Full Text Without Illustrations
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
A Stylistic and Contextual Analysis of Juan Gris' Cityscape Imagery, 1911-1912 Geoffrey David Schwartz University of Wisconsin-Milwaukee
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations December 2014 The ubiC st's View of Montmartre: A Stylistic and Contextual Analysis of Juan Gris' Cityscape Imagery, 1911-1912 Geoffrey David Schwartz University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Schwartz, Geoffrey David, "The ubC ist's View of Montmartre: A Stylistic and Contextual Analysis of Juan Gris' Cityscape Imagery, 1911-1912" (2014). Theses and Dissertations. 584. https://dc.uwm.edu/etd/584 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. THE CUBIST’S VIEW OF MONTMARTRE: A STYISTIC AND CONTEXTUAL ANALYSIS OF JUAN GRIS’ CITYSCAPE IMAGERY, 1911-1912. by Geoffrey David Schwartz A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Art History at The University of Wisconsin-Milwaukee December 2014 ABSTRACT THE CUBIST’S VIEW OF MONTMARTE: A STYLISTIC AND CONTEXTUAL ANALYSIS OF JUAN GRIS’ CITYSCAPE IMAGERY, 1911-1912 by Geoffrey David Schwartz The University of Wisconsin-Milwaukee, 2014 Under the Supervision of Professor Kenneth Bendiner This thesis examines the stylistic and contextual significance of five Cubist cityscape pictures by Juan Gris from 1911 to 1912. These drawn and painted cityscapes depict specific views near Gris’ Bateau-Lavoir residence in Place Ravignan. Place Ravignan was a small square located off of rue Ravignan that became a central gathering space for local artists and laborers living in neighboring tenements. -
Stratégies Culturelles Entre Paris Et Modène Au Grand Siècle : Les Artistes Français À La Cour Des Este
Stratégies culturelles entre Paris et Modène au Grand Siècle : les artistes français à la cour des Este 1. DESCRIPTION DU PROJET La recherche porte sur les présences artistiques françaises à la cour des Este au XVIIe siècle en les inscrivant dans le cadre plus vaste des relations politico-culturelles entre Modène et Paris. On connait très bien l’alliance que le duc de Modena Francesco I (1610-1658) avait nouée avec la couronne de France en 1647, lorsque les tentatives diplomatiques avaient déjà permis au cardinal Rinaldo, frère du duc, de gagner la « protection de la France ». En effet Francesco I conduisit une politique étrangère changeante et prudente qui fut couronnée par sa visite à Paris en 1655, où il obtint le titre de « Generalissimo » des troupes françaises en Italie. À cette occasion le duc conclut les négociations du mariage de son fils aîné avec la nièce du cardinal Mazarin Laura Martinozzi. Au-delà des liens politiques et conjugaux, les deux cours sont reliées par des choix artistiques similaires, tellement ressemblants que Peter Burke, dans son œuvre The fabrication of Louis XIV (1992), a tracé un véritable « Paris-Modena axis ». L’historien montre comment le mécénat artistique des Este a fourni un modèle rapidement imité par Louis XIV. Cette reconstruction est confirmée par des exemples illustres comme les séjours de Gaspare et Carlo Vigarani et de Gian Lorenzo Bernini qui, après avoir servi le duc de Modena, ont été convoqués à Paris pour des commissions similaires. Les deux premiers fournirent en 1659 des projets pour la construction de la Salle des Machines, construite aux Tuileries et conçue sur le modèle du Théâtre Ducal de Modène, terminé en 1656. -
Alma Mater Studiorum – Università Di Bologna
Alma Mater Studiorum – Università di Bologna DOTTORATO DI RICERCA IN Les Littératures de l’Europe Unie - European Literatures - Letterature dell’Europa Unita Ciclo XXX Settore Concorsuale: 10 F/1 Letteratura italiana, critica letteraria e letterature comparate Settore Scientifico Disciplinare: L-FIL-LET/10 Letteratura italiana Between Epic and History: European epic poems of the XVIth - XVIIth centuries on Lepanto and the Reconquista Presentata da: Maria Shakhray Coordinatore Dottorato Supervisore Prof.ssa Bruna Conconi Prof. Andrea Battistini Co-supervisore Prof.ssa Bruna Conconi Esame finale anno 2018 1 2 Acknowledgements This work became possible due to the support and the precious contributions of many people. First of all, I would like to express my profound gratitude to my supervisor, Prof. Andrea Battistini, for his valuable guidance, his patience and encouragement. I am infinitely grateful for his kind help and support throughout all of these years. I would also like to thank Prof. Anna Soncini for being a crucial presence during my CLE and DESE years. I am particularly grateful to Prof. Bruna Conconi for her encouragement and moral support at all of the most difficult moments. I would also like to thank all the professors of the DESE consortium for their valuable remarks and comments as to the realization of the present research. I would like to express my heartfelt gratitude to Lucia Manservisi for having always helped me to cope with all kinds of practical problems I faced during my years in Bologna. My gratitude is as well extended to Prof. Pedro Ruiz Perez and Prof. Rafael Bonilla Cerezo from the University of Cordova for their help and valuable advice during my stay in Spain. -
European Architecture 1750-1890
Oxford History of Art European Architecture 1750-1890 Barry Bergdoll O X fO R D UNIVERSITY PRESS OXFORD UNIVERSITY PRESS Great Clarendon Street, Oxford 0 x2 6 d p Oxford New York Athens Auckland Bangkok Bombay Calcutta Cape Town Dares Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madras Madrid Melbourne Mexico City Mumbai Nairobi Paris Sao Paulo Singapore Taipei Tokyo Toronto Warsaw and associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the U K and in certain other countries © Barry Bergdoll 2000 First published 2000 by Oxford University Press All rights reserved. No part of this publication maybe reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the proper permission in writing o f Oxford University Press. Within the U K, exceptions are allowed in respect of any fair dealing for the purpose of research or private study, or criticism or review, as permitted under the Copyright, Design and Patents Act, 1988, or in the case of reprographic reproduction in accordance with the terms of the licences issued by the Copyright Licensing Agency. Enquiries concerning reproduction outside these terms and in other countries should be sent to the Rights Department, Oxford University Press, at the address above. This book is sold subject to the condition that it shall not, byway o f trade or otherwise, be lent, re-sold, hired out or otherwise circulated without the publisher’s prior consent in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. -
Il Sangue Di Carlo: Apologia E Licenza Teatrale Nel Cromvele Di Girolamo Graziani
Il sangue di Carlo: apologia e licenza teatrale nel Cromvele di Girolamo Graziani Stéphane Miglierina Università Jean Monnet, Saint-Etienne [email protected] Abstract: Nel gusto tipicamente secentesco per la riscrittura della storia recente, Girolamo Graziani (1604-1675) propone nel Cromvele, pièce dedicata a Luigi XIV, una visione agiografica di Carlo I. Mentre la follia e la cru- deltà di Cromwell si fanno più intense alla vigilia dell’esecuzione, l’aura di Carlo cresce (Elisabetta Cromwell addirittura se ne innamora) fino al punto che il suo sangue diventerà, dopo la sua morte, un simbolo cristico nell’ambito dell’apologia pseudo-storica. La riscrittura teatrale dell’evento storico permette al Graziani non soltanto di castigare a posteriori i cattivi, ma soprattutto di inserirsi nell’iconografia religiosa di Carlo I e nei dibattiti sulla legitimità del regicidio che animano il secolo. Parole chiave: Girolamo Graziani; Oliviero Cromwell; Carlo I d’Inghilterra; Teatro barocco; Regicidio Abstract: Following a typically seventeenth-century taste for rewriting recent history, Girolamo Graziani (1604-1675) exposed in his Cromvele, a tragedy dedicated to Louis XIV, a hagiographic vision of Charles I. While the madness and cruelty of Cromwell become more intense on the eve of the execution, the aura of Charles grows (Elizabeth Cromwell even falls in love with the king) to the point that his blood becomes, after his death, a Christ-like symbol within the pseudo-historical apology. The rewriting on stage of the historical event allows Graziani not only to pun- ish the culprits in retrospect, but especially to fit into the religious iconography of Charles I and to join the debate on the legitimacy of regicide that resonates throughout the century. -
France in Ruins: Paintings by Hubert Robert C.1786-1788
FRANCE IN RUINS: PAINTINGS BY HUBERT ROBERT C.1786 – 1788 by LAUREN LOUISE DUDLEY A thesis submitted to the University of Birmingham for the degree of MASTER OF PHILOSOPHY Department of Art History, Film and Visual Culture School of Languages, Culture, Art History and Music The University of Birmingham November 2013 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis considers French artist Hubert Robert’s (1733-1808) paintings from 1786-1788, including his contributions to the 1787 Salon exhibition. This study examines the artist’s major commission for King Louis XVI, the Monuments de France series (1787), which depicts antique ruins in the south of France. The series is compared to Robert’s images of urban demolition projects in eighteenth-century Paris, which are discussed in relation to contemporary discourses relating to architecture, politics, history, hygiene, morality and social changes. The focus paintings of contemporary Paris include L’intérieur de l’Eglise des SS. Innocents, dans le commencement de sa destruction (c.1786-87), La démolition des maisons du Pont Notre-Dame (c.1786) and La démolition des maisons du Pont-au-Change (c.1788). -
France in Ruins: Paintings by Hubert Robert C.1786-1788
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Birmingham Research Archive, E-theses Repository FRANCE IN RUINS: PAINTINGS BY HUBERT ROBERT C.1786 – 1788 by LAUREN LOUISE DUDLEY A thesis submitted to the University of Birmingham for the degree of MASTER OF PHILOSOPHY Department of Art History, Film and Visual Culture School of Languages, Culture, Art History and Music The University of Birmingham November 2013 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis considers French artist Hubert Robert’s (1733-1808) paintings from 1786-1788, including his contributions to the 1787 Salon exhibition. This study examines the artist’s major commission for King Louis XVI, the Monuments de France series (1787), which depicts antique ruins in the south of France. The series is compared to Robert’s images of urban demolition projects in eighteenth-century Paris, which are discussed in relation to contemporary discourses relating to architecture, politics, history, hygiene, morality and social changes. The focus paintings of contemporary Paris include L’intérieur de l’Eglise des SS. -
Count Giacomo Leopardi - Poems
Classic Poetry Series Count Giacomo Leopardi - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Count Giacomo Leopardi(29 June 1798 – 14 June 1837) Giacomo Taldegardo Francesco di Sales Saverio Pietro Leopardi was an Italian poet, essayist, philosopher, and philologist. Although he lived in a secluded town in the ultra-conservative Papal States, he came in touch with the main thoughts of the Enlightenment, and, by his own literary evolution, created a remarkable and renowned poetic work, related to the Romantic era. <b>Biography</b> Giacomo Leopardi was born of a local noble family in Recanati, in the Marche, at the time ruled by the papacy. His father, the count Monaldo Leopardi, was a good-hearted man, fond of literature but weak and reactionary, who remained bound to antiquated ideas and prejudices; his mother, the marquise Adelaide Antici Mattei, was a cold and authoritarian woman, obsessed over rebuilding the family's financial fortunes, which had been destroyed by Monaldo's gambling addiction. At home, a rigorous discipline of religion and savings reigned. However, Giacomo's happy childhood, which he spent with his younger brother Carlo Orazio and his sister Paolina, left its mark on the poet, who recorded his experiences in the poem Le Ricordanze. Leopardi, following a family tradition, began his studies under the tutelage of two priests, but his innate thirst for knowledge found its satisfaction primarily in his father's rich library. Initially guided by Father Sebastiano Sanchini, Leopardi quickly liberated himself by vast and profound readings. He committed himself so deeply to his "mad and most desperate" studies that, within a short time, he acquired an extraordinary knowledge of classical and philological culture—he could fluently read and write Latin, Greek and even Hebrew— but he suffered from the lack of an open and stimulating formal education. -
Ruin Imagery and the Iconography of Regeneration in Eighteenth Century French Art
RUIN IMAGERY AND THE ICONOGRAPHY OF REGENERATION IN EIGHTEENTH CENTURY FRENCH ART by Stephen Henry Whitney "" Thesis submitted to the Faculty of the Graduate School of the University of Maryland in partial fulfillment of the requirements for the degree of Master of Arts 1977 APPROVAL SHEET Title of Thesis: Ruin Imagery and the Iconography of Regeneration in Eighteenth Century French Art Name of Candidate: Stephen Whitney Master of Arts, 1977 Thesis and Abstract Approved: Boctor George Levitine Professor Department of Art Date Approved: ABSTRACT Title of Thesis: Ruin Imagery and the Iconography of Regen eration in Eighteenth Century French Art Stephen Henry Whitney, Master of Arts, 1977 Thesis directed by: Doctor George Levitine Professor, Art Department While the extraordinary popularity of ruin imagery in eighteenth century France is well known to art historians, it has remained a largely unstudied, and thus misunderstood, cultural phenomenon. The profusion of ruin pictures and ruinous garden pavilions during the Enlightenment is general- ly interpreted as symptomatic of the emotional febrility and escapist perversity of a society bogged down in decadence. The popularity of ruins as motifs of interior decoration is taken as proof of the reign of rococo frivolity. The present study seeks to bring into focus how eight- eenth century artists, connoisseurs and writers themselves felt about their ruin imagery. This examination is called for because the evidence of documents, literary sources and the art itself overwhelmingly suggests that ruins were consid- ered to be symbolic of nature's regenerative vitality and wholesomeness. To the contemporary viewer, therefore, the experience of a ruin was an antidote to, not a symptom of, social and personal lethargy. -
Sur L'esprit De M. Arnauld De Pierre Jurieu
SUR L’ESPRIT DE M. ARNAULD DE PIERRE JURIEU par Antony Mc KENNA Ce n’est pas sans naïveté que nous avons entrepris de présen ter un ouvrage de controverse de Pierre Jurieu. Dès qu’il s’est agi de préciser le contexte de la publication de l’ouvrage, nous avons pris conscience de l’immensité de la bibliographie. Nous donnons donc en annexe une bibliographie qui permet de saisir d’un coup d’œil le rôle capital de Port-Royal (ou du moins des principaux théo logiens de Port-Royal) dans la controverse anti-protestante entre 1664 et 1709, ainsi que la place de Jurieu dans cette même bataille. Encore nous sommes-nous limité à la controverse qui ressurgit lors de la Paix de l’Eglise. Pour une bibliographie complète de la controverse entre catholiques et protestants depuis la promulgation de l’Edit de Nantes en 1598, nous nous permettons de renvoyer aux ouvrages capitaux de Jacques Solé, de Louis Desgraves, d’Emile Kappler et de Bernard Dompnier : on trouvera toutes les références utiles à leurs travaux et à quelques autres ouvrages critiques dans notre Annexe bibliographique. La controverse se définit comme une guerre d’informations et d’arguments, d’accusations d’erreur, de mauvaise foi et de calom nie, comme une bataille de propagande. Le principe premier d’une telle guerre est de répondre toujours présent, de répondre coûte que coûte, de ne jamais admettre la véracité de l’adversaire ni même sa bonne foi. La multiplication des écrits et l’âpreté du ton dans la controverse entre catholiques et protestants de la fin du XVIIe siècle répondent bien à ce principe. -
Frankreich Und Niederlande
© 2008 AGI-Information Management Consultants May be used for personal purporses only or by libraries associated to dandelon.com network. DIE PHILOSOPHIE DES 17. JAHRHUNDERTS BAND 2 FRANKREICH UND NIEDERLANDE HERAUSGEGEBEN VON JEAN-PIERRE SCHOBINGER \ ' / SCHWABE & CO AG • VERLAG BASEL • 1993 INHALT DES ERSTEN HALBBANDES Vorwort XXXI Erstes Kapitel: Die Schulphilosophie § 1. Der Philosophieunterricht in Frankreich (Laurence W. B. Brockliss).. 1. Einleitung: «College de plein exercice» 3. - Weltliche Kollegien und Einfluss der Orden 4. - Professorenlaufbahnen 5. - Gehälter 6. - Studentenschaft 6. - Privater Philosophieunterricht 7. - Öffentliche Philosophiekurse 7. - Lehrplan 8. - Lehrmethode 8. - Disputationen 9. - Prü- fungsbedingungen 9. - 2. Logik: «Organon Aristotelicum» 10. - Scholastische Kommentare 10. - Einfluss der <Logik> von Port-Royal 11. - Cartesianismus 12.-3. Metaphysik: Thomismus 13. - Cartesianismus 14. - Transsubstantiationslehre 15. - Angeborene Ideen und ontologischer Gottesbeweis 15. - Occasionalismus 16. - 4. Ethik: Aristoteles und christliche Moralphilosophie 17. - Armut und Reichtum 18. - Offenbarung und natürliches Gesetz 18. - Problem der Freiheit 19. - Ökonomie und Politik 20. - Bernard Lamys Kritik an der Monarchie 20. - 5. Physik: Aristotelische Naturphilosophie 21. - Thomismus 21. - Paracelsianismus 22. - Gassendi und Descartes 23. - Experimentalphilosophie, neue Entdeckungen, System Tycho Brahes 24. - Mechanistische Philosophie 25. - Pierre Cally 26. - Aristotelisch-cartesianischer Eklektizis- mus 27. - -
H-France Review Vol. 11 (September 2011), No. 201 Alexandre Gady, Ed
H-France Review Volume 11 (2011) Page 1 H-France Review Vol. 11 (September 2011), No. 201 Alexandre Gady, ed., Georges Fessy, et. al., Jules Hardouin-Mansart: 1646-1708. Paris: Maison des sciences de l'homme, 2010, viii + 612 pp. 494 black and white illustrations and color plates, bibliography, index. 96,00 €. ISBN-10 2-7351-1187-3 / ISBN-13 978-2-7351-1187-9. Review by Rochelle Ziskin, University of Missouri-Kansas City. The impeccably produced Jules Hardouin-Mansart: 1646-1708, edited by Alexandre Gady, written by a diverse group of scholars, and accompanied by superb architectural photographs by Georges Fessy, makes a powerful case that Hardouin-Mansart was among the most important, talented and interesting—as well as among the most prolific—designers of the reign of Louis XIV. Hardouin- Mansart has not shared the degree of acclaim enjoyed by his more famous great uncle François Mansart (1598-1666), whose inventiveness, dazzling stereotomy, precision of classical detail and proportion, and alluring facility as a draughtsman have been—and continue to be—especially prized. Nor has his reputation risen to the level of Louis Le Vau (1612-70), his immediate predecessor as Louis XIV’s premier architecte, designer of the “envelope” at Versailles and the prominently situated and urbanistically effective Collège des Quatre-Nations in Paris, as well as the most inventive domestic planner of his time (among whose works are the château at Vaux-le-Vicomte and several hôtels, including the hôtel de Lambert, on the Ile Saint-Louis). Nor have any of Hardouin-Mansart’s works been considered as having matched the innovative brilliance of the east facade of the Louvre, designed by the polymath scientist and classical scholar Claude Perrault (1613-88).