernity. Specifically, Dalle Vacche explores Jean-Luc Godard's iconophobia (Pierrot Le Fou) and Andrei Tarkovsky's iconophilia (Andrei Rubleov), Kenji Mizoguchi's split allegiances between East and West (Five Women around Utamaro), Michelangelo Antonioni's melodramatic sensibility (Red Desert), Eric Rohmer's project to convey interiority through images (The Marquise of O), F. W. Murnau's debt to Romantic landscape painting (Nosferatu), Vincente Minnelli's affinities with American Abstract Expressionism (An American in Paris), and Alain Cavalier's use of still life and the close-up to explore the realms of mysticism and femininity (Thérèse). While addressing issues of influence and intentionality, Dalle Vacche concludes that intertextuality is central to an appreciation of the dialogical nature of the filmic medium, which, in appropriating or rejecting art history, defines itself in relation to national traditions and broadly shared visual cultures.