Aarbøger for Nordisk Oldkyndighed Og Historie
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Nineteenth Century
1804 Napoleon crowns himself Emperor. 1838 Le Bon Marché, the first department store in Paris, opens. Department stores originated in Britain, arguably as early as 1734. With economies of scale, new 1815 Napoleon abdicates. The Bourbon monarchy is restored patterns of production and consumption emerge. ILLUSTRATED TIMELINE under the reign of Louis XVIII. The Catholic Church in TH France regains some of its power and influence. Lenoir 1841 France passes its first child labor laws, setting the minimum age for employment at THE LONG 19 CENTURY returns much of the “national” collection to the Catholic eight years and prohibiting children under twelve from working more than eight Church and other private owners. hours per day. Children were also prohibited from working at night, on Sundays, or The collection at the Snite Museum is especially strong in French art of the nineteenth legal holidays. In the 1840s, French factories employed about 150,000 children or July Revolution and Monarchy. Louis-Philippe becomes century, compelling us to focus on historical events in that country in order to provide some 1830 about twelve percent of the workforce. Bouguereau’s Portrait of a Young Girl reveals the “citizen-king” with plans to convert the Palace of an emerging sympathy for children of the working classes. context for the art on view here. In addition to political and military events, several social Versailles into a public museum dedicated to the history themes are highlighted, including the relationship of the Catholic Church to the French of France. 1842 Father Sorin, a priest of the Congregation of Holy Cross, and his colleagues take state; the educational system in a democracy; and economic issues, such as labor, commerce, possession of 524 acres in Indiana given to them by the Bishop of Vincennes. -
Du 7 Avril Au 4 Juillet 2016 Exposition Au Musée Du Louvre
(détail) © RMN-Grand Palais (musée du Louvre) / Tony Querrec (détail) © RMN-Grand Palais (musée du Louvre) / Tony siècle e Salle du XIII Jean-Lubin Vauzelle, Jean-Lubin Vauzelle, Du 7 avril au 4 juillet 2016 exposition au musée du Louvre Dossier de presse Exposition 7 avril - 4 juillet 2016 Rotonde Sully Un musée révolutionnaire Le musée des Monuments français Contact presse Coralie james [email protected] Tél. 01 40 20 54 44 1 Sommaire Communiqué de presse page 3 Parcours de l’exposition page 5 Préface page 11 Par Jean-Luc Martinez et Antoinette Le Normand-Romain Autour de l’exposition Publications page 12 Dans le cadre de la saison XVIIIe page 13 Regards sur quelques œuvres page 14 Visuels disponibles pour la presse page 17 La liste complète des œuvres exposées est disponible sur demande : [email protected] 2 Un musée révolutionnaire Le musée des Monuments français d’Alexandre Lenoir Communiqué de presse Le musée des Monuments français, fondé par Alexandre Exposition Lenoir en 1795 pour sauver les monuments détruits par la Révolution, fut le deuxième musée national après le musée du 7 avril - 4 juillet 2016 Louvre en 1793. Il a joué un rôle fondamental dans l’histoire Rotonde Sully de la redécouverte et de l’appréciation du patrimoine français et le goût pour le Moyen Âge. Il fut fermé en 1816 par Louis XVIII et les œuvres qu’il abritait sont actuellement conservées dans divers lieux en France (dont le musée de Cluny et le musée du Louvre) ainsi qu’à l’étranger. Le département des Arts graphiques du Louvre a sélectionné les plus belles vues du musée disparu tirées du très riche fonds de dessins donné par les héritiers d’Alexandre Lenoir. -
Ideology, Practicality, and Fiscal Necessity: the Creation of The
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Ideology, Practicality, and Fiscal Necessity: The Creation of the Archives Nationales and the Triage of Feudal Titles by the Agence Temporaire Des Titres, 1789-1801 Katherine Ly Cox Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES IDEOLOGY, PRACTICALITY, AND FISCAL NECESSITY: THE CREATION OF THE ARCHIVES NATIONALES AND THE TRIAGE OF FEUDAL TITLES BY THE AGENCE TEMPORAIRE DES TITRES, 1789-1801. By KATHERINE LY COX A Thesis submitted to the Department of History in partial fulfillment of the requirements for the degree of Master of Arts Degree Awarded: Fall Semester, 2007 The members of the Committee approve the thesis of Katherine L. Cox defended on October 29, 2007. _____________________________________ Darrin McMahon Professor Directing Thesis Committee Chair _____________________________________ Rafe Blaufarb Committee Member _____________________________________ Claudia Mineo Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS This thesis represents the culmination of my coursework at Florida State University and so I would like to acknowledge the institutions and individuals who have funded, guided, and supported me throughout my graduate career. I would first like to thank the Institute on Napoleon and the French Revolution for awarding me a research fellowship to cover my tuition expenses. I am equally grateful for the travel assistance granted by Dr. Donald Howard and Dr. Rafe Blafarb, which allowed me to attend conferences and to research at the Archives nationales in Paris, France during the summer months of 2007. -
What Does the Discovery of Human Remains at the Chapelle Expiatoire Mean? Richard Taws
FEATURES Bones of contention – what does the discovery of human remains at the Chapelle Expiatoire mean? Richard Taws 22 JULY 2020 The Chapelle Expiatoire (chapel of atonement) in Paris. Photo: Gilles Target/Photo 12/Alamy Stock Photo The French Revolution has been in the news lately, served as always with a heavy side-order of myth and falsehood. Last month, attempting to justify brandishing firearms at protesters near their home and badly misunderstanding their own historical reference, lawyers Mark and Patricia McCloskey compared a Black Lives Matter march in St Louis to the storming of the Bastille. Meanwhile, the global removal of monuments to enslavers, those who profited from slavery, and known racists has been likened, in ways both positive and negative, to the iconoclasm of the revolutionary decade. In this vein, Keith Christiansen, head of European paintings at the Metropolitan Museum of Art, was criticised for an Instagram post for which he has since apologised, in which he compared the destruction of statues to the actions of ‘revolutionary zealots’; he praised, in contrast, the efforts of Alexandre Lenoir, founder in 1795 of the Musée des monuments français, where sculpture and architectural fragments of the discredited French past were preserved and exhibited. Whatever one’s perspective, the 1790s seem to offer useful lessons in how we might comprehend the revolutionary tenor of our times. And across all this, the Covid-19 pandemic casts its deathly shadow. Consequently, the widely reported announcement of the discovery of a cache of human bones in the walls of the Chapelle Expiatoire (chapel of atonement) on the rue d’Anjou in Paris seems perfectly timed for our necro-political moment. -
Veteran Curator at New York's Metropolitan Museum Latest To
World Socialist Web Site wsws.org Veteran curator at New York’s Metropolitan Museum latest to come under racialist attack Institution accused of “white supremacy and culture of systemic racism” By David Walsh 26 June 2020 The racialist attack launched against Keith Christiansen, the its director for 30 years. At the time of the restoration of the John Pope-Hennessy Chairman of European Paintings at the monarchy in 1816, he was obliged to return most of the museum’s Metropolitan Museum of Art in New York City, for his remarks collection to its aristocratic owners. concerning the danger of valuable art works being destroyed in the More generally, “it was the French Revolution,” as one historian course of upheavals is without any merit whatsoever. has explained, with its “egalitarianism,” that “decisively put art It is another expression of the desperate and pathological race into the public domain,” including of course through the creation obsession sweeping layers of the American upper middle class. of the Louvre in Paris, the largest and most visited art museum in Not to mince words: in this direction lie book- and the world. Likewise, the outcome of the Civil War provided the painting-burning—and not so terribly far in the future. impetus for the establishment of art and science museums in the The denunciations of Christiansen, who has been at the museum US. since 1977, publicized and promoted by the New York Times, In any event, Christiansen’s post was criticized in a tweet by a came in response to an Instagram post he shared on June 19, group claiming to advocate for arts and museum workers, Art + which seemed to reference the recent tearing down of various Museum Transparency. -
In Majesty an Exhibition from 1 March to 19 June 2011 2
1 The Palace of Versailles presents THRONES in Majesty an exhibition from 1 March to 19 June 2011 2 Table of contents Press release 3 Interview with Jean-Jacques Aillagon 4 Interview with Jacques Charles-Gaffiot 6 Presentation of the exhibition 8 Exhibition scenography 33 Interview with Marc Jeanclos 34 Marc Jeanclos, from objects to scenography 35 Around the exhibition 36 Publications 37 Mini-site of the exhibition 39 Booklet-game by Paris Mômes 40 Practical information 41 Visuals available for the press 42 Partners 48 press release Thrones in Majesty From 1 March to 19 June 2011 - Grand Apartments of the Palace of Versailles Press contacts Thrones from different periods and varied civilisations are presented in the Grand Apartments of the Palace of Versailles. Forty emblematic thrones enable the visitor to Hélène Dalifard better understand the universality of the seated representation of religious or 01 30 83 77 01 Aurélie Gevrey political authority. Whether sober or majestic, reasonable or extravagant, thrones 01 30 83 77 03 always convey the same symbol of legitimately established authority. This exhibition sets Violaine Solari up an original dialogue between these exceptional objects, often masterpieces, in the 01 30 83 77 14 sumptuous setting of the Palace of Versailles, a place par excellence of the exercise and [email protected] representation of sovereignty. The exercise of sovereignty associates two universal and timeless notions: authority and power. Authority establishes its possessor on bases regarded as more stable than those offered by power. CURATORS Jacques Charles-Gaffiot The latter is ephemeral and acquired with difficulty by its holder, and comes from the victory of a Assisted by Hélène Delalex hero over his enemies. -
How Art Museums in the French Revolution Crafted a National Identity, 1789-1799 Anna E
Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2015 Making History: How Art Museums in the French Revolution Crafted a National Identity, 1789-1799 Anna E. Sido Scripps College Recommended Citation Sido, Anna E., "Making History: How Art Museums in the French Revolution Crafted a National Identity, 1789-1799" (2015). Scripps Senior Theses. Paper 663. http://scholarship.claremont.edu/scripps_theses/663 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. MAKING HISTORY: HOW ART MUSEUMS IN THE FRENCH REVOLUTION CRAFTED A NATIONAL IDENTITY, 1789-1799 by ANNA ELIZABETH SIDO SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF THE ARTS PROFESSOR ERIC HASKELL PROFESSOR PRIYANKA BASU PROFESSOR MARY MACNAUGHTON APRIL 24, 2015 ACKNOWLEDGEMENTS 3 INTRODUCTION: ART AS A POLITICAL TOOL 4 CHAPTER ONE: THE MUSÉE CENTRAL DES ARTS 9 ROYAL ART IN THE REVOLUTION 9 PUBLIC MUSEUM PLANS AND PRIVATE COLLECTING IN THE ANCIEN RÉGIME 11 16 ENLIGHTENMENT BELIEFS ON HOW TO VIEW ART 21 26 31 CHAPTER TWO: THE MUSÉE DES MONUMENTS FRANÇAIS 36 36 41 45 50 54 CONCLUSION 57 APPENDIX A: LIST OF FIGURES 60 APPENDIX B: TIMELINE OF THE REVOLUTION 70 BIBLIOGRAPHY 72 2 Like most of the important decisions I have made at Scripps, this project started in Professor MacNaughton’s office, when I stopped in to ask what started as a simple question about thesis requirements. -
Charles Percier
Charles Percier Architecture and Design in an Age of Revolutions Extended Through February 12, 2017 Charles Percier: Architecture and Extended through Design in an Age of Revolutions February 12, 2017 Charles Percier: Architecture and Design in an Age of the discovery of new documents relating to the produc- Revolutions—on view at Bard Graduate Center Gallery tion of the two partners, allows a better understanding in New York City through February 12, 2017— of Percier’s multifaceted artistic practice. The exhibi- will be the first large-scale exhibition to survey tion will feature more than 130 art works from principal the magnificent range of projects undertaken museums and cultural institutions in France and the by the French architect and designer from the end United States, as well as key objects from private col- of the eighteenth to the beginning of the nineteenth lections, including his designs for furniture, porcelain, century. Jean-Philippe Garric, professor of the history metalwork, and the renovation of the rue de Rivoli—the of architecture at the University of Paris I, Panthéon- construction of which transformed the center of Paris. Sorbonne, is the curator. Rare drawings and spectacular examples of early nine- teenth-century cabinets, candelabras, and tureens will Although largely remembered for his close collabora- also be displayed. By focusing on his most famous and tion with Pierre François Léonard Fontaine (1762– seminal works, such as sketches for the arc du Carrousel, 1853)—together they defined the Empire style and the interior designs for Josephine Bonaparte’s rooms in created the decorative program of Napoleon’s reign— the Tuileries Palace, and the magnificent books dedi- Charles Percier’s (1764–1838) artistic style was unique, cated to Roman palaces and interior decoration, the complex, and ever-evolving. -
Painting History
painting history delaroche andC lady jane grey stephen bannand linda whiteley with john guy,christ opherriopelle and annerobbins National Gallery Company,Lo ndon Distributedby YaleUn iversity Press Delaroche 9.indd 2 21/12/2009 16:00 Delaroche 9.indd 3 16/12/2009 09:37 Contents ^ This catalogue is published tO accompany Director’s Foreword · ¸ the exhibition Painting History: Delaroche and Lady Jane Grey The National Gallery, London, õ February to õÁ May õb Authors’ Acknowledgements · y Copyright © õb National Gallery Company Limited The Authors have asserted their rights under the Copyright, Designs and Patents The Story of Lady Jane Grey · Act, b, to be identified as Authors of this work. John Guy All rights reserved. No part of this publication may be transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any storage and retrieval system, without the prior Lost and Found · by permission in writing of the publisher. Christopher Riopelle First published in Great Britain in õb by National Gallery Company Limited St Vincent House · Á Orange Street The Sense of the Past · õÓ London dA4 ²44 Linda Whiteley www.nationalgallery.co.uk %vÍ: í ²ï°ïï²Éí ô²í ô The Victim as Spectacle: ïAïôÉ° Paul Delaroche’s ‘Lady Jane Grey’ and Mademoiselle Anaïs · ÁÓ British Library Cataloguing-in-Publication Data. Stephen Bann A catalogue record is available from the British Library. Library of Congress Control Number: AÉÉíí{²ïô² dúºGÓ: · ¸ Publisher Louise Rice Stephen Bann and Linda Whiteley, Project Editor Claire Young Editor Rebecca McKie with Christopher Riopelle and Anne Robbins Picture Researcher Suzanne Bosman Production Jane Hyne and Penny Le Tissier Paul Delaroche: Chronology · bÓy Designed and typeset in Brunel by Dalrymple Anne Robbins Reproduction by Altaimage, London Printed in Italy by Conti Tipocolour Cover, pages , b¸, õ, Á and b¸–y (details): Paul Delaroche (byy–bÓ¸), Lenders to the Exhibition · b¸ The Execution of Lady Jane Grey, bÁÁ. -
Review Volume 9 (2009) Page 471
H-France Review Volume 9 (2009) Page 471 H-France Review Vol. 9 (August 2009), No. 112 Mark Ledbury, ed. David after David: Essays on the Later Work. Williamstown, Mass.: Sterling and Francine Clark Art Institute, 2007; distributed by Yale University Press. xvi + 360 pp. 135 b/w and 15 color illustrations. Notes. $65.00 U.S. (cl). ISBN 978-0-931102-69-1 and 978-0-300-12151-3. Review by Jann Matlock, University College London. Jacques-Louis David has emerged, over the last two decades, as the most influential artist of the pivotal moment of the birth of modernity. Head of a powerful teaching studio that produced some of the most important young artists of his era, David was elected president of the National Convention and thus served to organize revolutionary festivals as well as to conceptualize the new art of revolutionary institutions. He not only produced some of the most important canvasses of the late eighteenth century--Belisarius (1781), The Oath of the Horatii (1785), The Lictors Returning to Brutus the Bodies of His Sons (1789), but he elaborated some of the Revolution’s most significant representations (The Death of Marat; Bara; Le Pelletier de Saint-Fargeau on His Deathbed [all 1793]), even as he helped frame crucial questions about political representation. Not surprisingly, David’s work of the 1780s and 1790s has been instrumental for scholars formulating new enquiries about visual culture. Since the 1980s, a series of challenging studies asked new questions about power, politics, representation, and ideology. David took center stage in these shifting frameworks because his work from the late eighteenth century, from Belisarius to The Intervention of the Sabine Women (1799), was so thoroughly imbricated in political and social change. -
Alexandre Lenoir and the Musée Des Monuments Français (1795–1816)
Making National Museums New Nation, New History: Alexandre Lenoir and the Musée des Monuments français (1795–1816) Jennifer Carter School of Architecture, McGill University, Canada [email protected] In answer to one of this conference’s foundational questions, “How has the con- cept of the national museum been understood and defined by different actors in the past?”, this paper proposes a case study of the design and creation of the Musée des Monuments français (1795-1816) by its founding curator, Alexandre Lenoir, in late eighteenth-century France. As France’s original national museum of sculpture, architecture, and monuments, the Musée des Monuments français emerged in the wake of the French Revolution – indeed as a direct consequence of this revolution – just as the nation’s first national public museums were taking shape. The paper considers the Musée des Monuments français as one individual’s endeavour to explore the new aims of history and its uses in the expanded social and public spheres of France’s post-Ancien régime, and positions the Musée as an example of a specific museological genre – the narrative history museum. As a hermeneutic study of this genre, the terms of engagement range from parallel readings on the subjects of historiography, pedagogy, and cultural reform, in ad- dition to landscape and architectural theory, to demonstrate how a changed sense of history and theories of sense perception informed museum scenography at a pivotal moment in its development. 165 Preface: The Narrative History Museum and the Hermeneutic Circle The narrative history museum is one that purports to represent historical events in a continu- ous and cohesive narrative environment, effected through the aesthetic, spatial, temporal, and architectural mise-en-scène of the museological setting and the placement of objects within this setting.