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Offers a broad and vivid overview of the culture of collecting in France over the long nineteenth-century.
Jean-Nicolas-Louis Durand (1760–1834) regarded the Précis of the Lectures on Architecture (1802–5) and its companion volume, the Graphic Portion (1821), as both a basic course for future civil engineers and a treatise. Focusing the practice of architecture on utilitarian and economic values, he assailed the rationale behind classical architectural training: beauty, proportionality, and symbolism. His formal systematization of plans, elevations, and sections transformed architectural design into a selective modular typology in which symmetry and simple geometrical forms prevailed. His emphasis on pragmatic values, to the exclusion of metaphysical concerns, represented architecture as a closed system that subjected its own formal language to logical processes. Now published in English for the first time, the Précis and the Graphic Portion are classics of architectural education.
In nineteenth-century Paris, passionate involvement with revolution turned the city into an engrossing object of cultural speculation. For writers caught between an explosive past and a bewildering future, revolution offered a virtuoso metaphor by which the city could be known and a vital principle through which it could be portrayed. In this engaging book, Priscilla Ferguson locates the originality and modernity of nineteenth-century French literature in the intersection of the city with revolution. A cultural geography, Paris as Revolution "reads" the nineteenth-century city not in literary works alone but across a broad spectrum of urban icons and narratives. Ferguson moves easily between literary and cultural history and between semiotic and sociological analysis to underscore the movement and change that fueled the powerful narratives defining the century, the city, and their literature. In her understanding and reconstruction of the guidebooks of Mercier, Hugo, Vallès, and others, alongside the novels of Flaubert, Hugo, Vallès, and Zola, Ferguson reveals that these works are themselves revolutionary performances, ones that challenged the modernizing city even as they transcribed its emergence. 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.
Catalogue published in conjunction with the exhibition "Extravagant Inventions: the Princely Furniture of the Roentgens" on view at The Metropolitan Museum of Art, New York, from October 30, 2102, through January 27, 2013.
This volume provides an unparalleled exploration of ethics and museum practice, considering the controversies and debates which surround key issues such as provenance, ownership, cultural identity, environmental sustainability and social engagement. Using a variety of case studies which reflect the internal realities and daily activities of museums as they address these issues, from exhibition content and museum research to education, accountability and new technologies, Museums, Ethics and Cultural Heritage enables a greater understanding of the role of museums as complex and multifaceted institutions of cultural production, identity-formation and heritage preservation. Benefitting from ICOM’s unique position in the museum world, this collection brings a global range of academics and professionals together to examine museums ethics from multiple perspectives. Providing a more complete picture of the diverse activities now carried out by museums, Museums, Ethics and Cultural Heritage will appeal to practitioners, academics and students alike.
Bruce Redford re-creates the vibrant culture of connoisseurship in Enlightenment England by investigating the multifaceted activities and achievements of the Society of Dilettani. Elegantly and wittily he dissects the British connoisseurs whose expeditions, collections, and publications laid the groundwork for the Neoclassical revival and for the scholarly study of Graeco-Roman antiquity. After the foundation of the society in 1732, the Dilettani commissioned portraits of the members. Including a striking group of mock-classical and mock-religious representations, these portraits were painted by George Knapton, Sir Joshua Reynolds, and Sir Thomas Lawrence. During the second half of the century, the society’s expeditions to the Levant yielded a series of pioneering architectural folios, beginning with the first volume The Antiquities of Athens in 1762. These monumental volumes aspired to empirical exactitude in text and image alike. They prepared the way for Specimens of Antient Sculpture (1809), which combines the didactic (detailed investigations into technique, condition, restoration, and provenance) with the connoisseurial (plates that bring the illustration of ancient sculpture to new artistic heights). The Society of Dilettanti’s projects and publications exemplify the Enlightenment ideal of the gentleman amateur, which is linked in turn to a culture of wide-ranging curiosity.
" Salvator Rosa (1615–1673) was a colorful and controversial Italian painter, talented musician, a notable comic actor, a prolific correspondent, and a successful satirist and poet. His paintings, especially his rugged landscapes and their evocation of the sublime, appealed to Romantic writers, and his work was highly influential on several generations of European writers. James S. Patty analyzes Rosa’s tremendous influence on French writers, chiefly those of the nineteenth century, such as Stendhal, Honoré de Balzac, Victor Hugo, George Sand, and Théophile Gautier. Arranged in chronological order, with numerous quotations from French fiction, poetry, drama, art criticism, art history, literary history, and reference works, Salvator Rosa in French Literature forms a narrative account of the reception of Rosa’s life and work in the world of French letters. James S. Patty, professor emeritus of French at Vanderbilt University, is the author of Dürer in French Letters . He lives in Nashville, Tennessee.