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"Le présent volume rassemble les contributions du colloque international Histoire de l'art du X1Xe siècle (1848-1914). Bilans et perspectives qui s'est tenu à l'École du Louvre, au musée d'Orsay et à l'Institut national d'histoire de l'art à l'occasion des vingt ans du musée d'Orsay. Ces XXIes Rencontres de l'École du Louvre, organisées en dix sessions, s'intéressant à des questions transversales mais traitant aussi des différents domaines de la production artistique, ont réuni soixante-seize contributeurs, issus du monde des musées comme de celui des universités, et se sont déroulées devant quelque six cents auditeurs. Douze nationalités de chercheurs étaient représentées. Ce colloque a été l'occasion de créer, en partenariat avec l'Institut national d'histoire de l'art, un Forum des jeunes chercheurs, manifestation originale qui trouve désormais sa place dans tous les colloques organisés par l'École du Louvre. Cette programmation particulière offre la possibilité à des élèves de 3e cycle, des doctorants ou jeunes docteurs de croiser leurs premières recherches avec celles de personnes plus confirmées. Ce colloque a été l'occasion d'esquisser un bilan, ou du moins de brosser un tableau de l'évolution des études dix-neuviémistes durant ces vingt dernières années, de souligner l'émergence de thématiques, de questions et de méthodes nouvelles. Les lecteurs trouveront dans ces actes à la fois des confirmations, mais aussi des interrogations, l'ouverture de nouveaux champs, auxquels le musée d'Orsay a contribué par ses choix d'accrochage, d'expositions et de manifestations."--P. [4] of cover.
Henri Labrouste is one of the few nineteenth-century architects consistently lionized as a precursor of modern architecture throughout the twentieth century and into our own time. The two magisterial glass-and-iron reading rooms he built in Paris gave form to the idea of the modern library as a collective civic space. His influence was both immediate and long-lasting, not only on the development of the modern library but also on the exploration of new paradigms of space, materials and luminosity in places of great public assembly. Published to accompany the first exhibition devoted to Labrouste in the United States--and the first anywhere in the world in nearly 40 years--this publication presents nearly 225 works in all media, including drawings, watercolors, vintage and modern photographs, film stills and architectural models. Essays by a range of international architecture scholars explore Labrouste's work and legacy through a variety of approaches.
Throughout the fin de siècle, "energy" was a buzzword that was used far beyond the boundaries of the sciences to negotiate the formative scope as well as limits of Western modernity. The human body was positioned at the center of the visualization of this enigmatic drive of all movement in discourses on labor and economics, physical culture, sport, art, and literature. It was through the body that this all-pervading and conditioning physical principle as well as its perceptual qualities were to be made tangible. This volume is dedicated to these "energetic bodies." The transdisciplinary individual contributions trace body scenarios of force and energy over the course of history from 1800 to the peak phase around 1900 and up to the present.
Capital cities have been the seat of political power and central stage for their state’s political conflicts and rituals throughout the ages. In the modern era, they provide symbols for and confer meaning to the state, thereby contributing to the “invention” of the nation. Capitals capture the imagination of natives, visitors and outsiders alike, yet also express the outcomes of power struggles within the political systems in which they operate. This volume addresses the reciprocal relationships between identity, regime formation, urban planning, and public architecture in the Western world. It examines the role of urban design and architecture in expressing (or hiding) ideological beliefs and political agenda. Case studies include “old” capitals such as Rome, Vienna, Berlin and Warsaw; “new” ones such as Washington DC, Ottawa, Canberra, Ankara, Bonn, and Brasília; and the “European” capital Brussels. Each case reflects the authors’ different disciplinary backgrounds in architecture, history, political science, and urban studies, demonstrating the value of an interdisciplinary approach to studying cities.
An unprecedented exploration of Gauguin's works in various media, from works on paper to clay and furniture Paul Gauguin (1848-1903) was a creative force above and beyond his legendary work as a painter. Surveying the full scope of his career-spanning experiments in different media and formats--clay, works on paper, wood, and paint, as well as furniture and decorative friezes--this volume delves into his enduring interest in craft and applied arts, reflecting on their significance to his creative process. Gauguin: Artist as Alchemist draws on extensive new research into the artist's working methods, presenting him as a consummate craftsman--one whose transmutations of the ordinary yielded new and remarkable forms. Beautifully designed and illustrated, this book includes essays by an international team of scholars who offer a rich analysis of Gauguin's oeuvre beyond painting. By embracing other art forms, which offered fewer dominant models to guide his work, Gauguin freed himself from the burden of artistic precedent. In turn, these groundbreaking creative forays, especially in ceramics, gave new direction to his paintings. The authors' insightful emphasis on craftsmanship deepens our understanding of Gauguin's considerable achievements as a painter, draftsman, sculptor, ceramist, and printmaker within the history of modern art.
Winner, 1990 Berkshire Conference Book Award Art Nouveau in Fin-de-Siecle France: Politics, Psychology, and Style explores the shift in the locus of modernity from technological monument to private interior. It examines the political, economic, social, intellectual and artistic factors, specific to late 19th century France, that interacted in the development of art nouveau.
Here is an incomparably rich portrait of France in the years when the disparate elements that made up the fragmented kingdom of the ancien regime were forged into the modern nation. The survey begins with an exploration of national obsessions and attitudes. It considers the tendency to revolution and war, the preoccupation with the idea of a New Order and the deep strain of national paranoia that was to be intensified by the dramatic debacle of the Franco-Prussian War. Robert Tombs then investigates the structures of power and in Part Three he turns his attention to social identities, from the individual and family to the nation at large. When every aspect of the period has been put under the microscope, Robert Tombs draws them all into the broad political narrative that brings the book to its rousing conclusion. Bursting with life as well as learning, this is, quite simply, a tour de force.
This book provides a study of the manner in which the Roman Catholic Church in France responded to successive revolutions between 1789 and 1870 as well as to the cultural upheaval associated with accelerating socio-economic change. It focuses on the Church as an institution engaged in a dynamic process of (re)Christianization and determined, as the only repository of the true faith of Jesus Christ, to fortify belief , and to combat the ‘Satanic’ forces of moral corruption and revolutionary chaos and create a ‘counter society’, the société parfaite. Discussion of the Church as an institution in crisis, of the recruitment, instruction and mind-sets of its bishops, parish clergy, and the members of religious orders, of its hierarchical structures and internal discipline, and of the need to compensate for the losses suffered during a period of revolutionary upheaval, provides the basis for an exploration of its evolving doctrine(s) and sense of purpose; for an assessment of the pastoral care provided to parish communities; and of the leadership and moral qualities of the clergy; before final consideration of the reception of the religious message(s).
This book explores the responses of the Roman Catholic Church to the French Revolution beginning in 1789, to the liberal revolution in 1830, and particularly the democratic revolution of 1848 in France, and asks how these events were perceived and explained. Informed by the collective memory of the first revolution, how did the Church react to renewed ‘catastrophe’? How did it seek to influence political choice? Why did authoritarian government prove to be so attractive? This is a study of the impact of religion on political behaviour, as well as of the politicisation of religion. Roger Price employs the methodology of the social and cultural historian to explain the development and interaction of two key institutions, Church and State, during a period of political and social upheaval. Drawing on a wide range of archival and printed primary sources, as well as secondary literature, this book analyses the diverse perceptions of people with power and the impact of their decisions, and the responses, of a wide range of individuals and communities.
The late-nineteenth century in Europe was a period of profound political, social, and technological change. One result of these changes was the rise in France of an upper-bourgeois bohemian class. Many of its members stimulated interest in unique forms of artistic expression such as illustrated books. On account of their influence, an atmosphere of intense bibliophilic activity came to define French culture at the turn of the century. The New Bibliopolis explores the role of amateurs in promoting the book arts in France during this period. Drawing on extensive original research, Willa Z. Silverman looks at the ways in which book collectors supported print culture. She shows how, through the admiration demonstrated by collectors for this medium, print came to be a crucial part of popular conceptions of aesthetics. As collectors, publishers, authors, designers, and directors of bibliophile societies, reviews, and small presses, these book lovers became passionate and prolific interlocutors of the printed word in a uniquely artistic epoch. Silverman analyzes subjects as diverse as the relationship between book collecting and aesthetic and cultural currents such as Symbolism; the gendered nature of book collecting; the increased collaboration between authors and illustrators; and the marketing of fine books at international exhibits. The New Bibliopolis is an important contribution to the study of book history, French sociocultural history, and fine and decorative arts.