DOCSLIB.ORG

The Spiritist Magazine

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Spiritist Magazine 1859 The Spiritist Magazine Allan Kardec ipeak instituto de pesquisas espíritas allan kardec Allan Kardec The Spiritist Magazine Journal of Psychological Studies January 1859 Preface to the English Edition The Spiritist Magazine was written and published by Allan Kardec from January 1858 to April 1869. Kardec died on March 31st, 1869. He had finished the April 1869 issue of the Magazine which was published after his death. In total there are 136 monthly fascicles of the Magazine, bundled in volumes of 12 fascicles per year, yielding 12 volumes. It is the largest spiri- tist productionof Allan Kardec. In The Mediums’ Book, part I, chapter III, about The Method, the author makes the following observation about the Magazine: “Diverse col- lection of facts, theoretical explanations and isolated sections, that complement the scope of what is found in the two preceding works (The Mediums’ Book and The Spirits’ Book), forming in a certain way their application.” While complementing the two main books of the Spiritist Doctrine, and showing their most important applications, the Magazine is indispen- sable to all those willing to have an in-depth understanding of Kardec’s thought. It is the most comprehensive piece of work about the spiritist move- ment of the XIX century, containing the formation and modus operandi of the spiritist groups as well as statistics about the adepts around the world. In addition to the profound study of the spiritist theory and the explana- tions about several questions raised by the spiritists, the Magazine shows the evolution of Kardec’s thought during the construction of the Spiritist Science. It analyzes new phenomena, like for example the possessions. Some theoretical adjustments were proposed, showing the evolutionary character of the Spiritist Science. It is the most adequate collection of texts which demonstrate Allan Kardec’s lucidity, equilibrium and common sense. The Spiritist Magazine is all that and much more. 3 The Spiritist Magazine 18591858 Allan Kardec We have always cherished the the desire of having the Magazine pu- the required languages, although not a native English speaker, are testimo- blished in English. nies of the quality work that he is developing. I his own words: “I beg you The world needs to know that grandiose work of Karkec. English has and the spiritist community for your forgiveness with respect to my failures and become the official language of the whole world. English is also the most limitations, at the time that I thank Jesus and Kardec for having given me such important vehicle of dissemination of any Science which have adopted this an undeserved opportunity…” language as their main mode of communication in all corners of the world. Our IPEAK was born with the objective of promoting the works of The Spiritist Science needed an English version of Kardec’s largest pro- Kardec to the whole world. We thank all members of this Institute for their duction. dedication and tireless contribution. Thanks to the dedication of a dear friend, Dr. Luiz Americo Venturini Thank you my dear friend Dr. Luiz Cheim, for this current English Cheim, the Spiritist Research Institute – IPEAK can now see this dream translation. come true, virtually allowing everybodyaround the world to have access to Thank you so much dear master Allan Kardec for providing us with the Spiritist Magazine in English. this remarkable doctrine which gives us the opportunity and privilege of le- I met Dr. Luiz Cheim in the late 70’s when both of us were young arning and studying for our own betterment and for the progress of huma- undergraduate students at the Federal University of Rio de Janeiro, Brazil. nity. Thank you also for the expressions of true friendship and love which His major was Electrical Engineering, mine was Physics. Since those days blossom around us thanks to our initial understanding of the underlying we were united by Spiritism, creating a group of enthusiastic youngsters for principles of this unique doctrine. the study of Spiritism in the hall of residence of that University. We shared Cosme Massi that experience for about four years. Time went bye. Our professional lives led us to very different jour- Translator’s biography: neys and places. He continued his studies abroad, seeking his PhD at the Luiz A. V. Cheim was born in Rio de Janeiro, Brazil on April 5th, University of Nottingham, in England. I stayed in Brazil and obtained my 1959. He graduated from the School of Electrical Engineering at the Fede- Doctor’s Degree at Unicamp. We were then separated for some time by our ral University of Rio de Janeiro (URFJ) in 1982, obtained his M.Sc. degree careers and life commitments. from COPPE-UFRJ in 1987 and further studied at the University of Not- Our spiritist ideals and profound admiration for Kardec’s work outli- tingham, England (1989-1993), where he obtained his PhD degree also in ved all that and maintained an invisible bond between us. Electrical and Electronic Engineering. During his doctoral studies Dr. L. In 2010, together with a group of friends in Curitiba, Brazil, we crea- Cheim worked on secondment having been granted a full scholarship from ted the IPEAK’s website, aiming at promoting all works of Kardec, already the Brazilian Government (CNPq) for the whole four years of studies in achieved in Portuguese and French. We lacked the site in English. In order England. His employment history includes 18 years with the Center for to achieve that it was necessary to have the Spiritist Magazine translated Electric Power Research (CEPEL) in Rio de Janeiro, Brazil, 10 years with into English. Siemens Transformers in Brazil (7 years) and in the USA (3 years), and On hearing about the IPEAK project, our dear friend Dr. Luiz Cheim more recently working as a Research and Development Consultant Engi- offered to translate all works of Kardec which were not yet available in neer with ABB Transformers Group since August 2009 (1 year in Canada, English. 3 years in the USA). Dr. L. Cheim was awarded the Cigre-Paris Technical Spiritism united us once again through this new project of the IPEAK. Award 2006 for his technical contributions to Cigre and the work he did We now have the great satisfaction of offering to the public this cur- for the advancement of Cigre in Brazil, as the local Chairman of the SCA2 rent translation of the Spiritist Magazine carried out by Dr. Luiz Cheim. (Transformers) from 2000-2006. In 2013 he was awarded the Global ABB His academic and professional experiences, as well as his knowledge of Service Innovation Award conferred in Zurich by ABB’s Executive Com- 4 5 The Spiritist Magazine 1859 Allan Kardec mittee. Luiz has been a member of the IEEE Transformers Committee The Spiritist Magazine since 2007 and Cigre since 1985. Journal of Psychological Studies January 1859 Letter to HM Prince G Your Majesty has given me the honor of enquiring aboutseveral ques- tions regarding Spiritism. I will try to respond to them with the state of the art knowledge on the subject, summarizing in a few words what we have learned through the study and observation. The referred issues are based on the principles of the Science. In order to give more clarity to the solution it is necessary to have those principles in mind. Thus, allow me to consider the subject from a little more elevated stand point, establishing certain fundamental preliminary propositions which will serve, as a matter of fact, as answers to some of those questions. Outside the visible and corporeal world there are invisible beings that constitute the world of the spirits. The spirits are not disconnected beings but the souls of those who lived on Earth or in other worlds and that have detached from their material involucre (wrapping). The spirits show all levels of intellectual as well as moral development. Hence, there are good and evil, liars and frivolous, scoundrels and hypo- critical spirits that try to deceive people, encouraging them to evil, as there are those spirits who are well superior in everything, who don’t do anything else but the good deeds. Such distinction constitutes a capital point. The spirits surround us incessantly. They guide our thoughts and actions irrespectively, thus influencing over the events and destinies of humanity. They sometimes reveal their presence through material effects. Those effects have nothing of supernatural; they only seem supernatural to us because they are founded on bases that are outside of the known laws of matter. Once those bases are known, the effects become part of the category of the natural phenomena. That is how the spirits can act upon the inert bodies and move them without the support of our external agents. Denying the existence of unknown agents just because we don’t understand them is the same as restrai- ning God’s power, and believing that nature has already given us the last word. 6 7 The Spiritist Magazine 1859 Allan Kardec Every effect has a cause, and nobody denies that. It is then illogical to are produced by inferior spirits; the elevated spirits don’t get involved with deny the cause just because it is unknown. such things in the same way that our wise men are not occupied with the hard labor; their role is to educate through reason. Since every effect has a cause then every intelligent effect must have The communications may come from inferior as much as superior spi- an intelligent cause. When we observe the parts of the telegraph produ- rits. Like men, the spirits can be recognized by their language: the language cing signs which correspond to a human thought we don’t conclude that of the superior spirits it is always serious, dignified, noble and plentiful of those components are intelligent but that they are moved by intelligence.
Load more

Recommended publications
  • Fashion in Paris; the Various Phases of Feminine Taste and Aesthetics from 1797 to 1897
    EX LIBRIS Cooper Union Museum for the Arts of Decoration GIVEN BY The Hospital Book and News Socle IN 1900 FASHION IN PARIS THE VARIOUS PHASES OF FEMININE TASTE AND ESTHETICS FROM 1797 TO 1897=^ By OCTAVE UZANNE ^ from the French by LADY MARY LOYD ^ WITH ONE HUNDRED HAND- COLOURED PLATES fc? TWO HUNDRED AND FIFTY TEXT ILLUSTRATIONS BY FRANCOIS COURBOIN LONDON : WILLIAM HEINEMANN NEW YORK: CHARLES SCRIBNER'S SONS MDCCCXCVIII (pr V All rights reserved CHAP. PAGE I. The Close of the Eighteenth Century ... i Licentiousness of Dress and Habits under the Directory of the Nineteenth II. The Dawn Century . 23 The Fair Sex in the Tear VIII First Empire III. Under the ...... +5 Feminine Splendour in Court and City IV. Dress, Drawing - rooms, and Society under the Restoration ....... 65 1815-1825 V. The Fair Parisian in 1830 ..... 85 Manners, Customs, and Refme?nent of the Belles of the Romantic Period VI. Fashion and Fashion's Votaries, from 1840 to 1850 103 VII. Fashion's Panorama in 1850 . 115 The Tapageuses and the Myst'erieuses in under VIII. Life Paris the Second Empire . .127 Leaders of the Gay World, and Cocodettes IX. The Fair Sex and Fashions in General from 1870 till 1880 ....... 147 X. The Parisian, as She is . .165 Her Psychology, Her Tastes, Her Dress MM. kmmi X<3 INTRODUCTION he compilation of a complete bibliography, even the most concise, of the works devoted to the subject of Costume, T and to the incessant changes of Fashion at every period, and in every country, in the world, would be a considerable undertaking—a work worthy of such learning as dwelt in the monasteries of the sixteenth century.
    [Show full text]
  • Prints from the Age of Rodin Wall Labels
    Fairfield University DigitalCommons@Fairfield Prints from the Age of Rodin - Ephemera Prints from the Age of Rodin Fall 2019 Prints from the Age of Rodin Wall Labels Fairfield University Art Museum Follow this and additional works at: https://digitalcommons.fairfield.edu/rodin-prints-ephemera This item has been accepted for inclusion in DigitalCommons@Fairfield by an authorized administrator of DigitalCommons@Fairfield. It is brought to you by DigitalCommons@Fairfield with permission from the rights- holder(s) and is protected by copyright and/or related rights. You are free to use this item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses, you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Angelo Jank (French, active 19th century) Woman with a Parrot from the portfolio L’Estampe Moderne, 1898 Color lithograph Gift of James Reed (2017.35.823) This lithograph was one of four that appeared in the volume of L’Estampe Moderne in the case below. Pierre Bonnard (French, 1867-1947) The Loge, 1898 Color lithograph Gift from the Dr. I. J. and Sarah Markens Art Collection (2018.34.26) Bonnard’s lithograph, which takes up the same subject of spectators at the opera as Lunois’ print above, appeared as the frontispiece to Mellerio’s book. Edward J. Steichen (American, 1879-1964) Portrait of Rodin with The Thinker and The Monument to Victor Hugo, 1902 Gelatin silver print Jundt Art Museum, Gonzaga University; Gift of Iris and B.
    [Show full text]
  • Urban Space and Bourgeois Identity in Early Nineteenth-Century Paris*
    Telling “Spatial Stories”: Urban Space and Bourgeois Identity in Early Nineteenth-Century Paris* Victoria E. Thompson Arizona State University Writing about Paris in 1835, the Englishwoman Fanny Trollope lamented: “You must remember . before the last revolution [of 1830],—how very agreeable a part of the spectacle at the Louvre and in the Tuileries garden was constituted by the people....Butnow,till the fresh dirt . of the Three Days’ labour be worn off, dingy jackets, uncomely casquettes . must all be toler- ated; and in this toleration appears to consist at present the principal external proof of the increased liberty of the Parisian mob.”1 Mrs. Trollope’s comment reveals her anxiety concerning the changes wrought in the people by the July Revolution, which ousted Charles X and replaced him with Louis-Philippe during three days of public protest and street fighting. In expressing this anxiety within a specifically urban context, linking the transformation of the popular classes to the question of urban mobility, Mrs. Trollope was also crafting a “spatial story.” French theorist Michel de Certeau used the term “spatial stories” to emphasize the interdependency of textual narratives and spatial practices.2 According to de Certeau, as individ- uals move through urban space, they craft personal itineraries that they infuse with meaning.3 This meaning can be expressed to others through writing. Al- though they are highly personal, he believes that these itineraries, which he * I am extremely grateful to those who have read and commented on any of the many versions of this article. Thanks in particular to John Fairfield, Rachel Fuchs, Matthew Ramsey, and participants in the History Workshop at the University of Ari- zona.
    [Show full text]
  • Maison Dorée PARIS
    Maison Dorée PARIS The bank for a changing world MAISON DORÉE To serve head office needs, BNP, headquartered at adjoining 16,boulevard des Italiens and 1, boulevard Haussmann, acquired in 1974 the block stretching between the rue Taitbout and the rue Laffitte, where stands the iconic Maison Dorée. After major renovation works were completed in 1976 by architect Pierre Dufau, the International Department, the Treasury division, the Forex dealing room and the merchant bank BANEXI moved into the rejuvenated building. While architectural heritage preservation and banking requirement relevancy challenged thoroughly, the design was amended several times until it became a genuine façadism project. Hence not only does the façade overlooking the boulevard retain its exquisite neo-Renaissance decor, but also extend by two identical bays through the rue Taitbout. At the back of the building, glass walls with aluminium joinery make up a huge contemporary insert. The upper floor houses the function rooms and a roof garden. Dark tinted panes both enhance the stone façade and increase the appearance size. The Maison Dorée in 1843 MAISON DORÉE The Maison Dorée and BNP headquarters in 1989 Initially, this marshy plot was part of the farming a French diplomat, married his grand-daughter estate La Grange Batelière when the French Louise-Honorine Crozat. financier Crozat, the richest Frenchman and a close The boulevard des Italiens development started friend of king Louis XIV, bought it to set up a kitchen when the streets rue Laffitte and rue Taitbout were garden for his mansion located on the other side opened between 1768 and 1775.
    [Show full text]
  • The Eighteenth Brumaire of Louis Bonaparte Written: December 1851-March 1852; Source: Chapters 1 & 7 Are Translated by Saul K
    The Eighteenth Brumaire of Louis Bonaparte Written: December 1851-March 1852; Source: Chapters 1 & 7 are translated by Saul K. Padover from the German edition of 1869; Chapters 2 through 6 are based on the third edition, prepared by Engels (1885), as translated and published by Progress Publishers, Moscow, 1937; First Published: First issue of Die Revolution, 1852, New York; Transcription/Markup: Zodiac and Brian Baggins for Marx/Engels Internet Archive 1995, 1999; Proofed: and corrected by Alek Blain, 2006, Mark Harris, 2010. Preface to the Second Edition (1869) My friend Joseph Weydemeyer, whose death was so untimely, intended to publish a political weekly in New York starting from January 1, 1852. He invited me to provide this weekly with a history of the coup d‘etat. Down to the middle of February, I accordingly wrote him weekly articles under the title The Eighteenth Brumaire of Louis Bonaparte. Meanwhile, Weydemeyer‘s original plan had fallen through. Instead, in the spring of 1852 he began to publish a monthly, Die Revolution, whose first number consists of my Eighteenth Brumaire. A few hundred copies of this found their way into Germany at that time, without, however, getting into the actual book market. A German bookseller of extremely radical pretensions to whom I offered the sale of my book was most virtuously horrified at a ―presumption‖ so ―contrary to the times.‖ From the above facts it will be seen that the present work took shape under the immediate pressure of events and its historical material does not extend beyond the month of February, 1852.
    [Show full text]
  • A Wanderer in Paris by the Same Author
    .* ^'^' v^ •o ^^^ ^-c^ ^^.c.^' "^ ,* ^ # v*K^ A WANDERER IN PARIS BY THE SAME AUTHOR A WANDERER IN LONDON A WANDERER IN HOLLAND OVER BEMERTON'S listener's lure anne's terrible good-nature the open road the gentlest art THE ladies' PAGEANT SOME FRIENDS OF MINE CHARACTER AND COMEDY THE LIFE OF CHARLES LAMB ONE DAY AND ANOTHER HOTEL DE SEN'S THE RUK DE LHOTEL DE VILLE A WANDERER IN PARIS BY i E. V. LUCAS 1^ " " ril go and chat with Paris ^ — Romeo andJuliet W 1 I SIXTEEN ILLUSTRATIONS IN COLOUR BY WALTER DEXTER AND TH RTY-TWO REPRODUCTIONS FROM WORKS OF ART ) "Nzia ^axk TH : MACMILLAN COMPANY 1909 ^// rights reser-ved J f Copyright, 1909, By the MACMILLAN COMPANY, Set up and electrotyped. Published September, 19* ri A 2 4 6 5 6 SEP :17 1909 Nnrbjootr ^regs J. S. Gushing Co. — Berwick & Smith Norwood, Mass., U.S.A. i PREFACE A LTHOUGH the reader will quickly make -^^^ the discovery for himself, I should like here to emphasise the fact that this is a book about Paris and the Parisians written wholly from the outside, and containing only so much of that city and its citizens as a foreigner who has no French friends may observe on holiday visits. I express elsewhere my indebtedness to a few French authors. I have also been greatly assisted in a variety of ways, but especially in the study of the older Paris streets, by my friend Mr. Frank Holford. E. V. L. CONTENTS CHAPTER I PAGE The English Gates of Paris i CHAPTER II The Ile de la Cnt 9 CHAPTER III Notre Dame 31 CHAPTER IV Saint Louis and his Island 54 CHAPTER V The Marais 61 CHAPTER VI The Louvre: I.
    [Show full text]
  • Empire and Belle Epoque Walking Tour 4Pages
    The 19th century was a fascinating time in Paris. It’s hard to choose among the city’s many 19th-century landmarks. As a result, this walking tour is potentially the longest in this series. But the guide includes options for tailoring the walk to fit your time, energy and personal interests. The tour begins with a look at monuments to Napoleon I and Napoleon III’s imperial aspirations including the Arc de Triomphe and the 19th-century Louvre. It also includes buildings which are emblematic of the city’s 19th-century economic aspirations including the Paris stock exchange, several banks, and the Saint-Lazare railroad station. You’ll see how shopping evolved in Paris, from atmospheric covered passages such as the Galeries Vivienne and Colbert, to grand department stores like Galeries Lafayette and Au Printemps. The Palais-Royal, the Opéra Garnier and the Musée Jacquemart- André provide a glimpse into how wealthy Parisians lived and entertained themselves during this era. And you’ll visit two beautiful churches, Saint-Augustin and Saint-Eugène-Saint-Cecile. The tour ends with an optional visit to the 19th- century structure that has become the city’s most iconic monument, the Tour Eiffel. Start: Arc de Triomphe (Métro: Charles de Gaulle/Etoile) or Place de la Concorde (Métro: Concorde) Finish: Musée Jacquemart-André (Métro: Saint-Philippe-du-Roule) or Tour Eiffel (Métro: Bir-Hakeim) Distance: 3 - 4 miles (short version); 4 - 5 miles (long version) Time: 4 - 5 hours (short version); the better part of a day (long version) Best Days: Tuesday - Friday Copyright © Ann Branston 2011 HISTORY In 1848, a series of revolutions finally unseated the monarchy for good.
    [Show full text]
  • The Project Gutenberg Ebook of History of the French Revolution from 1789 to 1814 by F
    The Project Gutenberg EBook of History of the French Revolution from 1789 to 1814 by F. A. M. Mignet Copyright laws are changing all over the world. Be sure to check the copyright laws for your country before downloading or redistributing this or any other Project Gutenberg eBook. This header should be the first thing seen when viewing this Project Gutenberg file. Please do not remove it. Do not change or edit the header without written permission. Please read the "legal small print," and other information about the eBook and Project Gutenberg at the bottom of this file. Included is important information about your specific rights and restrictions in how the file may be used. You can also find out about how to make a donation to Project Gutenberg, and how to get involved. **Welcome To The World of Free Plain Vanilla Electronic Texts** **eBooks Readable By Both Humans and By Computers, Since 1971** *****These eBooks Were Prepared By Thousands of Volunteers!***** Title: History of the French Revolution from 1789 to 1814 Author: F. A. M. Mignet Release Date: January, 2006 [EBook #9602] [This file was first posted on October 9, 2003] Edition: 10 Language: English Character set encoding: US-ASCII *** START OF THE PROJECT GUTENBERG EBOOK, HISTORY OF THE FRENCH REVOLUTION FROM 1789 TO 1814 *** E-text prepared by Anne Soulard, Charles Aldarondo, Tiffany Vergon, and the Project Gutenberg Online Distributed Proofreading Team HISTORY OF THE FRENCH REVOLUTION FROM 1789 TO 1814 BY F.A.M. MIGNET INTRODUCTION Of the great incidents of History, none has attracted more attention or proved more difficult of interpretation than the French Revolution.
    [Show full text]
  • Louis Philippe
    Louis Philippe by John S. C. Abbott LOUIS PHILIPPE. CHAPTER I. ORIGIN OF THE HOUSE OF ORLEANS. 1669-1793 The origin of the House of Orleans is involved in some obscurity. The city of Orleans, from which the duke takes his title, was the Aurelium of imperial Rome. The first Duke of Orleans with whom history makes us familiar was Philip, the only brother of Louis XIV. Louis XIII., the son and heir of Henry IV., married Anne of Austria. Two children were born to them, Louis and Philippe. The first became the world-renowned monarch, Louis XIV. His brother, known in history as Monsieur, enjoyed the title and the princely revenues of the dukedom of Orleans. Monsieur married, as his first wife, the beautiful Henrietta Stuart, daughter of the unfortunate Charles I. of England. Her mother was Henrietta of France, the daughter of Henry IV., and sister of Louis XIII. She died in the bloom of youth and beauty, of poison, after the most cruel sufferings, on the 27th of June, 1669. Philippe took as his second wife Elizabeth Charlotte, daughter of the Elector Charles of Bavaria. By this marriage he left a son, Philippe, who not only inherited his father's almost boundless wealth and princely titles, but who attained wide-spread notoriety, not to say renown, as the regent of France, after the death of Louis XIV., and during the minority of Louis XV. The regent was a man of indomitable force of will. During his long regency he swayed the sceptre of a tyrant; and the ear of Europe was poisoned with the story of his debaucheries.
    [Show full text]
  • Picturing France 1830-1900
    Picturing France 1830 –1900 Picturing France 1830 – 1900 NATIONAL GALLERY OF ART, WASHIngTON CONTENTS 1 INTRODUCTION 5 SECTION 1 Paris and the Painters of Modern Life 11 A modern city 13 A most modern old bridge 14 Department stores 18 The Louvre and Tuileries 20 Montmartre 31 SECTION 2 Encounters with Nature in the Forest of Fontainebleau 37 The Barbizon school 39 A feel for light 41 The academic tradition and Salon painting 42 Photography and painting 43 Oaks, artists, and nature preserves 45 Monet in Fontainebleau 81 Courbet on realism 51 SECTION 3 Life and Leisure along the Rivers of the Île-de-France 83 SECTION 5 Painters and Tourists in Normandy 57 “Impressionism” 87 Plein-air painting 58 Monet’s dahlias 92 Channel resorts 61 River sports 93 Monet and the paintings of Rouen cathedral 65 Peasants 98 Neo-impressionism 98 Color and light 73 SECTION 4 Rugged Landscapes in Auvergne and Franche-Comté 103 SECTION 6 Seeking the “Primitive” in Brittany 106 Celtic culture: language, music, and religion 110 Synthétisme 121 SECTION 7 Effects of the Sun in Provence 124 Occitan and Languedoc 124 Pétanque 124 The mistral 127 Cézanne and modern art 132 The influence of Japanese art RESOURCES 138 Glossary 142 Notes 143 Bibliography 145 List of Images page 4 2 PARIS 1 3 4 5 6 1 BRITTANY 2 NORMANDY 3 ÎLE-DE-FRANCE 4 FRANCHE-COMTÉ 5 AUVERGNE 6 PROVENCE INTRODUCTION Picturing France From about 1830 to the end of the nineteenth century, a period of enormous political and social change, French landscape painting was transformed.
    [Show full text]
  • The Revolutionary Career of François Gérard By
    ON SHIFTING GROUND: THE REVOLUTIONARY CAREER OF FRANÇOIS GÉRARD BY JENNIFER MARIE LANGWORTHY DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Art History in the Graduate College of the University of Illinois at Urbana-Champaign, 2012 Urbana, Illinois Doctoral Committee: Associate Professor David O’Brien, Chair Associate Professor Lisa Rosenthal Associate Professor Oscar Vázquez Assistant Professor Jennifer Greenhill ii ii Abstract This dissertation examines the career of François-Pascal-Simon Gérard (1770- 1837) from its beginnings in the mid-1780s through the end of the French Revolution and provides a more complete understanding of Gérard as a key artist of the Revolutionary decade. A goal of this study is to set aside long-standing assumptions concerning Gérard’s political convictions and doubts about his artistic originality in order to shed light on Gérard’s critical contributions to Revolutionary art, and in particular, to the Davidian school. I demonstrate that, in the 1790s, Gérard moved away from the subjects and styles forged in Jacques-Louis David’s (1748-1825) studio. Most significantly, he reinvented classicism as a vehicle for moderate political themes, he reintroduced apolitical, sexualized imagery into classicism, and he established an artistic practice in which the serious business of the history painter was thoroughly integrated with that of the high-society portraitist. To do this, Gérard developed new modes of classicism, experimented with the emergent subject matter of Romanticism, and and explored issues of gender and sexuality in uncommon ways. During the tumultuous decade of the Revolution, when political consensus was at best fleeting and the traditional institutions of the French art world faltered, Gérard’s political and artistic flexibility allowed him not only to escape many of the consequences suffered by politically committed artists, but also eventually to thrive as a leading painter of the society of the late Directory.
    [Show full text]
  • Modernity Engine Of
    Engine of modernity Engine of Engine of Engine of modernity examines the connection between public modernity transportation and popular culture in nineteenth-century Paris by focussing on the omnibus – a horse-drawn vehicle for mass urban transport which enabled contact across lines of class and gender. A major The omnibus and urban culture advancement in urban locomotion, the omnibus generated innovations in social practices by compelling passengers of diverse backgrounds to in nineteenth-century Paris interact within the vehicle’s close confines. Although the omnibus itself did not actually have an engine, its arrival on the streets of Paris and in the pages of popular literature acted as a motor for a fundamental cultural shift in how people thought about the city, its social life, and its artistic representations. At the intersection of literary criticism and cultural history, Engine of modernity argues that for nineteenth-century French writers and artists, the omnibus was much more than a mode of transportation. It became a metaphor through which to explore evolving social dynamics of class Belenky and gender, meditate on the meaning of progress and change, and reflect on one’s own literary and artistic practices. Because of the book’s interdisciplinary approach and scope, Engine of modernity will appeal to scholars and students in a variety of academic fields, including French literature and culture, French and European history, urban studies, gender studies, and nineteenth-century visual culture. Masha Belenky is Associate Professor of French at the George Washington University Cover image: Camille Pissarro. Boulevard des Italiens, morning sunlight. 1897. Oil on canvas.
    [Show full text]