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Fighting for France's Political Future in the Long Wake of the Commune, 1871-1880
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2013 Long Live the Revolutions: Fighting for France's Political Future in the Long Wake of the Commune, 1871-1880 Heather Marlene Bennett University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the European History Commons Recommended Citation Bennett, Heather Marlene, "Long Live the Revolutions: Fighting for France's Political Future in the Long Wake of the Commune, 1871-1880" (2013). Publicly Accessible Penn Dissertations. 734. https://repository.upenn.edu/edissertations/734 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/734 For more information, please contact [email protected]. Long Live the Revolutions: Fighting for France's Political Future in the Long Wake of the Commune, 1871-1880 Abstract The traumatic legacies of the Paris Commune and its harsh suppression in 1871 had a significant impact on the identities and voter outreach efforts of each of the chief political blocs of the 1870s. The political and cultural developments of this phenomenal decade, which is frequently mislabeled as calm and stable, established the Republic's longevity and set its character. Yet the Commune's legacies have never been comprehensively examined in a way that synthesizes their political and cultural effects. This dissertation offers a compelling perspective of the 1870s through qualitative and quantitative analyses of the influence of these legacies, using sources as diverse as parliamentary debates, visual media, and scribbled sedition on city walls, to explicate the decade's most important political and cultural moments, their origins, and their impact. -
Redalyc.AUGUSTE RODIN, EL CARÁCTER ESPECÍFICODE SU
Quintana. Revista de Estudos do Departamento de Historia da Arte ISSN: 1579-7414 [email protected] Universidade de Santiago de Compostela España Núñez Rodríguez, Manuel AUGUSTE RODIN, EL CARÁCTER ESPECÍFICODE SU PROCESO CONFIGURATIVO Quintana. Revista de Estudos do Departamento de Historia da Arte, núm. 13, 2014, pp. 101-117 Universidade de Santiago de Compostela Santiago de Compostela, España Disponible en: http://www.redalyc.org/articulo.oa?id=65342954006 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto AUGUSTE RODIN, EL CARÁCTER ESPECÍFICO DE SU PROCESO CONFIGURATIVO Manuel Núñez Rodríguez Universidade de Santiago de Compostela RESUMEN En este estudio se trata de analizar los diferentes factores que influyeron en la obra de Rodin, así como sus principales innovaciones como escultor, tanto en el tratamiento de las obras como en los diferentes factores que predominaron en el artista francés, con el que creó una obra rica en matices plásticos e innovadora en el mundo de finales del siglo XIX. Palabras clave: Rodin, mano in pronazione, ritual de harmiscara, comportamiento kinésico, sinestesia ABSTRACT This study sets out to analyse the various factors that influenced the work of Rodin and his main innovations as a sculptor, both in the treatment of his work and his influences, which he drew on to create art that was both rich in visual nuance and groundbreaking for the late nineteenth century. -
Greek Sculpture and the Four Elements Art
University of Massachusetts Amherst ScholarWorks@UMass Amherst Greek Sculpture and the Four Elements Art 7-1-2000 Greek Sculpture and the Four Elements [full text, not including figures] J.L. Benson University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/art_jbgs Part of the History of Art, Architecture, and Archaeology Commons Benson, J.L., "Greek Sculpture and the Four Elements [full text, not including figures]" (2000). Greek Sculpture and the Four Elements. 1. Retrieved from https://scholarworks.umass.edu/art_jbgs/1 This Article is brought to you for free and open access by the Art at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Greek Sculpture and the Four Elements by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Cover design by Jeff Belizaire About this book This is one part of the first comprehensive study of the development of Greek sculpture and painting with the aim of enriching the usual stylistic-sociological approaches through a serious, disciplined consideration of the basic Greek scientific orientation to the world. This world view, known as the Four Elements Theory, came to specific formulation at the same time as the perfected contrapposto of Polykleitos and a concern with the four root colors in painting (Polygnotos). All these factors are found to be intimately intertwined, for, at this stage of human culture, the spheres of science and art were not so drastically differentiated as in our era. The world of the four elements involved the concepts of polarity and complementarism at every level. -
A History of the French in London Liberty, Equality, Opportunity
A history of the French in London liberty, equality, opportunity Edited by Debra Kelly and Martyn Cornick A history of the French in London liberty, equality, opportunity A history of the French in London liberty, equality, opportunity Edited by Debra Kelly and Martyn Cornick LONDON INSTITUTE OF HISTORICAL RESEARCH Published by UNIVERSITY OF LONDON SCHOOL OF ADVANCED STUDY INSTITUTE OF HISTORICAL RESEARCH Senate House, Malet Street, London WC1E 7HU First published in print in 2013. This book is published under a Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International (CC BY- NCND 4.0) license. More information regarding CC licenses is available at https://creativecommons.org/licenses/ Available to download free at http://www.humanities-digital-library.org ISBN 978 1 909646 48 3 (PDF edition) ISBN 978 1 905165 86 5 (hardback edition) Contents List of contributors vii List of figures xv List of tables xxi List of maps xxiii Acknowledgements xxv Introduction The French in London: a study in time and space 1 Martyn Cornick 1. A special case? London’s French Protestants 13 Elizabeth Randall 2. Montagu House, Bloomsbury: a French household in London, 1673–1733 43 Paul Boucher and Tessa Murdoch 3. The novelty of the French émigrés in London in the 1790s 69 Kirsty Carpenter Note on French Catholics in London after 1789 91 4. Courts in exile: Bourbons, Bonapartes and Orléans in London, from George III to Edward VII 99 Philip Mansel 5. The French in London during the 1830s: multidimensional occupancy 129 Máire Cross 6. Introductory exposition: French republicans and communists in exile to 1848 155 Fabrice Bensimon 7. -
Tangents 1 Publishing Notes Letter from the Editors
summer 2006 the journal of the master of liberal arts program at stanford university in this issue... Essays by Jennifer Swanton Brown, Jennifer Burton, John Devine, Nancy Krajewski, Denise Osborne, Loren Szper, and Bryon Williams Fiction by Andy Grose Poems by Jennifer Swanton Brown, Tamara Tinker, and Mason Tobak summer 2006 the journal of the master of liberal arts program at stanford university volume 5 in this issue... 4 The Silk Horse Andy Grose 10 A Flood of Misborrowing: Sin and Deluge in Atrahasis and Genesis Bryon Williams 17 Three Poems of Love-Gone-Bad Mason Tobak 20 William James Observes San Francisco’s Reliance John Devine 27 The Burghers of Calais: A Personal Viewing Experience Jennifer Burton 31 Dionysus at Sea Tamara Tinker 32 Marriage in The Odyssey: An Intimate Conversation Jennifer Swanton Brown 34 A Deadly Agent of Change: The 1832 Parisian Cholera Epidemic and the French Public Health Movement Loren Szper 39 On the Path to the Pond Jennifer Swanton Brown 40 Kierkegaard in Wyoming: Reflections on Faith and Freedom in the High Mountains Nancy Krajewski 44 Do Laws Govern the Evolution of Technology? Denise Osborne 48 Contributors tangents 1 Publishing Notes letter from the editors This is a publication featuring the w ork of students and We are proud to present this issue of Tangents, the journal of the Stanfor d Master alumni of the Master of Liberal Arts Program at of Liberal Arts Program. For the fifth edition we ha ve chosen a diverse gr oup of Stanford University. works by students and alumni, including: Editor Oscar Firschein A story about two brothers and a powerful horse Assistant Editor Three quite varied poems Lindi Press Reviewers To celebrate the centenary, William James’s observations about the Oscar Firschein San Francisco earthquake Mary MacKinnen Lindi Press Some thoughts about marriage in The Odyssey Faculty Advisor A discussion of the 1832 Parisian Cholera epidemic Dr. -
2012 Sculpture
NINETEENTH & EARLY TWENTIETH CENTURY EUROPEAN SCULPTURE MAY 3rd – JULY 6th, 2012 SHEPHERD & DEROM GALLERIES © Copyright: Robert J. F. Kashey and David Wojciechowski for Shepherd Gallery, Associates, 2012 TECHNICAL NOTE: All measurements are approximate and in inches and centimeters. Prices on request. All works subject to prior sale. CATALOG ENTRIES by Jennifer S. Brown, Elisabeth Kashey, and Leanne M. Zalewski. NINETEENTH & EARLY TWENTIETH CENTURY EUROPEAN SCULPTURE May 3rd through July 6th, 2012 Exhibition organized by Robert Kashey and David Wojciechowski Catalog compiled and edited by Jennifer Spears Brown SHEPHERD & DEROM GALLERIES 58 East 79th Street New York, N.Y. 10075 Tel: 212 861 4050 Fax: 212 772 1314 [email protected] www.shepherdgallery.com NINETEENTH & EARLY TWENTIETH CENTURY EUROPEAN SCULPTURE May 3rd through July 6th, 2012 Shepherd Gallery presents an exhibition of Nineteenth and Early Twentieth Century European Sculpture, which has been organized in conjunction with our new publication, Nineteenth and Early Twentieth Century European Sculpture: A Handbook. The exhibition corresponds to the handbook’s exploration of the materials, casting techniques, founders and editors involved in the making of sculpture in Europe from 1800 to 1920. On display are reductions and enlargements of individual models; plaster casts produced for special purposes; sculptures in a variety of media; and works that exemplify the aesthetic differences in chasing and modeling techniques from 1800 to 1920. Together, the handbook and the exhibition help the viewers to identify the complexities involved in the appreciation of sculpture from this period. CATALOG ALEXY, Károly 1823-1880 Hungarian School PRINCE EUGENE OF SAVOY, 1844 Bronze on square base. -
John Webb Singer and His Wife Sarah, Taken in the 1890S
The Story of J.W. Singer & Sons, Frome John Webb Singer and his wife Sarah, taken in the 1890s Made in Frome rom the humble beginnings of a simple request for a to Frome Museum. There are over 3,000 surviving glass pair of brass candlesticks in 1848, the J.W. Singer & Sons plate negatives and photographs, the earliest of which are F foundry at Waterloo went on to produce some of the collodion negatives dating from the 1860s when Singer most iconic statues around the British Isles and across the moved into his purpose-built foundry at Waterloo. globe, employing at its height a workforce of seven hundred. Through skill and ingenuity, John Webb Singer amassed The archive is evidence that Singer’s were also leaders in knowledge and made use of every opportunity to train their use of photography and, whilst not documented, we himself and his workforce. He was the perfect example of have to assume that this was due to John Webb Singer’s paternalistic Victorian industry and enterprise, and although knowledge and desire to harness this relatively new heavily influenced by his many trips to Europe, he was made technology. Whether it was ecclesiastical, domestic or and shaped in Frome. In turn, Singer shaped, embellished statuary, an example of every piece of work would be and enriched Frome. photographed before it departed the foundry, usually against a movable white backdrop. It is not always the The story we are able to tell here was so nearly lost to object being photographed that is of most interest to us history but for the quick thinking of Singer’s employee now, but the asides at the edge of the frame showing details Steve Francis. -
Rodin / Themuseum of Modern Art,Newyork
RODIN / THEMUSEUM OF MODERN ART,NEWYORK ~\ MoMAExh_0721_MasterChecklist CATALOGUE OF THE EXHIBITION April 30 throJlgll September 8,1963 The dates given for each work generally refer to the 3 The Walking Man, Enlarged version. Plaster 1900 tp3.'U",Z original version in plaster. When two dates arc given, (Goldschcider), I905 (Elsen); bronze 1907 (Elsen); the first designates the original plaster, and the second chis cast 1962, no. 6 of 12, S3%" high. "Georges the date of the fmc castingin bronze (which, however, Rudier IFondeur. Paris." (Grappe 3S). Musee may not be that of the cast exhibited). References are Rodin, Paris given to Georges Crappe's catalogue of the Musce 4 St. Johll lite Baptist Prcachillg (St. Jett/I-Baptiste ~1.SS Rodin (r944 edition) whenever the works are listed priJclwl/t). (IS7S-S0). Bronze (IS80), 7S%" high. in that catalogue (although not necessarily in the same "Alexis RudierjFondeur Paris." (Grappe 40). The medium or scale). Certain dates have been revised by Museum of Modern Art, New York. Mrs. Simon Mme Cecile Goldscheider, Curator of the Musco Guggenheim Fund Rodin, Paris and Albert E. Elsen, author of the mono- graph, Rodin, published by The Museum of Modem MONUMENTS An in conjunction with this exhibition. According to Mine Goldscheider, Rodin's accounts have not been 5 Thc Call to Arll1s (L'Appcl aux arlilcs) (La DeJellse). fJ>3.4~O preserved and it is generally not possible to determine (1878). Bronze, 44%" high. "Alexis RodierI ~ the date of the first casting. It is hoped, however, that Pondeur. Paris." (Grappe 42). The Rodin Museum, J~~'1 further study and research now in progress may yield Philadelphia (See note) more accurate dates. -
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. -
The Necessity of Rodin by Eric Gibson
Features December 2017 The necessity of Rodin by Eric Gibson On four exhibitions across the world that commemorate the centennial of Auguste Rodin’s death. The idea was too tempting to resist: see as many of the displays commemorating the one-hundredth anniversary of Auguste Rodin’s death (born in 1840, he died in 1917) as possible, in an effort to take, once and for all, the measure of this artist and to come to terms with the paradox of his legacy. Though widely recognized as “the father of modern sculpture,” Rodin was repudiated by those who came after, most famously by Constantin Brancusi. No single exhibition has ever seemed equal to the task of capturing the essence of this artist. Perhaps, I thought, an approach as various and discontinuous as Rodin’s art itself, one that took in multiple exhibitions, would do the trick. The checklists would overlap, but the individual emphases would vary, producing a kaleidoscopic image of the artist through whose multiple facets and fragments might emerge a clearer picture than that provided by a unitary, more tightly circumscribed effort. But which exhibitions? There are eight in the No single exhibition has ever United States, one in France, and one in Mexico, as well as six permanent collection seemed equal to the task of installations in America. I eliminated any that capturing the essence of Rodin. didn’t focus exclusively on Rodin, and those featuring large numbers of the posthumous bronze casts that have so distorted our perception of the artist. That left four shows: Paris, New York, Philadelphia, and Cleveland. -
Matisse & Rodin
Caterina Y. Pierre exhibition review of Matisse & Rodin Nineteenth-Century Art Worldwide 9, no. 2 (Autumn 2010) Citation: Caterina Y. Pierre, exhibition review of “Matisse & Rodin,” Nineteenth-Century Art Worldwide 9, no. 2 (Autumn 2010), http://www.19thc-artworldwide.org/autumn10/matisse- a-rodin. 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. Pierre: Matisse & Rodin Nineteenth-Century Art Worldwide 9, no. 2 (Autumn 2010) Matisse & Rodin Musée Rodin, Paris, France October 23, 2009 – February 28, 2010 Matisse & Rodin Contributions from Louis Mézin, Dominique Viéville, Claude Duthuit, Nadine Lehni, Marie- Thérèse Pulvenis de Seligny, Antoinette Le Normand-Romain, Isabelle Monod-Fontaine and Hélène Pinet. Paris : Éditions du musée Rodin and Réunion des musées nationaux, 2009. 160 pp. with color and B&W illustrations, bibliography, chronology, and exhibition checklist. 35 € ISBN: 978-2-7118-5612-1 (Paris : Réunion des musées nationaux) ISBN: 978-2-35377-012-0 (Paris : Éditions du musée Rodin) Whether or not one agrees that Auguste Rodin (1840-1917) was the greatest sculptor at the turn of the century, one cannot deny that he was certainly the most influential sculptor of his day. Every young sculptor in 1900 either wanted to be Rodin or to symbolically obliterate him. By that year, he was a powerful force in the art world, fresh from the success of his private retrospective held at the Pavillon de l'Alma in Paris. Rodin's art was irrefutably the measure by which all contemporary sculpture was being judged. -
Auguste Rodin Free
FREE AUGUSTE RODIN PDF Rainer Maria Rilke | 112 pages | 28 Jul 2006 | Dover Publications Inc. | 9780486447209 | English | New York, United States Огюст Роден искусство скульптуры - огромный выбор по лучшим ценам | eBay Instead, Rodin served a long and difficult apprenticeship. While in Brussels, Rodin also modeled a number of decorative female figures and busts of young women, some in peasant dress and others wearing flowers or fruit in their hair, to which he began to sign his own name. The bust of a young woman wreathed in grapes In Italy, he was deeply impressed by the work of Michelangelo, which would influence his own sculpture for years to come. This experience provided Auguste Rodin rich foundation for the series of nude male figures that he began to create Auguste Rodin the late s: The Bronze Age Although the initial display in Paris of the plaster model for the figure created a storm of criticism, the first bronze cast from the plaster model Auguste Rodin exhibited without further controversy in the Paris Salon of Official recognition came in the form of the purchase of the bronze by the French Ministry of Fine Arts for the Luxembourg Gardens in Paris. The AdamAuguste Rodin known as The Creation of Man The Adamtogether with the pendant Eve that can be seen in the background of Edward J. Owing to the great size 21 feet high and continuous, unbroken composition of The Gatesthe clay models for individual figures and sections of the relief could not be prevented from drying out and crumbling during the decades that Rodin remained at work on the project.