DOCSLIB.ORG

Download PDF Datastream

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download PDF Datastream “Le Premier Cadre”: Theatre Architecture and Objects of Knowledge in Eighteenth- Century France by Pannill Camp B.A., University of Puget Sound, 1999 A.M., Brown University, 2001 A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Theatre, Speech and Dance at Brown University Providence, Rhode Island May 2009 ii © Copyright 2009 by Pannill Camp iii This dissertation by Pannill Camp is accepted in its present form by the Department of Theatre, Speech, and Dance as satisfying the dissertation requirement for the degree of Doctor of Philosophy in Theatre and Performance Studies. _______________ ______________________ Date Spencer Golub, Advisor Recommended to the Graduate Council ________________ ______________________ Date Rebecca Schneider, Reader ________________ ______________________ Date Jeffrey Ravel, Reader Approved by the Graduate Council ________________ ______________________ Date Sheila Bonde, Dean of the Graduate School iv VITA Pannill Camp was born in Austin, Texas in 1977 and grew up in Aurora, Colorado, where he graduated from Overland High School in 1995. He studied English and Theatre at the University of Puget Sound, graduating with a B.A. degree in English Writing, Rhetoric, and Culture in 1999. Pannill began pursuing a master’s degree that year in theatre studies at Brown University, which he completed in 2001. During the course of his studies for this degree he directed The Wild Duck by Henrik Ibsen at Brown’s Production Workshop and Mac Wellman’s Dracula on the theatre department’s mainstage, for which productions he was awarded the Weston Award for Theatre Directing in 2001. After spending a year living and working in New York City and a year creating English language instruction materials for the Spanish Army in Madrid, Pannill returned to Providence in 2003 to begin work on his doctorate in theatre and performance studies in the Ph.D. program that commenced the previous year as part of the Brown/Trinity Repertory Company Consortium. His research during the early years of his doctoral studies focused on problems related to the application of Husserlian phenomenology to theatre and performance criticism. His article, “The Trouble with Phenomenology,” appeared in the fall 2004 edition of the Journal of Dramatic Theory and Criticism. While working on this article, Pannill became interested in the use of figures of theatrical staging in 20th century philosophy and began to study the history of such invocations of theatre. He wrote an article entitled “Theatre Optics: Enlightenment Theatre Architecture in France and the Architectonics of Husserl’s Phenomenology,” that drew links between v his research on phenomenology and theatre architecture reform. This essay was published by Theatre Journal in late 2007. He spent the 2006-07 academic year in Paris, conducting archival research and attending Professor Pierre Frantz’ seminars on eighteenth-century theatre at the Sorbonne-Paris IV. For academic year 2007-08, Pannill received a dissertation completion fellowship from Brown University’s Cogut Center for the Humanities. While working toward his doctorate, Pannill served as a teaching assistant for the theatre history course cycle, and designed and taught the first theatre history course for acting and directing M.F.A. students in the Brown/Trinity Consortium. He has also taught English to officers and soldiers in the Spanish Army, and test preparation classes for Kaplan in New York and Providence. In 2004, he directed August Strindberg’s The Father at Brown’s Production Workshop, and in 2003-04 was David Henry Hwang’s research assistant for his play Yellow Face. vi ACKNOWLEDGEMENTS It is with distinct joy that I recall the many individuals who have helped me bring this project to completion—and have pointed the way to the work that will go into its future incarnations. First and foremost, I wish to acknowledge the guidance of Spencer Golub, who as my qualifying examination committee chair and dissertation advisor was a steady source of encouragement, sage counsel, and high standards as well as a reminder of the virtues of hard work and intellectual fearlessness. Rebecca Schneider, since I started down the path of inquiry that led me to this project, has vigorously engaged my early, not-yet-coherent questions and helped me frame my ideas in a range of critical vocabularies. She has unfailingly emboldened me to expand upon my ideas and pointed out theoretical blindspots I took too long to see myself. Jeffrey S. Ravel generously agreed to be a reader for this thesis in 2006, and went on to point out crucial resources and dispense invaluable knowledge about Parisian archives without which my research would have been much impeded. Beyond the members of my committee, I have benefited from instruction, inquiry, advice and moral support bestowed by a number of the faculty of Brown University, where I first began graduate study in 1999. Don B. Wilmeth championed my early attempts to write theatre history and instilled in me an appreciation for the work required of serious historians. John Emigh, whose intellectual generosity is astounding, has taught me more than I can attempt to describe in this space. During the course of my research and writing, Patricia Ybarra has offered both insights grounded in historiographical sophistication and considered editorial advice. I am grateful for the instruction, advice, vii mentorship and interlocution I’ve received from Pierre Saint-Amand, Virginia Krause, Nancy Armstrong, William O. Beeman, and Rey Chow. After years of financial support from the Graduate School at Brown, I was the fortunate recipient of fellowship support from the Cogut Center for the Humanities during the 2007-2008 academic year, which allowed me the time needed to finish this project and the opportunity to share my work with a generous and brilliant group of peers. In particular, I would like to express my gratitude to Michael Steinburg, Nauman Naqvi, Michael Rohlf, Rob Newcomb and Amy Vegari for their comments and comradeship during this past year. In addition to the debt I owe these members of the Brown community, I must thank Professors Michal Kobialka and Joe Roach, who each provided guidance and encouragement while this project was in its infancy. In Paris, Pierre Frantz allowed me to attend his vibrant seminars on eighteenth-century theatre and dramatic literature at the Sorbonne. He and Michèle Sajous D’Oria kindly encouraged my research into theatre architecture when my French and my archival skills were sorely in need of development. A special note of gratitude must be sounded here for Daniel Rabreau, whose doctoral thesis I had the pleasure of reading in the Sorbonne archive. Professor Rabreau’s dissertation proved an indespensible guide to archival documents related to theatre architecture, which are widely distributed around Paris and other municipal archives. It would have been impossible to conduct sufficient research for my thesis during my time in France without this aid, and Professor Rabreau’s encouraging response to my explanation of my work has sustained me since I met him in early 2007. My research, thinking and writing has been enriched during the past five years by a cherished group of fellow graduate students at Brown, many of whom have generously viii lent their talents directly to helping me complete the present work. Katie Chenoweth reviewed and helped improve my translations of French, while Eric Parks and Benedetta Gennaro provided translations of texts in Latin and Italian respectively. This work has also profited from the bibliographic suggestions, careful editing and lively interrogation of Christine Mok, Amanda Lahikainen, Paige McGinley, Elise Morrison, Christine Evans, Ken Prestininzi and Charles Mulekwa. I have been blessed to be part of a group of such generous, creative and smart colleagues. I finally wish to thank my mother Vicki Camp and my sister Melissa Camp for their support and patience as I pursued my graduate studies, as well as John Pannill Camp Jr., who would have been pleased to see my studies conclude. Sic transit gloria theatri. ix TABLE OF CONTENTS Vita ....................................................................................................................... iv Acknowledgements ................................................................................................ vi Abbreviations ........................................................................................................ x List of Illustrations ................................................................................................ xi Introduction......................................................................................................... 1 Chapter 1 The Reformulation of the Theatrical Frame in French Dramatic Theory, 1657-1773................................................................................................ 14 Chapter 2 Experimental Physics Lecture Demonstrations and the Architecture of Expérience in Enlightenment France ................................................................. 76 Chapter 3 The Architectural Construction of Spectatorial Function in France, 1748-1785 ............................................................................................................. 123 Chapter 4 Optics and Representations of Stage Space in Eighteenth-Century French Theater Design..........................................................................................
Load more

Recommended publications
  • Bibliography of Works by Roberto Giobbi Status: May 2019
    Bibliography of Works by Roberto Giobbi Status: May 2019 Books • Fantasia in As-Dur, Magic Communication Roberto Giobbi, Basel 1987 • CardPerfect, Magic Communication Roberto Giobbi, Basel 1987 • roberto-light, Magic Communication Roberto Giobbi, Basel 1988 • Grosse Kartenschule Band 1, Magic Communication Roberto Giobbi, Basel 1992 • Grosse Kartenschule Band 2, Magic Communication Roberto Giobbi, Basel 1992 • roberto extra-light, Magic Communication Roberto Giobbi, Basel 1992 • Grosse Kartenschule Band 3, Magic Communication Roberto Giobbi, Basel 1994 • Grosse Kartenschule Band 4, Magic Communication Roberto Giobbi, Basel 1994 • Cours de cartomagie moderne Tome 1, Magix, Strasbourg 1994 • Gran Escuela Cartomagica, Volumenes 1 y 2, Paginas, Madrid 1994 • Card College Volume 1, Hermetic Press, Seattle 1995 • Gran Escuela Cartomagica, Volumenes 3 y 4, Paginas, Madrid 1995 • roberto super-light, Magic Communication Roberto Giobbi, Basel 1995 • Cours de Cartomagie Moderne Tome II, Magix, Strasbourg 1996 • Roberto Light, Paginas, Madrid 1996 • Roberto Super Light, Paginas, Madrid 1996 • Roberto Extra Light, Paginas, Madrid 1996 • Card College 1, Corso di Cartomagia Moderna, Florence Art Edizioni, Firenze 1998 • Card College 2, Corso di Cartomagia Moderna, Florence Art Edizioni, Firenze 1999 • Il sogno del baro, Florence Art Edizioni, Firenze 1999 • Card College 3, Corso di Cartomagia Moderna, Florence Art Edizioni, Firenze 2001 • Roberto Light, Florence Art Edizioni, Firenze 2001 • Roberto Extra-Light, Florence Art Edizioni, Firenze 2001 • Roberto Super-Light, Florence Art Edizioni, Firenze 2001 • Card College Volume 1 (Japanese version), Tokyo 2001 • Card College Volume 2 (Japanese version), Tokyo 2002 • Card College Volume 5, Hermetic Press, Seattle 2003 • Grosse Kartenschule Band 5, Magic Communication Roberto Giobbi, Basel 2003 • Cours de Cartomagie Moderne Tome 3, Magix, Strasbourg 2005 • Card College Light, Hermetic Press, Seattle 2006 • Roberto Light (version française), C.C.
    [Show full text]
  • The Old and the New Magic
    E^2 CORNELL UNIVERSITY gilBRARY . GIFT OF THE AUTHOR Digitized by Microsoft® T^^irt m4:£±z^ mM^^ 315J2A. j^^/; ii'./jvf:( -UPHF ^§?i=£=^ PB1NTEDINU.S.A. Library Cornell University GV1547 .E92 Old and the new maj 743 3 1924 029 935 olin Digitized by Microsoft® This book was digitized by Microsoft Corporation in cooperation witli Cornell University Libraries, 2007. You may use and print this copy in limited quantity for your personal purposes, but may not distribute or provide access to it (or modified or partial versions of it) for revenue-generating or other commercial purposes. Digitized by Microsoft® Digitized by Microsoft® Digitized by Microsoft® Digitized by Microsoft® ROBERT-KCUIUT Digitized by Microsoft® THE OLDUI^DIMEJ^ MAGIC BY HENRY RIDGELY EVANS INTRODUCTION E1^ k -io^s-ji, Copyright 1906 BY The Open Court Publishing Co. Chicago -J' Digitized by Microsoft® \\\ ' SKETCH OF HENRY RIDGELY EVAXS. "Elenry Ridgely Evans, journalist, author and librarian, was born in Baltimore, ^Md., Xovember 7, 1861. He is the son 01 Henry Cotheal and Alary (Garrettson) Evans. Through his mother he is descended from the old colonial families of Ridgely, Dorsey, AA'orthington and Greenberry, which played such a prominent part in the annals of early Maryland. \h. Evans was educated at the preparatory department of Georgetown ( D. C.) College and at Columbian College, Washington, D. C He studied law at the University of Maryland, and began its practice in Baltimore City ; but abandoned the legal profession for the more congenial a\'ocation <jf journalism. He served for a number of }ears as special reporter and dramatic critic on the 'Baltimore N'ews,' and subsequently became connected with the U.
    [Show full text]
  • Enlightenment Walking Tour 4
    France and Paris were changed dramatically by the Enlightenment and ensuing French Revolution. Likewise, many of the monuments and buildings you’ll see on this walk were “reinvented” during the 18th century. The Panthéon, where this walk starts, began as a church sponsored by an absolute monarch and ended the century as a monument to the country’s most famous Enlightenment figures. The place de la Concorde, where the walk ends, saw one monarch celebrated with a statue and another executed on the same site. Saint-Sulpice and Saint- Thomas-d’Aquin were transformed from churches to secular “temples” and back to churches again. And the Palais du Luxembourg, Hôtel de Salm, and Palais Bourbon, homes at the beginning of the century to royalty and aristocrats, ended the century as homes to the country’s newly created democratic institutions. In addition to showcasing neoclassical buildings and monuments, the walk also provides an opportunity to wander through part of the Saint-Germain des Prés quarter, one of the city’s most lively and interesting neighborhoods. Start: Panthéon (Métro: Maubert Mutualité) Finish: Place de la Concorde (Métro: Concorde) Distance: 3 miles Time: 3 - 4 hours Best Days: Any day Copyright © Ann Branston 2011 HISTORY Religion and Philosophy Politics and Economics The political and economic situation in 18th-century France provided fertile As the 18th century began, France’s monarchy and the Catholic church ground for Enlightenment philosophers (know as “philosophes”) who (known later collectively as the “ancien régime”) were at the apex of their believed that natural “scientific” laws could be applied to social, economic power and glory.
    [Show full text]
  • Dossier De Presse
    Rebirth of a masterpiece Renaissance d’un chef-d’œuvre Une réalisation he Chancellerie d’Orléans... a chancellerie d’Orléans… Peu d’hô- or hôtels particuliers have tels particuliers parisiens ont fait collective T century jewel, dismantled stone by couler autant d’encre que ce joyau du XVIIIe siècle, déconstruit pierre par L Over the past century, the demoli- pierre en 1923 pour permettre l’agran- tion itself, followed by successive des mécènes américains regroupés failed attempts to reassemble it, has inspired criticism or simple nos- dissement de la Banque de France. au sein du World Monuments Fundd ont talgia, from lovers of Vieux Paris and !- apporté à ce projet leur concours géné- time, the Chancellerie d’Orléans, La démolition elle-même, puis l’échec stored in pieces in the warehouses reux : la Fondation Florence Gould, "- des projets de remontage successifs, ting its hour. la Fondation Samuel Kress, le Robert ont alimenté depuis un siècle la plume, W. Wilson Challenge to conserve our A personal initiative acerbe ou simplement nostalgique, !#"$%& Heritage et la Fondation Selz. Wailly, Bertrand de Vignaud, a lover des amoureux du Vieux Paris et de l’art of art and architecture, learned of the hôtel’s existence, and began working français. Entre-temps, la Chancellerie En juillet 2015, une convention signée on a strategy to get it rebuilt. With the support of the governors of the d’Orléans, conservée en pièces déta- "()% entre la Banque de France et le minis- Trichet and then Christian Noyer, he chées dans des entrepôts de la Banque began implementing his strategy, tère de la Culture a entériné le choix $*"$++/0 de France, attendait son heure.
    [Show full text]
  • Article SHAF, Juillet 2015
    1 Aspects inédits sur Julien-David Leroy (1724-1803) d’après sa correspondance dans le fonds D’Argenson de Poitiers. Philippe Cachau, Chercheur et docteur en histoire de l’art Il est toujours exaltant de découvrir la correspondance de grandes figures du monde des arts au XVIIIe siècle. C’est le cas de celle de Julien-David Leroy (fig.1), célèbre anticomane et théoricien de l’architecture néo-classique − néo-grecque plus précisément − avec Marc-René de Voyer de Paulmy d’Argenson, dit le marquis de Voyer (1722-1782) (fig.2), un des grands mécènes du siècle. Avant d’entrer dans le détail de cette correspondance, conservée dans le fonds de la famille Voyer d’Argenson à la Bibliothèque universitaire de Poitiers et découverte en 20131 dans le cadre de nos recherches sur les décors de l’hôtel parisien de la rue des Bons Enfants2, il convient de rappeler l’importance de la figure de Julien-David Leroy en son temps. Julien-David Leroy, précurseur des antiquités grecques et du goût "à la grecque". Eléments biographiques Le premier à nous renseigner valablement sur la figure de Leroy est Bon-Joseph Dacier (1742-1833), fameux helléniste de la fin du XVIIIe et du début du XIXe siècle, secrétaire perpétuel de l’Académie des Inscriptions et Belles Lettres dont Leroy était membre. Il rédigea en 1815, soit douze ans après sa mort, une Notice historique sur 1Poitiers, Bibliothèque universitaire, fonds ancien, P 157. 2Philippe Cachau : Les décors de l’hôtel de Voyer d’Argenson, dit Chancellerie d’Orléans (1765-1772). Recherches et analyse des trois pièces sur le jardin du Palais-Royal, étude pour le World Monuments Fund Europe, 2013.
    [Show full text]
  • Reception and Adaptation: Magic Tricks, Mysteries, Con Games
    Reception and Adaptation: Magic Tricks, Mysteries, Con Games by Joseph Daniel Culpepper A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Centre for Comparative Literature University of Toronto © Copyright by Joseph Daniel Culpepper 2014 Reception and Adaptation: Magic Tricks, Mysteries, Con Games Joseph Daniel Culpepper Doctor of Philosophy Centre for Comparative Literature University of Toronto 2014 Abstract This study of the reception and adaptation of magic tricks, murder mysteries, and con games calls for magic adaptations that create critical imaginative geographies (Said) and writerly (Barthes) spectators. Its argument begins in the cave of the magician, Alicandre, where a mystical incantation is heard: "Not in this life, but in the next." These words, and the scene from which they come in Tony Kushner's The Illusion, provide the guiding metaphor for the conceptual journey of this dissertation: the process of reincarnation. The first chapter investigates the deaths of powerful concepts in reader-response theory, rediscovers their existence in other fields such as speech-act theory, and then applies them in modified forms to the emergent field of performance studies. Chapter two analyzes the author as a magician who employs principles of deception by reading vertiginous short stories written by Jorge Luis Borges. I argue that his techniques for manipulating the willing suspension of disbelief (Coleridge) and for creating ineffable oggetti mediatori (impossible objects of proof) suggest that fantastic literature (not magical realism) is the nearest literary equivalent to experiencing magic performed live. With this Borgesian quality of magic's reality-slippage in mind, cross-cultural and cross-media comparisons of murder mysteries and con games are made in chapter three.
    [Show full text]
  • Full Text (PDF)
    Document generated on 09/27/2021 11:49 p.m. Man and Nature L'homme et la nature Planning Space for the Masses in France 1789-1799 James A. Leith Volume 6, 1987 URI: https://id.erudit.org/iderudit/1011919ar DOI: https://doi.org/10.7202/1011919ar See table of contents Publisher(s) Canadian Society for Eighteenth-Century Studies / Société canadienne d'étude du dix-huitième siècle ISSN 0824-3298 (print) 1927-8810 (digital) Explore this journal Cite this article Leith, J. A. (1987). Planning Space for the Masses in France 1789-1799. Man and Nature / L'homme et la nature, 6, 225–267. https://doi.org/10.7202/1011919ar Copyright © Canadian Society for Eighteenth-Century Studies / Société This document is protected by copyright law. Use of the services of Érudit canadienne d'étude du dix-huitième siècle, 1987 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ PLANNING SPACE FOR THE MASSES IN FRANCE 1789-1799 Since this is an after-dinner talk rather than a formal lecture, I am go• ing to be more personal (although in case anyone wants to publish my talk, I have put in footnotes). I have been working for five or six years on a work entitled Space and Revolution: Projects for Monuments, Squares and Public Buildings in France 1789-1789.
    [Show full text]
  • Educating the Female Orphan: Didactical Discourses in Mid-Eighteenth- Century Cross-Channel Literature
    Educating the Female Orphan: Didactical Discourses in Mid-eighteenth- century Cross-channel Literature. Samuel Wale. A perspective View of the Foundling Hospital, with emblematic figures, by Wale; engraved by Grignion and Canot. Inscription: These Mansions rais’d by Patrons kind and great, Where Babes deserted find a safe Retreate. Tho Frechmen sneer; Their boasted first Design, British Benevolence shall far outshine. Josje Siemensma 4054792 Dr. M. Corporaal – Prof. A. Montoya Research Master Literary Studies Research Master Thesis HLCS 27 June 2016 Table of Contents The Ubiquitous Orphan: The Orphan in Eighteenth-Century British and French Literature. ................. 5 Liminal Ambiguous Children: The Perception of the Orphan and its Education in Eighteenth-Century British and French Society .................................................................................................................... 20 Let Me Tell You My History: Narrating the Orphan’s Pedagogical Journey in Marivaux’s La Vie de Marianne and Mary Collyer’s The Virtous Orphan .............................................................................. 33 From Foundling to Orphan: Social Status and Agency in Haywood’s The Fortunate Foundlings, Crébillon’s Les Heureux Orphelins, and Kimber’s The Happy Orphans ............................................. 64 Transcending National Boundaries: The Transnational Female Orphan Narrative Template and Education in Eighteenth-Century Cross-Channel Novels ..................................................................
    [Show full text]
  • ESTETİK (Hikmet-I Bedayi)
    Servet-i Fünûn Yazıları I ESTETİK (Hikmet-i Bedayi) Hüseyin Cahit Yalçın Hazırlayan İsmail Alper Kumsar YAYIN NU: 1612 KÜLTÜR SERİSİ: 917 T.C. KÜLTÜR ve TURİZM BAKANLIĞI SERTİFİKA NUMARASI: 49269 ISBN: 978-605-155-379-5 www.otuken.com.tr [email protected] ÖTÜKEN NEŞRİYAT A.Ş.® İstiklâl Cad. Ankara Han 65/3 • 34433 Beyoğlu-İstanbul Tel: (0212) 251 03 50 • (0212) 293 88 71 - Faks: (0212) 251 00 12 Editör: Göktürk Ömer Çakır Kapak Tasarımı: Ceyhun Durmaz Dizgi-Tertip: Ötüken Kapak Baskısı: Pelikan Basım Baskı: ANA BASIN YAYIN GIDA İNŞ.SAN.VE.TİC.A.Ş Mahmutbey Mah. Devekaldırımı Cad. 2622 Sk. Güven İş Merkezi Nu:6/13, Bağcılar-İstanbul Sertifika Numarası: 20699 Tel: (0212) 446 05 99 İstanbul- 2021 İstanbul- Kitabın bütün yayın hakları Ötüken Neşriyat A.Ş.’ye aittir. Yayınevinden yazılı izin alınmadan, kaynağın açıkça belirtildiği akademik çalışmalar ve tanıtım faaliyetleri haricinde, kısmen veya tamamen alıntı yapılamaz; hiçbir matbu ve dijital ortamda kopya edilemez, çoğaltılamaz ve yayımlanamaz. Hüseyin Cahit Yalçın: 1875 yılında Balıkesir’de doğan Hüseyin Cahit, ilk ve orta öğrenimini Serez’de tamamlayıp 1893-1896 yıl- ları arasında Mekteb-i Mülkiye’de okumuş, mezuniyetini takiben Maarif Nezareti’nde beş yıl çeşitli kalemlerde çalıştıktan sonra, 1901 – 1908 yılları arasında Vefa ve Mercan idadilerinde, öğret- menlik ve idarecilik yapmıştır. 1891’de Ahmed Mithat Efendi’nin tesiriyle Nâdide adlı cinayet romanını yazan, Servet-i Fünûn dergi- sinde 1897’den itibaren hikâye, roman ve tenkitleri yayınlanan Cahit, II. Meşrutiyet’le birlikte İttihat ve Terakki’nin safların- da siyasi mücadeleye atılmıştır. İttihat ve Terakki’nin merkez-i umumi üyesi ve geleceğin büyük sözlükçüsü Hüseyin Kâzım Kadri’nin ve Tevfik Fikret’in davetiyle Tanin gazetesini çıkarmaya başlamış; Fikret’in birkaç ay sonra, Hüseyin Kâzım Kadri’nin de Serez mutasarrıflığına tayini dolayısıyla Şubat 1909’da ayrıldığı gazetenin imtiyazı kendisine kalmış ve uzun yazı hayatı boyunca adıyla birlikte anılacak olan bu gazeteyle Türk matbuatında silin- mez bir iz bırakmıştır.
    [Show full text]
  • 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.
    [Show full text]
  • Wildenstein Magnificent French Furniture, Objets D
    For Immediate Release Friday 30 September 2005 Contact: Catherine Manson (London) 44 207 389 2664 [email protected] Capucine Milliot (Paris) 33 140 76 84 08 [email protected] Andrée Corroon (New York) 212 636 2679 [email protected] WILDENSTEIN MAGNIFICENT FRENCH FURNITURE, OBJETS D’ART & TAPESTRIES Unseen for Decades and In Pure, Untouched and Unrestored Condition, The Superb Wildenstein Collection Will Be Revealed at Christie’s The Wildenstein Collection of Magnificent French Furniture and Objets d’Art Christie’s King Street 14 & 15 December 2005 London – Christie’s announces the sale of the Wildenstein Collection of Magnificent French Furniture, Objets d’Art and Tapestries will take place in London on 14 and 15 December 2005. The sale of this vast collection, started at the turn of the century by Nathan and Laure Wildenstein and comprising more than 250 works of art, including an unprecedented dispersal of magnificent Boulle furniture, is estimated to realise over £14 million ($25 million). The depth and range of the collection is as extraordinary as its impeccable, untouched condition. The majority of the works have remained undisturbed since their acquisition up to one hundred years ago at the turn of the 20th century and the collection has not been available, even to the cognoscenti, for either viewing or acquisition. Its appearance on the market is a true landmark event in the annals of French furniture collecting. “After careful thought, Wildenstein has decided to sell the contents of the Hôtel de Wailly at 57, rue de la Boétie in Paris to create new facilities for housing the archives and research workrooms of the Wildenstein Institute, the world’s leading publisher of catalogues raisonnés.
    [Show full text]
  • With Walter Zaney Blaney
    Anthony Darkstone Brook In Conversation With Walter Blaney The following article was written way back in 2002 and as the saying goes, it has, “withstood the test of time” . Since then, Rory Johnson, who wrote an article on Walter for MAGIC magazine used this article as a basis for his feature. In 2008, I was greatly honored when at the Texas Association of Magicians Convention, I was invited to Produce & Host a Live Talk Show with Walter as the main guest. Other guests on my show were Trixie Bond, Scott Wells, MarcoM, Chuck Lehr , Bruce Kalver , Frances Willard, Glen Falkenstien, Bill Palmer, Walter’s daughters Beck Blaney, Dr.Carol Blaney and Gold Medal Champion Shannon Blaney. And, last but not least, David Copperfield who was a Live phone-in guest. The photos accompanying this article depict some of those wonderful moments. Anthony Darkstone Brook In Conversation With Walter Blaney The phrase, ‘World Class Entertainer’ can only truly be applied to an elite few notable magicians. In the vanguard of that group one name resonates with singular clarity. That name is Walter Blaney. In more ways than one Walter Blaney stands tall in the world of magic. His 6ft – 6inch frame houses the presence of a formidable performer, creative genius and the inventive mind of some of magic’s greatest stage illusions. Lance Burton, David Copperfield, Paul Daniels and Sylvan are just a few of the world’s leading magicians that have used Walter’s magical creations in their shows. David Copperfield is quoted as saying that one of his favorite illusions is none other than Walter Blaney’s – Ladder Levitation.
    [Show full text]