Relevant bibliographies by topics / Exposition universelle (1855)

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Academic literature on the topic 'Exposition universelle (1855)'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Exposition universelle (1855)"

1

Murphy, Margueritte. "Becoming Cosmopolitan: Viewing and Reviewing the 1855 Exposition Universelle in Paris." Nineteenth-Century Contexts 32, no. 1 (2010): 31–46. http://dx.doi.org/10.1080/08905491003704038.

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Vicente, Filipa Lowndes. "‘The future is a foreign country’: the visit of the King of Portugal, Dom Pedro V, to the Parisian Exposition Universelle of 1855." Journal of Romance Studies 3, no. 2 (2003): 31–48. http://dx.doi.org/10.3828/jrs.3.2.31.

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3

Wrigley, Richard. "“C’est un bourgeois, mais non un bourgeois ordinaire”: The Contested Afterlife of Ingres’s Portrait of Louis-François Bertin." Zeitschrift für Kunstgeschichte 84, no. 2 (2021): 220–47. http://dx.doi.org/10.1515/zkg-2021-2004.

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Abstract Ingres’s portrait of Louis-François Bertin (1832) has been universally accepted as a visual “apotheosis” of the newly powerful early 19th-century bourgeoisie in France. Here, we study the inconsistencies and contestation which contributed to this identification. Beginning with the moment of its first public exhibition in the 1833 Paris Salon, this article traces Bertin’s evolving reputation as an image of its epoch, focusing on its reappearance in public first at the Bazar Bonne-Nouvelle in 1846, and then in the display of Ingres’s works at the Exposition Universelle of 1855. This leads to a critical assessment of how the picture’s role as a political emblem has been related to later assertions that it also exemplified the artist’s incipient modernism. The exhibition of works by Ingres at the Paris Salon d’Automne in 1905 allows us to take stock of claims made about the picture’s status in the early 20th century. However, in contrast to the habitual desire to modernise Ingres (and thereby to detach him from a lingering taint of academicism), this article argues that a key element in the reception of Ingres’s portrait in the second half of the 19th century is a recognition of its rootedness in values emanating from the Revolution of 1789, embodied both in the person of LouisFrançois Bertin and Ingres’s representation of him.
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4

Braga, Ariane Varela. "Owen Jones, Gottfried Semper et les origines anthropologiques de l’art ornemental." Palíndromo 12, no. 27 (2020): 034–55. http://dx.doi.org/10.5965/2175234612272020033.

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Suite à la première Exposition universelle de Londres de 1851, les architectes Owen Jones et Gottfried Semper font appel aux cultures primitives afin d’affirmer la nature anthropologique de l’art ornemental.
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Braga, Ariane Varela. "Owen Jones, Gottfried Semper et les origines anthropologiques de l’art ornemental." Palíndromo 12, no. 27 (2020): 034–55. http://dx.doi.org/10.5965/2175234612272020034.

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Suite à la première Exposition universelle de Londres de 1851, les architectes Owen Jones et Gottfried Semper font appel aux cultures primitives afin d’affirmer la nature anthropologique de l’art ornemental.
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6

Tomsich, John, and Paul Greenhalgh. "Ephemeral Vistas: The Expositions Universelles, Great Exhibitions and World's Fairs, 1851-1939." Journal of American History 76, no. 2 (1989): 605. http://dx.doi.org/10.2307/1908039.

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7

Mainardi, Patricia, and Paul Greenhalgh. "Ephemeral Vistas: The Expositions Universelles, Great Exhibitions, and World Fairs, 1851-1939." American Historical Review 95, no. 2 (1990): 458. http://dx.doi.org/10.2307/2163772.

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8

Rydell, Robert W., and Paul Greenhalgh. "Ephemeral Vistas: The Expositions Universelles, Great Exhibitions and World's Fairs, 1851-1939." Technology and Culture 30, no. 4 (1989): 1043. http://dx.doi.org/10.2307/3106210.

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9

HOLDER, J. "Ephemeral Vistas: The Expositions Universelles, Great Exhibitions and World's Fairs, 1851 1939." Journal of Design History 6, no. 2 (1993): 144–45. http://dx.doi.org/10.1093/jdh/6.2.144.

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10

Michaïlesco, Céline. "Contrôle de gestion de projet au xixe siècle. Le cas des Expositions Universelles Parisiennes (1855-1900)." Comptabilité - Contrôle - Audit 13, no. 2 (2007): 31. http://dx.doi.org/10.3917/cca.132.0031.

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