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Hailed as one of the key theoreticians of modernism, Eugène-Emmanuel Viollet-le-Duc was also the most renowned restoration architect of his age, a celebrated medieval archaeologist and a fervent champion of Gothic revivalism. He published some of the most influential texts in the history of modern architecture such as the Dictionnaire raisonné de l’architecture française du XIe au XVIe siècle and Entretiens sur l’architecture, but also studies on warfare, geology and racial history. Martin Bressani expertly traces Viollet-le-Duc’s complex intellectual development, mapping the attitudes he adopted toward the past, showing how restoration, in all its layered meaning, shaped his outlook. Through his life journey, we follow the route by which the technological subject was born out of nineteenth-century historicism.
"Presents the entire range of artistic production of the period: architectural drawings, decorative arts, sculpture, paintings, drawings, and photography."--Page 9.
This volume brings together the most innovative historical work on the conjoined themes of gender and consumption. In thirteen pioneering essays, some of the most important voices in the field consider how Western societies think about and use goods, how goods shape female, as well as male, identities, how labor in the family came to be divided between a male breadwinner and a female consumer, and how fashion and cosmetics shape women's notions of themselves and the society in which they live. Together these essays represent the state of the art in research and writing about the development of modern consumption practices, gender roles, and the sexual division of labor in both the United States and Europe. Covering a period of two centuries, the essays range from Marie Antoinette's Paris to the burgeoning cosmetics culture of mid-century America. They deal with topics such as blue-collar workers' survival strategies in the interwar years, the anxieties of working-class consumers, and the efforts of the state to define women's—especially wives' and mothers'—consumer identity. Generously illustrated, this volume also includes extensive introductions and a comprehensive annotated bibliography. Drawing on social, economic, and art history as well as cultural studies, it provides a rich context for the current discourse around consumption, particularly in relation to feminist discussions of gender.
Louis XIV, regency, rococo, neoclassical, empire, art nouveau, and historicist pastiche: furniture styles march across French history as regimes rise and fall. In this extraordinary social history, Leora Auslander explores the changing meaning of furniture from the mid-seventeenth to the early twentieth century, revealing how the aesthetics of everyday life were as integral to political events as to economic and social transformations. Enriched by Auslander's experience as a cabinetmaker, this work demonstrates how furniture served to represent and even generate its makers' and consumers' identities.