Relevant bibliographies by topics / French literature and painting

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'French literature and painting'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

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Journal articles on the topic "French literature and painting"

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Wilkin, Karen. "French Painting in Williamstown." Hudson Review 54, no. 3 (2001): 446. http://dx.doi.org/10.2307/3853386.

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Fripp, Jessica L. "America Collects Eighteenth-Century French Painting." Eighteenth-Century Fiction 31, no. 2 (2019): 457–59. http://dx.doi.org/10.3138/ecf.31.2.457.

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Gribkov, Vitaly S., and Vladimir M. Petrov. "Color Elements in National Schools of Painting: A Statistical Investigation." Empirical Studies of the Arts 14, no. 2 (1996): 165–81. http://dx.doi.org/10.2190/2udk-vpbk-ywjv-7l6q.

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A deductive model to explain the functioning of art brings forward regularities concerning the color elements which are used in paintings. To provide optimal perception both of individual paintings and of systems of paintings it is necessary to organize them in such a way that: each given painting consists of four spectral color elements and one or two non-spectral ones (black and/or white); each national school of painting should be based on its “color-and-light standard” which is nothing but white color representing sunlight, and the properties of this “standard” should respond to the parameters of the sunlight typical for the region of a given culture; quite a definite “color triad” is inherent to each national school, dominating the majority of its paintings. These regularities were verified using 822 paintings representing French, Italian, Spanish, and Russian national schools. The results obtained may be used not only for model purposes but also for various studies in history of art.
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Василишина Наталія Анатоліївна. "ЛІТЕРАТУРНІ СЮЖЕТИ В ТВОРАХ Е. ДЕЛАКРУА – “ЗАГИБЕЛЬ КОРАБЛЯ ДОН-ЖУАНА” ТА “ПІСЛЯ КОРАБЕЛЬНОЇ АВАРІЇ”". Science Review, № 5(22) (30 червня 2019): 33–42. http://dx.doi.org/10.31435/rsglobal_sr/30062019/6546.

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In this article, we have studied problems associated with features of the painting development in the Romantic era. We have highlighted questions on the interrelationship between literature and painting and considered new trends in the development of the French painting in the first half of the 19th century. Artists of this era, in particular E. Delacroix, searched for new subjects actively by finding interesting themes in works of the world literature. E. Delacroix was inspired by works of Dante, L. Ariosto, T. Tasso, W. Shakespeare, J. Goethe, G. Byron, F. R. de Chateaubriand, W. Scott etc. Among them we should make the English writer G. Byron stand out: His character personified the romantic ideal of the whole era and his heroic life became a role model for young generation. In Byron’s works Eugène Delacroix was searching for new themes and his romantic hero and every time finding the relevant ways for his artistic solution system. Е. Delacroix’s works show us the integrity of romantic ideas clearly and the close mutual influence of the Western European literature and French painting allows speaking about the uniqueness of this era.
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Bann, Stephen. "Questions of Genre in Early Nineteenth-Century French Painting." New Literary History 34, no. 3 (2003): 501–11. http://dx.doi.org/10.1353/nlh.2003.0026.

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CROSLAND, MAURICE. "Popular science and the arts: challenges to cultural authority in France under the Second Empire." British Journal for the History of Science 34, no. 3 (2001): 301–22. http://dx.doi.org/10.1017/s0007087401004435.

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The National Institute of Science and the Arts, founded in 1795, consists of parallel academies, concerned with science, literature, the visual arts and so on. In the nineteenth century it represented a unique government-sponsored intellectual authority and a supreme court judgement, a power which came to be resented by innovators of all kinds. The Académie des sciences held a virtual monopoly in representing French science but soon this came to be challenged. In the period of the Second Empire (1852–70) we find a group of men carving out a new career for themselves as professional popularizers of science, commissioned to write regular articles in newspapers and journals. Although they had begun by simply reporting the meetings of the Académie des sciences, they soon widened their scope and even began criticizing the august Académie. Thus they represented the alternative voice of science, distinct from ‘official science’. These independent writers had their counterpart in painting and literature, both of which were developing radical new approaches in mid-century. When the very traditional Fine Art Academy refused to consider their paintings, painters like Cézanne and Manet found an alternative outlet. Writers too asserted their independence from the Académie française. There were not only many parallels between the independent practitioners in science, painting and literature but also new schools of ‘naturalism’ in painting and literature which looked to science as a model.
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Sciulli, David. "Painting, Law and Professions, II: Paris Visual Academie and French Law." Comparative Sociology 7, no. 1 (2008): 109–38. http://dx.doi.org/10.1163/156913308x260484.

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AbstractAside from English law being cited as pioneering the first professionalism project, French law is also frequently treated as an exemplar of early professionalism. We challenge this consensus by demonstrating that the Academie Royale de Peinture et de Sculpture of Paris preceded along a professionalism project centuries in advance of French law. Using this comparison, we also provide alternative explanations for questions and issues which remain troubling in the literature of French law.
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Almelek İşman, Sibel. "Portrait historié: Ladies as goddesses in the 18th century European art." Journal of Human Sciences 14, no. 1 (2017): 396. http://dx.doi.org/10.14687/jhs.v14i1.4198.

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Portrait historié is a term that describes portrayals of known individuals in different roles such as characters taken from the bible, mythology or literature. These portraits were especially widespread in the 18th century French and English art. In the hierarchy of genres established by the Academy, history painting was at the top and portraiture came next. Artists aspired to elevate the importance of portraits by combining it with history. This article will focus on goddesses selected by history portrait artists. Ladies of the nobility and female members of the royal families have been depicted as goddesses in many paintings. French artists Nicolas de Largillière, Jean Marc Nattier and Louise Élisabeth Vigée Le Brun; English artists George Romney and Sir Joshua Reynolds can be counted among the artists working in this genre. Mythological figures such as Diana, Minerva, Venus, Hebe, Iris, Ariadne, Circe, Medea, Cassandra, Muses, Graces, Nymphs and Bacchantes inspired the artists and their sitters. Ladies were picturised with the attributes of these divine beings.
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Zhao, Jia. "L'Écrit et l'image: la question de l'énonciation et de la narrativité dans la peinture de Robert Combas." Nottingham French Studies 58, no. 1 (2019): 102–19. http://dx.doi.org/10.3366/nfs.2019.0238.

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The present article considers the ways in which written enunciations are superimposed upon painted enunciations, and the ways in which the former stratify, modify and break the unity of the latter. We take as our examples some paintings by the French painter Robert Combas, a leading light in the ‘Figuration libre’ movement of the 1980s, which sought to invest painting with narrativity. Combas frequently uses writing in his pictorial creations. The written word introduces a new level of enunciation, an alternative voice, a different world – which, taken in and of itself, constitutes an autonomous entity, and placed in parallel to the image, creates a sort of polyphony in which the two sometimes clash. We analyse writing within Combas's paintings, and the ‘paratexts’ that accompany these, interrogating the relationship between text and image in the works' different enunciatory levels.
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HOWELLS, ROBIN. "Patriarchy, Pathos, Power: The Figure of the Father in Later French Enlightenment Literature and Painting." Journal for Eighteenth-Century Studies 31, no. 1 (2008): 47–62. http://dx.doi.org/10.1111/j.1754-0208.2008.00003.x.

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Dissertations / Theses on the topic "French literature and painting"

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Robertson, Sarah M. "L'art et l'amour à Travers un Amour de Swann de Marcel Proust." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/882.

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The esteemed French author, Marcel Proust, revolutionized the way that literature fuses with visual art. Through the detail of his novella Un Amour de Swann, Proust creates a world in which the idolatry of a painting destines one man to a life void of fulfillment in love. This thesis explores the intrinsic connection of painting and literature to love through Proust’s treatment of the Botticelli fresco, Les Épreuves de Moïse, and the carefully crafted lesson that Proust teaches to integrate art into the fabric of life. Proust’s advice reaches far beyond the constraints of his own words, and through an analysis of Austrian painter Gustav Klimt’s The Kiss, Proustian guidance is brought to a universal scale. For Proust, art truly was a way of life, this thesis seeks to embody just that.
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Chambost, Blandine. "Female figures of excess in French painting and literature in the second half of the nineteenth century." Thesis, University of Cambridge, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.620506.

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Cristovão, Maria Lucia Claro. "Descrição pictórica: a influência da pintura impressionista na literatura francesa do século XIX." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-09122009-151952/.

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Desde Horácio e sua célebre expressão Ut pictura poesis, diversos autores tentaram estabelecer um paralelo entre a literatura e a pintura ao longo dos séculos. Vários são os exemplos de obras literárias e pictóricas unidas por temas e inspirações em comum, que se desenvolveram em caminhos paralelos durante uma determinada época, numa determinada sociedade. Menos freqüentes, porém, são as ocorrências de elementos que configurem um verdadeiro diálogo, uma convergência ou uma interferência entre as artes visuais e a arte literária. Neste trabalho, pretendemos identificar uma influência do olhar impressionista na literatura francesa da segunda metade do século XIX. Para isso, analisaremos seqüências descritivas de obras de Gustave Flaubert e de Émile Zola. Através da análise da construção das pinturas impressionistas e da construção das seqüências descritivas na literatura, pretendemos demonstrar que esses dois sistemas de representação não estão unidos apenas por temas e inspirações em comum, como havia sido o caso até então, mas também pelas técnicas e metodologias utilizadas e pelas reações que essas mesmas técnicas provocaram e provocam até hoje no espectador e no leitor.<br>From the time of Horace and his famous phrase Ut pictura poesis, several authors have attempted to draw a parallel between literature and painting. There are many examples of literary and pictorial works linked by common topics and inspirations that have taken parallel paths across time and across societies. Less frequent, however, are the examples of a real dialogue, a convergence or interference between the visual and the literary arts. In this study, we aim at identifying an influence of the impressionist view in the French literature of the second half of the 19th century. For this purpose, we will examine descriptive sequences of the works of Gustave Flaubert and Émile Zola. By analysing the process through which Impressionist paintings were made and the descriptive sequences were written, we aim at demonstrating that these two systems of representation are not united only by common topics and inspirations, as had been the case to date, but also by common techniques and methodologies, in addition to being united by the reactions that these same techniques provoked and still provoke today in the spectator and the reader.
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Mathias, Manon Hefin. "'Apprendre à voir' : the quest for insight in George Sand's novels." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:2987dce0-0e41-4d32-9da8-35b3c8284703.

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This thesis examines the novels of George Sand (1804-1876) and analyses representative examples from her entire œuvre. Its overall aim is to re-evaluate Sand’s standing as a writer of intellectual interest and importance by demonstrating that she is engaging with a cultural and intellectual phenomenon of particular relevance to the nineteenth century: the link between different ways of seeing and knowledge or understanding, which I term ‘insight’. The visual dimension of Sand’s novels has so far been overlooked or reduced to a rose-tinted view of the world, and my study is the first to examine vision in her work. I argue that Sand demonstrates a continuous commitment to ways of engaging with the world in visual terms, incorporating conceptual seeing, prophetic vision, as well as physical eyesight. Contesting the prevailing critical view of Sand’s œuvre as one which declines into blandness and irrelevance after the 1850s, this thesis uncovers a model of expansion in her writing, as she moves from her focus on the personal in her early novels, privileging internal vision, to wider social concerns in her middle period in which she aims to reconfigure reality, to her final period in which she advocates the physical observation of the natural world. Rejecting the perception of Sand as a writer of sentiment at the expense of thought, this study argues that her writing constitutes a continuous quest for understanding, both of the physical world and the more abstract, eternal ‘vérité’. I show that Sand transcends binary divisions between science and art, the detail and the whole, the material and the abstract, and that she ultimately promotes a multidisciplinary approach to understanding the world. This also enables me to reassess Sand’s poetics by arguing that her rejection of the mimetic model is founded on her conception of the world as multiple and constantly evolving.
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Velescu, Elena. "La représentation des catastrophes naturelles en littérature et peinture dans l’espace culturel franco-allemand entre la deuxième moitié du XVIIIe siècle et le début du XIXe siècle." Thesis, Paris, EPHE, 2015. http://www.theses.fr/2015EPHE4048.

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Ce travail vise à rendre compte des relations créées entre les événements naturels de forte intensité et dont les conséquences destructrices les ont fait nommer catastrophes naturelles, en partant du fameux tremblement de terre de Lisbonne, en 1755 jusqu’au milieu du XIXe siècle, avec l’avènement des nouvelles techniques et sciences, ce qui a engendré un nouveau rapport entre l’homme et la Nature. Ce changement de la représentation de la catastrophe en littérature, mais aussi dans la peinture s’appuie sur des mutations culturelles dans le plan religieux, scientifique et esthétique, dont les traces évidentes nous avons essayé d’expliciter dans ce travail. L’enjeu de cette thèse est d’analyser les métamorphoses du discours écrit et visuel de la période mentionnée, et d’attirer l’attention sur le passage entre l’horreur suscitée par un événement catastrophique et la dimension sensorielle et la fascination provoquée par le spectacle des phénomènes naturels. Toutefois, nous avons recherché le symbolisme des motifs attachés aux grands mythes de l’humanité, tels le Déluge, le thème de transgression-punition-rédemption inscrit dans la catastrophe, qui se transforme dans un nouveau concept, un objet d’analyse, de réflexion et de contemplation, qui nous incite à voir différemment<br>This research aims to report on the relationships created among natural events of high intensity which can be categorized as natural disasters due to their destructive consequences starting with the famous earthquake of Lisbon in 1755 until the mid-nineteenth century, the advent of new technology and science, which created a new relationship between man and nature. This change in catastrophe representation in literature but also in the painting is based on religious, scientific and aestethetic changes, the key elements that we explored in this work. The aim of this dissertation is to analyze the metamorphoses of writing and visual discourse of the above-mentioned period and draw attention to the transition from horror triggered by a catastrophic event to a sensory dimension and fascination caused by the spectacle of natural phenomena. We also examined the symbolism of the motifs attached to the great myths of humanity, such as the Flood, the theme of transgression-punishment-redemption part of the disaster, which generates into a new concept, an object of analysis, reflection and contemplation, which inspires us to see the catastrophic events differently
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Ribeiro, Lúcia Amaral de Oliveira. "Imagens e paleta de cores nos textos de Flaubert da viagem ao Oriente." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-21012015-175516/.

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Esta tese abrange manuscritos inéditos dos cadernos da viagem ao Oriente, de Flaubert, e textos publicados postumamente, a partir do que ele copiou dos seus cadernos logo depois da viagem, fazendo mudanças e acréscimos. Esta tese também abrange cartas que ele escreveu no Oriente. Analiso movimentos da sua escritura e a mobilidade de formas textuais, que migram de cartas para textos da viagem e vice-versa. Ele não quis publicar essas anotações, que constituem um lugar de experiência com a linguagem, uma espécie de laboratório de formas, que depois, com mudanças, ele integra em seus romances. Relaciono esses textos a concepções estéticas da época. Comparo o modo descritivo que Flaubert desenvolve durante a viagem com páginas dos cadernos ilustrados de Delacroix, do Marrocos. Identifico nos textos do Oriente de Flaubert correspondências entre composição literária e composição pictural. Seu olhar e imaginação são informados pela arte orientalista, em voga na Europa, na época. O orientalismo é um elo para a análise de mudanças estéticas que acontecem nas duas artes, literatura e pintura, no século XIX. Escrever durante a viagem se associa à ideia de movimentar um repertório de imagens e, ao mesmo tempo, tornar visível o que o texto evoca<br>This thesis encompasses Flauberts unpublished manuscripts from his travel notes and copies he made from these travel notes, with a few changes and additions, soon after returning from his journey to the Orient and, moreover, letters written while on this journey. I have analyzed Flauberts writing and the mobility of textual variations that migrate from his letters to travel texts and vice versa. He never wished to publish these notes that are an experience in language, a laboratory for variations, which with some changes, he later integrates into his fiction. I have compared these texts with the aesthetic conceptions at that time. I have also analyzed the descriptive mode that Flaubert developed in the Orient, comparing excerpts from his notes to pages from Delacroixs illustrated travel notes made during his trip to Morocco. I identify in Flauberts texts from the Orient the correspondence with pictorial composition. His viewpoint and imagination are informed by Orientalist art, which was popular in Europe at the time. The Orientalism provides a link for analyzing the aesthetic changes that took place in literature and painting in the XIX century. Writing during travel is associated with the idea of creating a repertory of images while at the same time making visible what is evoked in the text
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Gatty, Fiona K. A. "Ideal beauty in late eighteenth- and early nineteenth-century French art and art criticism with special reference to the role of drapery and costume." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:9c3f5f9e-0a0c-4c1e-a7c1-62ed972cfd12.

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Scholarly attention to late eighteenth- and early nineteenth-century French art has focused on the importance that Johann Joachim Winckelmann attributed to the male nude figure in his definition of ideal beauty, and the impact of his work on debates over the 'beau id&eacute;al' in French art and art criticism. In contrast, Winckelmann's extensive interest in the detail of ancient costume, the folds of drapery, and the teleological and aesthetic significance that he ascribed to them, has been underplayed. The role played by costume and drapery as components of the 'beau id&eacute;al' in French art and aesthetics has also not been fully explored. This thesis examines the way in which costume and drapery formed an important component and embodiment of ideal beauty in the work of Winckelmann and in late eighteenth- and early nineteenth-century French artistic circles, providing new insights into the arguments over the meanings of Truth, Beauty and Nature in this period. The thesis proposes that ideal beauty in late eighteenth- and early nineteenth- century France was conveyed in works of art through the accurate rendering of costume and the expressive qualities of drapery in combination with the perfect form and contour of the nude body. The first part of the thesis sets up a proposition that costume and drapery formed part of the definition of ideal beauty in the work of Winckelmann. Highlighting the significance of Winckelmann's work on costume and drapery in French art theory, it demonstrates how the definition of ideal beauty in France also incorporated the accurate rendering of costume and the aesthetic impact of drapery. In demonstrating the significance of costume and drapery to both Winckelmann and French theorists it is proposed that the application of a meta-historical approach of costume and drapery to French art theory can provide new understandings and readings of the definition of ideal beauty, the hierarchy of the genres and the broader aesthetic concerns of late eighteenth- and early nineteenth- century French art. The second part of the thesis applies the proposed hermeneutic of costume and drapery to a small selection of theoretical work on the nature of ideal beauty and on a significant collection of Salon criticism. With this approach to the primary material this thesis demonstrates how French artists were able to express the 'beau id&eacute;al' within the traditional academic conventions and hierarchies, and negotiate the sense of public unease over the use of nudity in contemporary art.
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Dias, Daniel Bezerra. "Desejo, alucinação, produção: La tentation de saint Antoine segundo Flaubert e Cézanne." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-10052016-122230/.

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O século XIX retoma, por meio de narrativas literárias e pictóricas, o enredo de Antão, personagem da religião católica que teria se exilado no deserto em busca da dedicação às suas orações e à leitura bíblica. A representação de Antão do deserto, do Santo Antão, é revista no texto literário de Gustave Flaubert e na pintura de Paul Cézanne. Flaubert, nas três versões de sua La Tentation de saint Antoine (1849, 1856 e 1874), reconstruiu o enredo do santo por meio do discurso da alucinação, articulado a suas leituras, estudos e observações do quotidiano, como se notam em seus relatos de viagem e em seus manuscritos. O escritor busca na construção do erótico e da ciência a base para o questionamento da fé do santo, atormentado por imagens invocadas dum sem-número de relações interdiscursivas. Cézanne, por sua vez, busca nas referências pictóricas, em especial em pinturas do século XIX, a produção de sua La Tentation de saint Antoine, estabelecendo, sobretudo na versão definitiva (1877), relações com a obra de Flaubert.<br>The 19th century recovers, through literary and pictorial narratives, the story of Anthony, a character from the catholic religion whose legend says that he exiled himself in the desert in search of full dedication to his prayers and biblical readings. The representation of Anthony, or Saint Anthony, in the desert is revised on Gustave Flauberts literary text and Paul Cézannes painting. Flaubert, in the three versions of his The Temptation of Saint Anthony (1849, 1856 and 1874), reconstructed the story of the saint through the discourse of hallucination, articulating to his readings studies and quotidian observations of hallucination, as shown in his travel reports and in his manuscripts. The writer searches in the construction of the erotic and of the science the basis for the questioning of the saints faith, who was tormented by images invoked from an infinite number of inter-discursive relations. Cézanne, on the other hand, searches in the pictorial references, specially in 19th century paintings, the production of his The Temptation of Saint Anthony, establishing, particularly in the definitive version (1877), relations to Flauberts work.
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Dessy, Clément. "Les écrivains devant le défi nabi: positions, pratiques d'écriture et influences." Doctoral thesis, Universite Libre de Bruxelles, 2011. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209795.

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En 1888, une communauté de peintres s’associe sous l’appellation « Nabis ». Ce terme, issu de l’hébreu, signifie à la fois les « prophètes » et les « initiés ». Paul Sérusier qui vécut sa rencontre avec Paul Gauguin comme une révélation est à l’origine de la formation du groupe. Une année auparavant, le symbolisme littéraire triomphe en France et suscite l’émulation parmi une nouvelle génération d’écrivains qui se cristallise autour de /La Revue Blanche/ et le /Mercure de France/. Entre les Nabis et les symbolistes s’établit dès lors un intense réseau de collaborations. Tant dans l’élaboration des décors et programmes du Théâtre de l’œuvre de Lugné-Poe que dans l’illustration d’ouvrages d’André Gide, d’Alfred Jarry ou encore de Jules Renard, les Nabis participent activement à la vie littéraire de leur temps tout en s’incarnant volontairement comme une avant-garde picturale. Les échanges nombreux entre peintres et écrivains sont alors loin de se limiter à de simples commandes. Ils aboutissent souvent à des amitiés durables comme celles qui unirent Gide à Maurice Denis et Jarry à Pierre Bonnard. La recherche s’interroge sur la motivation de cette nouvelle génération d’écrivains qui sollicita le groupe nabi, ainsi que sur la nature des projets qui les unirent. Les revues littéraires occupent une place importante dans le rassemblement entre les écrivains et ce groupe de peintres. La volonté d'identifier une aile picturale qui fasse écho dans le champ artistique au désir d'innover dans le champ littéraire stimule les sollicitations des écrivains de la seconde génération symboliste. Les Nabis, qui se méfient toutefois d'une soumission trop grande au fait littéraire, induisent par leurs développements artistiques et leurs théories les paramètres d'une nouvelle relation entre peintres et écrivains dans laquelle ces derniers ne recherchent plus la domination stratégique de l'art littéraire sur la peinture.<p>Outre ces considérations historiques, le rapprochement souhaité entre les deux groupes fut tel que la production littéraire ne put qu’être influencée par les théories des Nabis. La tendance "formaliste" représentée par ce groupe pictural a souvent conduit les chercheurs à prendre acte de l'autonomie tant du littéraire que du pictural dans les échanges entre Nabis et écrivains. Les influences sont cependant nombreuses de la peinture vers la littérature. Il est toutefois nécessaire de prendre en compte des écrivains oubliés par l'histoire littéraire, tels Romain Coolus, Gabriel Trarieux ou Louis Lormel, pour percevoir les effets de cette influence picturale. La reprise d'un dispositif de couleurs, exaltées ou déformées, le jeu poétique sur le thème de la ligne ou de l'arabesque fondent une recherche d'effet visuel dans l'écriture qui entend renouveler les images poétiques. Ce constat entre en résonance avec la rénovation picturale revendiquée par les Nabis. Des esthétiques communes entre peintres et écrivains, tournant autour des notions de synthèse, simplicité, de la référence à l'enfance ou à la fantaisie humoristique rassemblent Nabis et poètes qui les soutiennent dans une communauté d'initiés à l'art nouveau.<br>Doctorat en Langues et lettres<br>info:eu-repo/semantics/nonPublished
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Girard, Catherine. "Rococo Massacres: Hunting in Eighteenth-Century French Painting." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11521.

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My dissertation is a study of paintings with hunting subjects made in France between the 1730s and 1750s, concomitantly with the escalation of Louis XV's (r. 1715- 1774) obsession with hunting. It concentrates on up-close depictions of dying and dead animals by prominent artists such as Jean-Baptiste Oudry (1686-1755), François Boucher (1703-1770), and Jean-François De Troy (1679-1752). Particular attention is paid to how the moments that surrounded the kill of the prey by royal hunters--the hallali and the curée--were conjured up by these painters, and how their canvases were integrated into interiors, particularly those dedicated to the king's after-hunt gatherings. These painted drops of blood, hanging tongues, dislocated bodies, and tortured carcasses complicate the lack of seriousness and alleged playfulness of the discursively and ideologically determined category of the Rococo.<br>History of Art and Architecture
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Books on the topic "French literature and painting"

1

Cohn, Robert Greer. Ways of art: Literature, music, painting in France. ANMA Libri, 1985.

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Tscherny, Nadia. Romance & chivalry: History and literature reflected in early nineteenth-century French painting. Stair Sainty Matthiesen, 1996.

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Roberts, Warren. Morality and social class in eighteenth-century French literature and painting. University Microfilms International, 1986.

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Hirdt, Willi. Lesen und Sehen: Aufsätze zu Literatur und Malerei in Italien und Frankreich : Festschrift zum 60. Geburtstag. Stauffenburg, 1998.

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Swisher, Clarice. Pablo Picasso. Lucent Books, 1995.

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Fénéon, Félix. Oeuvres. Gallimard, 1991.

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What makes a Picasso a Picasso? Metropolitan Museum of Art, 1994.

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Raboff, Ernest Lloyd. Pablo Picasso. Harper & Row, 1987.

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Pablo Picasso. J.B. Lippincott, 1987.

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Antoine, Véronique. Picasso: A day in his studio. Chelsea House, 1994.

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Book chapters on the topic "French literature and painting"

1

Kearns, James. "No Object too Humble? Still Life Painting in French Art Criticism during the Second Empire." In French Literature, Thought and Culture in the Nineteenth Century. Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-11824-3_9.

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Eitner, Lorenz. "French Landscape." In An Outline of 19th Century European Painting. Routledge, 2021. http://dx.doi.org/10.4324/9780429032714-8.

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Eitner, Lorenz. "French Romantics." In An Outline of 19th Century European Painting. Routledge, 2021. http://dx.doi.org/10.4324/9780429032714-7.

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Barrett, Cyril. "Leisure in Western Painting." In Leisure in Art and Literature. Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-11353-8_6.

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de Lafond, Delphine Gervais. "Ophélie in Nineteenth-Century French Painting." In The Afterlife of Ophelia. Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137016461_11.

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Scully, Terence. "French Songs in Aragon." In Courtly Literature. John Benjamins Publishing Company, 1990. http://dx.doi.org/10.1075/upal.25.39scu.

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Bullen, J. B. "English Criticism and French Post-Impressionist Painting." In Studies in Anglo-French Cultural Relations. Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-07921-6_4.

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McGinnis, Reginald. "Language and Literature, French." In Encyclopedia of Sciences and Religions. Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-1-4020-8265-8_1407.

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Seymour-Smith, Martin. "French and Belgian Literature." In Guide to Modern World Literature. Macmillan Education UK, 1985. http://dx.doi.org/10.1007/978-1-349-06418-2_14.

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Forsdick, Charles. "World-literature in French." In Translation and World Literature. Routledge, 2018. http://dx.doi.org/10.4324/9781315630298-3.

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Conference papers on the topic "French literature and painting"

1

"The Study on Computer Assisted Fresco Painting: A Case Study of the Murals in Xi’an." In 2018 International Conference on Arts, Linguistics, Literature and Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icallh.2018.15.

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Sun, Lili. "A Literature Review of Northeast Farmer Painting Art." In The 6th International Conference on Arts, Design and Contemporary Education (ICADCE 2020). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210106.030.

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"Artistic Expression of Traditional Chinese Painting." In 2018 International Conference on Arts, Linguistics, Literature and Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icallh.2018.52.

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Mutiarsih, Yuliarti, Dudung Gumilar, and Dante Darmawangsa. "The Acquisition of French Morphosyntax and Structures by Indonesian Students Learning French." In 4th International Conference on Language, Literature, Culture, and Education (ICOLLITE 2020). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.131.

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"Research on Symbiosis of Painting and Graphic Design." In 2018 International Conference on Culture, Literature, Arts & Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icclah.18.009.

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Lustyantie, Ninuk, Tri Septiarini, Qurrata A’yunin, and Yumna Rasyid. "Integrating Character Education and Contextual Approach in French Literature." In Proceedings of the 1st International Conference on Innovation in Education (ICoIE 2018). Atlantis Press, 2019. http://dx.doi.org/10.2991/icoie-18.2019.116.

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Amalia, Farida, Dudung Gumilar, and Riswanda Setiadi. "Poetry in Teaching French Descriptive Texts Writing." In 4th International Conference on Language, Literature, Culture, and Education (ICOLLITE 2020). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.039.

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"Application of painting principle in garden planning and design." In 2019 International Conference on Advances in Literature, Arts and Communication. The Academy of Engineering and Education (AEE), 2019. http://dx.doi.org/10.35532/jahs.v1.013.

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"Research on the Artistic Conception of landscape in Chinese Painting." In 2017 4th International Conference on Literature, Linguistics and Arts. Francis Academic Press, 2017. http://dx.doi.org/10.25236/iclla.2017.31.

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"The Application of Chinese Traditional Literati Painting in Animation Design." In 2018 International Conference on Arts, Linguistics, Literature and Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icallh.2018.26.

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