Relevant bibliographies by topics / Engravers, French

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Academic literature on the topic 'Engravers, French'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Engravers, French"

1

Zecher, Carla. "The Gendering of the Lute in Sixteenth-Century French Love Poetry*." Renaissance Quarterly 53, no. 3 (2000): 769–91. http://dx.doi.org/10.2307/2901497.

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Blame not my lute for he must sound Of this or that as liketh me.Sir Thomas WyattLute-poems came into vogue in France in the 1540s and 1550s. Because of the lute's shape, it could be gendered either as masculine or feminine; male and female poets therefore made use of lute imagery in different ways. Their references to the lute are informed by the gendered culture surrounding the instrument in this period and by the etiquette and technicalities of lute playing. Even more than painters and engravers, poets could invest the lute with human qualities, conflating it with bodies and body parts. It could thus be adapted to serve a variety of amorous scenarios.
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2

Guze, Justyna. "CATALOGUES OF ENGRAVINGS – ITALIAN ONES FROM THE NATIONAL MUSEUM IN WROCŁAW AND FRENCH ONES FROM THE NATIONAL MUSEUM IN SZCZECIN." Muzealnictwo 59 (June 26, 2018): 93–97. http://dx.doi.org/10.5604/01.3001.0012.1437.

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At the turn of 2017 and 2018, with the date 2017 printed in the colophon, two catalogues of engravings’ collections were published: old Italian prints from the collection of the National Museum in Wrocław, and French prints from the National Museum in Szczecin. The collection of Wrocław contains groups of artworks by the best Italian engravers from the Renaissance to the 18th century, and a small representation of the 19th century. An introduction to the catalogue gives the history, the scope and the contents of the collection as well as the brief history of the engraving art on the Apennine Peninsula. The catalogue itself is glossed, giving references to the latest research, preceded by biographical notes of encyclopaedic character. This well illustrated and thoroughly edited catalogue, organised in a user-friendly alphabetical order, is a compendium useful not only for art historians. The catalogue published by the National Museum in Szczecin has the same title as the exhibition of French engravings from its collection. It is a combination of both the exhibition and the collection catalogue. Hence its specific layout corresponding rather with the narration of an exhibition than a catalogue’s criteria. Both the encyclopaedic profiles of artists and the following glosses are accompanied by selected bibliography; its full version together with extensive academic references can be found at the end of the volume. The collection of over 600 prints has been divided not in alphabetical or chronological order but in accordance with an academic hierarchy of subjects. Engravings for art reproduction purposes prevail in Szczecin collection although original works of famous artists are also included. The publication of both catalogues allows us to learn more about the engravings in Polish public collections, i.e. the ones of national museum in Szczecin and Wrocław. It also gives the history of Polish collections after 1945, affected by the previous losses of the World War II. Undoubtedly, the sign of the times and the presence of Poland in the united Europe is the publication of the Italian engravings’ collection from Wrocław, which was kept before in the Academy of Arts in Berlin. Great care has been taken to prepare both catalogues in terms of their typography, although the illustrations in the French engravings’ catalogue would be of more benefit if were somewhat larger.
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3

Wu, Huiyi. "Alien Voices under the Bean Arbor: How an Eighteenth-Century French Jesuit Translated Doupeng xianhua 豆棚閒話 as the “Dialogue of a Modern Atheist Chinese Philosopher”*." T’oung Pao 103, no. 1-3 (August 28, 2017): 155–205. http://dx.doi.org/10.1163/15685322-10313p04.

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This article examines an eighteenth-century French Jesuit’s translation of the final chapter of the early Qing collection of vernacular stories Doupeng xianhua 豆棚閒話 (Idle Talks under the Bean Arbor), which became a “philosophical dialogue” of a “modern atheist Chinese philosopher.” The trajectory of the text is examined by analyzing the layers of meaning superposed upon it by a succession of agencies: the original author Aina Jushi 艾衲居士, a Jiangnan literatus who philosophized on the fall of the Ming dynasty; Father François-Xavier Dentrecolles, the Jesuit missionary who translated the text with extensive commentaries of his own to make a case against atheism; the Parisian editor Jean-Baptiste Du Halde who published the translation in the landmark of Jesuit sinology, Description de l’Empire de la Chine et de la Tartarie chinoise (1735); the engravers in Paris and the Hague who remolded its cosmological diagrams to conform to their own scientific and aesthetic standards; and finally, its European re-translators and readers, some of whom used it as a weapon against the Jesuits and the Catholic Church. The gains and losses of the Doupeng xianhua during this process are discussed, as well as the new light brought by the French translation on its circulation in Qing China. Finally, the challenge this atypical case poses to received narratives of the Sino-Western cultural exchange through the Jesuit mission is assessed. Cet article examine la traduction au XVIIIe siècle, par un jésuite français, du dernier chapitre du recueil de contes vernaculaires Doupeng xianhua 豆棚閒話 (Propos oisifs sous la tonnelle des haricots), qui devient un « dialogue philosophique » d’un « philosophe chinois athée moderne ». La trajectoire de ce texte est retracée en analysant les strates successives de sens superposées sur ce texte grâce à des acteurs divers : l’auteur de l’original Aina Jushi 艾衲居士, un lettré du Jiangnan qui a philosophé sur la chute de la dynastie des Ming ; le missionnaire jésuite François-Xavier Dentrecolles qui a traduit le texte avec une profusion de commentaires de son propre cru contre l’athéisme ; l’éditeur parisien Jean-Baptiste Du Halde qui a publié cette traduction dans la Description de l’Empire de la Chine et de la Tartarie chinoise (1735), un monument de la sinologie française ; les graveurs à Paris et à La Haye qui ont retravaillé les diagrammes cosmologiques conformément à leurs propres normes scientifiques et esthétiques ; et enfin, les re-traducteurs et lecteurs européens de ce texte, certains desquels l’ont utilisé contre les jésuites et l’Église catholique. La conclusion évoque les gains et les pertes du Doupeng xianhua au cours de ce processus et l’éclairage que peut apporter cette traduction française sur la diffusion de l’original dans la Chine des Qing. Elle envisage enfin le défi posé par ce cas atypique aux récits conventionnels sur la médiation des jésuites dans les échanges culturels entre la Chine et l’Europe.
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4

Clements, Candace, and Philip Stewart. "Engraven Desire: Eros, Image, and Text in the French Eighteenth Century." Eighteenth-Century Studies 27, no. 2 (1993): 306. http://dx.doi.org/10.2307/2739391.

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5

Maza, Sarah, Philip Stewart, Madelyn Gutwirth, and Lynn Hunt. "Engraven Desire: Eros, Image, and Text in the French Eighteenth Century." Art Bulletin 75, no. 3 (September 1993): 535. http://dx.doi.org/10.2307/3045976.

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6

Planert, Ute. "From Collaboration to Resistance: Politics, Experience, and Memory of the Revolutionary and Napoleonic Wars in Southern Germany." Central European History 39, no. 4 (December 2006): 676–705. http://dx.doi.org/10.1017/s0008938906000227.

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Travelers strolling through Stuttgart's Old Town who pause before Württemberg's royal residence can hardly fail to notice the Victory Column. Thirty meters high, it towers over the square and proclaims Crown Prince Wilhelm's victories against the armies of Napoleon in 1814. Erected in 1841, the Victory Column marked the Silver Jubilee of Wilhelm's reign, by that time a much-loved regent. Eight years earlier, at the twentieth anniversary of the Battle of Leipzig, the Bavarian king Ludwig I dedicated a memorial to the dead of the Russian Campaign. Evidently cast from the metal of French cannons, the massive obelisk dominates a crossroads in Munich—roads named after victorious battles fought during the Wars of Liberation. With their military campaigns engraved in stone, the two monarchies, Württemberg and Bavaria, demonstrated their zealous opposition to the French Emperor.
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7

Leibacher-Ouvrard, Lise. "Engraven Desire. Eros, Image and Text in the French Eighteenth Century by Philip Stewart." L'Esprit Créateur 35, no. 2 (1995): 104–5. http://dx.doi.org/10.1353/esp.1995.0034.

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8

Hagstrum, Jean H. "Engraven Desire: Eros, Image, and Text in the French Eighteenth Century (review)." Eighteenth-Century Fiction 5, no. 3 (1993): 283–85. http://dx.doi.org/10.1353/ecf.1993.0005.

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9

Rambach, Hadrien J. "A Manuscript Description in Kraków of the ‘Trivulzio Museum’ in Milan." Studies in Ancient Art and Civilisation 21 (July 27, 2018): 261–74. http://dx.doi.org/10.12797/saac.21.2017.21.11.

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An early nineteenth-century manuscript is preserved in the Jagiellonian Library in Kraków. This document in Italian, entitled ‘Breve Descrizione del Museo Trivulzio’, describes the contents of a collection of an aristocratic family in Milan, as seen shortly after the death of its builder – Don Carlo Trivulzio (1715-1789). The author compares it to a published text in French by Aubin-Louis Millin, and publishes up-to-date descriptions of the engraved gems evoked in the manuscript. Thanks to various sources, five of those seven cameos and intaglios can also be illustrated together for the first time.
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10

Krohn, Deborah L. "Carving and Folding by the Book in Early Modern Europe." Journal of Early Modern History 24, no. 1 (February 20, 2020): 17–40. http://dx.doi.org/10.1163/15700658-12342663.

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Abstract The period 1500-1800 saw the publication of a number of manuals and handbooks containing instructions for carving meat and fruit on the table, and folding napkins and other linens. These books contain information on otherwise invisible aspects of material and social life and are notable for their intriguing and often beautiful illustrations. Part of a larger category of texts that addressed courtesy, etiquette and behavior for household servants, people in charge of them, and those who aspired to this lifestyle, examples of the genre may be found in Italian, French, German, English, Dutch, Spanish and probably other languages as well. Echoes of a suite of engraved illustrations for an Italian carving manual first published in Padua in 1629 can be seen in books printed all over Europe in the seventeenth and eighteenth centuries.
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Books on the topic "Engravers, French"

1

Grivel, Marianne. Le commerce de l'estampe a Paris au XVIIe sie cle. Gene ve: Droz, 1986.

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2

author, Calamatta Luigi 1802-1869, ed. Luigi Calamatta: Memorie autobiografiche : documenti inediti del Fondo George Sand (B.H.V.P.). Roma: Palombi editori, 2011.

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3

(Gilbert), Boillot G., ed. Le graveur et le petit renard: Lettres d'un artiste du livre à ses amis éditeurs (1939-1948). Paris: L'Harmattan, 2013.

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(France), BIBLIOTHEQUE NATIONALE. Inventaire du fonds français: Graveurs du XVIIe siècle. Paris: Bibliothèque nationale, 1993.

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Maxime, Préaud, ed. Inventaire du fonds français: Graveurs du XVIIe siècle. Paris: Bibliothèque nationale, 1999.

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6

Vesvrotte, Sylvie Martin-de. Dictionnaire des graveurs-d́iteurs et marchands d'estampes á Lyon aux XVIIe et XVIIIe si°cles et catalogue des pi°eces éditées. Lyon: Presses universitaires de Lyon, 2002.

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7

1868-1948, Suarès André, and Fondation Louis Jou, eds. Correspondance: 1917-1948. Les Baux-de-Provence]: Fondation Louis Jou, 2010.

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8

Renouvier, J. Histoire de l'art pendant la Révolution 1789-1804: Suivie d'une étude sur J.-B. Greuze. Genève: Slatkine Reprints, 1996.

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9

Chevereau, Anne. Alexandre Manceau: Le dernier amour de George Sand. Saint-Cyr-sur-Loire: Pirot, 2002.

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10

Le dernier amour de George Sand. Paris: Grasset, 2010.

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Book chapters on the topic "Engravers, French"

1

Morgan, David W., and Kevin C. Macdonald. "Pots Sauvage." In Archaeological Perspectives on the French in the New World. University Press of Florida, 2017. http://dx.doi.org/10.5744/florida/9780813054391.003.0007.

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This chapter uses archival and archaeological data to identify the broad range of cultural trajectories that may have contributed to the creolization of the colonoware assemblage present at the Whittington site in Louisiana. Between 1788 and 1816 this site was the plantation residence of Marie-Thérèse Coincoin, a formerly enslaved woman of African parentage who found freedom through an extended liaison with a French bourgeois. Analysis focuses on colonowares deposited in a single household midden feature dating ca. 1788-1794, yet even such a narrow time slice produces a prodigious web of possible contributions. The most common colonoware vessels in this midden are bowls, especially with everted, folded rims and rounded lips. Some of the decorated pottery from the assemblage has strong Native American connections, especially in terms of the types Natchitoches Engraved and Chickachae Combed. It is worth noting, however, that some of the red and black slipped techniques and their fabrics have parallels with coeval West and Central African wares. While the slipped vessels, including ‘untempered’ vessels, could be speculatively viewed as African contributions to creolized assemblages, the majority of vessels resemble an array of Native American wares, and it is likely that the Coincoin assemblage had many makers of different ethnicity.
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Headrick, Daniel R. "Storing Information : Dictionaries and Encyclopedias." In When Information Came of Age. Oxford University Press, 2001. http://dx.doi.org/10.1093/oso/9780195135978.003.0007.

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Encyclopedias and dictionaries are the workhorses of culture; almost everyone consults them from time to time, but almost no one studies them. These useful compendia of knowledge serve their purpose for a few years and then are shelved or pulped. There are some notable exceptions to this rule, works whose significance transcends the time in which they appear. The most famous example of these is the Encyclopédie, ou dictionnaire raisonné of Diderot and d’Alembert. Denis Diderot (1713 – 1784) was one of the most prolific critics and essayists of the philosophes and a star of the French Enlightenment. His friend Jean Le Rond d’Alembert (1717 – 1783) was a mathematician, astronomer, and science writer. Together, they organized and edited the most ambitious work of their age. They planned it to be a universal compendium of all knowledge, organized in a coherent manner for the edification and enlightenment of the educated reading public. At the same time, they wanted it to be useful, practical, modern, and up-to-date. Despite its steep price, it enjoyed a huge popular success and became one of the best-selling works of the century. Yet it left a poor legacy. Its sequel, the Encyclopédie méthodique, was a com­mercial and scientific failure that few people bought at the time and hardly anyone has looked at since. Today, intellectuals pay lip service to the origi­nal Encyclopédie, but no one goes out and buys a new edition. Contrast this fate with that of two other encyclopedias that appeared a few years after Diderot and d’Alembert’s: the Encyclopaedia Britannica and the Brockhaus. The first edition of the Britannica, which appeared in 1771, was a modest work, hastily put together by a printer, an engraver, and a penurious scribbler. The German Conversations-Lexicon was the creation of the publishing entrepreneur Friedrich Arnold Brockhaus (1772–1823), who bought up an unfinished encyclopedia, hired writers to complete it, and issued the first edition in 1809 – 1811. These were no masterpieces of erudition or compendia of all knowledge, but simple reference works.
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