Delaroche and Napoleon
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Delaroche's Napoleon in His Study
Politics, Prints, and a Posthumous Portrait: Delaroche’s Napoleon in his Study Alissa R. Adams For fifteen years after he was banished to St. Helena, Na- By the time Delaroche was commissioned to paint Na- poleon Bonaparte's image was suppressed and censored by poleon in his Study he had become known for his uncanny the Bourbon Restoration government of France.1 In 1830, attention to detail and his gift for recreating historical visual however, the July Monarchy under King Louis-Philippe culture with scholarly devotion. Throughout the early phase lifted the censorship of Napoleonic imagery in the inter- of his career he achieved fame for his carefully rendered est of appealing to the wide swath of French citizens who genre historique paintings.2 These paintings carefully repli- still revered the late Emperor—and who might constitute cated historical details and, because of this, gave Delaroche a threat if they were displeased with the government. The a reputation for creating meticulous depictions of historical result was an outpouring of Napoleonic imagery including figures and events.3 This reputation seems to have informed paintings, prints, and statues that celebrated the Emperor the reception of his entire oeuvre. Indeed, upon viewing an and his deeds. The prints, especially, hailed Napoleon as a oval bust version of the 1845 Napoleon at Fontainebleau hero and transformed him from an autocrat into a Populist the Duc de Coigny, a veteran of Napoleon’s imperial army, hero. In 1838, in the midst of popular discontent with Louis- is said to have exclaimed that he had “never seen such a Philippe's foreign and domestic policies, the Countess of likeness, that is the Emperor himself!”4 Although the Duc Sandwich commissioned Paul Delaroche to paint a portrait de Coigny’s assertion is suspect given the low likelihood of of Napoleon entitled Napoleon in his Study (Figure 1) to Delaroche ever having seen Napoleon’s face, it eloquently commemorate her family’s connection to the Emperor. -
Uncivil Alliances: Delacroix, the Private Collector, and the Public Author(S): Elisabeth A
Uncivil Alliances: Delacroix, the Private Collector, and the Public Author(s): Elisabeth A. Fraser Source: Oxford Art Journal, Vol. 21, No. 1 (1998), pp. 89-103 Published by: Oxford University Press Stable URL: http://www.jstor.org/stable/1360698 . Accessed: 13/03/2011 09:56 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=oup. 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]. Oxford University Press is collaborating with JSTOR to digitize, preserve and extend access to Oxford Art Journal. http://www.jstor.org Uncivil Alliances: Delacroix, the Private Collector, and the Public Elisabeth A. Fraser Eugene Delacroix was probablythe most controversialartist of the Bourbon Restorationperiod in France. -
Daxer & Marschall 2015 XXII
Daxer & Marschall 2015 & Daxer Barer Strasse 44 - D-80799 Munich - Germany Tel. +49 89 28 06 40 - Fax +49 89 28 17 57 - Mobile +49 172 890 86 40 [email protected] - www.daxermarschall.com XXII _Daxer_2015_softcover.indd 1-5 11/02/15 09:08 Paintings and Oil Sketches _Daxer_2015_bw.indd 1 10/02/15 14:04 2 _Daxer_2015_bw.indd 2 10/02/15 14:04 Paintings and Oil Sketches, 1600 - 1920 Recent Acquisitions Catalogue XXII, 2015 Barer Strasse 44 I 80799 Munich I Germany Tel. +49 89 28 06 40 I Fax +49 89 28 17 57 I Mob. +49 172 890 86 40 [email protected] I www.daxermarschall.com _Daxer_2015_bw.indd 3 10/02/15 14:04 _Daxer_2015_bw.indd 4 10/02/15 14:04 This catalogue, Paintings and Oil Sketches, Unser diesjähriger Katalog Paintings and Oil Sketches erreicht Sie appears in good time for TEFAF, ‘The pünktlich zur TEFAF, The European Fine Art Fair in Maastricht, European Fine Art Fair’ in Maastricht. TEFAF 12. - 22. März 2015, dem Kunstmarktereignis des Jahres. is the international art-market high point of the year. It runs from 12-22 March 2015. Das diesjährige Angebot ist breit gefächert, mit Werken aus dem 17. bis in das frühe 20. Jahrhundert. Der Katalog führt Ihnen The selection of artworks described in this einen Teil unserer Aktivitäten, quasi in einem repräsentativen catalogue is wide-ranging. It showcases many Querschnitt, vor Augen. Wir freuen uns deshalb auf alle Kunst- different schools and periods, and spans a freunde, die neugierig auf mehr sind, und uns im Internet oder lengthy period from the seventeenth century noch besser in der Galerie besuchen – bequem gelegen zwischen to the early years of the twentieth century. -
Religion in the Works of Heinrich Heine
University of the Pacific Scholarly Commons University of the Pacific Theses and Dissertations Graduate School 1946 Religion in the works of Heinrich Heine Ellen Frances DeRuchie University of the Pacific Follow this and additional works at: https://scholarlycommons.pacific.edu/uop_etds Part of the Religion Commons Recommended Citation DeRuchie, Ellen Frances. (1946). Religion in the works of Heinrich Heine. University of the Pacific, Thesis. https://scholarlycommons.pacific.edu/uop_etds/1040 This Thesis is brought to you for free and open access by the Graduate School at Scholarly Commons. It has been accepted for inclusion in University of the Pacific Theses and Dissertations by an authorized administrator of Scholarly Commons. For more information, please contact [email protected]. RELIGION IN THE WORKS OF R- ---- II .,; - --- stoclcton ~·- 1946 =------- :-;---- A Thesis submitted to the Department of Modern Lanugages Col~ege of ·the Pacific :~ - In partial fulfillment of the Requirements for the Degree ot Master of Arts DEPOSITED IN THE C01.LEGE LIBRARY: DA'l'ED: Librarian CONTENTS co---- Chapter Page Introduction ••••••••••••• ·• ........... ., .......... • !v I Heine 1 a Jewish Background •••••••••• , ••• , •• l II Some Aspects of Judaism in Heine •••••••••• 12 III Heine t s Baptism ~ ........ * •- .................. , "' 21 IV Some Reflections on Christianity ••••·••••• 26 V Some Re:Clec t:l.ons on Protestantism ••••••••• 31 VI State Religion • •• •- •• • .... • •••••.• ._ •• •-• .•• -•• 38 VII Some Reflections on Catholicism ••••••.••••• 42 VIII Catholicism and Art •••••••••••••••••••••••• 54 IX A Pantheistic Interlude •••••••••••••••••••·61 X Sa~nt Simonism -• • .... •• .••• • • •- .·-· ............. 67 XI The .Religion of Freedom .................... '72 XII Heine's Last Days ••••••••••••••••••••••••• 7S Bib 11 ogr aphy ••• _•.••• ·• ••••••• -• .- • -·· • .., ••• -• • -• • • • 85 lv INTRODUCTION A Word about Heinrich Heine The life of Heinrich Heine presents many eontradictl.ons. -
Rachel Esner on Visiting Delaroche and Diaz with L'illustration
UvA-DARE (Digital Academic Repository) Visiting Delaroche and Diaz with L'Illustration Esner, R. Publication date 2012 Document Version Final published version Published in Nineteenth-Century Art Worldwide Link to publication Citation for published version (APA): Esner, R. (2012). Visiting Delaroche and Diaz with L'Illustration. Nineteenth-Century Art Worldwide, 11(2). http://www.19thc-artworldwide.org/index.php/summer12/rachel-esner- visiting-delaroche-and-diaz-with-lillustration General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:27 Sep 2021 Rachel Esner on Visiting Delaroche and Diaz with L’Illustration | Print | E-mail CALL FOR PROPOSALS: NCAW digital research and Visiting Delaroche and Diaz with L'Illustration publication initiative by Rachel Esner In 1896, the critic Henri Nocq wrote: current issue about the journal "In order to garner a more or less complete picture of an artist, his works, past issues and his artistic direction, one must visit his studio. -
Page, Canvas, Wall: Visualising the History Of
Title Page, Canvas, Wall: Visualising the History of Art Type Article URL https://ualresearchonline.arts.ac.uk/id/eprint/15882/ Dat e 2 0 2 0 Citation Giebelhausen, Michaela (2020) Page, Canvas, Wall: Visualising the History of Art. FNG Research (4/2020). pp. 1-14. ISSN 2343-0850 Cr e a to rs Giebelhausen, Michaela Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] . License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author Issue No. 4/2020 Page, Canvas, Wall: Visualising the History of Art Michaela Giebelhausen, PhD, Course Leader, BA Culture, Criticism and Curation, Central St Martins, University of the Arts, London Also published in Susanna Pettersson (ed.), Inspiration – Iconic Works. Ateneum Publications Vol. 132. Helsinki: Finnish National Gallery / Ateneum Art Museum, 2020, 31–45 In 1909, the Italian poet and founder of the Futurist movement, Filippo Tommaso Marinetti famously declared, ‘[w]e will destroy the museums, libraries, academies of every kind’.1 He compared museums to cemeteries, ‘[i]dentical, surely, in the sinister promiscuity of so many bodies unknown to one another… where one lies forever beside hated or unknown beings’. This comparison of the museum with the cemetery has often been cited as an indication of the Futurists’ radical rejection of traditional institutions. It certainly made these institutions look dead. With habitual hyperbole Marinetti claimed: ‘We stand on the last promontory of the centuries!… Why should we look back […]? Time and Space died yesterday.’ The brutal breathlessness of Futurist thinking rejected all notions of a history of art. -
Rome Vaut Bien Un Prix. Une Élite Artistique Au Service De L'état : Les
Artl@s Bulletin Volume 8 Article 8 Issue 2 The Challenge of Caliban 2019 Rome vaut bien un prix. Une élite artistique au service de l’État : Les pensionnaires de l’Académie de France à Rome de 1666 à 1968 Annie Verger Artl@s, [email protected] Follow this and additional works at: https://docs.lib.purdue.edu/artlas Part of the History of Art, Architecture, and Archaeology Commons, and the Music Commons Recommended Citation Verger, Annie. "Rome vaut bien un prix. Une élite artistique au service de l’État : Les pensionnaires de l’Académie de France à Rome de 1666 à 1968." Artl@s Bulletin 8, no. 2 (2019): Article 8. This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. This is an Open Access journal. This means that it uses a funding model that does not charge readers or their institutions for access. Readers may freely read, download, copy, distribute, print, search, or link to the full texts of articles. This journal is covered under the CC BY-NC-ND license. Artl@s At Work Paris vaut bien un prix. Une élite artistique au service de l’État : Les pensionnaires de l’Académie de France à Rome de 1666 à 1968 Annie Verger* Résumé Le Dictionnaire biographique des pensionnaires de l’Académie de France à Rome a essentiellement pour objet le recensement du groupe des praticiens envoyés en Italie par l’État, depuis Louis XIV en 1666 jusqu’à la suppression du concours du Prix de Rome en 1968. -
Old Master Paintings a Private Selling Exhibition Old Master Paintings a Private Selling Exhibition
OLD MASTER PAINTINGS A PRIVATE SELLING EXHIBITION OLD MASTER PAINTINGS A PRIVATE SELLING EXHIBITION LOCATION Christie’s New York 20 Rockefeller Plaza New York, NY 10020 VIEWING January 22–February 7, 2016 Monday-Saturday, 10am-5pm Sunday, 1pm-5pm CONTACTS Ben Hall Deputy Chairman, Old Master Paintings 212 636 2121 BHall @christies.com François de Poortere Head of Department, Old Master Paintings 212 636 2469 [email protected] Thomas Baston, (British, active c. 1721) Nicolas Bertin (Paris 1668-1736) Nicolas Henry Jeurat de Bertry A view of Her Majesty’s Ship Royal Sovereign Moses defending the daughters of Jethro (Paris 1728-after 1796) inscribed and signed ‘To His RoyL. HIGHNSPRINCE GEORGE of oil on panel A manual, a quill, a conch shell, a snake in a jar and objects DENMARK / Lord High ADMIRAL of GREAT BRITIAN, IRELAND, / and 19¼ x 27⅞ in. (49 x 70.8 cm.) on a table above a globe, books, musical instruments, of all Her…ons in GENERAL And / of all Her Majies… / THIS PIECE OF PARchment Drawing A VIEW / of Her Majies SHIP ... SOVERAIGN / this IN COLLABORATION WITH: sheet music and other objects is most humbly Dedicated / By his Most / Faithful Servant ThoBaston’ Derek Johns Ltd signed ‘Jeurat de Bertry / pxit. En 1775.’ (lower center, on the sheet music) (lower center) 12 Duke Street, St James’s, London SW1Y 6BN oil on canvas penschilderij on parchment +44 (0) 20 7839 7671 35¼ x 46⅜ in. (89.5 x 117.5 cm.) 13 x 11¾ in. (33 x 29.8 cm.) [email protected] IN COLLABORATION WITH: IN COLLABORATION WITH: Robilant + Voena Rafael Valls Ltd 1 Lumley Street, 5th Floor, London W1K 6TT 11 Duke Street, St. -
The Image of Mary of the Miraculous Medal: a Valiant Woman
Joyce C. Polistena The Image of Mary of the Miraculous Medal: A Valiant Woman Nineteenth-Century Art Worldwide 11, no. 2 (Summer 2012) Citation: Joyce C. Polistena, “The Image of Mary of the Miraculous Medal: A Valiant Woman,” Nineteenth-Century Art Worldwide 11, no. 2 (Summer 2012), http://www.19thc- artworldwide.org/summer12/joyce-polistena-the-image-of-mary-of-the-miraculous-medal. 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. Polistena: The Image of Mary of the Miraculous Medal: A Valiant Woman Nineteenth-Century Art Worldwide 11, no. 2 (Summer 2012) The Image of Mary of the Miraculous Medal: A Valiant Woman by Joyce C. Polistena “Gentlemen, whether you like it or not, the feeling for religion has in the last six years regained a power which no one could have foreseen.”[1] A member of France’s Chamber of Deputies made this surprising declaration in 1837, noting the dramatic religious revival that had taken place in France in recent years. One particular religious event, a Mariophanic occurrence, may have contributed to this phenomenon. It also led to a new iconography for the Virgin Mary (fig. 1). This is the subject of my article, in which I attempt to show how a new, potent image of the Virgin became popular because it emerged at a propitious moment, politically, and because new technologies helped to widely propagate it. Fig. 1, Anon., Catherine Labouré’s Vision of the Miraculous Medal, ca. -
A Civic Profession of Faith: Rousseau's and Nationalism
4 A civic profession of faith: Rousseau’s and nationalism When Heinrich Heine, the German poet, visited Italy in 1828 he noted in his diary: It is as if World History is seeking to become spiritual … she has a great task. What it is? It is emancipation. Not just the emancipation of the Irish, the Greeks, the Jews and the Blacks of the West Indies. No, the emancipation of the whole world, especially in Europe, where the peoples have reached maturity. (Heine quoted in Gell 1998: 13) In seeking national self-determination Heine was preaching a new doctrine, one which had been unknown a couple of centuries before. Elie Kedouri observed – perhaps not entirely accurately – that ‘Nationalism is a political doctrine invented in Europe at the beginning of the Nineteenth Century’ (Kedouri 1960: 1). This might have been an exaggeration but Kedouri had a point. Nationalism is not only regarded as a relatively recently established ideology, it is also regarded as a fatherless doctrine, without the illustrious intellectual ancestry which characterises socialism, liberalism, and even conservatism. Nationalism, it is asserted, lacks a coherent philosophical basis and does not have an intellectual founding father. In Benedict Anderson’s words: ‘unlike most other isms, nationalism has never produced its great thinkers; no Hobbeses, Tocquevilles, Marxes or Webers’ (Anderson 1981: 5).1 This view seemingly ignores the theory of nationalism developed by Rousseau before the nineteenth century.2 Rousseau is rarely given full credit for his contribution to the development of the doctrine of nationalism. Unmentioned by Gellner (1983; 1996) and Miller (1995), Rousseau is only mentioned in passing by Anderson (1983) and Hobsbawm (1991). -
MLP Increasing Conflicts on National Identities
Increasing conflicts on national identities in Culture The Louvre’s exhibition ‘De l’Allemagne 1800 à 939 - de Friedrich à Beckmann’ fromApril to July 2013 Speech and debate held by Dr. Marie-Louise von Plessen on behalf of the ECP’s annual meeting in Edinburgh, 27.9.2013 In European affairs, morality has become a political concern. Especially in France of the Fifth Republic, the priority is on transparency within all government branches. Yet, French extremist parties both left and right tend to mobilize their voters’ against international cooperation. Thus, the idea of Europe is treated as an external enemy coming from within to inflict and destroy identity based on national values. Already, the effect of this political climate overshadows cultural activities. An example is the international media debate on last summer’s Parisian cultural event, co-financed on equal terms by France and Germany, to celebrate the 50th anniversary of the Elysée Treaty. Signed by President De Gaulle and Chancellor Adenauer, the French-German alliance affirmed reconciliation between two former arch enemies who had made war against each other for centuries. Flanking the highest ranking French and German Ministers, the magnificent ceremony smoothed the way for Europe’s postwar integration. So much for the noble intentions. The ‘Cultural Scandal” concerned the finalized concept of the exhibition ‘De l’Allemagne’ held in the Louvre from April to June 2013. The highest ranking French and German ministers attended the grand opening. The show was named both after Germaine de Stael’s famous book ‘De l’Allemagne’, initially banned by Napoleon’s censors in 1810 and published in 1813, and after Heinrich Heine’s reply to Mme de Stael from his Paris exile in 1833. -
The Palace of Versailles, Self-Fashioning, and the Coming of the French Revolution
La Belle et la Bête: The Palace of Versailles, Self-Fashioning, and the Coming of the French Revolution La Belle et la Bête: The Palace of Versailles, Self-Fashioning, and the Coming of the French Revolution Savanna R. Teague Abstract While the mass consumption of luxury items is oftentimes described as a factor leading the Third Estate to take action against the First and Second Estates in the buildup to the French Revolution, that spending is presented as little more than salt in the open wounds of a starving and ever-growing population that had been growing evermore destitute since the beginnings of the early modern era. However, the causes and contexts of the conspicuous consumption as practiced by the aristocracy reveal how they directly correlate to the social tensions that persisted throughout the seventeenth and eighteenth centuries until they erupted in the 1790s. The isolation and the dictation of taste and style that Louis XIV commanded through Versailles and State-run luxury workshops became commonplace within a generation after the Fronde in which the nobles had engaged during the previous century. Versailles allowed the new generation of the aristocracy to be placated with petty privileges that developed out of the rigorous court etiquette, and their conspicuous consumption only increased as the need to compete with others at Court and those newly ennobled continued. This study examines a materialistic culture alongside its material culture, focusing on explaining the expenditures of the aristocracy without becoming enamored by the spectacle of wealth itself. The goods and services that the French aristocracy indulged in purchasing were not simply marks of luxury; they represented social ideals about order and privilege.