Joséphin Peladan (1858-1918)
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Sounding Nostalgia in Post-World War I Paris
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2019 Sounding Nostalgia In Post-World War I Paris Tristan Paré-Morin University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Recommended Citation Paré-Morin, Tristan, "Sounding Nostalgia In Post-World War I Paris" (2019). Publicly Accessible Penn Dissertations. 3399. https://repository.upenn.edu/edissertations/3399 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3399 For more information, please contact [email protected]. Sounding Nostalgia In Post-World War I Paris Abstract In the years that immediately followed the Armistice of November 11, 1918, Paris was at a turning point in its history: the aftermath of the Great War overlapped with the early stages of what is commonly perceived as a decade of rejuvenation. This transitional period was marked by tension between the preservation (and reconstruction) of a certain prewar heritage and the negation of that heritage through a series of social and cultural innovations. In this dissertation, I examine the intricate role that nostalgia played across various conflicting experiences of sound and music in the cultural institutions and popular media of the city of Paris during that transition to peace, around 1919-1920. I show how artists understood nostalgia as an affective concept and how they employed it as a creative resource that served multiple personal, social, cultural, and national functions. Rather than using the term “nostalgia” as a mere diagnosis of temporal longing, I revert to the capricious definitions of the early twentieth century in order to propose a notion of nostalgia as a set of interconnected forms of longing. -
La Revue De L'art Ancien Et Moderne (1897-1937)
Page 1 de 103 Répertoire de cent revues francophones d'histoire et de critique d'art de la première moitié du XXe siècle LA REVUE DE L'ART ANCIEN ET MODERNE (1897-1937) AUTEUR TITRE ARTICLE REVUE N° DATE PAGES La Revue de l'Art ancien et HOMOLLE, Th. [Théophile] L'Ecole française d'Athènes n° 1 avril 1897 p. 1-18 moderne La Revue de l'Art ancien et COLLIGNON, Max. [Maxime] Les nouveaux achats du Louvre. - Orchestre et Danseurs. n° 1 avril 1897 p. 19-24 moderne La Revue de l'Art ancien et LEPRIEUR, Paul Jean Fouquet n° 1 avril 1897 p. 25-41 moderne La Revue de l'Art ancien et TOURNEUX, Maurice La Collection Bonnaffé n° 1 avril 1897 p. 42-50 moderne La Revue de l'Art ancien et PÉRATÉ, André Le Tombeau de Pasteur n° 1 avril 1897 p. 53-63 moderne Les Tapisseries de Malte aux Gobelins et les Tentures de l'Académie La Revue de l'Art ancien et J. G. n° 1 avril 1897 p. 64-66 de France à Rome moderne Vittore Pisanello. A propos de la nouvelle édition de Vasari publiée par La Revue de l'Art ancien et MÜNTZ, Eugène n° 1 avril 1897 p. 67-72 M. Venturi moderne La Revue de l'Art ancien et MAINDRON, Maurice Collections privées. Une dague de la collection Ressmann n° 1 avril 1897 p. 73-75 moderne La Revue de l'Art ancien et BERALDI, Henri Propos de bibliophile n° 1 avril 1897 p. 76-77 moderne Correspondance. Un nouveau Michel-Ange. -
Post-Wagnerian Concepts in French Vocal Music and Poetry
POST-WAGNERIAN CONCEPTS IN FRENCH VOCAL MUSIC AND POETRY: WITH SPECIAL REFERENCE TO MALLARME AND DEBUSSY. by JOSEPHINE RAYNER Submitted for the degree of D. Phil, Department of Music 1968 Tu te leves. Tu te leves lleau se deplie Tu te couches lleau sl6panouit Tu es lIeau detournee de ses abImes Tu es la terre qui prend racine Et sur laquelle tout slietablit Tu fais des bulles de silence dans le desert des bruits Tu chantes des hymnes nocturnes sur les cordes de llarc-en-ciel Tu es partout tu abolis toutes les routes Tu sacrifies le temps A lle"ternelle jeunesse de la flamme exacte Q,ui voile la nature en la reproduisant Femme tu mets au monde un corps toujours pareil Le tien Tu es la ressemblance Paul Eluard from "Facile" 1935, fr- II ABSTRACT Post-Wagnerian tendencies in French music and poetry; with special reference to Mallarme and Debu§-§Z. Fundamentally, the thesis concerns itself with late nineteenth and early twentieth century concepts of poetry and song in France, resulting from the upheaval of Wagnerianism, in which the Teutonic composer assumes the role of an allegorically significant mandrake figure. With the ubiquitous Tristan theme as the background ideal, English Aestheticism and Pre-Raphaelitism are discussed, and the paradox of mock-Mediaevalism pitted against new clean linear importances emerges, A discussion of five early post-Wagnerian songs by Chausson, Chabrier and Duparc precedes comment on Mallarme's 1poetiquel, and the approach, through magic and symbols in Yeats and overall simultanism, to Sartre's eventual existentialism. I'LlApres-Midi d1un Faune" is treated fully both from symbolic and analytical premisses and involves brief discussion on the growth and relevance of sonata form, which is ise i tself zaiPpllý'Ctýo the po; itic analysis. -
CLAUDE ROGER-MARX (1888-1977) - (Archives 94)
Bibliothèque de l’INHA – collections Jacques Doucet Inventaire des archives - CLAUDE ROGER-MARX (1888-1977) - (Archives 94) Classé et inventorié par Catherine MÉNEUX pré-classé par Claire TISSOT Avec la collaboration de Georges Fréchet Volume I Partie I : Dossiers à caractère biographique Partie II : Correspondance générale Partie III : L’écrivain 2005 SOMMAIRE Préface par Claude-Marie Missenard, Jean-Charles Asselain et Bernard Asselain, petits- enfants de Claude Roger-Marx .................................................................................................. 8 Claude Roger-Marx en quelques pages, par Catherine Méneux ........................................... 10 I. Dossiers à caractère biographique .................................................................................. 20 A. Papiers personnels ...................................................................................................................... 20 Boîte n°1 ................................................................................................................................................. 20 Boîte n°1bis ............................................................................................................................................ 21 B. Documents sur l’œuvre et la collection de Claude Roger-Marx ............................................ 21 Boîte n°1bis (suite) ................................................................................................................................. 21 C. Agendas ...................................................................................................................................... -
Correspondance Élie Faure Lundi 30 Octobre 2017 Alde.Fr 168
ALDE ALDE Corresppondance Élie Faure Correspondance Élie Faure lundi 30 octobre 2017 alde.fr 168 Que les peintres soient glorifiés. Ils ont le pouvoir d’animer ce qui semble inerte. Ils ont l’orgueil de rendre l’étendue plus large et d’intensifier la lumière alors que l’ombre du passé s’accumule et que la distance décroît entre l’heure actuelle et la mort. Et la joie qu’ils nous donnent se répand comme une eau plus calme à mesure qu’ils pénètrent plus avant dans la douleur. Élie Faure. Préface du catalogue de l’exposition Van Dongen. Paris, Bernheim Jeune & Cie, 1911. Correspondance Élie Faure Élie Faure était un magnifique esprit du temps où la France avait encore une magnifique élite – Je l’ai bien connu, je l’aimais beaucoup et puis nous nous sommes séparés stupidement et je l’ai regretté sur des questions idiotes de politique. Il était très communisant, sionisant, etc… Il se défendait rageusement d’être critique d’art. Il se voyait philosophe, messianique, inspiré, etc… tout mais pas critique d’art. Louis-Ferdinand Céline : Lettres à Milton Hindus, Les Cahiers de la NRF, Gallimard, 2012. Il est à la fois exalté et maîtrisé, c’est une anomalie, un Beethoven des Gaules, un grand médecin de l’âme, un éclair zébrant la nuit. Il suit le soleil comme le tournesol, absorbant la lumière, éclatant et débordant de vitalité. Ni optimiste ni pessimiste, pas plus que l’océan ne peut être considéré comme bienveillant ou malveillant. Un fidèle croyant en la race humaine, qu’il augmente d’une coudée, en lui conférant sa dignité, sa force, son besoin de création. -
Fall 2007 Flutist Quarterly
19191 flute cover.qxd:FQ-summer 2005.qxd 9/25/07 9:42 AM Page 1 VOLUME XXXIII , NO . 1 F ALL 2007 THE LUTI ST QUARTERLY THE OFFICIAL MAGAZINE OF THE NATIONAL FLUTE ASSOCIATION , INC 19191 B flute 2-18.qxd:DausProfile.qxd 9/25/079:07AMPage2 QUALITY . SUPPORT . PROFESSIONALISM D clear articulation in all EC headjoint provides athroughout clean the and instrument andThe the tone quality is exceptional -Jeffrey Khaner, Principal flute, “ Philadelphia Orchestra I’ m thrilled with my YFL-874H. Y EPENDS ON K J AMAHA EFFREY . HANER VALUE registers 874H YFL . .” ©2007 Yamaha Corporation of America. All Rights Reserved. 19191 flute 2-18.qxd:DausProfile.qxd 9/25/07 9:07 AM Page 3 Table of CONTENTS THE FLUTIST QUARTERLY VOLUME XXXIII, N O. 1 F ALL 2007 DEPARTMENTS 5 From the Chair 61 From the Research Chair 9 From the Editor 62 NFA Office, Coordinators, Committee Chairs 13 High Notes 63 Technology 50 Student Spotlight 65 Passing Tones 53 Notes from Around the World 67 New Products 55 Across the Miles 70 Reviews 58 From the Development Director 81 Index of Advertisers FEATURES 16 16 Debussy, Painter of Sound and Image by Mimi Stillman The colorful Impressionism of artists Monet, Degas, Manet, and others readily can be heard—and played—in Claude Debussy’s musical works. Art Nouveau and Arts and Crafts movements also influenced this visually oriented composer. 24 Frank Wess: Quintessential Jazz Flutist by Peter Westbrook When it comes to instigating, playing, and passing to future generations the great tradition of jazz flute music, Frank Wess just keeps going and going. -
Debussy, (Achille)Claude
8/8/2014 Debussy, (Achille-)Claude Debussy, (Achille)Claude (b St GermainenLaye, 22 Aug 1862; d Paris, 25 March 1918). French composer. One of the most important musicians of his time, his harmonic innovations had a profound influence on generations of composers. He made a decisive move away from Wagnerism in his only complete opera Pelléas et Mélisande, and in his works for piano and for orchestra he created new genres and revealed a range of timbre and colour which indicated a highly original musical aesthetic. 1. Childhood and studies. 2. The ‘bohemian’ and symbolist years. 3. ‘Pelléas et Mélisande’. 4. ‘Debussyism’. 5. The last years. 6. Debussy and currents of ideas. 7. Models and influences. 8. Sources and interpretation. 9. Theatre works and projects. 10. Musical language. 11. Orchestration and timbre. 12. Reception and influence. WORKS EDITIONS WRITINGS BIBLIOGRAPHY FRANÇOIS LESURE (1–9, 11–12, worklist, bibliography), ROY HOWAT (10) Debussy, Claude 1. Childhood and studies. Debussy's family was originally of modest peasant stock, settled in the Auxois district of Burgundy from at least the 17th century, and moving to the Paris region around 1800. The composer's grandfather was a wine seller and later a joiner. His father, ManuelAchille, served in the marine infantry for seven years, then settled with his wife in St GermainenLaye to run a china shop. Their first son, AchilleClaude, was born there, although it was two years before he was baptized. His father dreamt of making a sailor of him. In 1870, during the FrancoPrussian War, the family took refuge in Cannes with Manuel's sister, Clementine, who arranged for Debussy to have his first piano lessons with an Italian musician, Jean Cerutti. -
Women in Symbolist Art
WOMEN IN SYMBOLIST ART A PRIVATE COLLECTION FORTIETH ANNIVERSARY EXHIBITION October 17th through December 16, 2006 Exhibition organized by Robert Kashey and David Wojciechowski Catalogue by Elisabeth Kashey SHEPHERD & DEROM GALLERIES 58 East 79th Street New York, N. Y. 10021 Tel: 1 212 861 4050 Fax: 1 212 772 1314 e-mail: [email protected] www.shepherdgallery.com © Copyright: Robert J. F. Kashey for Shepherd Gallery, Associates, 2006 GRAPHIC DESIGN: Keith Stout. PHOTOGRAPHY: Astrid Eckert. TECHNICAL NOTES: All measurements are in inches and centimeters; height precedes width. All drawings and paintings are framed. Prices and photographs on request. All works subject to prior sale. SHEPHERD GALLERY SERVICES has restored all of the objects in this exhibition, which required it. The Service Department is open to the public by appoint- ment, Tuesday through Saturday, from 10:00 a.m. to 6:00 p.m. Tel (212) 744 3392; fax: 744 1525; e-mail: [email protected]. INTRODUCTION How to celebrate our fortieth anniversary? Forty At first glance, the women in the works in this exhi- candles? Forty cannon shots? Forty master works? bition are less morbid than most Symbolists make us We decided to indulge in an exhibition of a move- believe women were. There are, indeed, two pictures ment in art that was always a favorite in Shepherd of Salome (Delville, Frey-Moock), and two women in Gallery’s 19th century survey exhibitions: Symbolism. armor (Khnopff, Guirand de Scevola), but the iconic We exhibited drawings by Aristide Sartorio in 1970, femme fatale -
Debussy's Paris: Art, Music, and Sounds of the City
DEBUSSY’S PARIS DEBUSSY’S PARIS DEBUSSY’S ART, MUSIC, & SOUNDS OF THE CITY DEBUSSY’S PARIS ART, MUSIC, & SOUNDS OF THE CITY 2 DEBUSSY’S PARIS ART, MUSIC, & SOUNDS OF THE CITY SMITH COLLEGE MUSEUM OF ART, NORTHAMPTON, MASSACHUSETTS 3 Published to accompany the exhibition Debussy’s Paris: Art, Music, and Sounds of the City Smith College Museum of Art, Northampton, Massachusetts February 3–June 10, 2012 FRONT COVER Odilon Redon. With Closed Eyes (Les Yeux clos), ca. 1895–1905. Oil on canvas, SCMA (cat. 35) Photograph by Petegorsky / Gipe BACK COVER Jacques Villon (Gaston Duchamp). The Cake-Walk of the Little Girls (Le Cake-Walk des petites filles), 1904. Aquatint and etching. SCMA (cat. 60) Photograph by Petegorsky / Gipe ENDPAPERS Claude Debussy. Prélude à l’Aprés-midi d’un faune. Orchestral score, second proof. Courtesy of Peter Bloom OPPOSITE TITLE PAGE Jules Chéret. Élysée Montmartre (detail),1890. Lithograph. SCMA (cat. 8). Photograph by Matthew Hamilton © Smith College Museum of Art, Northampton, Massachusetts All rights reserved Copy editor: Linda Muehlig Design and production by Carolyn Eckert Composed in ScalaSans, NeutraDisplay, and ATSackers Gothic Color separation and printing by Hadley Printing ISBN: 978-08739-1070-5 4 contents 6 ] preface and acknowledgments Linda Muehlig 10 ] introduction Peter Bloom Laura Anne Kalba 14 ] hearing voices: A Study of the Soundscape and Visual Culture of Debussy’s Paris Laura Anne Kalba 32 towards a portrait of debussy as a ] connoisseur of painting: Turner, Whistler, Lerolle, Degas Jean-Michel Nectoux (trans. Peter Bloom) 46 ] dance in debussy’s paris: Re-figuring Art and Music Juliet Bellow 62 ] checklist 5 (1862–1918). -
A Swinburne Gallimaufry • Selections from the John S. Mayfield Papers
A SWINBURNE GALLIMAUFRY • Selections from the John S. Mayfield Papers An Exhibition October 5, 2009 through January 8, 2010 Curated by lisette matano With the assistance of Karen O’connell Washington, DC Special Collections Research Center Georgetown University Library 2009 © 2009 Georgetown University Library Published by Special Collections Research Center Georgetown University Library Washington, DC 20057 500 copies Printed by Mercantile Press, Wilmington, DE Designed by Mark Samuels Lasner FOREWORD • This exhibition marks the centenary of the death of the great Victorian lyric poet, Algernon Charles Swinburne. More exactly, it is a celebration of his work, as well as of the accomplishments of one of the—if not the—most devoted of his collectors, John S. Mayfield. The title of the exhibition pays homage to a col- lection of articles by Mayfield on Swinburne published as Swinburneiana: A Gallimaufry of Bits and Pieces about Algernon Charles Swinburne (1974), which incorporates one of Mayfield’s favorite and frequently used words, “gallimaufry.” That is to say, inO ld French, “a ragout”; and in modern English, “a motley assort- ment.” Arranged thematically, the exhibition highlights some of Swinburne’s major inspirations, works, and relationships. Selections of rare and limited edi- tions of Swinburne’s works from Mayfield’s library are included. John S. Mayfield (1904–1983) Born in Meridian, Texas, John Mayfield was the son of formerU .S. Senator Earle B. Mayfield andO ra Lumpkin. He received a Bachelor of Arts from the Univer- sity of Texas in 1930, a Master of Arts from Southern Methodist University in 1932, and studied for a doctorate at Columbia University from 1932 to 1935. -
Lettres & Manuscrits Autographes
LETTRES & MANUSCRITS AUTOGRAPHES Jeudi 20 et vendredi 21 juin 2019 DIVISION DU CATALOGUE LITTÉRATURE Nos 1 à 195 MUSIQUE ET SPECTACLE Nos 196 à 266 BEAUX-ARTS Nos 267 à 323 MÉDECINE, SCIENCES ET TECHNIQUES Nos 324 à 358 HISTOIRE Nos 359 à 511 Abréviations : L.A.S. ou P.A.S. : lettre ou pièce autographe signée L.S. ou P.S. : lettre ou pièce signée (texte d’une autre main ou dactylographié) L.A. ou P.A. : lettre ou pièce autographe non signée Expert : Thierry BODIN Les Autographes Syndicat Français des Experts Professionnels en Œuvres d’Art 45, rue de l’Abbé Grégoire - 75006 Paris Tél. : + 33 (0)1 45 48 25 31 Fax : + 33 (0)1 45 48 92 67 lot 471 [email protected] Vente aux enchères publiques À l’étude, Salle des Ventes Favart 3, rue Favart 75002 Paris Jeudi 20 et vendredi 21 juin 2019 à 14 h Exposition publique Chez l’expert 45, rue de l’Abbé Grégoire 75006 Paris Sur rendez-vous À l’étude 3, rue Favart 75002 Paris Mercredi 19 juin de 11 h à 18 h Expert : Thierry BODIN Responsable de la vente : Marc GUYOT Assisté de Clémentine DUBOIS [email protected] Tél. : 01 78 91 10 11 Téléphone pendant l’exposition : 01 53 40 77 10 Catalogue visible sur LETTRES www.ader-paris.fr & Enchérissez en direct sur www.drouotlive.com MANUSCRITS AUTOGRAPHES En 1re de couverture, est reproduit le lot 83 En 4e de couverture, est reproduit le lot 246 2 1 2 LITTÉRATURE 1. Alphonse ALLAIS (1854-1905). -
Charles Plumet (1861-1928), Tony Selmersheim (1871-1971) Et L’Art Dans Tout : Un Mobilier Rationnel Pour Un “Art Social” Rossella Froissart
Charles Plumet (1861-1928), Tony Selmersheim (1871-1971) et l’Art dans Tout : un mobilier rationnel pour un “art social” Rossella Froissart To cite this version: Rossella Froissart. Charles Plumet (1861-1928), Tony Selmersheim (1871-1971) et l’Art dans Tout : un mobilier rationnel pour un “art social”. Bulletin de la société de l’histoire de l’art français, Jean Schemit - Libraire de la Société de l’Histoire de l’Art Français, 2002, Année 2001, pp.351-387. hal- 02331848 HAL Id: hal-02331848 https://hal.archives-ouvertes.fr/hal-02331848 Submitted on 24 Oct 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. 1 Rossella Froissart-Pezone Charles Plumet (1861-1928), Tony Selmersheim (1871-1971) et l'Art dans tout: un mobilier rationnel pour un «art social». Au cours des recherches effectuées dans le cadre d'une thèse consacrée à l'Art dans tout, nous avons pris contact avec un descendant de Tony Selmersheim, l'un des membres les plus importants de ce groupe d'artistes décorateurs de la fin du XIXe siècle. Petit-fils de Tony Selmersheim, M. Jean- Marie Selmersheim a sauvegardé les feuillets et papiers épars que son grand-père avait pu soustraire à un incendie survenu dans les années 1920 et aux longues vicissitudes d'une entreprise jadis florissante de mobilier et de décoration1.