Timeline / Before 1800 to 1930 / REDISCOVERING the PAST
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The Painting of Modern Life: Paris in the Art of Maner and His Followers / T
THE PAINTING of Copyright © 1984 by T. f. Clark All rights reserved under International and Pan-American Copyright Conventions. Published by Princeton University.Press, 41 William Street, Princeton, New Jersey 08540. Reprinted by arrangement with Alfred A. Knopf, Inc. MODERN LIFE Grateful acknowledgment is made to the following for permission to reprint previously pub- lished material: Excerpt from "Marie Lloyd" in Selected Essays by T. S. Eliot, copyright 1950 by Harcourt Brace [ovanovich, Inc.; renewed ]978 by Esme Valerie Eliot. Reprinted by permission PARISIN THE ART OF MANET AND HIS FOLLOWERS of the publisher. LIBRARY OF CONGRESS CATALOGING IN PUnUCATION DATA Revised Edition Clark, T. J. (Timothy J.) The painting of modern life: Paris in the art of Maner and his followers / T. 1- Clark. - Rev. ed. P: em. Includes bibliographica! references and index. T.1.CLARK ISBN 0-69!-00903-1 (pbk. : alk. paper) 1. Impressionism (Art)-France-Paris. 2. Painting, French- France-Paris. 3. Painting, Modern-19th century+=France-c-Paris. 4. Paris (Francej-c-In art. 5. Maner, Edouard, l832-1883--Inftuencc, I. Title. ND550.C55 1999 758'.9944361-dc21 99-29643 FIRST PRINTING OF THE REVISED EDITION, 1999 MANUFACTURED IN THE UNITED STATES OF AMERICA FIRST PRINCETON PAPERBACK PRINTING, 1986 THIRD PRINCETON PAPERBACK PRINTING, 1989 9 8 7 CHAPTER TWO OLYMPIA'S CHOICE "We shall define as prostitute only that woman who, publicly and without love, gives herself to the first comer for a pecuniary remuneration; to which formula we shall add: and has no other means of existence besides the temporary relations she entertains with a more or less large number of individuals." From which itfollows--and it seems to me the truth--that prostitute implies first venality and second absence of choice. -
New Draft of Art Historiography Article
Regarding the exhibition: the Munich exhibition Masterpieces of Muhammadan Art (1910) and its scholarly position Eva-Maria Troelenberg ‘Muhammadan art’ in the Weltstadt It was the cultural event of the year 1910:1 on 14 May, the municipal exhibition ground in Munich’s Theresienhöhe opened its gates to an unprecedented and exotic event, the exhibition Masterpieces of Muhammadan Art. This mammoth undertaking featured more than 3,600 artworks from approximately 250 international collections, museums and institutions and was installed in eighty halls (figure 1). * This paper summarizes and partially expands some aspects of my dissertation, which is the first comprehensive and contextualized monograph on the Munich exhibition Masterpieces of Muhammadan Art (Meisterwerke muhammedanischer Kunst): Eva-Maria Troelenberg, Eine Ausstellung wird besichtigt. Die Münchner ‘Ausstellung von Meisterwerken muhammedanischer Kunst’ 1910 in kultur- und wissenschaftsgeschichtlicher Perspektive, Frankfurt and Berlin: Peter Lang, 2011. For the sake of brevity, I will not refer to every corresponding section of my own book in this paper. For specific facets of the Munich show see also the contributions in Andrea Lermer and Avinoam Shalem, eds, After One Hundred Years. The 1910 Exhibition ‘Meisterwerke muhammedanischer Kunst’ Reconsidered, Leiden and Boston: Brill, 2010; as well as the catalogue for the exhibition The Future of Tradition – The Tradition of Future, which was held at Haus der Kunst in Munich in 2010-11: see Chris Dercon, León Krempel and Avinoam Shalem, eds, The Future of Tradition – The Tradition of Future. 100 years after the exhibition Masterpieces of Muhammadan Art in Munich, Munich, London and New York: Prestel, 2010. Apart from these publications, which were prompted by the centenary of the event, and appeared almost simultaneously, the 1910 Munich exhibition had been addressed by several scholars who have touched upon it within larger contexts of art history, historiography or museology, most notably: David J. -
Lorna Luft Next to Take the Stage at Live at the Orinda Theatre, Oct. 4
LAMORINDA WEEKLY | Lorna Luft next to take the stage at Live at the Orinda Theatre, Oct. 4 Published Octobwer 3rd, 2018 Lorna Luft next to take the stage at Live at the Orinda Theatre, Oct. 4 By Derek Zemrak Lorna Luft was born into Hollywood royalty, the daughter of Judy Garland and film producer Sidney Luft ("A Star is Born"). She will be bringing her musical talent to the Orinda Theatre at 7:30 p.m. Oct. 4 as part of the fall concert series, Live at the Orinda, where she will be singing the songs her mother taught her. Luft's acclaimed career has encompassed virtually every arena of entertainment. A celebrated live performer, stage, film and television actress, bestselling author, recording artist, Emmy-nominated producer, and humanitarian, she continues to triumph in every medium with critics labeling her one of the most versatile and exciting artists on the stage today. The daughter of legendary entertainer Garland and producer Luft, music and entertainment have always been integral parts of her life. Luft is a gifted live performer, frequently featured on the Lorna Luft Photos provided world's most prestigious stages, including The Hollywood Bowl, Madison Square Garden, Carnegie Hall, The London Palladium, and L'Olympia in Paris. She proves again and again that she's a stellar entertainer, proudly carrying the torch of her family's legendary show business legacy. "An Evening with Lorna Luft: Featuring the Songbook of Judy Garland" is a theatrical extravaganza that melds one of the world's most familiar songbooks with personal memories of a loving daughter. -
The Plagued History of Judy Garland and Liza Minnelli “Live” at the London Palladium, 1965-2009 LAWRENCE SCHULMAN
ARSC JOURNAL VOL. 40, NO. 2 $56&-RXUQDO VOLUME 40, NO. 2 • FALL 2009 )UDQN0DQFLQLDQG0RGHVWR+LJK6FKRRO%DQG·V &RQWULEXWLRQWRWKH1DWLRQDO5HFRUGLQJ5HJLVWU\ 67(9(13(&6(. 7KH3ODJXHG+LVWRU\RI-XG\*DUODQGDQG/L]D0LQQHOOL ´/LYHµDWWKH/RQGRQ3DOODGLXP /$:5(1&(6&+8/0$1 'DYLG/HPLHX[DQGWKH*UDWHIXO'HDG$UFKLYHV -$621.8))/(5 7KH0HWURSROLWDQ2SHUD+LVWRULF%URDGFDVW5HFRUGLQJV FALL 2009 FALL *$5<$*$/2 &23<5,*+7 )$,586( %22.5(9,(:6 6281'5(&25',1*5(9,(:6 &855(17%,%/,2*5$3+< $56&-2851$/+,*+/,*+76 Volume 40, No. 2 ARSC Journal Fall, 2009 EDITOR Barry R. Ashpole ORIGINAL ARTICLES 159 Frank Mancini and Modesto High School Band’s Contribution to the 2005 National Recording Registry STEVEN PECSEK 174 The Plagued History of Judy Garland and Liza Minnelli “Live” at the London Palladium, 1965-2009 LAWRENCE SCHULMAN ARCHIVES 189 David Lemieux and the Grateful Dead Archives JASON KUFFLER DISCOGRAPHY 195 The Metropolitan Opera Historic Broadcast Recordings GARY A. GALO 225 COPYRIGHT & FAIR USE 239 BOOK REVIEWS 281 SOUND RECORDING REVIEWS 317 CURRENT BIBLIOGRAPHY 341 ARSC JOURNAL HIGHLIGHTS 1968-2009 ORIGINAL ARTICLE | LAWRENCE SCHULMAN 7KH3ODJXHG+LVWRU\RIJudy Garland and Liza Minnelli “Live” at the London Palladium, In overviewing the ill-fated history of Judy Garland’s last Capitol Records album, Judy Garland and Liza Minnelli “Live” at the London Palladium, recorded on 8 and 15 November WKHDXWKRUHQGHDYRUVWRFKURQLFOHWKHORQJDQGZLQGLQJHYHQWVVXUURXQGLQJLWVÀUVW release on LP in 1965, its subsequent truncated reissues over the years, its aborted release RQ&DSLWROLQLQLWVFRPSOHWHIRUPDQGÀQDOO\LWVDERUWHGUHOHDVHRQ&ROOHFWRU·V&KRLFH -
David Bowie's Urban Landscapes and Nightscapes
Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 17 | 2018 Paysages et héritages de David Bowie David Bowie’s urban landscapes and nightscapes: A reading of the Bowiean text Jean Du Verger Electronic version URL: http://journals.openedition.org/miranda/13401 DOI: 10.4000/miranda.13401 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Jean Du Verger, “David Bowie’s urban landscapes and nightscapes: A reading of the Bowiean text”, Miranda [Online], 17 | 2018, Online since 20 September 2018, connection on 16 February 2021. URL: http://journals.openedition.org/miranda/13401 ; DOI: https://doi.org/10.4000/miranda.13401 This text was automatically generated on 16 February 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. David Bowie’s urban landscapes and nightscapes: A reading of the Bowiean text 1 David Bowie’s urban landscapes and nightscapes: A reading of the Bowiean text Jean Du Verger “The Word is devided into units which be all in one piece and should be so taken, but the pieces can be had in any order being tied up back and forth, in and out fore and aft like an innaresting sex arrangement. This book spill off the page in all directions, kaleidoscope of vistas, medley of tunes and street noises […]” William Burroughs, The Naked Lunch, 1959. Introduction 1 The urban landscape occupies a specific position in Bowie’s works. His lyrics are fraught with references to “city landscape[s]”5 and urban nightscapes. The metropolis provides not only the object of a diegetic and spectatorial gaze but it also enables the author to further a discourse on his own inner fragmented self as the nexus, lyrics— music—city, offers an extremely rich avenue for investigating and addressing key issues such as alienation, loneliness, nostalgia and death in a postmodern cultural context. -
What Do We Mean When We Say Islamic Art?
What do we mean when we say ‘Islamic art’? A plea for a critical rewriting of the history of the arts of Islam Avinoam Shalem In a book published in 2008, Arnold Hottinger provocatively asserted that as far as the Western stance toward Islam is concerned, Islam does not exist.1 He argued correctly that it is pure fiction to speak about Islam using one sole, monolithic and global term. Moreover, he added that the desire to see in the wide-ranging and diverse ‘worlds of Islam’ a homogenous sphere called Islam is simply an abstract cognitive notion, which, as with any general concept, has its sole origin in the mind of the person who creates this concept or theory. It is quite clear, then, that Hottinger, like many other scholars of Islamic studies, developed his ideas in the critical ‘Post-Edwardian Era’; that is, the period following the death of Edward Said in 2003, in which renewed discussion has taken place around his renowned book Orientalism, first published in 1978.2 The ‘imaginary Orient’, as termed by Linda Nochlin in 1983,3 is not restricted to Western literature but impinges on many other fields and is undoubtedly rooted in the history of European thought, especially in the construction of the image of its major ‘Other’ and the creation of its own historical narrative. And yet, this critical notion can and should also be applied to the field of art history in general, and to the construction of the field of Islamic art history within the larger discipline of Western art history in particular. -
Ernst E. Herzfeld
116 OBITUARY The Booh of Wisdom and Lies (Kelmscott Press) and Visramiani (Oriental Translation Fund). His interest in everything relating to Georgia dated from the period of his youthful travels in that country, of which he published an account as early as 1888. W. FOSTER. Ernst E. Herzfeld Few scholars of our generation have contributed so much to increasing our knowledge of the sources for the study of ancient Western Asia in periods or directions of which little was previously known as Ernst Herzfeld. An established scholar of considerable reputation not only in his own University, Berlin, by 1910, his early work was encouraged by Eduard Meyer, the historian, and aided by the active co-operation of Friedrich Sarre, whose outstanding achievements there has yet been little chance to appreciate. Friend- ship and co-operation with Koldewey and the archaeological archi- tects of the mission of the Deutsche Orient-Gesellschaft in Iraq, led him to admire their methods and made him a sound field- worker, without obscuring his firm understanding of the necessity for combining the study of language and history with archaeology if the tasks before him were to be accomplished. His training fitted him for the very diverse tasks he undertook. On his many journeys he continually noted new sites, and thus pointed the way for many later excavations, particularly in Persia. At some sites already well known he carried out fresh work unex- pectedly rich in results, notably at Samarra and Persepolis. He continually brought to our attention neglected subjects, such as the nature of the metal-working craft in the first millennium B.C. -
Friedrich Sarre and the Discovery of Seljuk Anatolia
Friedrich Sarre and the discovery of Seljuk Anatolia Patricia Blessing The German art historian Friedrich Sarre (1865-1945) is well known for his role in the excavations of the Abbasid palaces of Samarra (Iraq) from 1911-13, which he directed together with Ernst Herzfeld (1879-1948), and as the director of the Islamic collection in the Berlin Museums from 1921 until 1931. Less well studied is Sarre’s work on Seljuk art and architecture, which presents some of the earliest studies of the subject during a period in the late nineteenth and early twentieth centuries when Islamic art history was a nascent academic field. Sarre’s work on medieval Anatolia has been analysed neither in the context of early studies on Seljuk architecture, nor in the general account of the emergence of Islamic art history as a field of scholarship. In a recent article, Oya Pancaroğlu has focused on Sarre’s first book on Anatolia, Reise in Kleinasien (Journey in Anatolia). 1 This travel account is based on Sarre’s exploration of the area in 1895, which lead to his wider interest in Islamic architecture. Sarre’s later work, however, much of which also includes work on the Seljuk monuments of Konya and on Seljuk art more broadly, has not yet been investigated in the context of the early art historical literature on Seljuk Anatolia. Sarre’s work remains rooted in the earlier vein of scholarship on Islamic art, particularly valuing Persianate objects and buildings. Thus, this article argues that, unlike many scholars who worked on the arts of Anatolia in the 1920s and 1930, after the foundation of the Republic of Turkey, Sarre didn’t focus on the region as the cradle of a nation, nor did he study Seljuk art as an expression of Turkish culture. -
Olympia-Brochure-2020-2.Pdf
History 04 Vision 10 Neighbourhood 28 Connectivity 38 Offices 44 2 — FUTURE OLYMPIA FUTURE OLYMPIA — 3 1 History FUTURE OLYMPIA — 5 Olympia is no ordinary neighbourhood Olympia London has been home to the best of global innovation, culture and entertainment for over 130 years. From Britain’s first cinema and the world’s first computer exhibition to Victorian circuses and London Fashion Week. 01 04 02 01 BERTRAM MILLS CIRCUS 1924 02 AERO & MOTOR BOAT EXHIBITION 1911 03 MOTORCYCLE & CYCLE SHOW 1921 04 HYPER JAPAN 2017 05 05 VIVIENNE WESTWOOD, 03 LONDON FASHION WEEK 2009 6 — FUTURE OLYMPIA FUTURE OLYMPIA — 7 Then 04 05 With a projected two million visitors per year, Olympia London will 01 02 continue to provide world class exhibition space reflecting its tremendous heritage. 06 01 CHRIS EUBANK VS. GARY STRETCH BOXING MATCH ON 18TH APRIL 1991 IN THE GRAND HALL, WATCHED BY 9000 SPECTATORS 02 LONDON FASHION EXHIBITION 26–29 OCT 1976 03 QUEEN ELIZABETH, PRINCE CHARLES & PRINCESS ANNE VISIT BERTRAM MILLS 03 CIRCUS 1958 04 100% DESIGN EXHIBITION 2012 05 THE UK’S FIRST EVER DRAGWORLD 2017 06 VIVIENNE WESTWOOD’S FALL 2009 COLLECTION FOR LONDON FASHION WEEK 8 — FUTURE OLYMPIA Now FUTURE OLYMPIA — 9 2 Vision FUTURE OLYMPIA — 11 Vision A new destination with a taste for the spectacular — uniting art, entertainment, technology and industry under one iconic roof. A remarkable feat of British architecture and design conceived to enrich, reflect and shape the world around it. With over two million sq ft of contemporary communal space, there is a lot to explore. -
The Appropriation and Packaging of Riot Grrrl Politics by Mainstream Female Musicians
Popular Music and Society, Vol. 26, No. 1, 2003 “A Little Too Ironic”: The Appropriation and Packaging of Riot Grrrl Politics by Mainstream Female Musicians Kristen Schilt “RIOT GIRL IS: BECAUSE I believe with my wholeheartmindbody that girls constitute a revolutionary soul force that can, and will, change the world for real” (“Riot Grrrl Is” 44) “Girl power!” (Spice Girls) Introduction Female rock musicians have had difficulty making it in the predominantly white male rock world. Joanne Gottlieb and Gayle Wald note that women’s participation in rock music usually consists of bolstering male performance, in the roles of groupie, girlfriend, or back-up singer (257). Even in punk rock, women are often treated as a novelty by the music press and cultural critics. Male bands such as the Sex Pistols and the Damned achieve rock notoriety while their female counterparts, like the Slits and the Raincoats, sink into obscurity. However, 1995 saw an explosion in the music press about a new group of female musicians: the angry women. Hailed in popular magazines for blending feminism and rock music, Alanis Morissette topped the charts in 1995. Affectionately named the “screech queen” by Newsweek, Morissette combined angry, sexually graphic lyrics with catchy pop music (Chang 79). She was quickly followed by Tracy Bonham, Meredith Brooks, and Fiona Apple. Though they differed in musical style, this group of musicians embodied what it meant to be a woman expressing anger through rock music, according to the music press. Popular music magazines argued that musicians like Morissette were creating a whole new genre for female performers, one that allowed them to assert their ideas about feminism and sexual- ity. -
Manet's Olympia: the Figuration of Scandal Author(S): Charles Bernheimer Source: Poetics Today, Vol
Manet's Olympia: The Figuration of Scandal Author(s): Charles Bernheimer Source: Poetics Today, Vol. 10, No. 2, Art and Literature II (Summer, 1989), pp. 255-277 Published by: Duke University Press Stable URL: http://www.jstor.org/stable/1773024 Accessed: 17/09/2010 08:19 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=duke. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Duke University Press is collaborating with JSTOR to digitize, preserve and extend access to Poetics Today. http://www.jstor.org Manet's Olympia: The Figuration of Scandal Charles Bernheimer Romance Languages and Comparative Literature, Pennsylvania The woman, I look at her, I examine her. -
An Olympia Urban Legend Changes in Thurston County's Bird
Number 13 December 2020 An Olympia Urban Legend Changes in Thurston County’s Bird Populations During the Past Forty Years The Chambers Black Heart Cherry Tree: A Northwest Icon Water, Woods & Prairies: A Thurston County History Book $5.00 THURSTON COUNTY HISTORICAL JOURNAL The Thurston County Historical Journal is dedicated to recording and celebrating the history of Thurston County. The Journal is published by the Olympia Tumwater Foundation as a joint enterprise with the following entities: City of Lacey, City of Olympia, Confederated Tribes of the Chehalis Reservation, Daughters of the American Revolution, Daughters of the Pioneers of Washington/Olympia Chapter, Lacey Historical Society, Old Brewhouse Foundation, Olympia Historical Society and Bigelow House Museum, South Sound Maritime Heritage Association, South Thurston County Historical Society, Thurston County, Tumwater Historical Association, Yelm Prairie Historical Society, and individual donors. Publisher Editor Olympia Tumwater Foundation Karen L. Johnson John Freedman, Executive Director 360-890-2299 Lee Wojnar, President, Board of Trustees [email protected] 110 Deschutes Parkway SW P.O. Box 4098 Editorial Committee Tumwater, Washington 98501 Drew W. Crooks Jennifer Crooks 360-943-2550 James S. Hannum Erin Quinn Valcho www.olytumfoundation.org Obtaining a Copy of the Journal The Journal does not offer a subscription service. To get your own copy, join one of the her- itage groups listed at the top of this page. These groups donate to the publication of the Journal, and thus receive copies to pass on to their members. Issues are also available for purchase at the Bigelow House Museum, Crosby House Museum, and Lacey Museum, and occasionally at Orca Books in downtown Olympia and Hedden’s Pharmacy in Tenino.