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The Reigning Woman As a Heroic Monarch? Maria Theresa Traced As Sovereign, Wife, and Mother
The Reigning Woman as a Heroic Monarch? Maria Theresa Traced as Sovereign, Wife, and Mother Anne-Marie Metzger The Empress is one of the most beautiful princesses in Europe: despite all her vigils and puerperia, she has held up very well. When she was younger, she loved hunting, games, and theatre. Today, her only pleasures are governing her empire and the education of her children.1 This quotation from Carl Joseph, Baron of Fürst and Kupferberg, contains essen- tial aspects that can be found very often in representations of Maria Theresa: the dual nature of her representation, namely on one hand the monarch and on the other the mother. Maria Theresa consciously used – among others – these two elements to create her identity. It is interesting to see how contemporaries per- ceived these two contrary public personas and how these personas promoted the adoration of Maria Theresa as an “Austrian heroine”,2 as she was called in a eulo- gy for her husband, Francis Stephen.3 The impact was at any rate so strong that 1 All English translations, unless otherwise indicated, are my own. “Die Kaiserin ist eine der schönsten Prinzessinnen Europas: all ihren Nachtwachen und Wochenbetten zum Trotz hat sie sich sehr gut erhalten. Früher liebte sie Jagd, Spiel und Theater. Das einzige, woran sie jetzt Geschmack findet, ist die Regierung ihres Staates und die Erziehung ihrer Kinder.” Carl Joseph Maximilian Freiherr von Fürst und Kupferberg. Severin Perrig (Ed.), “Aus müt- terlicher Wohlmeinung”. Kaiserin Maria Theresia und ihre Kinder. Eine Korrespondenz, Weimar 1999, p. 17. 2 “Österreichische Heldinn”, Ignaz Mayrhoffer, Trauerrede auf Franzen den Ersten römi- schen Kaiser, Grätz 1765, p. -
Louis XIV: Art As Persuasion Supporting the Dominance of France in 17Th Century Europe
Lindenwood University Digital Commons@Lindenwood University Student Research Papers Research, Scholarship, and Resources Fall 11-30-2010 Louis XIV: Art as Persuasion Supporting the Dominance of France in 17th Century Europe Matthew Noblett [email protected] Follow this and additional works at: https://digitalcommons.lindenwood.edu/student-research-papers Part of the Arts and Humanities Commons Recommended Citation Noblett, Matthew, "Louis XIV: Art as Persuasion Supporting the Dominance of France in 17th Century Europe" (2010). Student Research Papers. 1. https://digitalcommons.lindenwood.edu/student-research-papers/1 This Research Paper is brought to you for free and open access by the Research, Scholarship, and Resources at Digital Commons@Lindenwood University. It has been accepted for inclusion in Student Research Papers by an authorized administrator of Digital Commons@Lindenwood University. For more information, please contact [email protected]. Louis XIV: Art as Persuasion Supporting the Dominance of France in 17th Century Europe Matthew D. Noblett 11/30/10 Dr. James Hutson ART 55400.31 Lindenwood University Noblett 1 In 17th century France there was national funding combined with strict controls placed on the arts and all areas of the administration of Louis XIV. This was imperative to present the country as one of the greatest European powers of its time. It was done by creating personas of Louis as the Sun King, sole administrator of France or “'L'etat c' est moi” (I am the State) and conqueror. All were reinforced and often invented in rigid confines through state funded propaganda. His name has become synonymous with the French arts of the 17th century through significant investments in all forms of media, from poetry, music and theatre to painting, sculpture and architecture. -
Statecraft and Insect Oeconomies in the Global French Enlightenment (1670-1815)
Statecraft and Insect Oeconomies in the Global French Enlightenment (1670-1815) Pierre-Etienne Stockland Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2017 Etienne Stockland All rights reserved ABSTRACT Statecraft and Insect Oeconomies in the Global French Enlightenment (1670-1815) Pierre-Etienne Stockland Naturalists, state administrators and farmers in France and its colonies developed a myriad set of techniques over the course of the long eighteenth century to manage the circulation of useful and harmful insects. The development of normative protocols for classifying, depicting and observing insects provided a set of common tools and techniques for identifying and tracking useful and harmful insects across great distances. Administrative techniques for containing the movement of harmful insects such as quarantine, grain processing and fumigation developed at the intersection of science and statecraft, through the collaborative efforts of diplomats, state administrators, naturalists and chemical practitioners. The introduction of insectivorous animals into French colonies besieged by harmful insects was envisioned as strategy for restoring providential balance within environments suffering from human-induced disequilibria. Naturalists, administrators, and agricultural improvers also collaborated in projects to maximize the production of useful substances secreted by insects, namely silk, dyes and medicines. A study of -
A Visitors Guide To
A Guide to St Elizabeth’s Roman Catholic Church Scarisbrick Mary Ormsby, Veronica & Tom Massam 1 This guide is dedicated to all parishioners and Priests, past and present, who over the generations have built and supported the Church and Catholic school in Scarisbrick. 2 Acknowledgements This guide would never have been brought to fruition without the help, support and encouragement of many people especially parishioners who loaned old photographs, alas we did not have space to include them all. The research itself has been a team effort over many years and we would like to thank the archivists and staff at Lancashire Records Office and the National Archives where most of the research was done. In addition Abbot Geoffrey Scott of Douai Abbey has provided much useful information and insight. Count Jean-Denis de Castéja, great grandson of Marie Emmanuel Count de Castéja who along with his father was responsible for the building of St Elizabeth’s, has provided many family photos and personal details. He continues to inspire and support our work. Thanks are also due to the Lancashire and Cheshire Antiquarian Society who allowed us to publish the map showing the sites of the mediaeval crosses, the Liverpool Echo and the Trustees of Douai Abbey for permission to reproduce photographs of members of the parish who became priests. As a group of scientists we needed help with our grammar, punctuation and editing, many thanks to Joe McNamara, Joan Taylor and Fr Hugh Somerville Knapmann OSB who have spent many hours helping to shape this final version of the guide. -
The Year of the Animal in France
1668 The Year of the Animal in France Peter Sahlins ZONE BOOKS • NEW YORK 2017 © 2017 Peter Sahlins zone books 633 Vanderbilt Street Brooklyn, NY 11218 All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, including electronic, mechanical, photocopying, microfilming, recording, or otherwise (except for that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the Publisher. Printed in Canada. Distributed by The MIT Press, Cambridge, Massachusetts, and London, England Permissions from the publishers to incorporate from the following previously published works is greatly appreciated: “The Royal Menageries of Louis XIV and the Civilizing Process Revisited,” was originally published in French Historical Studies 35.2, pp. 226–46. © 2012 Society of French Historical Studies. All rights reserved. Republished by permission of the copyright holder, and the present publisher, Duke University Press. www.dukeupress.edu; “A Tale of Three Chameleons: The Animal between Literature and Science in the Age of Louis XIV,” was originally published in French Thinking About Animals, eds. Louisa MacKenzie and Stephanie Posthumus, pp. 15–30. © 2014 Michigan State University Press; “Where the Sun Don’t Shine: The Royal Labyrinth at Versailles, 1668– 1674,” was originally published in Animals and Early Modern Identity, ed. Pia Cuneo, pp. 67–88. © 2014 Ashgate: Surrey, England and Burlington, VT, 2014. Reprinted by permission from Taylor & Francis; “The Beast Within: Animals and the First Xenotransfusion Experiments in France, 1667–68,” was originally published in Representations 129, pp. -
David Garrioch, the Local Experience of Revolution: the Gobelins
20 French History and Civilization The local experience of Revolution: the Gobelins/Finistère Section in Paris David Garrioch Viewed from afar, the French Revolution falls easily into a series of binary oppositions: revolutionary and counter-revolutionary; conservative and radical; bourgeois and popular; Paris and provinces. Such opposites were the stuff of revolutionary rhetoric and provided ready ways of making sense of a complex reality. Yet, as every historian of the Revolution knows, on the ground things were much more complicated. In the provinces, revolutionary labels like “Jacobin” could cover a range of political views and were often ways of aligning one local faction with the group that was in power at the centre. This happened even in Paris itself. Historians often use these oppositions in order to explain the Revolution to students and to general readers. Yet when the oppositions used are invested with moral qualities, or when alignments are made between different descriptive categories, binary oppositions betray the historical reality they claim to represent. An example is the correspondence often made between “radical” politics, the “popular movement,” and revolutionary violence. None of these terms is clear-cut. What was “radical” in 1789 was not necessarily so in 1793. Individuals and groups who expressed “radical” views at one moment did not always do so consistently, and nor were they necessarily “radical” on every issue. The way the term “popular movement” has commonly been used is also a problem, as recent studies of the post-1795 religious revival have demonstrated. Whereas dechristianization was long associated with the “popular movement,” particularly in Paris, and the re-opening of churches with counter-revolution, there is now ample evidence that the religious revival was more “popular” than dechristianization.1 Similarly, recent writing has shown that hostility to women’s involvement in politics was by no means a monopoly of counter- revolutionaries or even of bourgeois moderates. -
Royal Treasures from the Louvre: Louis XIV to Marie-Antoinette
Media Contacts: Arlo Crawford (415) 750-3594 [email protected] [email protected] Royal Treasures from the Louvre: Louis XIV to Marie-Antoinette Legion of Honor November 17, 2012–March 17, 2013 San Francisco, September 2012—In the fall of 2012, the Fine Arts Museums of San Francisco’s Legion of Honor will present Royal Treasures from the Louvre: Louis XIV to Marie-Antoinette, an unparalleled collection of decorative arts from the Musée du Louvre, Paris. Many of the objects in the exhibition have never been shown in the United States and indeed, several have never left France, including some of the most exquisite treasures of the French monarchy from the time of Louis XIV until the Revolution of 1789. Royal Treasures from the Louvre: Louis XIV to Marie-Antoinette is a dazzling illustration of the story of French royal patronage, displayed for the first time in the United States in this exclusive presentation. One of the greatest treasures of the Louvre, the Gemmes da la Couronne—Louis XIV’s personal collection of hard-stone vases mounted in gold and gemstones—is one of the most significant loans in this exhibition. Made of rare hard-stone—amethyst, agate, amber, jade, and rock crystal—and representing the highest technical achievement, many of these objects were displayed in rooms specifically designed to receive them in the royal apartments at Versailles. “These vases were the height of princely collecting,” notes Martin Chapman, the Fine Arts Museum’s curator of European decorative art. “They’re very precious and very fragile and they’ve only been loaned once before, to the Kremlin in 2004.” As Louis XIV was building his palace at Versailles, he called on his court workshops at the Gobelins manufactory to furnish his new building. -
Covivio Commercialises 4,500 M² of Its New Parisian Site Wellio Gobelins for 58-Month
PRESS RELEASE Paris, 7 October 2020 Covivio commercialises 4,500 m² of its new Parisian site Wellio Gobelins for 58-month Covivio announces the signing of 58-month services contract for the entire new Wellio Gobelins flexible space and services site with a public structure. The 4,500 m² of this building, which is currently being restructured, will be fully commercialised 6 months before delivery. Located at 40 boulevard du Port-Royal in the 5th arrondissement of Paris, the building acquired by Covivio in 2006 and previously occupied by Orange is currently being restructured and will open in March 2021. A stone’s throw away from the Gobelins Manufactory and Luxembourg Gardens, this will be the 7th Wellio spot, the flexible offices and services solution developed by Covivio. Drawn by the location, the genius loci and the flexibility of the offering, the future occupier chose the Wellio Gobelins site in order to regroup its staff before moving into new headquarters in 2025. The 4,500 m² of the building will thus be occupied under a 58-month service contract. Spaces and services designed in the image of their occupant For this unique and atypical project, Covivio shared its expertise in state-of-the-art workspaces by organising a series of design thinking workshops with management and staff of the future occupier. This collaborative approach, focusing on the expression of corporate culture, space layout and service planning, allowed the parties to customise the project from A to Z. The service offering was also designed in consultation with the future occupier in order to capitalise on Covivio’s fundamentals and partnerships. -
Le Programme International
30 CENTIMES. 12% IMPRIME PAR LES PRESSES AMÉRICAINES EN TAILLE DOUCE JOHNSTON SOCIÉTÉ FRANÇAISE ON PEUT VOIR FONCTIONNER LAJOHNSTON DIE PRESSE LE PONT ALEXANDRE III AUX BUREAUX DU JOURNAL' LE SOLEIL' N° 76 AVENUE A RAISON DE 1500 LHEURE SUFFREN. EN FACE LA GALERIE DES MACHINES JOHNSTON DIE PRESSE VOIR PAGES 72.-73 ET 74. Contenant tes Evénements, les Congrès, les Bulletins Officiels, et servant de moyen de communication entre MM. les Commissaires Généraux et leurs compatriotes de tous pays. EN VENTE PARTOUT Lidf? Imprimé en FRANÇAIS, ANGLAIS, ALLEMAND, ITALIEN, ESPAGNOL, HOLLANDAIS. TITRE DÉPOSÉ REPRODUCTION INTERDITE PARIS, ij, quai Voltaire. Prime de bons à tarif réduit pour les principales attractions Digitized by the Internet Archive in 2018 with funding from Getty Research Institute https://archive.org/details/leprogrammeinterOOexpo EXPOSITION UNIVERSELLE PARIS 1900 t Le Programe miernalional ORGANE DES COMMISSARIATS GÉNÉRAUX IMPRIMÉ EN FRANÇAIS, ANGLAIS, ALLEMAND, ITALIEN, ESPAGNOL, HOLLANDAIS, ETC., ETC. ■ ’Si v Prime de Bons à tarif réduit pour les principales Attractions PARIS s LONDRES s C. WILKES, 29, Ludgate Hill, E. C TABLE DES MATIÈRES INDEX INHALTSVERZEICHN ISS Pag. pag. Seite Allemagne. 69 Amusements. 37 Amtliches. 42 Amusements. 20 Austria. 75 Ausstellung, Inhalt... 42 Autriche. 75 Banks. 38 Banken. 54 Banques. 21 Belgium. 67 Belgien. 67 Belgique. 67 Cafés. 36 Cafes. 5i Bon pour tarif réduit. 79 Competitions. 34 Concerte. 5o Cafés. 18 Concerts. 34 Concours.49-50 Congresse.48-50 Cartes (pour se servir des). 3 Congresses. 33-35 Dænemark. 68 Cartes : I. Champs- Coming Events. 35 Deutschland. 69 Elysees .... 57 Denmark. 68 Ereignisse, kom¬ — II. Invalides. 58 Exhibition, contents. -
Gazette Drouot INTERNATIONAL
Gazette Drouot INTERNATIONAL NUMBER 9 ART MARKET - ADVERTISING - MAGAZINE CONTENTS VIDEOS . 5 EVENT . 102 Saltiel collection Edvard Munch in Paris UPCOMING . 6 TRENDS . 106 De Staël, Dinet, Cressent… The market of 18th century furniture RESULTS . 30 SPECIALITY . 114 Millionaire bids New York and Photography INTERVIEW ADVERTISING . 70 THE IMAGINARY . 118 Antoine Bourdelle in his studio THE MAGAZINE EDITORIAL Not a day, not a week goes by without some new world record or the announcement of some explosive sale concerning a work of art! With the paintings of American artist Clyfford Still in New York, Chinese porcelains in London, masterworks in painting and furniture by the top cabinetmakers in Paris, prices are flying high in all the strong marketplaces. In this period of crisis, art more than ever remains a safe investment, undergoing a dramatic rise in inverse proportion to falling stocks on the Dow Jones and the CAC 40. Paris in particular is DR playing a fine game, with a number of key specialties: a bureau stam- ped by Montigny topping the million mark and a Virgin and Child Stéphanie Perris-Delmas from the former Marquet de Vasselot collection going for six million EDITORIAL MANAGER odd, not forgetting the new records set for photography and Classical sculpture. The snowball effect means that soaring prices – for high quality pieces – encourage the appearance of new disper- sions. The 2011 season is thus ending on a high note, with excellent results already achieved and the promise of future success. The magnificent nude by Nicolas de Staël should warm the cockles of quite a few enthusiasts, like the jewellery of Elizabeth Taylor and the old weapons from the Karsten Klingbeil collection. -
Exhibition Checklist Woven Gold: Tapestries of Louis Xiv
EXHIBITION CHECKLIST WOVEN GOLD: TAPESTRIES OF LOUIS XIV At the J. Paul Getty Museum, Getty Center December 15, 2015 – May 1, 2016 In the hierarchy of court art, tapestry was regarded, historically, as the preeminent expression of princely status, erudition, and aesthetic sophistication. Extraordinary resources of time, money, and talent were allocated to the creation of these works meticulously woven by hand with wool, silk, and precious- metal thread, after designs by the most esteemed artists. The Sun King, Louis XIV of France (born 1638; reigned 1643–1715), formed the greatest collection of tapestries in early modern Europe. By the end of his reign, the assemblage was staggering, totaling some 2,650 pieces. Though these royal hangings were subsequently dispersed, the largest, present repository of Louis’s holdings is the Mobilier National of France. With rare loans from this prestigious institution, Woven Gold: Tapestries of Louis XIV explores and celebrates this spectacular accomplishment. This exhibition was organized by the J. Paul Getty Museum in association with the Mobilier National et les Manufactures Nationales des Gobelins, de Beauvais et de la Savonnerie. We gratefully acknowledge the Hearst Foundations, Eric and Nancy Garen, and the Ernest Lieblich Foundation for their generous support. Catalogue numbers refer to Woven Gold: Tapestries of Louis XIV by Charissa Bremer-David, published by The J. Paul Getty Museum numbers refer to the GettyGuide® audio tour Louis XIV as Collector, Heir, Patron By the end of Louis XIV’s reign, the French Crown’s impressive holdings of tapestries had grown by slow accumulation over centuries and by intense phases of opportunistic acquisition and strategic patronage. -
Carlos. but It Was the Same Old Story – the Naval Powers Were Keen to Avoid Either the Bourbons Or the Habsburgs Attaining
WEDDING DAY AND YOUNG MARRIAGE Carlos. But it was the same old story – the naval powers were keen to avoid either the Bourbons or the Habsburgs The eyes of many European princes now turned to attaining stratospheric levels of influence. And Char - Vienna, for although Maria Theresa was still playing les VI needed their signatures on an important agree- with her dolls, this lovely maiden was blossoming into ment – in short, his daughter would marry an insignifi- a most eligible match for their marriageable sons. In the cant prince without a major power base. In any case, 1720s, Austria was a Great Power, and its emperor’s Charles already knew who should get the little Theresa: daughter represented a desirable dowry for Bavaria or he had selected Leopold Clement, third son of Duke Saxony, for example. In Berlin too, the crown prince Leopold of Lorraine and future prince of a prosperous Fritz was just the right age, only five years older, soldierly but not exactly powerful province west of the Rhine. and strictly reared. Charles VI dismissed all these suitors, One day, he should take the now six-year-old Theresa Fig. 28: Anonymous, Francis Stephen of Lorraine and Ma - however. Even the Spanish Bourbon king, Philip V, had home. Charles had a high opinion of the father, who had ria Theresa, c. 1736. his eye on little Theresa, as a bride for his son Don fought bravely at Prince Eugene’s side against the Turks. And the blood of shared ancestors ran in their veins. They were already preparing for the prince’s arrival in Vienna when Clement was unexpectedly carried off by smallpox.