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There can be few more mesmerising historical narratives than the story of how the dazzlingly confident and secure monarchy Louis XIV, 'the Sun King', left to his successors in 1715 became the discredited, debt-ridden failure toppled by Revolution in1789. The further story of the bloody unravelling of the Revolution until its seizure by Napoleon is equally astounding. Colin Jones' brilliant new book is the first in 40 years to describe the whole period. Jones' key point in this gripping narrative is that France was NOT doomed to Revolution and that the 'ancien regime' DID remain dynamic and innovatory, twisting and turning until finally stoven in by the intolerable costs and humiliation of its wars with Britain.
French painting of Louis XV's reign (1715-74), generally categorized by the term rococo, has typically been understood as an artistic style aimed at furnishing courtly society with delightful images of its own frivolous pursuits. Instead, this book shows the significance and seriousness underpinning the notion of pleasure embedded in eighteenth-century history painting. During this time, pleasure became a moral ideal grounded not only in domestic life but also defining a range of social, political, and cultural transactions oriented toward transforming and improving society at large. History, painting, and the seriousness of pleasure in the age of Louis XV reconsiders the role of history painting in creating a newvisual language that presented peace and happiness as an individual's natural rights in the aftermath of Louis XIV's bellicose reign (1643-1715). In this new study, Susanna Caviglia reinvestigates the artistic practices of an entire generation of painters born around 1700 (e.g. Francois Boucher, Charles-Joseph Natoire, and Carle Vanloo) in order to highlight the cultural forces at work within their now iconic images.
In May 1758, a bailiff named Jean Moriceau de La Motte was arrested for carrying seditious flyers and uttering mauvais discours against Louis XV. When he was questioned at the Bastille over the next several months, La Motte was unequivocal in his loyalty to the king, but his insistence failed to convince the police and probably hurt his case more than would have a simple admission of guilt. He was sentenced to be hanged on the Place de Grève after making his amends on the steps of Nôtre Dame. His punishment seemed severe, if not unwarranted, to an increasingly literate and informed Parisian populace that found censorship hard to support, either theoretically or practically, in the face of intellectual and cultural changes wrought by the Enlightenment. By looking at the police files for cases such as La Motte's, Lisa Jane Graham uncovers fascinating clues to the conflicting attitudes of eighteenth-century French subjects toward royal authority. Individuals like La Motte often failed to see the subversive implications of their words and protested their fidelity to the king in impassioned language. The crown's inability or refusal to accommodate a wider range of political speech turned the opinions of these indivduals into bitter grievances and sometimes crimes. Ironically, the decision to repress seditious speech not only alienated essentially loyal French men and women; by marking them as opponents of monarchical authority, it strengthened their sense of their own autonomy and legitimacy as social actors. The complex and surprising web of motivations lying at the heart of such loyalty, as revealed in the police files Graham examines, undermines some deeply rooted assumptions about the Enlightenment and its links to modernity. Graham's book presents the eighteenth century as the critical historical moment for studying how the premodern virtue of loyalty gave way to new ideas and vocabularies about the relationship between individuals and government. If the King Only Knew attests to the powerful emotional and ideological conflicts this difficult transition unleashed.
"History as it ought to be written." - The New Yorker Louis XV lived an enchanted life. He had extraordinary good looks, absolute power, spectacular palaces, and the total grandeur that only eighteenth-century France could provide. The French people adored him and called him "the beloved." During his reign, France flourished, and had it not been for his successor, the chaos of the Revolution might never have happened. History, however, has not only been unkind in its assessment of Louis XV but also mistaken, as this absorbing biography demonstrates. In it, Olivier Bernier explains the development of the negative judgment, showing how the beloved Louis became maligned after his death. The author refutes the unfavorable assessment using such credible sources as the king's state papers, which remain intact in France's national archives. Louis XV emerges in these pages as one of the best French kings, thoughtful and caring, loving and loved by his people.
In 1715 France had a sizeable overseas empire in America, Africa and Asia, its colonies garrisoned by thousands of regular officers and soldiers who belonged to the Navy's colonial establishment or by the French East India Company's troops. Though these troops are not usually covered in histories of the French forces, since the end of the 17th century, they saw considerable action against the enemy overseas. This last volume in a series of five (Men-at-Arms 296, 302, 304, 308 and 313) details the uniforms, arms and accoutrements of Louis XV's colonial and naval troops. The text is accompanied by numerous photographs and illustrations, including eight full colour plates.
In the gauche surroundings of a hotel room, Juergen Teller combines the braggadocio of his nude self-portraits with his ongoing paean to woman in an often x-rated filmic narrative. The faux-leather bound, gold leaf tipped slim volume, Louis XV contains a series of photographs that is an intimate tale of lust and excess with his latest muse, the actress Charlotte Rampling. Teller's work is essentially autobiographical--his art has always explored his personal milieu of friends and family and his position at the intersection of fashion and art. For some years he has also used the self-portrait as a ground for personal expression, theatrical role-play and exploring his relationship to his own history. At the same time, as essasyist Adrian Searle points out, "Teller frequently makes his appearance in his own photographs as though he has just blundered in like an unexpected and unwelcome guest, a gatecrasher. There is something either farcial or vainglorious about this, perhaps both. Something almost obscene, too, about the way he overwhelms certain of his images, disrupting them, hogging the lens, filling the frame, crashing about unconstrained, unleashed, as it were, dragging his life about with him. It is somehow embarrassing. You want to look the other way." Included with Louis XV is the 104-page exhibition catalogue, Ich Bin Vierzig, a paperback collection of selected images from the photographer's past works. It includes highlights from his Tracht and The Clients series.
A thought-provoking, authoritative biography of one of history's most maligned rulers Louis XVI of France, who was guillotined in 1793 during the Revolution and Reign of Terror, is commonly portrayed in fiction and film either as a weak and stupid despot in thrall to his beautiful, shallow wife, Marie Antoinette, or as a cruel and treasonous tyrant. Historian John Hardman disputes both these versions in a fascinating new biography of the ill-fated monarch. Based in part on new scholarship that has emerged over the past two decades, Hardman's illuminating study describes a highly educated ruler who, though indecisive, possessed sharp political insight and a talent for foreign policy; who often saw the dangers ahead but could not or would not prevent them; and whose great misfortune was to be caught in the violent center of a major turning point in history. Hardman's dramatic reassessment of the reign of Louis XVI sheds a bold new light on the man, his actions, his world, and his policies, including the king's support for America's War of Independence, the intricate workings of his court, the disastrous Diamond Necklace Affair, and Louis's famous dash to Varennes.
A new edition of Kaplan's landmark study on eighteenth-century French political economy, reissued with a new Foreword by Sophus A. Reinert. Based on comprehensive archival, Kaplan's classic work constitutes a major contribution to the study of the subsistence problem before the French Revolution and the political economy of deregulatory reform.
France had a population of between 22 and 25 million at this time, and maintained the largest standing army in Europe. In peacetime it might have amounted to about 200,000 men; in times of war, it could be anything up to half a million. A substantial part of Louis XV's army consisted of numerous regiments of guard cavalry, heavy cavalry and dragoon regiments, which were considered the best and noblest part. These many units form the subject matter in this first of five fascinating volumes [Men-at-Arms 296, 302, 304, 308 & 313] by René Chartrand covering the army of Louis XV's.
Pritchard's chief concern is to explain why Bourbon France, the richest and most poewerful state in Europe in the middle of the eighteenth century, failed to exercise its power at sea. Through a close examination of naval organization -- the secretaries of state for the navy, central bureaus, officers of the sword and pen, seamen, arsenals, workers, probems of shipbuilding, ordnance production and material acquisition, and finances -- he shows the navy as both an institution embedded in society and an instrument of government. The tensions arising from the contradiction between an institution composed of individuals who sought to advance their own and group interests and an instrument that existed to fulfil government ends were aggravated by an administation of men rather than norms. Pritchard traces many of the shortcomings of naval administratrion to the intensely personal bonds and idiosyncratic behaviour of the individuals who ran it. Many of Pritchards's conclusions run counter to the generallly accepted accounts of problems in the French navy during this period and to the usual view of Choiseul as the saviour of French maritime power. The first complete study of this period of French naval administration, Pritchard's work parallels Baugh's on the British navy.