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Architectural Space in Eighteenth-Century Europe: Constructing Identities and Interiors explores how a diverse, pan-European group of eighteenth-century patrons - among them bankers, bishops, bluestockings, and courtesans - used architectural space and décor to shape and express identity. Eighteenth-century European architects understood the client's instrumental role in giving form and meaning to architectural space. In a treatise published in 1745, the French architect Germain Boffrand determined that a visitor could "judge the character of the master for whom the house was built by the way in which it is planned, decorated and distributed." This interdisciplinary volume addresses two key interests of contemporary historians working in a range of disciplines: one, the broad question of identity formation, most notably as it relates to ideas of gender, class, and ethnicity; and two, the role played by different spatial environments in the production - not merely the reflection - of identity at defining historical and cultural moments. By combining contemporary critical analysis with a historically specific approach, the book's contributors situate ideas of space and the self within the visual and material remains of interiors in eighteenth-century Europe. In doing so, they offer compelling new insight not only into this historical period, but also into our own.
Architectural Space in Eighteenth-Century Europe: Constructing Identities and Interiors explores how a diverse, pan-European group of eighteenth-century patrons - among them bankers, bishops, bluestockings, and courtesans - used architectural space and décor to shape and express identity. Eighteenth-century European architects understood the client's instrumental role in giving form and meaning to architectural space. In a treatise published in 1745, the French architect Germain Boffrand determined that a visitor could "judge the character of the master for whom the house was built by the way in which it is planned, decorated and distributed." This interdisciplinary volume addresses two key interests of contemporary historians working in a range of disciplines: one, the broad question of identity formation, most notably as it relates to ideas of gender, class, and ethnicity; and two, the role played by different spatial environments in the production - not merely the reflection - of identity at defining historical and cultural moments. By combining contemporary critical analysis with a historically specific approach, the book's contributors situate ideas of space and the self within the visual and material remains of interiors in eighteenth-century Europe. In doing so, they offer compelling new insight not only into this historical period, but also into our own.
Domestic Space in France and Belgium offers a new addition to the growing body of work in Interior Studies. Focused on late 19th and early 20th-century France and Belgium, it addresses an overlooked area of modernity: the domestic sphere and its conception and representation in art, literature and material culture. Scholars from the US, UK, France, Italy, Canada and Belgium offer fresh and exciting interpretations of artworks, texts and modern homes. Comparative and interdisciplinary, it shows through a series of case-studies in literature, art and architecture, how modernity was expressed through domestic life at the turn of the century in France and Belgium.
"Explores the role of private art collections in the cultural, social, and political life of early eighteenth-century Paris. Examines how two principal groups of collectors, each associated with a different political faction, amassed different types of treasures and used them to establish social identities and compete for distinction"--Provided by publisher.
Publisher description
During the eighteenth century, porcelain held significant cultural and artistic importance. This collection represents one of the first thorough scholarly attempts to explore the diversity of the medium's cultural meanings. Among the volume's purposes is to expose porcelain objects to the analytical and theoretical rigor which is routinely applied to painting, sculpture and architecture, and thereby to reposition eighteenth-century porcelain within new and more fruitful interpretative frameworks. The authors also analyze the aesthetics of porcelain and its physical characteristics, particularly the way its tactile and visual qualities reinforced and challenged the social processes within which porcelain objects were viewed, collected, and used. The essays in this volume treat objects such as figurines representing British theatrical celebrities, a boxwood and ebony figural porcelain stand, works of architecture meant to approximate porcelain visually, porcelain flowers adorning objects such as candelabra and perfume burners, and tea sets decorated with unusual designs. The geographical areas covered in the collection include China, North Africa, Spain, France, Italy, Britain, America, Japan, Austria, and Holland.
Emphasizing on the one hand the reconstruction of the material culture of specific residences, and on the other, the way in which particular domestic objects reflect, shape, and mediate family values and relationships within the home, this volume offers a distinct contribution to research on the early modern Italian domestic interior. Though the essays mainly take an art historical approach, the book is interdisciplinary in that it considers the social implications of domestic objects for family members of different genders, age, and rank, as well as for visitors to the home. By adopting a broad chronological framework that encompasses both Renaissance and Baroque Italy, and by expanding the regional scope beyond Florence and Venice to include domestic interiors from less studied centers such as Urbino, Ferrara, and Bologna, this collection offers genuinely new perspectives on the home in early modern Italy.
Published by London's D. Giles Limited, the lavishly illustrated volume examines Walter Gay's life and work and features all 69 paintings in the exhibition. Main author Isabel L. Taube writes on Walter Gay's Poetic Rooms, and also wrote the catalogue portion of the exhibition, which organizes Walter Gay's work by residence;including sections on each of the Gay's own residences, as well as other homes Walter Gay was commissioned to paint in Europe and America. Other contributors are Priscilla Vail Caldwell, who writes on the enduring appeal of Walter Gay; arts expert Nina Gray, who focuses on interior decoration and the Rococo revival in America: and Frick Director of Curatorial Affairs Sarah Hall, who wrote essays about the three paintings in our collection.
The eighteenth-century home, in terms of its structure, design, function, and furnishing, was a site of transformation – of spaces, identities, and practices. Home has myriad meanings, and although the eighteenth century in the common imagination is often associated with taking tea on polished mahogany tables, a far wider world of experience remains to be introduced. At Home in the Eighteenth Century brings together factual and fictive texts and spaces to explore aspects of the typical Georgian home that we think we know from Jane Austen novels and extant country houses while also engaging with uncharacteristic and underappreciated aspects of the home. At the core of the volume is the claim that exploring eighteenth-century domesticity from a range of disciplinary vantage points can yield original and interesting questions, as well as reveal new answers. Contributions from the fields of literature, history, archaeology, art history, heritage studies, and material culture brings the home more sharply into focus. In this way At Home in the Eighteenth Century reveals a more nuanced and fluid concept of the eighteenth-century home and becomes a steppingstone to greater understanding of domestic space for undergraduate level and beyond.
The Handbook of Interior Architecture and Design offers a compelling collection of original essays that seek to examine the shifting role of interior architecture and interior design, and their importance and meaning within the contemporary world. Interior architecture and interior design are disciplines that span a complexity of ideas, ranging from human behaviour and anthropology to history and the technology of the future. Approaches to designing the interior are in a constant state of flux, reflecting and adapting to the changing systems of history, culture and politics. It is this process that allows interior design to be used as evidence for identifying patterns of consumption, gender, identity and social issues. The Handbook of Interior Architecture and Design provides a pioneering overview of the ideas and arrangements within the two disciplines that make them such important platforms from which to study the way humans interact with the space around them. Covering a wide range of thought and research, the book enables the reader to investigate fully the changing face of interior architecture and interior design, while offering questions about their future trajectory.