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Seventeenth-century Dutch and Flemish paintings were aesthetic, intellectual, and economic touchstones in the Parisian art world of the Revolutionary era, but their importance within this framework, while frequently acknowledged, never attracted much subsequent attention. Darius A. Spieth’s inquiry into Revolutionary Paris and the Market for Netherlandish Art reveals the dominance of “Golden Age” pictures in the artistic discourse and sales transactions before, during, and after the French Revolution. A broadly based statistical investigation, undertaken as part of this study, shows that the upheaval reduced prices for Netherlandish paintings by about 55% compared to the Old Regime, and that it took until after the July Revolution of 1830 for art prices to return where they stood before 1789.
The first comprehensive catalogue of the Getty Museum’s significant collection of French Rococo ébénisterie furniture. This catalogue focuses on French ébénisterie furniture in the Rococo style dating from 1735 to 1760. These splendid objects directly reflect the tastes of the Museum’s founder, J. Paul Getty, who started collecting in this area in 1938 and continued until his death in 1976. The Museum’s collection is particularly rich in examples created by the most talented cabinet masters then active in Paris, including Bernard van Risenburgh II (after 1696–ca. 1766), Jacques Dubois (1694–1763), and Jean-François Oeben (1721–1763). Working for members of the French royal family and aristocracy, these craftsmen excelled at producing veneered and marquetried pieces of furniture (tables, cabinets, and chests of drawers) fashionable for their lavish surfaces, refined gilt-bronze mounts, and elaborate design. These objects were renowned throughout Europe at a time when Paris was considered the capital of good taste. The entry on each work comprises both a curatorial section, with description and commentary, and a conservation report, with construction diagrams. An introduction by Anne-Lise Desmas traces the collection’s acquisition history, and two technical essays by Arlen Heginbotham present methodologies and findings on the analysis of gilt-bronze mounts and lacquer. The free online edition of this open-access publication is available at www.getty.edu/publications/rococo/ and includes zoomable, high-resolution photography. Also available are free PDF, EPUB, and Kindle/MOBI downloads of the book, and JPG downloads of the main catalogue images.
This series offers a range of heretofore unavailable writings in English translation on the subjects of art, architecture, and aesthetics. Camus's description of the French hotel argues that architecture should please the senses and the mind.
In this engrossing book, Hollis Clayson provides the first description and analysis of French artistic interest in women prostitutes, examining how the subject was treated in the art of the 1870s and 1880s by such avant-garde painters as Cézanne, Degas, Manet, and Renoir, as well as by the academic and low-brow painters who were their contemporaries. Clayson not only illuminates the imagery of prostitution-with its contradictory connotations of disgust and fascination-but also tackles the issues and problems relevant to women and men in a patriarchal society. She discusses the conspicuous sexual commerce during this era and the resulting public panic about the deterioration of social life and civilized mores. She describes the system that evolved out of regulating prostitutes and the subsequent rise of clandestine prostitutes who escaped police regulation and who were condemned both for blurring social boundaries and for spreading sexual licentiousness among their moral and social superiors. Clayson argues that the subject of covert prostitution was especially attractive to vanguard painters because it exemplified the commercialization and the ambiguity of modern life.
Offers a broad and vivid overview of the culture of collecting in France over the long nineteenth-century.
Inalienable Possessions tests anthropology's traditional assumptions about kinship, economics, power, and gender in an exciting challenge to accepted theories of reciprocity and marriage exchange. Focusing on Oceania societies from Polynesia to Papua New Guinea and including Australian Aborigine groups, Annette Weiner investigates the category of possessions that must not be given or, if they are circulated, must return finally to the giver. Reciprocity, she says, is only the superficial aspect of exchange, which overlays much more politically powerful strategies of "keeping-while-giving." The idea of keeping-while-giving places women at the heart of the political process, however much that process may vary in different societies, for women possess a wealth of their own that gives them power. Power is intimately involved in cultural reproduction, and Weiner describes the location of power in each society, showing how the degree of control over the production and distribution of cloth wealth coincides with women's rank and the development of hierarchy in the community. Other inalienable possessions, whether material objects, landed property, ancestral myths, or sacred knowledge, bestow social identity and rank as well. Calling attention to their presence in Western history, Weiner points out that her formulations are not limited to Oceania. The paradox of keeping-while-giving is a concept certain to influence future developments in ethnography and the theoretical study of gender and exchange.