Dynamics and Divisions at the Salons of the Rose-Croix: Statistics, Aesthetic Theories, Practices, and Subjects
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Jacques Seebacher : Hugo Et La Quadrature Des Religions
Retour Jacques Seebacher : Hugo et la quadrature des religions Communication au Groupe Hugo du 20 septembre 2003. Ce texte peut être téléchargé au format pdf Si Dieu nous a faits à son image, nous le lui avons bien rendu. Voltaire. Vers la fin de l'hiver 1842, Hugo a quarante ans, « la force de l'âge » ; il épouse pleinement l'Académie française, publie Le Rhin qui, écrit sur le décours de la crise politique européenne, lui ouvrira les portes de la Chambre des pairs. Mais Juliette, sa maîtresse, jalouse, se moque pour ne pas pleurer, et tombe malade. Son fils, François Victor, se débat, probablement contre la tuberculose qui l'emportera quelque trente ans plus tard. Sa fille Léopoldine ne pense qu’à se marier avec Auguste Vacquerie, lequel va devoir enterrer ses neveux l'un après l'autre. C'est de cette période que Hugo date, dans Les Contemplations (III, 4), le quatrain Écrit au bas d'un crucifix, jailli en fait sous sa plume dans la nuit du 4 au 5 mars 1847, cinq ans plus tard, trois ans et demi après la noyade de Léopoldine, au moment où son travail pour ce qui sera Les Misérables l'attache au questionnement des insurrections de Paris ou de Buzançais, des ouvriers et des paysans. Vous qui pleurez, venez à ce Dieu, car il pleure. Vous qui souffrez venez à lui, car il guérit. Vous qui tremblez, venez à lui, car il sourit. Vous qui passez, venez à lui, car il demeure. Le deuil, la souffrance, l'angoisse s'y conjuguent dans le symbolisme du « passage » qui fit la force et le triomphe des christianismes : Jésus, «Dieu fait homme», pleurant comme nous et comme Madeleine au tombeau de Lazare, est le ressusciteur bientôt ressuscité qui apaisera toute crainte, laquelle renvoie au principe de mort, puisqu'il est « la voie, la vérité, la vie », donc le principe permanent d'assomption dans l'éternité. -
The Synagogue of Satan
THE SYNAGOGUE OF SATAN BY MAXIMILIAN J. RUDWIN THE Synagogue of Satan is of greater antiquity and potency than the Church of God. The fear of a mahgn being was earher in operation and more powerful in its appeal among primitive peoples than the love of a benign being. Fear, it should be re- membered, was the first incentive of religious worship. Propitiation of harmful powers was the first phase of all sacrificial rites. This is perhaps the meaning of the old Gnostic tradition that when Solomon was summoned from his tomb and asked, "Who first named the name of God?" he answered, "The Devil." Furthermore, every religion that preceded Christianity was a form of devil-worship in the eyes of the new faith. The early Christians actually believed that all pagans were devil-worshippers inasmuch as all pagan gods were in Christian eyes disguised demons who caused themselves to be adored under different names in dif- ferent countries. It was believed that the spirits of hell took the form of idols, working through them, as St. Thomas Aquinas said, certain marvels w'hich excited the wonder and admiration of their worshippers (Siiinina theologica n.ii.94). This viewpoint was not confined to the Christians. It has ever been a custom among men to send to the Devil all who do not belong to their own particular caste, class or cult. Each nation or religion has always claimed the Deity for itself and assigned the Devil to other nations and religions. Zoroaster described alien M^orshippers as children of the Divas, which, in biblical parlance, is equivalent to sons of Belial. -
Fine Arts Paris Wednesday 7 November - Sunday 11 November 2018 Carrousel Du Louvre / Paris
Fine Arts Paris WednesdAy 7 november - sundAy 11 november 2018 CArrousel du louvre / PAris press kit n o s s e t n o m e d y u g n a t www.finearts-paris.com t i d e r c Fine Arts Paris From 7 to 11 november 2018 CArrousel du louvre / PAris Fine Arts Paris From 7 to 11 november 2018 CArrousel du louvre / PAris Hours Tuesday, 6 November 2018 / Preview 3 pm - 10 pm Wednesday, 7 November 2018 / 2 pm - 8 pm Thursday 8 November 2018 / noon - 10 pm Friday 9 November 2018 / noon - 8 pm Saturday 10 November 2018 / noon - 8 pm Sunday 11 November 2018 / noon - 7 pm admission: €15 (catalogue included, as long as stocks last) Half price: students under the age of 26 FINE ARTS PARIS Press oPening Main office tuesdAy 6 november 68, Bd malesherbes, 75008 paris 2 Pm Hélène mouradian: + 33 (0)1 45 22 08 77 Social media claire Dubois and manon Girard: Art Content + 33 (0)1 45 22 61 06 Denise Hermanns contact@finearts-paris.com & Jeanette Gerritsma +31 30 2819 654 Press contacts [email protected] Agence Art & Communication 29, rue de ponthieu, 75008 paris sylvie robaglia: + 33 (0)6 72 59 57 34 [email protected] samantha Bergognon: + 33 (0)6 25 04 62 29 [email protected] charlotte corre: + 33 (0)6 36 66 06 77 [email protected] n o s s e t n o m e d y u g n a t t i d e r c Fine Arts Paris From 7 to 11 november 2018 CArrousel du louvre / PAris "We have chosen the Carrousel du Louvre as the venue for FINE ARTS PARIS because we want the fair to be a major event for both the fine arts and for Paris, and an important date on every collector’s calendar. -
The Tarot of the Bohemians : the Most Ancient Book in the World
IBSOLUTE KET TO OCCULT SCIENCE THE TAROT ÜF THE BOHEMIANS The Most Ancient Book in the World FOR THE USE OF INITIATES By papus TRANSLATED BY A. P. MORTON SECOND EDITION REVISED, WITH PREFACE B Y A. E. WAITE ILLUSTRATED WITH N UMEROU S PLATES AND WOODCUTS LONDON WILLIAM RIDER & SON, LIMITED 164 ALDERSGATE STREET, E.C. 1910 Absolute Key to Oocult Science Frontispicce 2) BVÜ W Wellcome Libraty i forthe Histôry standing Il and ififcteï -, of Medi Printed by Ballantyne, HANSON &* Co. At the Ballantyne Press, Edinburgh PREFACE TO THE ENGLISH TRANSLATION An assumption of some kind being of common con- venience, that the line of least résistance may be pursued thereafter, I will open the présent considéra- tion by assuming that those who are quite unversed in the subject hâve referred to the pages which follow, and hâve thus become aware that the Tarot, on its external of that, side, is the probable progenitor playing-cards ; like these, it has been used for divination and for ail but that behind that is understood by fortune-telling ; this it is held to hâve a higher interest and another quality of importance. On a simple understanding, it is of allegory; it is of symbolism, on a higher plane; and, in fine, it is of se.cret doctrine very curiously veiled. The justification of these views is a different question; I am concerned wit>h ihe statement of fact are and this being said, I can that such views held ; pass to my real business, which" is in part critical and in part also explanatory, though not exactly on the elementary side. -
Âme D'automne (Autumn Soul)
Armand Point (French 1860 - 1932) Âme d’Automne (Autumn Soul) Pastel on brown paper. Signed APoint at the lower right. 483 x 645 mm. (19 x 25 3/8 in.) This beautiful pastel portrait was exhibited by Armand Point, with the title Âme d’Automne, at the Salon of the Société Nationale des Beaux-Arts on the Champ de Mars in Paris in 1893. A contemporary photograph of the exhibition shows the present work hanging alongside nine other highly finished pastel paintings of young women by the artist. All of the works shown by Point at the Salon de la Société Nationale des Beaux-Arts of 1893 were much admired by critics, and two of the pastels were purchased by the State. The model for this pastel portrait was Point’s companion and muse, Hélène Linder (1867-1955), who met the artist around 1886. Linder posed for several of his finest paintings, drawings, pastels and prints of the 1890’s. As the Point scholar Robert Doré has noted of the artist, ‘his observations focused on Hélène...she remained his preferred model until the end of the century...She was above all the inspiration and muse of Armand Point who would, thanks to her, know a period of exceptional creativity.’ Hélène Linder and Point lived together at Marlotte for nearly eight years. This period, as Doré has noted, accounts for some of ‘the artist’s finest works [in] the most brilliantly creative period in his career. These works are a testament to the deep tenderness that unified them, and the enthusiasm they shared in Marlotte.’ Point and Linder remained together until 1899, when Hélène met and eventually married the diplomat Philippe Berthelot. -
Artigo – Ordem Kabalistica Da Rose-Croix Sociedade Das Ciências Antigas 2 Que Sucedeu a S.T.Isis
Sociedade das Ciências Antigas Ordem KABALÍSTICA DA ROSE CROIX (O.K.R.C.) ORIGEm DA ORDEm Em 1884 o esotérico MARQUÉS STANISLAS DE GUAITA (1861-1897), com a idade de 24 anos, leu o "O Vicio Supremo", escrito por Joséphin Péladan. A mística de Péladan atraiu a Guaita que se colocou em contato com ele. Guaita não só connheceu a Joséphin, como também ao irmão maior de Joséphin, chamado Adrian Péladan, de quen Bayard disse que estava conectado com uma Ordem da Rosacruz de Toulouse, dirigida por FIRMIN BOISSIN. Stanislas de Guaita teve como secretario a OSWALD WIRTH, conhecido por publicar varias e importantes obras esotéricas. Guaita escreveu, sendo muito jovem, vários livros ocultistas: Em 1886 publicou "Ensaios das Ciências Malditas" e "No Umbral del Mistério". Em 1891 seu "Templo de Satán" e em 1897 a "Chave da Magia Negra". Ao morrer deixou uma obra inacabada "O Problema do Mal", que seria publicada recentemente em 1950 e graças as notas de seu secretario Wirth. Em 1888 Stanislas de Guaita, com a idade de 27 anos, fundou a "Ordem Kabalística da Rosacruz", dirigida por um Conselho Supremo, composto por doze membros. Se conhece o nome de vários deles: Stanislas de Guaita, como Chefe Supremo; PAPUS (Gerard Encausse) restaurador do Martinismo; F.Barlet; Josephin Péladan que se separaria da Ordem Kabalística en 1890 para fundar a Ordem de la Rose+Croix; o abade Alta, cujo verdadeiro nome era Mélinge, cura de Morigny, na dioceses de Versailles, Paul Adam, Gabrol y Thoron. Mais tarde se uniram a eles Marc Haven (doutor Lalande) (1868-1926), Paul Sédir (Yvon Le Loup), Agustín Chaboseau, Lucien Chamuel e Maurice Barrès. -
Brugairolles, Victor
Victor Brugairolles, Le Berger et la Mer (The Shepherd and the Sea) Ganges 1869 – 1936 Paris oil on canvas 51 1/8 by 77 1/8 inches (130 by 196 cm) signed and dated lower right: ‘V. Brugairolles. 95’ provenance: Private collection France; Sale, Coutau-Bégarie, Paris, June 4, 1999, no. 121; Piasa, Paris, June 22, 2001, no. 36; Private collection, Italy exhibited: Salon de la Société des Artistes Français, Paris, 1900, no. 204. note: Brugairolles came from the southern Languedoc region of France and went as a young man to Paris to study with the academic master Fernand Cormon (1845-1924) at the École des Beaux- Arts. He began exhibiting at the Salon in 1894, and was primarily a painter of picturesque landscapes in France and Holland notable for their luminous effects of diffused light on land and water (figs. 1a-f). Occasionally he depicted rural subjects (fig. 2), but only very rarely did he paint sensual figural subjects in fantastic colors which recalled his training with Cormon (figs. 3a-b). The present painting is truly a unique masterpiece in his career and owes a clear debt to the ethereal, arcadian and mythic subjects of the older painter Pierre Puvis de Chavannes and his younger symbolist followers like Alphonse Osbert (1857-1939), who was also a student of Cormon. The title provided for this painting at the Salon of 1900 was Le Berger et la Mer (The Shepherd and the Sea), and all educated Frenchmen would have recognized this as referring to one of the well-known fables of the popular seventeenth-century writer La Fontaine.1 It tells the tale of a prosperous shepherd who lived by the sea, but who decided to sell his flock and becoming a merchant sent his fortune off on a ship. -
Bibliographie
BIBLIOGRAPHIE I. ŒUVRES DE VICTOR HUGO A. ŒUVRES COMPLETES 1. Éditions publiées du vivant de Victor Hugo 2. Les grandes éditions de référence. B. ŒUVRES PAR GENRES 1. Poésie Anthologies Recueils collectifs Œuvres particulières 2. Théâtre Recueils collectifs Divers Œuvres particulières 3. Romans Recueils collectifs L’Intégrale Œuvres particulières 4. Œuvres « intimes » Correspondance Journaux et carnets intimes 5. Littérature et politique Littérature Politique Divers 6. Voyages 7. Fragments et textes divers 8. Œuvre graphique II. L’HOMME ET SON ŒUVRE Études d’ensemble A. L’HOMME 1. Biographies 2. Victor Hugo et ses contemporains Ses proches Le monde artistique et littéraire 3. Aspects, événements ou épisodes de sa vie Exil Lieux familiers Politique Voyages B. L’ŒUVRE 1. Œuvre littéraire Critique et interprétation Hugo vu par des écrivains du XXe siècle Esthétique Thématique Influence, appréciation 2. Genres littéraires Poésie Récits de voyage Romans Théâtre 3. Œuvres particulières 4. Œuvre graphique, illustration I. ŒUVRES DE VICTOR HUGO A. ŒUVRES COMPLÈTES Cette rubrique présente une sélection d’éditions des œuvres complètes de Victor Hugo : d’abord celles parues du vivant de l’auteur, puis quatre éditions qui font autorité. On trouve plus loin, classées aux différents genres abordés par l’écrivain : la collection « L’Intégrale », publiée par les Éditions du Seuil (Théâtre, Romans, Poésie) et divers recueils collectifs, en particulier les « Œuvres poétiques », publiées par Gallimard dans la « Bibliothèque de la Pléiade ». 1. Éditions publiées du vivant de Victor Hugo Il ne s’agit pas d’œuvres complètes au vrai sens du terme, puisque Victor Hugo continuait à écrire au moment même de leur publication. -
Marcellin Desboutin Sort De L'ombre
PAYS :France PAGE(S) :125 Arts In The City SURFACE :78 % PERIODICITE :Mensuel 1 février 2019 - N°47 RÉGION CENTRE MOULINS Marcellin Desboutin , à la pointe du portrait Le nom de Marcellin Desboutin ne vous est peut-être pas familier , et pourtant cet artiste protéiforme de la seconde moitié du XIX' siècle est étroitement mêlé au mouvementimpressionniste . C' est donc ' pour rendre hommage à « l enfant du pays » que le musée propose une rétrospective ludique du fantasque et talentueux artiste .Et quel destin fabuleux que celui de Marcellin Desboutin : né dans ' l Allier en 1823, le fils prodigue montre des prédispositions en dessin et en littérature .Après avoir suivi des cours de peinture à Paris, il voyage en Europe pour parfaire son éducation artistique. Il s' installe avec son épouse dans une villa florentine en 1854, et pendant près de vingt ans , recevra de nombreuses personnalités tout en s' adonnant au dessin ,à la peinture,la gravure ou à la rédaction de poèmes et de pièces théâtrales. L' anecdote veut que chaque invité de Desboutin avec son repartait M . Desboutin , Femme à éventail , 1892 portrait ! Ce mode de vie fastueux M . Desboutin , Autoportrait 1896 finira avoir raison des finances par dessins et de la famille , et Desboutin est tures , gravures , dont Gustave contraint de retourner à Paris.À des portraits de Courbet , de 50 ans , il se retrousse les Alexandre Dumas fils , Eugène près Labiche Berthe Morisot manches : à force de travail , sa , ,Auguste Renoir ou Paul Verlaine ! renommée grandit . Il deviendra ami des plus grands artistes et Musée Anne-de-Beaujeu écrivains du moment et laissera à 15 Jusqu' au septembre 2019 la postérité des milliers de pein Place du Colonel Laussedat , 03000 Moulins Tous droits de reproduction réservés PAYS :France DIFFUSION :42915 PAGE(S) :26 JOURNALISTE :M.M. -
Call for Applications the Age of Van Eyck in Context
Summer Course for the Study of the Arts in Flanders Call for applications Annually, the Summer Course for the Study of the Arts in Flanders brings a select group of 18 The Age of Van Eyck in Context highly qualified young researchers to Flanders. They are offered an intensive 11-day 21 June - 1 July 2020 programme of lectures, discussions and visits related to a specific art historical period of Flemish art. Deadline for applications: The Summer Course provides the participants 15 December 2019, 5 p.m. (CET) with a clear insight into the Flemish art collections from the period at hand, as well as www.summercourse.eu into the current state of research on the topic. The sixth edition of the Summer Course will focus on ‘The Age of Van Eyck in Context’. Excursions will be made to Bruges, Ghent, Antwerp, Brussels, Leuven, Kallo, Hoogstraten, Lille, Mons and Tournai. The language of the Summer Course is English. Programme* * subject to change Sunday 21 June 2020 - Bruges 13h30 Arrival of participants 14h00-14h15 Welcome by Till-Holger Borchert (Musea Brugge) 14h15-14h45 Introduction by Anne van Oosterwijk (Musea Brugge) on The history of the collection with works of art by Jan Van Eyck 14h45-14h55 Introduction and programme overview by An Seurinck (Flemish Art Collection) 14h55-15h05 Introduction about the institutional landscape in Belgium by Pascal Ennaert (Flemish Art Collection) 15h05-15h50 Pecha Kucha Research Topics by participants (part 1) 15h50-16h10 Coffee break 16h10-17h10 Pecha Kucha Research Topics by participants (part 2) 17h10-18h00 -
Edgar Degas: a Strange New Beauty, Cited on P
Degas A Strange New Beauty Jodi Hauptman With essays by Carol Armstrong, Jonas Beyer, Kathryn Brown, Karl Buchberg and Laura Neufeld, Hollis Clayson, Jill DeVonyar, Samantha Friedman, Richard Kendall, Stephanie O’Rourke, Raisa Rexer, and Kimberly Schenck The Museum of Modern Art, New York Contents Published in conjunction with the exhibition Copyright credits for certain illustrations are 6 Foreword Edgar Degas: A Strange New Beauty, cited on p. 239. All rights reserved at The Museum of Modern Art, New York, 7 Acknowledgments March 26–July 24, 2016, Library of Congress Control Number: organized by Jodi Hauptman, Senior Curator, 2015960601 Department of Drawings and Prints, with ISBN: 978-1-63345-005-9 12 Introduction Richard Kendall Jodi Hauptman Published by The Museum of Modern Art Lead sponsor of the exhibition is 11 West 53 Street 20 An Anarchist in Art: Degas and the Monotype The Philip and Janice Levin Foundation. New York, New York 10019 www.moma.org Richard Kendall Major support is provided by the Robert Lehman Foundation and by Distributed in the United States and Canada 36 Degas in the Dark Sue and Edgar Wachenheim III. by ARTBOOK | D.A.P., New York 155 Sixth Avenue, 2nd floor, New York, NY Carol Armstrong Generous funding is provided by 10013 Dian Woodner. www.artbook.com 46 Indelible Ink: Degas’s Methods and Materials This exhibition is supported by an indemnity Distributed outside the United States and Karl Buchberg and Laura Neufeld from the Federal Council on the Arts and the Canada by Thames & Hudson ltd Humanities. 181A High Holborn, London WC1V 7QX 54 Plates www.thamesandhudson.com Additional support is provided by the MoMA Annual Exhibition Fund. -
Direct PDF Link for Archiving
Mary Slavkin Statistically Speaking: Central Exhibitors at the Salons of the Rose + Croix Nineteenth-Century Art Worldwide 14, no. 3 (Autumn 2015) Citation: Mary Slavkin, “Statistically Speaking: Central Exhibitors at the Salons of the Rose + Croix,” Nineteenth-Century Art Worldwide 14, no. 3 (Autumn 2015), http://www.19thc- artworldwide.org/autumn15/slavkin-on-central-exhibitors-at-the-salons-of-the-rose-croix. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Slavkin: Statistically Speaking: Central Exhibitors at the Salons of the Rose + Croix Nineteenth-Century Art Worldwide 14, no. 3 (Autumn 2015) Statistically Speaking: Central Exhibitors at the Salons of the Rose + Croix by Mary Slavkin The salons of the Rose + Croix were founded by the novelist, playwright, and critic Joséphin Péladan (1858–1918). The series of six exhibitions, held between 1892 and 1897, included works by hundreds of artists.[1] While some of them, like Fernand Khnopff (1858–1921), are well-known today, many others have been largely forgotten, and a few have yet to be identified. Although most exhibitors were male (female participation was officially forbidden), there were a few women among them.[2] The salons attracted artists working in different styles and featured artworks with a wide range of mystical, idealized, and literary themes and subjects—as well as a few decorative works, landscapes, and portraits. Finally, a number of works shown at the salon were by artists from the Middle Ages or the Renaissance; they had been lent by collectors sympathetic to Péladan’s initiative.[3] In scholarly accounts of the Rose + Croix salons, opinions differ dramatically as to who were the artists that set the tone for the exhibitions.