DOCSLIB.ORG

LE GOÛT FRANCAIS II CONDITIONS DE VENTE Les Dimensions Sont Données En Centimètres, Hauteur Avant Largeur

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
LE GOÛT FRANCAIS II CONDITIONS DE VENTE Les Dimensions Sont Données En Centimètres, Hauteur Avant Largeur LE GOÛT FRANCAIS II CONDITIONS DE VENTE Les dimensions sont données en centimètres, hauteur avant largeur. Les œuvres sont vendues montées et encadrées. Prix sur demande. Les frais de transport et dassurance sont à la charge du destinataire ©Tous droits de reproduction réservés Galerie Alexis Bordes 2017. « Les couleurs dans la peinture sont comme des leurres qui persuadent les yeux, comme la beauté des vers dans la poésie. » Nicolas Poussin (1594-1665) À mon épouse, Anne-Sylvie À mes enfants, Adrien et Armance 2 LE GOÛT FRANÇAIS II TABLEAUX & SCULPTURES DU XVIE AU XIXE SIÈCLE _____ FRENCH TASTE II 16 TO 19 CENTURY PAINTING AND SCULPTURE Catalogue rédigé par Alexandra ZVEREVA avec la collaboration de Marie BERTIER Traduction en anglais par Christine ROLLAND Exposition Du mardi 7 novembre au vendredi 22 décembre 2017 ouverture les samedis 4 et 11 novembre GALERIE ALEXIS BORDES 4, rue de la Paix – 75002 Paris escalier 2, 2e étage droite Horaires douverture : 10h30 à 13h – 14h15 à 19h I REMERCIEMENTS Installée rue de la Paix, la galerie a pour domaine de prédi- Nous rendons hommage à tous les musées qui nous lection le XVIIIe siècle français. ont témoigné de leur confiance en intégrant dans leurs collections des oeuvres provenant de la Galerie : Encouragés par les grandes institutions françaises et étrangères ainsi que par de nombreux collectionneurs, nous assurons un Musée dAdelaïde (Australie), Deutsches Historisches rôle de conseil et dexpertise tant à lachat quà la vente. Museum de Berlin, Musée des Beaux-Arts de Nancy, École Nationale des Beaux-Arts de Paris, Fondation Custodia, Ce catalogue est le fruit dune longue maturation avec laide Fitzwilliam Museum de Cambridge, Musée Louis-Philippe précieuse dhistoriens de lart et de conservateurs de musées Château dEu, Musée de la Comédie-Française, Getty que nous remercions pour leurs conseils et avis éclairés. Research de Los Angeles, Cabinet des Dessins du Château de Fontainebleau, Musée Cognacq-Jay, Galeries Natio- nales dOttawa, Musée des Beaux-Arts de Nantes, Musée National du Château de Compiègne, Musée National dArt et dHistoire du Luxembourg, Musée des Beaux-Arts de uimper, Musée des Beaux-Arts de Troyes, Musée des Beaux-Arts de Dôle, Musée des Beaux-Arts de Montréal, Château de Versailles, Houston Museum of Fine Arts, Tate Britain de Londres, Musée-promenade de Marly-le-Roi, Château de Lunéville, Musée dOrsay… Je tiens à remercier chaleureusement tous ceux sans qui ce catalogue naurait jamais pu voir le jour : Madame Geneviève BRESC-BAUTIER Monsieur Dominique JACUOT Monsieur Piotr DZUMALA Conservateur en chef du patrimoine Conservateur du patrimoine Restauration, Photographie Ancienne directrice du département Musée des Beaux-Arts de Strasbourg, Palais Rohan Monsieur Michel GUILLANTON des sculptures du Musée du Louvre Monsieur Philippe BORDES Cadres anciens Professeur émérite Madame Marion BOUDON-MACHUEL Atelier Valérie UELEN Université Lyon 2 Encadrement et montages Professeur dHistoire de lArt moderne Université François-Rabelais de Tours Monsieur Alexandre MARAL Monsieur Michel BURY Conservateur général du patrimoine Photographie Madame Françoise JOULIE Musée national des châteaux de Versailles et de Madame Alexandra ZVEREVA Trianon Chargée de mission au Musée du Louvre Rédaction du catalogue Monsieur Damien TELLAS Monsieur Alain WINTERMUTE Madame Marie BERTIER Historien de lart Historien de lart Rédaction du catalogue Spécialiste de lœuvre de Watteau Madame Élodie VAYSSE Mademoiselle Joséphine CURTIL Monsieur Martin EIDELBERG Relecture du catalogue, logistique Conservatrice du patrimoine Professeur émérite Monsieur Frank TRAISNEL Musée national des châteaux de Malmaison Rutgers University, New Brunswick, New Jersey et Bois-Préau Relecture du catalogue, logistique Madame Sidonie LEMEUX-FRAITOT Madame Christine ROLLAND Monsieur Jean-Claude BOYER Chargée de collections Relecture et traduction du catalogue en anglais Historien de lart Musée Girodet Chercheur honoraire au CNRS Monsieur Christophe BRISSON Monsieur Eddie TASSEL Création et mise en page du catalogue Historien de lart Monsieur Sylvain LAVEISSIÈRE Imprimerie CHIRAT Conservateur en chef honoraire Monsieur Philippe NUSBAUMER Monsieur Bernard MARINNES Département des peintures, musée du Louvre Historien de lart Impression du catalogue 4 I PRÉFACE Cette nouvelle exposition consacrée au « goût français », is new exhibition devoted to “French Taste” is a natural prolonge naturellement celle que nous avions réalisée en 2015. extension of the one we produced in 2015. En effet, ma passion pour les XVIIe et le XVIIIe siècles In fact, my passion for the French 17th and 18th centuries français ne sest jamais démentie car cest lépoque où les has remained consistent because it was the era when arts décoratifs ont atteint leur apogée dans le souci du beau decorative arts reached their apogee in their concern for et du ranement. beauty and renement. Vous serez charmés par notre Vénus et Adonis peinte par You will be charmed by our Venus and Adonis painted by Michel Dorigny, élève et gendre de Simon Vouet, qui nous Michel Dorigny, Simon Vouets student and son-in-law, entraîne dans un superbe sujet mythologique aux inuences who sweeps us into a superb mythological subject with atticistes sublimé par une chatoyance de bleu lapis-lazuli, inuences of Atticism sublimated by lustrous lapis lazuli rouges brique et orangés vouetesques. blues, brick reds, and Vouetesque oranges. Nicolas Vleughels nest pas en reste avec Une nymphe Nicolas Vleughels is equally captivating with a tremen- endormie inspirée par Nicolas Poussin et dune grande dously sensual Sleeping Nymph inspired by Nicolas sensualité. Poussin. Les passerelles entre les œuvres créent des conversations et e conjunctions between the works create conversations des contrastes qui nous mènent à la redécouverte majeure and contrasts which lead us to the major rediscovery of a dune esquisse du baron Gros pour Les Péstiférés de Jaffa sketch by Baron Gros for the e Plague Victims at Jaa (dont la version dénitive est conservée au Louvre) pré- (for which the denitive version is conserved at the Louvre) gurant le mouvement romantique. in preguration of the Romantic movement. Jespère que ce voyage à travers le temps vous apportera I hope that this oyage through time will bring you as much autant de joies et de plaisir que jai ressenti en découvrant joy and pleasure as I felt in discovering all of these works. toutes ces œuvres. Alexis Bordes Paris, octobre 2017 English Version begins page 115 École du Val de Loire 1 I LE CHRIST ASSIS SUR UN TRÔNE FLEURDELISÉ Circa 1500 Pierre calcaire à grain n, badigeon ocre clair, traces dune polychromie ancienne et de rehauts dor H. 46 x L. 40 cm x P. 26 cm. Provenance • France, collection particulière Loriginalité de la sculpture que nous présentons réside aussi généralement représenté assis sur un arc-en-ciel et avec une bien dans la marque laissée dans le corps même de lœuvre par cape recouvrant les jambes, comme dans lenluminure de son histoire mouvementée que dans son iconographie singu- Jean Colombe dans les Heures de Louis de Laval (BnF mss lière, voire unique, et, partant, dans son caractère intemporel. lat. 920, fol. 335). Ce qui frappe surtout, ce sont les eurs Notre sculpture fut très probablement brisée la première de lys semées sur le devant du trône, rendant liconographie fois à la Révolution, à cause sans doute des eurs de lys qui dautant plus complexe et exceptionnelle, la justice divine se lornaient. Arrachée à son environnement dorigine, elle confondant avec la justice royale. Dicile dimaginer une fut ensuite brutalement amputée de sa partie supérieure telle association du sacré et du profane dans une sculpture et rabotée de tous les côtés de manière à pouvoir sintégrer déglise. En revanche, ce Christ pourrait avoir fait partie dans un bâti en pierre de taille. Les groupes sculptés du dun tombeau dun grand serviteur de la Couronne, les couvent des Carmes de Tours connurent la même tragédie : programmes ambitieux de ces ensembles sculptés amenant cassés et transformés en moellons de construction, ils furent parfois les artistes à sécarter des iconographies convention- retrouvés en 1968 lors des fouilles (Tours, musée des Beaux- nelles. Les côtés du trône où lon devine des rinceaux et Arts). En plus dêtre retaillée, la face de notre œuvre, avec des prols dans des médaillons pourraient par ailleurs être ses éléments trop saillants, fut comblée par du plâtre an de plus facilement apparents que dans le cas dune sculpture donner à lensemble laspect dun bloc rectangle. Curieu- présentée dans un tabernacle. sement, ce plâtre sauva de la destruction non seulement les détails finement sculptés, mais également la délicate Notre sculpture est assez représentative de la statuaire polychromie à dominante bleu et or. tourangelle de la première Renaissance guidée dont la Extraite de la maçonnerie et débarrassée de ses ajouts, mesure et léquilibre semblent être les caractéristiques lœuvre révèle, malgré les mutilations, une grande qualité dominantes, avec des artistes tels que Michel Colombe et dexécution. Il sagit sans doute possible du Christ de la Guillaume Regnault. Les plis moelleux ou lornement du Passion, reconnaissable à sa nudité et au drapé qui recouvre trône avec les grains et les eurs qui appartiennent au langage ses hanches : Saint Jean Baptiste aurait été guré avec une classique conrment la datation autour de 1500. En même peau de chameau et un roi ne pourrait pas apparaître les temps, la qualité toujours perceptible de la sculpture
Load more

Recommended publications
  • Downloaded from Brill.Com09/28/2021 10:23:11PM Via Free Access Notes to Chapter 1 671
    Notes 1 Introduction. Fall and Redemption: The Divine Artist 1 Émile Verhaeren, “La place de James Ensor Michelangelo, 3: 1386–98; Summers, Michelangelo dans l’art contemporain,” in Verhaeren, James and the Language of Art, 238–39. Ensor, 98: “À toutes les périodes de l’histoire, 11 Sulzberger, “Les modèles italiens,” 257–64. ces influences de peuple à peuple et d’école à 12 Siena, Church of the Carmines, oil on panel, école se sont produites. Jadis l’Italie dominait 348 × 225 cm; Sanminiatelli, Domenico profondément les Floris, les Vaenius et les de Vos. Beccafumi, 101–02, no. 43. Tous pourtant ont trouvé place chez nous, dans 13 E.g., Bhabha, Location of Culture; Burke, Cultural notre école septentrionale. Plus tard, Pierre- Hybridity; Burke, Hybrid Renaissance; Canclini, Paul Rubens s’en fut à son tour là-bas; il revint Hybrid Cultures; Spivak, An Aesthetic Education. italianisé, mais ce fut pour renouveler tout l’art See also the overview of Mabardi, “Encounters of flamand.” a Heterogeneous Kind,” 1–20. 2 For an overview of scholarship on the painting, 14 Kim, The Traveling Artist, 48, 133–35; Payne, see the entry by Carl Van de Velde in Fabri and “Mescolare,” 273–94. Van Hout, From Quinten Metsys, 99–104, no. 3. 15 In fact, Vasari also uses the term pejoratively to The church received cathedral status in 1559, as refer to German art (opera tedesca) and to “bar- discussed in Chapter Nine. barous” art that appears to be a bad assemblage 3 Silver, The Paintings of Quinten Massys, 204–05, of components; see Payne, “Mescolare,” 290–91.
    [Show full text]
  • A Structural Analysis of Constantin Brancusi's
    A STRUCTURAL ANALYSIS OF CONSTANTIN BRANCUSI'S STONE SCULPTURE by LESLIE ALLAN DAWN B.A., M.A., University of Victoria A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of Art History We accept this thesis as conforming to the required standard © LESLIE ALLAN DAWN UNIVERSITY OF BRITISH COLUMBIA October 1982 All rights reserved. This thesis may not be reproduced in whole or in part3 by mimeograph or other means3 without the permission of the author. In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of Ws>TQg.»? CF E)g.T The University of British Columbia 1956 Main Mall Vancouver, Canada V6T 1Y3 Date (3/81) i i ABSTRACT It has long been recognized by Sidney Geist and others that Constantin Brancusi's stone work, after 1907, forms a coherent totality in which each component depends on its relationship to the whole for its significance; in short, the oeuvre comprises a rigorous sculptural language. Up to the present, however, formalist approaches have proven insufficient for decodifying the clear design which can be intuited in the language.
    [Show full text]
  • Van Gogh Museum Journal 1997-1998
    Van Gogh Museum Journal 1997-1998 bron Van Gogh Museum Journal 1997-1998. Waanders, Zwolle 1998 Zie voor verantwoording: http://www.dbnl.org/tekst/_van012199701_01/colofon.php © 2012 dbnl / Rijksmuseum Vincent Van Gogh 7 Director's foreword This is an exciting period for the Van Gogh Museum. At the time of publication, the museum is building a new wing for temporary exhibitions and is engaged in a project to renovate its existing building. After eight months, during which the museum will be completely closed to the public (from 1 September 1998), the new wing and the renovation are to be completed and ready for opening in May 1999. The original museum building, designed by Gerrit Rietveld and his partners, requires extensive refurbishment. Numerous improvements will be made to the fabric of the building and the worn-out installations for climate control will be replaced. A whole range of facilities will be up-graded so that the museum can offer a better service to its growing numbers of visitors. Plans have been laid for housing the collection during the period of closure, and thanks to the co-operation of our neighbours in the Rijksmuseum, visitors to Amsterdam will not be deprived of seeing a great display of works by Van Gogh. A representative selection from the collection will be on show in the South Wing of the Rijksmuseum from mid-September 1998 until early April 1999. In addition, a group of works will be lent to the Rijksmuseum Twenthe in Enschede. We have also taken this opportunity to lend an important exhibition to the United States.
    [Show full text]
  • P R O Ven Ance Res Ea R Ch Rep O R T on W Orks a Ttrib Uted T O a Uguste Rodin
    Aus datenschutz- bzw. urheberrechtlichen Gründen erfolgt die Publikation mit Anonymisierung von Namen und ohne Abbildungen. p r o j e k t p r o v e n i e n z r e c h e r c h e g u r l i t t P R O VEN ANCE RES E A R C H REP O R T O N W ORK S A TTRIB UTE D T O A UGUST E RODI N CHRISTI N A B ULE Y - URIB E art historian, specialist of rodin’s graphic work, author of the forthcoming catalogue raisonné of auguste rodin’s drawings and paintings [1] christina buley-uribe 6, rue Foucault 75116 Paris [email protected] telephone: +33 7 8448 2070 July 17, 2017 [2] Nota Bene At the request of Dr Andrea Baresel-Brand, head of the Gurlitt Provenance Research team, I have been investigating provenances as far as possible between April 18th to July 30th 2017 for the following works attributed to Auguste Rodin: Lostart-IDs 533024, 532991, 533012, 533014, 533015, 533016, 533017, 533018, 533019, 533020, 533021, 533022, 533023, 533031, 533032, 533033, 533034, 533035, 533036, 533037, 533038, 533039, 533040, 533041, 533043, 533044, 533046, 532972, 533013, 533042, 533045, 521802, 478416, 478418, 533025, 477910, 78167, 478415, 478546. This analysis is partly based on my expertise and curatorial work for the musée Rodin in Paris from 1998 until today, and on records I have collected over the years for the Catalogue raisonné of Rodin’s drawings. I have pursued clues and trails in the following documentary sources: Archives municipales de Nancy, Archives nationales, Bibliothèque nationale, Archives institutionnelles du musée Rodin, Documentation du musée d’Orsay, Bibliothèque Institut national d’histoire de l’art, Archives de l’hôtel Drouot, Centre des archives diplomatiques, Centre de documentation du Mémorial de la Shoah, private archives of the Galerie Sagot-Le Garrec (Paris), kindly pro- vided by Nicolas Romand.
    [Show full text]
  • The Iconography of the Gothic Ciborium in Rome, C. 1285-1370
    Revista online ano 4 ● número 4 ● 2008 The Iconography of the Gothic Ciborium in Rome, c. 1285-1370 Ragnhild Marthine Bø Master of Arts There are four Gothic ciboria in Rome today: one in S. Paolo, executed by Arnolfo di Cambio (c.1240-1302) in 1285, one in S. Cecilia, also by Arnolfo di Cambio, made in 1293, one in S. Maria in Cosmedin, made by Deodato di Cosma (active c.1290-1305) in 1296, and, finally, one in S. Giovanni in Laterano, attributed to Giovanni di Stefano (active c.1365-1395) and assistants, which was carried out between 1367-1369. The ones made by Arnolfo and Deodato are altar ciboria, while the one in Lateran is a reliquary ciborium.1 1 Apart from these four ciboria, there were at least one further Gothic ciborium in Rome in the 14th century, namely the so called Madonnaciborium in S. Giovanni in Laterano, made in 1297, cf. Peter Cornelius Clausen, Magistri Doctissimi Romani: die römische Marmorkünstler des Mittelalters (Corpus cosmatorum I), Stuttgart, 1987, p. 216. Today, only a few fragments survive, placed in the lapidarium of the basilica. I will not only refer to it here since it can not be stated whether a mosaic it is thought to have possessed was an authentic or later added decoration, cf. the drawing by Greuter (Bibl.Naz.Centr.18.4.G.23), published in Giovanni Maggi, Le sette chiese di Roma, 1651 and in Claussen 1987, p. 217. For an historical outline of ciboria in gengeral, see Anna Maria D’Achille, “Ciborio”, Enciclopedia dell’Arte Medievale, 4, Roma, 1993, pp.
    [Show full text]
  • Transgressive Christian Iconography in Post-Apartheid South African Art
    TRANSGRESSIVE CHRISTIAN ICONOGRAPHY IN POST-APARTHEID SOUTH AFRICAN ART VOLUME I Submitted in fulfilment of the requirements for the degree of DOCTOR OF PHILOSOPHY at RHODES UNIVERSITY by KAREN VON VEH September 2011 DECLARATION I declare that this thesis is my own unaided work. It is being submitted in fulfilment of the requirements for the degree of Doctor of Philosophy at Rhodes University, Grahamstown. It has not been submitted before for any degree or examination at any other University. ____________________________________ Karen Elaine von Veh On _______day of_______________________2011. ii ABSTRACT In this study I propose that transgressive interpretations of Christian iconography provide a valuable strategy for contemporary artists to engage with perceived social inequalities in post- apartheid South Africa. Working in light of Michel Foucault’s idea of an “ontology of the present”, I investigate the ways in which religious iconography has been implicated in the regulation of society. Parodic reworking of Christian imagery in the selected examples is investigated as a strategy to expose these controls and offer a critique of mechanisms which produce normative ‘truths’. I also consider how such imagery has been received and the factors accounting for that reception. The study is contextualized by a brief, literary based, historical overview of Christian religious imagery to explain the strength of feeling evinced by religious images. This includes a review of the conflation of religion and state control of the masses, an analysis of the sovereign controls and disciplinary powers that they wield, and an explication of their illustration in religious iconography. I also identify reasons why such imagery may have seemed compelling to artists working in a post-apartheid context.
    [Show full text]
  • Widdershins and Annotations Richard Lunn University of Wollongong
    University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1994 Widdershins and annotations Richard Lunn University of Wollongong Recommended Citation Lunn, Richard, Widdershins and annotations, Doctor of Creative Arts thesis, University of Wollongong. School of Creative Arts, University of Wollongong, 1994. http://ro.uow.edu.au/theses/962 Research Online is the open access institutional repository for the University of Wollongong. For further information contact Manager Repository Services: [email protected]. WIDDERSHINS AND ANNOTATIONS A thesis submitted in fulfilment of the requirements for the award of the degree DOCTOR OF CREATIVE ARTS Please see print copy from for article UNIVERSITY OF WOLLONGONG by RICHARD LUNN, B.A., DIP.ED. SCHOOL OF CREATIVE ARTS 1994 ACKNOWLEDGEMENTS I wish to thank my supervisor, Ron Pretty, for his perceptive and helpful suggestions concerning the various drafts of this thesis. I also wish to thank the University of Wollongong for its generosity in awarding me a postgraduate scholarship. WIDDERSHINS PART ONE: FLOTSAM 1 In which Tuccio di Piero Landucci encounters a monster The monster lay breathing beneath the walls of the town. It was huge and black, with a tail that could swat an armoured knight clean off his horse with the most casual of flicks. Topomagro's idlers were already jostling on the walls for a better view, though no-one had yet ventured from the parapet, through the Porta del Mare and onto the beach. The monster was far too monstrous, almost y thirty braccia in length, and looked capable, had the mood taken it, of swallowing the town's largest fishing boat at a gulp.
    [Show full text]
  • Seduction, Space and Time in the Art of Jean-Antoine Watteau and William Hogart
    BIROn - Birkbeck Institutional Research Online Enabling Open Access to Birkbeck’s Research Degree output Making the crossing : seduction, space and time in the art of Jean-Antoine Watteau and William Hogart https://eprints.bbk.ac.uk/id/eprint/44593/ Version: Full Version Citation: Tambling, Kirsten Yvonne (2019) Making the crossing : se- duction, space and time in the art of Jean-Antoine Watteau and William Hogart. [Thesis] (Unpublished) c 2020 The Author(s) All material available through BIROn is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email Making the Crossing: Seduction, Space and Time in the Art of Jean- Antoine Watteau and William Hogarth Volume One: Text Kirsten Yvonne Tambling Thesis submitted for the degree of PhD History of Art Birkbeck, University of London August 2018 1 DECLARATION I confirm that the work presented in this thesis is my own. Where information has been de- rived from other sources, this has been indicated. Kirsten Yvonne Tambling 2 ABSTRACT This thesis asks how seduction is addressed in the work of Jean-Antoine Watteau (1684-1721) and William Hogarth (1697-1764), in the context of early eighteenth-century cross-Channel relationships. Literally meaning ‘leading astray’, seduction in the eighteenth century had resonances for sexuality, gender, morality, politics and aesthetics. This thesis uses a broad methodology, drawing on literary and social history, as well as the history of art, to provide an overview of seduction’s parameters, and to address its implications on both sides of the Channel.
    [Show full text]
  • Falconer+-+John+Cheever.Pdf
    Antenna House XSL Formatter (Evaluation) http://www.antennahouse.com FALCONER JOHN CHEEVER Antenna House XSL Formatter (Evaluation) http://www.antennahouse.com Falconer 2 To FEDERICO CHEEVER Antenna House XSL Formatter (Evaluation) http://www.antennahouse.com Falconer 3 Copyright Falconer Copyright © 1975,1977 by John Cheever Cover art and eForeword to the electronic edition copyright © 2004 by RosettaBooks, LLC All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles and reviews. For information address [email protected] First electronic edition published 2004 by RosettaBooks LLC, New York. ISBN 0-7953-2791-9 Antenna House XSL Formatter (Evaluation) http://www.antennahouse.com Falconer 4 Contents eForeword Falconer About this Title Antenna House XSL Formatter (Evaluation) http://www.antennahouse.com Falconer 5 eForeword During a writing career spanning forty years, John Cheever won a National Book Award, the Pulitzer Prize, the National Book Critics Circle Award and an American Book Award. John Cheever among his eleven books was perhaps best known for his short stories dealing with upper middle class suburban life. Falconer is set in a nightmarish prison where a convict named Farragut struggles to remain a man. Out of Farragut’s suffering and astonishing salvation, John Cheever crafted his most powerful work of fiction. Saul Bellow wrote, “Falconer is splendid. It is rough, it is elegant, it is pure. It is also indispensable, if you earnestly desire to know what is happening to the human soul in the U.S.A.” Falconer continues twenty-five years after its initial publication to be the best-selling of John Cheever’s novels.
    [Show full text]
  • Henry Esmond; the English Humourists; the Four Georges by William Makepeace Thackeray
    The Project Gutenberg EBook of Henry Esmond; The English Humourists; The Four Georges by William Makepeace Thackeray This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at http://www.gutenberg.org/license Title: Henry Esmond; The English Humourists; The Four Georges Author: William Makepeace Thackeray Release Date: July 10, 2009 [Ebook 29363] Language: English ***START OF THE PROJECT GUTENBERG EBOOK HENRY ESMOND; THE ENGLISH HUMOURISTS; THE FOUR GEORGES*** Henry Esmond The English Humourists The Four Georges By William Makepeace Thackeray Edited, with an Introduction, by George Saintsbury With 15 Illustrations Humphrey Milford Oxford University Press London, Edinburgh, Glasgow, Copenhagen, New York, Toronto, Melbourne, Cape Town, Bombay, Calcutta, Madras, Shanghai Contents Introduction. .1 The History Of Henry Esmond, Esq. 21 Dedication. 21 Preface. The Esmonds Of Virginia . 22 Book I. The Early Youth Of Henry Esmond, Up To The Time Of His Leaving Trinity College, In Cambridge . 29 Chapter I. An Account Of The Family Of Esmond Of Castlewood Hall . 32 Chapter II. Relates How Francis, Fourth Vis- count, Arrives At Castlewood . 38 Chapter III. Whither In The Time Of Thomas, Third Viscount, I Had Preceded Him As Page To Isabella . 47 Chapter IV. I Am Placed Under A Popish Priest And Bred To That Reli- gion.—Viscountess Castlewood . 59 Chapter V. My Superiors Are Engaged In Plots For The Restoration Of King James II . 66 Chapter VI.
    [Show full text]
  • Italian Paintings of the Sixteenth Century
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Sixteenth Century Italian Paintings of the Sixteenth Century Published March 21, 2019 Generated March 21, 2019 To cite: Robert Echols, Peter Humfrey, Italian Paintings of the Sixteenth Century, NGA Online Editions, https://purl.org/nga/collection/catalogue/italian-paintings-of-the-sixteenth-century/2019-03-21 (accessed March 21, 2019). Italian Paintings of the Sixteenth Century © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Sixteenth Century CONTENTS 01 Caletti, Giuseppe 02 Portrait of a Man as Saint George 17 Caliari, Benedetto 18 Saint Jerome in the Wilderness 25 Caliari, Gabriele 26 Saint Lucy and a Donor 35 Pace, Gian Paolo 36 Alessandro Alberti with a Page 45 Emilia di Spilimbergo 58 Irene di Spilimbergo 71 Sustris, Lambert 72 Christ at the Sea of Galilee 90 Tintoretto, Domenico 91 Susanna 99 Tintoretto, Jacopo 104 Andrea Renier and His Son Daniele 110 The Conversion of Saint Paul 126 Doge Alvise Mocenigo and Family before the Madonna and Child 141 The Madonna of the Stars 150 Portrait of a Man with a Landscape View 160 A Procurator of Saint Mark's 170 Summer 185 The Worship of the Golden Calf 194 Circle of Tintoretto Contents © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Sixteenth Century 195 Christ at the Sea of Galilee 213 Lamentation 220 Titian 224 Allegory of Love 237 Andrea de' Franceschi
    [Show full text]
  • The Book Thief
    Table of Contents Title Page Dedication PROLOGUE DEATH AND CHOCOLATE BESIDE THE RAILWAY LINE THE ECLIPSE THE FLAG PART ONE - the grave digger’s handbook ARRIVAL ON HIMMEL STREET GROWING UP A SAUMENSCH THE WOMAN WITH THE IRON FIST THE KISS - (A Childhood Decision Maker) THE JESSE OWENS INCIDENT THE OTHER SIDE OF SANDPAPER THE SMELL OF FRIENDSHIP THE HEAVY WEIGHT CHAMPION OF THE SCHOOL-YARD PART TWO - the shoulder shrug A GIRL MADE OF DARKNESS THE JOY OF CIGARETTES THE TOWN WALKER DEAD LETTERS HITLER’S BIRTHDAY, 1940 100 PERCENT PURE GERMAN SWEAT THE GATES OF THIEVERY BOOK OF FIRE PART THREE - meinkampf THE WAY HOME THE MAYOR’S LIBRARY ENTER THE STRUGGLER THE ATTRIBUTES OF SUMMER THE ARYAN SHOPKEEPER THE STRUGGLER, CONTINUED TRICKSTERS THE STRUGGLER, CONCLUDED PART FOUR - the standover man THE ACCORDIONIST - (The Secret Life of Hans Hubermann) A GOOD GIRL A SHORT HISTORY OF THE JEWISH FIST FIGHTER THE WRATH OF ROSA LIESEL’S LECTURE THE SLEEPER THE SWAPPING OF NIGHTMARES PAGES FROM THE BASEMENT PART FIVE - the whistler THE FLOATING BOOK (Part I) THE GAMBLERS - (A SEVEN-SIDED DIE) RUDY’S YOUTH THE LOSERS SKETCHES THE WHISTLER AND THE SHOES THREE ACTS OF STUPIDITY - BY RUDY STEINER THE FLOATING BOOK (Part II) PART SIX - the dream carrier DEATH’S DIARY: 1942 THE SNOWMAN THIRTEEN PRESENTS FRESH AIR, AN OLD NIGHTMARE, AND WHAT TO DO WITH A JEWISH CORPSE DEATH’S DIARY: COLOGNE THE VISITOR THE SCHMUNZELER DEATH’S DIARY: THE PARISIANS PART SEVEN - the complete duden dictionary and thesaurus CHAMPAGNE AND ACCORDIONS THE TRILOGY THE SOUND OF SIRENS
    [Show full text]