Relevant bibliographies by topics / Montmartre (Paris, France) in art

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

Academic literature on the topic 'Montmartre (Paris, France) in art'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Montmartre (Paris, France) in art"

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WILLIAMS, HANNAH. "Artists and the city: mapping the art worlds of eighteenth-century Paris." Urban History 46, no. 1 (April 15, 2018): 106–31. http://dx.doi.org/10.1017/s0963926818000251.

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ABSTRACT:Paris is renowned for artistic neighbourhoods like Montmartre and Montparnasse in the nineteenth and twentieth centuries. But for earlier periods, the art-historical picture is much vaguer. Where did artists live and work in the eighteenth century? Which neighbourhoods formed the cultural geography of the early modern art world? Drawing on data from a large-scale digital mapping project locating the addresses of hundreds of eighteenth-century artists, this article answers these crucial questions of urban art history. Following an overview of the digital project, the article explores three different mappings of the city's art worlds: a century long survey of the neighbourhoods inhabited by the Academy's artists; a comparison of where the Guild's artists were living in a single year and a wider world view of Parisian artists abroad. Through its new cartographic models of Paris's art worlds, this article brings the city to the foreground of eighteenth-century French art.
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Fry, Andy. "Beyond Le Boeuf: Interdisciplinary Rereadings of Jazz in France - William A. Shack, Harlem in Montmartre: A Paris Jazz Story between the Great Wars. Music of the African Diaspora, 4. Berkeley, Los Angeles and London: University of California Press, 2001. xix + 191 pp. ISBN 0 520 22537 6. - Jody Blake, Le tumulte noir: Modernist Art and Popular Entertainment in Jazz-Age Paris, 1900–1930. University Park, Pennsylvania: Pennsylvania State University Press, 1999. viii + 207 pp. ISBN 0 271 01753 8. - Ludovic Tournès, New Orleans sur Seine: Histoire du jazz en France. Paris: Librairie Arthème Fayard, 1999. 501 pp. ISBN 2 213 60364 2." Journal of the Royal Musical Association 128, no. 1 (2003): 137–53. http://dx.doi.org/10.1093/jrma/fkg006.

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Freundschuh, Aaron, Jonah D. Levy, Patricia Lorcin, Alexis Spire, Steven Zdatny, Caroline Ford, Minayo Nasiali, George Ross, William Poulin-Deltour, and Kathryn Kleppinger. "Book Reviews." French Politics, Culture & Society 38, no. 1 (March 1, 2020): 129–62. http://dx.doi.org/10.3167/fpcs.2020.380107.

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Nicholas Hewitt, Montmartre: A Cultural History (Liverpool: Liverpool University Press, 2017).David Spector, La Gauche, la droite, et le marché: Histoire d’une idée controversée (XIXe–XXIe siècle) (Paris: Odile Jacob, 2017)Graham M. Jones, Magic’s Reason: An Anthropology of Analogy (Chicago: University of Chicago Press, 2017).Minayo Nasiali, Native to the Republic: Empire, Social Citizenship, and Everyday Life in Marseille since 1945 (Ithaca: Cornell University Press, 2016).Joseph Bohling, The Sober Revolution: Appellation Wine and the Transformation of France (Ithaca and London: Cornell University Press, 2018).Venus Bivar, Organic Resistance: The Struggle over Industrial Farming in Postwar France (Chapel Hill: University of North Carolina Press, 2018).Todd Shepard, Sex, France, and Arab Men, 1962–1979 (Chicago: University of Chicago Press, 2017).Donald Reid, Opening the Gates: The Lip Affair, 1968–1981 (London: Verso, 2018).Bruno Perreau, Queer Theory: The French Response (Stanford, CA: Stanford University Press, 2016).Oana Sabo, The Migrant Canon in Twenty-First-Century France (Lincoln: University of Nebraska Press, 2018).
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Buysse, Daniel, G. ran Hajak, Patrick L. vy, Thomas Roth, and Forum Scientific Committee. "The art of good sleep, Paris, France, September 2004." Sleep Medicine 6 (January 2005): S1—S2. http://dx.doi.org/10.1016/s1389-9457(05)80001-2.

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O’Connor Perks, Samuel, Rajesh Heynickx, and Stéphane Symons. "Disclosing a Transfer: Art and Religion in the Notebooks of Dominique de Menil." International Journal for History, Culture and Modernity 8, no. 2 (September 16, 2020): 188–222. http://dx.doi.org/10.1163/22130624-00802004.

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Abstract The art collector and educator, Dominique de Menil (1908–1997) has mostly been remembered as a pragmatic orchestrator of high-profile commissions in the art world. However, little attention has been paid to her role as a thinker. This article seeks to address that lacuna in the literature by attending to an overlooked source in the Menil archives, de Menil’s notebooks, which were written between 1974 and 1994. By analysing de Menil’s use of metaphor in the notebooks, we place them within the trajectory of de Menil’s intellectual development stemming back to her 1936 article: ‘Pour l’unité du monde chrétien’. The first part situates the metaphors which de Menil employed in the notebooks from the 1970s in the intellectual context of her inception of these figures of speech in Montmartre, Paris in 1936. The second part unpacks a central metaphor which grounds de Menil’s conception of tradition. The third part compares de Menil’s art historiography vis-à-vis other models which sought to reinvigorate the avant-garde art scene via pre-modern sources. The Coda critically assesses de Menil’s art historiography against other prevalent views on the relation between pre-modern and modern works of art.
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Rönnbäck, Fredrik. "Republic of Fakes: Art in the Service of Truth in Postwar France." October, no. 175 (2021): 9–25. http://dx.doi.org/10.1162/octo_a_00414.

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Abstract In 1955, Paris Police Commissioner Guy Isnard curated the exhibition Le Faux dans l'art et dans l'histoire at the Grand Palais in Paris. Featuring a wide variety of forgeries, most notably counterfeit sculptures and paintings, the exhibition was an occasion to showcase the anti-counterfeiting efforts of the National Police. But in the broader context of the politically and economically weakened Fourth Republic, more was at stake. In the immediate postwar period, French society was steeped in uncertainty and a growing fear of inauthenticity, fueled by rumors of currency manipulation by foreign powers, the perceived corruption of the French language by an increasingly influential English, and anti-Americanism in intellectual and political circles. In this environment, the organizers of the exhibition called upon culture, and art in particular, to reaffirm a strict distinction between truth and falsity while also establishing France as the uncontested guardian of truth. This essay shows that Le Faux dans l'art et dans l'histoire constituted a crucial threshold moment in twentieth-century French history, both as an attempt to preserve a rapidly fading vision of truth and originality and as a prefiguration of aesthetic and philosophical debates to come.
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Elsaed, Hala Ibrahim Mohamed. "Vision of Vincent van Gogh and Maurice Utrillo in Landscape Paintings and their Impact in Establishing the Identity of the Place." Academic Research Community publication 1, no. 1 (September 18, 2017): 12. http://dx.doi.org/10.21625/archive.v1i1.133.

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There are varieties of visions, visual solutions and plastic relations for various painting topics, but the landscape painting is still the closest subject to the identity of the place.When the artist translates the realistic features of the place describing it with his special style and touches, this represents a record for characteristics of a certain period related to this place. It might also depict the landscape by his sense, telling us with his painting brush the story of its heritage. The artist links it with the reality experienced -here the memory adds the highest value to the view and translates features of nature of this place in terms of form- or feelings and influence through the ages.When Van Gogh was influenced by a city, like Arles in France, he produced the most beautiful of his paintings, which appeared to show his style and colors. Actually, we see this city through a creative artist with radiant colors, each panting as a celebration or a poem singing the beauty of this place.And when Maurice Utrillo was influenced by a city -like Paris in France especially Montmartre district with its steep winding streets, picturesque windmills, snowfall, and clouds of gray affected- he created his most important paintings of landscape. The paintings reflected the nature of this place by his simple style which seems like a zap from the internal inventory of the artist about this place.
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Underwood, David K. "Alfred Agache, French Sociology, and Modern Urbanism in France and Brazil." Journal of the Society of Architectural Historians 50, no. 2 (June 1, 1991): 130–66. http://dx.doi.org/10.2307/990590.

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The 1930 master plan for Rio de Janeiro, drawn up by the French architect-urbanist Alfred Agache, had an important impact on Rio and on the development of modern planning in Brazil. Reflecting the socioscientific methods of Edmond Demolins and the Musée Social in Paris as well as the sociological ideas of Gabriel Tarde and Emile Durkheim, the plan exemplifies the ambitions and techniques of the urbanism of the Société Française d'Urbanistes (SFU). Agache, a leading theorist, teacher, and practitioner of SFU urbanism, developed a sociological urbanisme parlant that evolved out of his Beaux-Arts training and his background in French sociology. Agache's ideas on the fine arts and urban planning were synthesized and refined in the courses on social art history and urbanism, the first of their kind in France, that he taught at the Collège Libre des Sciences Sociales in Paris. In defining theoretically and expressing artistically the Brazilian capital's urban program in terms of the fine art of applied sociology, Agache provided the Brazilians with a blueprint for socioeconomic and moral reform on the levels of both urban and national development. Situated chronologically between the international expositions of 1925 and 1937 in Paris, Agache's project reflects as well the larger purposes and methods of the two expos and, in so doing, clarifies the historical evolution of SFU urbanism.
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Bellisari, Andrew. "The Art of Decolonization: The Battle for Algeria’s French Art, 1962–70." Journal of Contemporary History 52, no. 3 (October 17, 2016): 625–45. http://dx.doi.org/10.1177/0022009416652715.

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In May 1962 French museum administrators removed over 300 works of art from the Musée des Beaux-Arts in Algiers and transported them, under military escort, to the Louvre in Paris. The artwork, however, no longer belonged to France. Under the terms of the Evian Accords it had become the official property of the Algerian state-to-be and the incoming nationalist government wanted it back. This article will examine not only the French decision to act in contravention of the Evian Accords and the ensuing negotiations that took place between France and Algeria, but also the cultural complexities of post-colonial restitution. What does it mean for artwork produced by some of France’s most iconic artists – Monet, Delacroix, Courbet – to become the cultural property of a former colony? Moreover, what is at stake when a former colony demands the repatriation of artwork emblematic of the former colonizer, deeming it a valuable part of the nation’s cultural heritage? The negotiations undertaken to repatriate French art to Algeria expose the kinds of awkward cultural refashioning precipitated by the process of decolonization and epitomizes the lingering connections of colonial disentanglement that do not fit neatly into the common narrative of the ‘end of empire'.
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Gaudelus, Sébastien, Martine Poulain, and Lucile Trunel. "The renovation of the Richelieu building: a future centre for art researchers in Paris." Art Libraries Journal 36, no. 1 (2011): 11–16. http://dx.doi.org/10.1017/s0307472200016734.

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The historic site of the French national library is currently being renovated in order to become a major centre for art documentation and special collections. It will incorporate three separate institutions: the specialist departments of the Bibliothèque nationale de France, the library of the Institut national d’histoire de l’art, and the library of the Ecole nationale des Chartes. Completion of the project is scheduled for 2017.
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Dissertations / Theses on the topic "Montmartre (Paris, France) in art"

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Benoist, Jacques. ""Le Sacré Cœur de Montmartre" : spiritualité, art et politique (1870-1923)." Paris 4, 1991. http://www.theses.fr/1990PA040155.

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La basilique du Sacré-Cœur a toujours été l'objet de nombreuses contestations. Pour les comprendre, il faut demander à ses promoteurs quelles étaient leurs intentions. Traumatisés par les évènements de 1870 tant en France qu'à Rome, ils promettent en décembre 1870-janvier 1871 de construire une église en l'honneur du cœur du christ par souscription nationale pour obtenir de dieu le salut de la France et la délivrance du souverain pontife. Leur initiative est déclarée d'utilité publique par l'assemblée nationale. Paul Abadie devient leur architecte. La lente édification du monument s'accompagne de la création d'un pèlerinage ou une adoration perpétuelle s'établit rapidement. La décoration récapitule dans la pierre la vision du monde des constructeurs. Les contestations et les contestataires de l'entreprise, d'hier et d'aujourd'hui, retiennent longuement l'attention, mais sont contestés à leur tour
The basilica of the sacred heart has always been the target of numerous criticisms. These cannot be understood without investigating the promoters' intentions. Under the shock of the event of 1870 in Rome as well as in France, they pledged in December 1870-January 1871 to build a church dedicated to the heart of Christ thanks to a national subscription, so as to obtain from god both salvation for France and liberation for the Holy Father. The national assembly granted their initiative the public interest status. Paul Abadie became their architect. During the slow building of the monument, pilgrimages and perpetual adoration began rapidly. The decoration expressed in the stone the builders' vision of the world. The critics and the criticisms of times past and present have long held general attention but are now being criticized themselves
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Benoist, Jacques. "Le Sacré-Coeur de Montmartre." [Paris] : Éd. ouvrières, 1992. http://catalogue.bnf.fr/ark:/12148/cb35554775r.

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Baillargeon, Claude. "Religious fervor and photographic propaganda : Durandelle's anatomical studies of the Sacré-Coeur de Montmartre /." Rochester : Claude Baillargeon, 2002. http://catalogue.bnf.fr/ark:/12148/cb39217910n.

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Le, Thomas Claire. "Racines populaires d’un art savant : innovations cubistes et pratiques ordinaires de création (1907-1914)." Paris 10, 2008. http://www.theses.fr/2008PA100087.

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Cette thèse s’attache à comprendre les conditions d’apparition des innovations techniques et matérielles cubistes. Les analyses traditionnelles expliquant l’introduction de matériaux et de procédés non artistiques dans les œuvres cubistes se sont trop souvent restreintes à l’étude des interrogations plastiques auxquelles étaient confrontés ces artistes sans prendre en compte le contexte à l’intérieur duquel ces innovations ont vu le jour. Pourtant, étant donné leur nature même – le recours à des savoir-faire n’appartenant pas aux beaux-arts et à des objets tirés de la réalité – et la rupture sans précédent qu’elles constituent dans les méthodes de création, le rôle joué par les éléments contextuels devrait être questionné. Au moyen d’une enquête historique et ethnographique sur les avant-gardes montmartroises, il s’agit d’abord de redessiner le milieu dans lequel vivaient G. Braque, P. Picasso, J. Gris et H. Laurens afin de déceler ce qui aurait pu rendre possible et pensable l’invention des papiers collés et des constructions. Les pratiques populaires de fabrication manuelle à partir d’éléments courants et parfois récupérés apparaissent alors comme l’environnement technique le plus susceptible d’avoir favorisé ces innovations. Pour évaluer la manière dont ces usages de création domestique ont préparé l’introduction de matériaux et de procédés hétéroclites, ce travail procède ensuite à une analyse comparative entre les activités créatrices ordinaires, telles qu’elles sont décrites dans les livres de travaux manuels de l’époque, et les pratiques cubistes, étudiées à travers les œuvres et les commentaires des artistes sur leur travail. Le dessein de cette étude est donc de mettre en évidence les relations tissées entre des événements historiques, une situation sociologique, des idéologies, un environnement technique et des types d’expression plastique pour montrer que les innovations cubistes sont le fruit de données relatives à l’histoire sociale d’une époque
This dissertation tries to understand the innovative techniques and materials used by cubists and the conditions in which they appeared. Traditional analyses have not paid enough attention to the context in which the cubists innovations occurred whereas their very nature – the introduction of inartistic materials and processes – and the unprecedented break they constituted in method, calls into question the part played by contextual factors. Through an historic and ethnographic enquiry into the Montmartrian avant-garde, this study begins by describing the environment in which G. Braque, P. Picasso, J. Gris and H. Laurens lived in order to reveal what in the milieu made possible for these Cubists to create papiers collés and constructions. Thus, the previously common practice of manually making objects with everyday or second-hand items is most likely the technical source of these innovations. Subsequently, in order to estimate the way these domestic practices of fabrication prepared the way for the introduction of heteroclite materials and techniques, this study provides a comparative analysis of ordinary handicraft activities and Cubists’ practices. For the former, it examines the artisanal handbooks and manuels of the period. For the latter, it examines the works of art as well as the commentaries left behind by the artists. The aim is to point out the interactions between the historical context, the sociological environment, prevalent ideologies, the technical background of the artists and artistic expression in order to highlight how the cubist’s innovations were a product of the social history of this period
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Collins, John 1957. "Seeking l’esprit gaulois : Renoir’s Bal du Moulin de la Galette and aspects of French social history and popular culture." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=104371.

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This thesis examines the years bracketing the summer of 1876, when Renoir was a resident on the Butte Montmartre and executed the Bal du Moulin de la Galette . The social and historical resonances of Renoir's work during this period are investigated, including his engagement with themes prevalent in French popular lithography and vaudeville theatre. While Bal du Moulin de la Galette is an ubiquitous image of the Impressionist movement, it is little studied as a site of potential symbolic meaning, especially following the period of the Franco-Prussian war and the Commune between 1870-71. Through archival research and a reevaluation of secondary sources a clear relationship is established between Renoir, Republican politics and French literature, particularly the Parnassian movement in poetry.
Cette thèse examine les années avant et après de l’été de 1876, quand Renoir habitait sur la Butte Montmartre et a exécuté le Bal du Moulin de la Galette. Ces années dans la carrière de Renoir sont choisi à examiner plus profondément des résonances historiques et sociales de cette oeuvre, y compris l’engagement de Renoir avec les thèmes de la lithographie populaire et les vaudevilles. Tandis que le Bal du Moulin de la Galette est très bien connu dans la contexte de l’impressionnisme, le tableau lui-même est peu étudié comme document de son époque dans la période suivante la Guerre et la Commune entre 1870-71. Au moyen de l’étude des sources archivales et secondaires, un rapport est établi entre Renoir, la politique Républicaine et la littérature fran;aise, particulièrement avec le mouvement parnassien en poésie.
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Pawlotsky, Isabelle. "Monographie d'un quartier artistique : Montmartre 1871-1910." Paris 10, 1995. http://www.theses.fr/1995PA100106.

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Parmi les quartiers qui constituent le 18eme arrondissement (la chapelle, goutte d'or, grandes carrières et Clignancourt ), la moitié ouest des grandes carrières et la moitie est de Clignancourt forment ce qu'on appelle communément "Montmartre" ou "butte Montmartre", occupant le pied, les pentes et le plateau de la colline (limite dans le cadre de notre étude par les rues Caulaincourt, Custine, la place du château-rouge, le boulevard barbes et l'avenue de Douai jusqu'au boulevard de Clichy). Ce périmètre, qui a fait l'objet de notre étude, est en réalité constitue de deux zones : les bas-Montmartre, aux pieds de la colline, qui est celui de la première génération d'artistes installée entre 1871 et 1890; la butte elle-même, c'est à dire les pentes et le plateau de la colline, correspondant au village de Montmartre ou haut-Montmartre, par opposition au Montmartre des boulevards. Ce haut Montmartre est celui de la deuxième génération d'artistes, celle de Picasso, qui s'installe entre 1880 et 1910. Dans ce cadre géographique, nous avons tente de comprendre l'évolution de Montmartre entre 1871 et 1910. Pendant ces quelques quarante années, Montmartre ne cesse de jouer un rôle important : politique dans un premier temps, avec sa participation à la commune, puis intellectuel et artistique, des fin 1871 et jusqu'en 1910, date à laquelle Picasso quitte la butte, ce départ symbolisant un point de rupture dans l'histoire artistique du quartier. L'étude de l'évolution de Montmartre en tant que quartier artistique a permis de répondre aux problèmes suivants : pourquoi les artistes s'installent-ils à Montmartre? Quel est le legs de la commune, ce legs va-t-il survécu a l'écrasement de la commune ou au contraire va-t-il été occulte. Autrement dit, y-a-t-il rupture ou continuité entre le Montmartre communard et le Montmartre artistique? Jusqu'en 1890, les artistes prennent possession du bas-Montmartre en même temps que les établissements de toutes sortes se multiplient : bals, cabarets à attraction et restaurants de nuit. Ces lieux de plaisir, notamment les bals, participent à la création artistique. A partir de 1890, les artistes délaissent le bas-Montmartre pour se retrancher dans un lieu plus paisible, le village au sommet de la butte, répute pour la modicité de ses loyers. Du même coup, ils déplacent les pôles d'attraction artistique, créant de nouveaux foyers, tels le bateau-lavoir ou le lapin agile, prolongeant ainsi l'habitude associative. Les relations entre bas-Montmartre et haut Montmartre demeurent étroites, des flux existant entre les créateurs du village et les promoteurs d'art des boulevards. Chaque zone confirme donc sa spécificité : artistique ou commerciale. En revanche l'esprit qui anime ces deux zones est le même, ne du sang de la commune et caractérise par l'arrogance, la violence, la critique des valeurs traditionnelles et de tout ce qui peut représenter l'autorité.
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Langlais, Chloë. "Montmartre : protection patrimoniale et mémoire locale de 1886 à nos jours." Paris 5, 2005. http://www.theses.fr/2005PA05H026.

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Cette thèse de sociologie urbaine propose d'étudier les modalités de protection du patrimoine ainsi que la mise en place et la promotion de la mémoire locale montmartroise de 1886 à nos jours. La définition de l'espace montmartrois s'est appuyé sur une mobilisation locale récurrente, adaptée au contexte social et défendant l'idée d'une exception à protéger. Le patrimoine "pittoresque" de la butte a ainsi été reconnu et étendu jusqu'à devenir "esprit" caractéristique du lieu. Paradoxalement, la Ville a contribué à l'insertion spatiale de la mémoire montmartroise pour mieux l'utiliser à des fins politiques : l'évolution de la nomenclature des voies, l'usage des plaques commémoratives et des statues de la butte en attestent. Plus généralement, l'insertion de la mémoire de Montmartre dans des parcours touristiques a montré comment la promotion de cet espace avait doublement bénéficié aux habitants et aux visiteurs, qui en apprécient le cadre privilégié et valorisant.
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Kenny, Nicolas. "'Je cherche fortune' : identity, counterculture and profit in fin-de-siècle Montmartre." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79780.

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This thesis examines the countercultural community in the Parisian neighbourhood of Montmartre during the 1880s and 1890s. This period stands out for its unique cultural atmosphere, heavily influenced by the turbulent advent of modernity. Traditionally accepted norms that dictated individuals' sense of identity were being questioned as new understandings of class, gender, sexuality and nationality gained acceptance. Aspiring artists and writers who sought to express these new identities were excluded from the world of official culture. Many congregated in the traditionally bohemian Montmartre where a sense of belonging to a youthful and energetic community afforded the opportunity to struggle and come to terms with their opposition to dominant ideals. Montmartre became, and continues to be, heavily commercialised but its enduring legacy testifies to its significance as herald of numerous social and cultural changes that would mark the twentieth century.
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Harkett, Daniel. "Exhibition culture in Restoration Paris." View online version; access limited to Brown University users, 2005. http://catalog.hathitrust.org/api/volumes/oclc/73488260.html.

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Thesis (Ph.D.)--Brown University, 2005.
Vita. Thesis advisor: Kermit S. Champa. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 271-289).
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Hayes, Jessica Noel. "Architecture & Change: The Conversation Between Old & New in Architecture as Examined in the Montmartre House, Paris, France." Thesis, Virginia Tech, 2007. http://hdl.handle.net/10919/33773.

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Buildings and the cities they make up are in a state of constant change. Temples become churches, palaces become apartment complexes, and railway stations have been turned into hotels and museums. Paris is an example of a city which reuses existing buildings, and on a smaller scale as the city changes over time, buildings are split in half, windows become doors, and row houses become apartments. In its centuries long evolution, Paris has developed into one of the most beautiful cities in the world full of an architecture of reuse and renovation of existing structures. As this process of reuse occurs, the history of a building is revealed as its original materials, structure, and scars are uncovered and celebrated. In the Montmartre House, the buildingâ s original vaulted brick structure is exposed. This traditional structure, along with new partitions and rooms, form a modern house in which new and old contrast, enhancing each other and creating a new architecture. The aim is not to reconstruct the old brick building into what it once was, but to use it in conjunction with modern construction methods and materials and continue the subsequent reuse and transformation making this house a reflection of the architectural spirit of Paris itself.
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Books on the topic "Montmartre (Paris, France) in art"

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Oberthür, Mariel. Le Chat noir et Montmartre, 1881-1897: Du 27 mars au 31 mai 1993. Albi, France: Musée de Toulouse-Lautrec, 1993.

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Montmartre, Musée de, ed. Autour du Chat noir: Arts et plaisirs à Montmartre, 1880-1910 = Around the Chat Noir : arts and pleasures in Bohemian Montmatre, 1880-1910. Paris: Skira Flammarion, 2012.

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Frankfurt, Schirn Kunsthalle, ed. Esprit Montmartre: Bohemian life in Paris around 1900. Frankfurt: Schirn Kunsthalle, 2014.

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Buisson, Sylvie. Paris Montmartre: A mecca of modern art, 1860-1920. Paris: Terrail, 1996.

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Christian, Parisot, ed. Paris-Montmartre: Les artistes et les lieux 1816-1920. Paris: Terrail, 1996.

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Plaut, Gilles. Cimetière de Montmartre: Division 3. Paris: Cercle de généalogie juive, 1999.

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Benoist, Jacques. Le Sacré-Cœur de Montmartre. Paris: Editions ouvrières, 1992.

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Renoux, André. Paris. Paris: J. Picollec, 1987.

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Sternberg, Galleries Maurice. Paris, France, and the European scene. Chicago, Ill: The Galleries, 1996.

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Gray-Durant, Delia. Paris: Art, shop, eat. London: A & C Black, 2004.

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Book chapters on the topic "Montmartre (Paris, France) in art"

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Considine, Liam. "Disaster in Paris." In American Pop Art in France, 13–38. New York, NY : Routledge, 2020. | Series: [Routledge research in art history]: Routledge, 2019. http://dx.doi.org/10.4324/9780367140168-2.

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Stoddard, Whitney S. "The Cathedral of Paris." In Art and Architecture in Medieval France, 137–46. Routledge, 2018. http://dx.doi.org/10.4324/9780429494130-15.

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Schneider, Annedith. "A Turk in Paris." In Turkish immigration, art and narratives of home in France. Manchester University Press, 2016. http://dx.doi.org/10.7765/9781526100610.00011.

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Schneider, Annedith. "A Turk in Paris: Karagöz’s cultural and linguistic migration." In Turkish Immigration, Art and Narratives of Home in France, 77–91. Manchester University Press, 2016. http://dx.doi.org/10.7228/manchester/9781784991494.003.0005.

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"Netherlandish Art in France: A History of Taste and Money across Three Centuries." In Revolutionary Paris and the Market for Netherlandish Art, 405–32. BRILL, 2017. http://dx.doi.org/10.1163/9789004276758_006.

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Shilton, Siobhán. "Identity and ‘Difference’ in French Art: El Seed’s Calligraffiti from Street to Web." In Post-Migratory Cultures in Postcolonial France, 239–56. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781786941138.003.0014.

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The attempts to ban the burkini on numerous beaches in the summer of 2016 highlight the extent of fears of visual signifiers of Arabo-Muslim ‘difference’ in public spaces in France. Given these anxieties, the positive reception of El Seed’s ‘calligraffiti’ – combining graffiti and Arabic calligraphy – in Paris might seem surprising. Focusing on El Seed’s work, this chapter asks how art can encourage dialogue and tolerance between cultures and communities in local – particularly Parisian – contexts and in a globalised frame. How does El Seed bring Arabic writing, a visual signifier of ‘difference’, into the public spaces of the French capital? How does he use public sites within and beyond France? How does the digital online presence of his multi-sited ephemeral work signal new means of evoking cultural identity and of interpolating diversely located spectators?
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Joly, Noémi. "Decelerating Le Mouvement of Paris with Vision in Motion—Motion in Vision of Antwerp: Movement, Time, and Kinetic Art, 1955–1959." In France and the Visual Arts since 1945. Bloomsbury Visual Arts, 2019. http://dx.doi.org/10.5040/9781501341557.ch-009.

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Lasc, Anca I. "Private home, artistic stage: the circulation and display of interior dreamscapes." In Interior decorating in nineteenth-century France, 106–51. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526113382.003.0004.

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Pierre-Luc Cicéri, chief decorator at the Paris Opéra, also established a career as interior decorator and educator of students that treated interior spaces as three-dimensional images and artworks in their own right. Cicéri’s followers helped push the art of fantasy architecture to a new level, creating a new form of art and popular entertainment around the “ideal home.” Exhibited at the Salon and at a variety of universal and decorative arts exhibitions as well as published in expensive, luxury folios and reprinted in cheaper, popular editions, the “interior dreamscapes” by Cicéri’s followers disseminated the interior for interior’s sake. The domestic interior could be admired, collected, hidden inside cabinets, or reappropriated as an object of contemplation for private walls. The same images functioned as two-dimensional blueprints for the construction of three-dimensional settings and as advertising schemes for the artists that produced and popularized them, furthering interest in and creating a common language about the appearance of the modern, private home. The chapter ultimately argues that wishful thinking and vicarious identification with the - often missing - owners of the model interiors made available through these means and furtively perused in private homes helped create a professional niche that would soon be occupied by the interior designer.
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Frank, Patrick. "First Group Show and Journey to France, 1961–1962." In Painting in a State of Exception. University Press of Florida, 2016. http://dx.doi.org/10.5744/florida/9780813062228.003.0003.

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In chapter 2, Frank considers the group's first show, its critical reception, and the artists’ journey to France shortly after the show closed. He compares Nueva Figuración with European engaged styles of figural painting, such as Un art autre, which influenced the group, at first, to name itself “Otra Figuración.” Discussing the political and sociocultural context of Nueva Figuración, Frank closely examines Ernesto Deira's artistic response to anti-Semitism and the trial of Nazi fugitive Adolph Eichmann and goes on to consider Rómulo Macció's response to the State of Siege in his painting Cárcel = Hombre (Prison = Man). He then compares the politically engaged New Figurationists with other contemporaneous Argentine artists, such as Emilio Renart and Ruben Santantonín, whose works make little reference to contemporary life and with Antonio Berni, whose social references are more explicit than those of Nueva Figuración. The chapter closes on discussion of how the group's trip to Paris pushed their styles toward greater expressive freedom.
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Hecker, Sharon. "The Artist’s Experience of Migration." In Moment's Monument. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520294486.003.0006.

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This chapter looks at the shift in Medardo Rosso's position from an outsider in his own country to a foreigner in France. Rosso's move to Paris belongs to the wider phenomenon of increased migration by artists to the principal metropolis of modern art toward the end of the century. It also confirms his awareness of a new kind of transnational mobility. Tracing Rosso's trajectory as a form of self-exile characteristic of cultural anarchists, the chapter examines his hopeful but obstacle-ridden expatriation and his struggle to make avant-garde sculpture in the epoch and city dominated by Rodin. Paris at the end of the nineteenth-century offered Rosso new opportunities, such as a vibrant art scene, a burgeoning market for serial sculpture, and a network of sophisticated artists, collectors, and critics.
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