To see the other types of publications on this topic, follow the link: Montmartre (Paris, France) in art.
Journal articles on the topic 'Montmartre (Paris, France) in art'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Montmartre (Paris, France) in art.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full textAbstract:
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.
2
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.
Full text
3
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.
Full textAbstract:
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).
4
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.
Full text
5
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.
Full textAbstract:
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.
6
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.
Full textAbstract:
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.
7
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.
Full textAbstract:
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.
8
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.
Full textAbstract:
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.
9
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.
Full textAbstract:
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'.
10
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.
Full textAbstract:
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.
11
Kselman, Thomas. "Funeral Conflicts in Nineteenth-Century France." Comparative Studies in Society and History 30, no. 2 (April 1988): 312–32. http://dx.doi.org/10.1017/s0010417500015218.
Full textAbstract:
The French celebration of the centenary of Victor Hugo's death in 1985 included new editions of his works, biographies, an exhibit at the Grand Palais in Paris, all that you would expect in honor of his life and art. But Hugo's death and funeral also drew the attention of some scholars, and forgood reason. Beginning on 18 May 1885, when what proved to be his final illness was announced, the newspapers were filled with reports and rumors about Hugo's condition. Following his death on 22 May journalists concentrated on what has been called the funeral of the century. Two million peoplecame to see Hugo's body lying in state at the Arc de Triomphe, and anenormous crowd viewed the procession to the Panthe on where he was buried.
12
Melot, Michel. "Le projet de Bibliotheque nationale des arts a Paris." Art Libraries Journal 18, no. 4 (1993): 4–10. http://dx.doi.org/10.1017/s030747220000849x.
Full textAbstract:
When the Bibliothèque Nationale moves into the new Bibliothèque de France, leaving behind only six specialised departments, the opportunity will arise to use the buildings of the Rue de Richelieu site to bring together a group of art history libraries and research centres. Priority will be given to the remaining Departments of the Bibliothèque Nationale, which need more space than they presently occupy; they will be joined by the inter-university library of art and archaeology from the Rue Michelet, the central library of the national museums, from the Louvre, and the older collections of the Ecole Nationale Supérieure des Beaux-Arts. The architectural holdings of the latter might be identified as the foundation for a major architectural collection to satisfy the demand for such a library in Paris. The collections thus brought together will not be merged, but will be exploited by means of shared services, including a union catalogue, and will be developed by means of a common acquisitions policy This concentration of resources on one site will not in itself constitute a ‘national art library’, but will provide a central node for a wider network. (An English version follows the original French text).
13
Van Vliet, Muriel. "Die Aktualität Ernst Cassirers in Frankreich." Zeitschrift für Kulturphilosophie 2009, no. 2 (2009): 241–48. http://dx.doi.org/10.28937/1000106529.
Full textAbstract:
The paper reviews Cassirer's recent reception in France and takes two international meetings in Rennes and Paris as an opportunity to determine current research interests in this area. A striking feature of French concern is the stress on art historical contextualization of Cassirer's thought (Riegl, Wolfflin, Panofsky).
14
Hammer, Martin. "Found in Translation: Chaim Soutine and English Art." Modernist Cultures 5, no. 2 (October 2010): 218–42. http://dx.doi.org/10.3366/mod.2010.0104.
Full textAbstract:
The article is the first to consider the impact of the early work of Chaim Soutine, produced in the South of France around 1920, on a circle of painters working in Britain some 30 years later, notably Francis Bacon, Lucian Freud, Frank Auerbach and Leon Kossoff, as well as on the writer David Sylvester who promoted both their work and the key French artists such as Alberto Giacometti and Soutine who seemed to epitomise the new ‘existentialist’ climate. After the war Soutine became a cult figure in London, as he did in contemporary Paris and New York. He embodied the idea of the ‘tragic’ artist in his still-life imagery of flayed animals, his uncompromising, heavily-laden paint surfaces, and in his identity as a Jew who had died in 1943, an indirect victim of the Nazi occupation of France. I try to identify which works in particular were known to the English artists, themselves all Jewish except for Bacon, and to describe the very different ways in which they reacted to Soutine's art and adapted its lessons to their own artistic purposes.
15
Karthas, Ilyana. "Arbiters of taste: Women, modernism and the making of Paris." French Cultural Studies 31, no. 2 (May 2020): 97–110. http://dx.doi.org/10.1177/0957155820910718.
Full textAbstract:
The years 1870–1960 were a period of vibrant innovation in France when traditional ideas about art and living were challenged. At the turn of the twentieth century, Paris became the epicentre for creative risk, innovation and originality. The city both represented and became a ‘laboratory of culture’ that attracted individuals eager to ride the waves of modernism. What forces enabled Paris to become a site of such artistic vibrancy? What cultural labour was involved in propelling avant-gardism forwards? In this article, I introduce a few examples of women who played a vital role in the modernisation of the arts in Paris, the internationalisation of French artistic tastes, and the cultivation of Paris’s reputation as the centre of avant-gardism and artistic development. In doing so, I offer a new paradigm for understanding the art worlds of Paris in this period by revealing women as important and effective arbiters of taste.
16
Vadelorge, Loïc. "European Museums in the Twentieth Century." Contemporary European History 10, no. 2 (July 2001): 307–16. http://dx.doi.org/10.1017/s0960777301002077.
Full textAbstract:
James D. Herbert, Paris 1937: Worlds on Exhibition (Ithaca: Cornell University Press, 1998), 207 pp., £31.50, ISBN 0-801-43494-7. Andrea Kupfer Schneider, Creating the Musée d'Orsay. The Politics of Culture in France (University Park, PA: Pennsylvania State University Press, 1998), 150 pp., $25.00, ISBN 0-271-01752-X. Juan Pedro Lorente, Cathedral of Urban Modernity. The First Museums of Contemporary Art, 1800–1930 (Aldershot: Ashgate, 1998), £47.50, ISBN 1-859-28383-7. Ministère de la Culture et de la Communication, Direction des Musées de France, Centre national de la Recherche Scientifique, Centre de Sociologie des Organisations, Musée National du Moyen Age, Publics et projets culturels. Un enjeu des musées en Europe. Actes des Journées d'étude 26 et 27 octobre 1998, Paris, Musée national du Moyen Age (Paris: L'Harmattan, 2000), price not given, ISBN 2-738-48645-2. Paul Rasse, Les Musées à la lumière de l'espace public. Histoire, évolution, enjeux (Paris: L'Harmattan, Logiques Sociales, 1999), 238 pp., price not given, ISBN 2-738-47769-0. Selma Reuben Holo, Beyond the Prado. Museums and Identity in Democratic Spain (Liverpool University Press, 1999), 222 pp., price not given, ISBN 0-853-23535-X. Brandon Taylor, Art for the Nation. Exhibitions and the London Public 1747–2001 (Manchester University Press, 1990), 314 pp., price not given, ISBN 0-719-05452-4.
17
Silverman, Willa Z. "“The Most Passionate of All”." Journal of Japonisme 3, no. 1 (December 4, 2018): 1–51. http://dx.doi.org/10.1163/24054992-00031p01.
Full textAbstract:
Known primarily as a jeweler in the vanguard of Art nouveau and an important collector of the Impressionists, Henri Vever (1854-1942), as his private diaries make clear, was also a foremost connoisseur of Japanese art in fin-de-siècle France, “the most passionate of all,” to Edmond de Goncourt. Well-connected to networks of dealers, museum officials, publications, and sites of sociability such as the dîners japonais, Vever figures among the most prominent members of a second wave of Parisian enthusiasts of Japanese art, active from approximately 1880 to 1900. Under the tutelage of the Japanese art dealers Hayashi Tadamasa and Siegfried Bing and the fine art printer Charles Gillot, Vever constituted a renowned collection of not only Japanese prints but also other art objects previously disregarded by collectors. Vever’s multiple and intersecting identities as luxury craft producer, leading member of professional associations, art historian and critic, collector, and Republican mayor placed him at the forefront of efforts to legitimate the collection and appreciation of Japanese art in France. His diaries also underscore the connections between the worlds of Japanese and Impressionist art collectors, and between proponents of japonisme and Art nouveau. Further, they highlight the importance of the 1900 Paris Exposition universelle as a triumphant moment for japonisme in France, just as they signal the shift on the part of some japonisants, at the same time, from Japanese art towards the decorative arts of the Islamic world.
18
Macouin, Francis. "De l’Indochine a l’Afghanistan: des arts etrangers dans les bibliotheques Parisiennes." Art Libraries Journal 18, no. 2 (1993): 26–33. http://dx.doi.org/10.1017/s0307472200008312.
Full textAbstract:
French interest in India and neighbouring regions dates back to the 17th century. Oriental studies developed as a distinct discipline through the 19th century, stimulated in France by French colonial activities in Indochina, and culminating at the end of the century in the emergence of Oriental art and archaeology as a subject in its own right. The Commission Archéologique de l’Indochine was established in 1898, and became the Ecole Francaise d’Extrême-Orient (EFEO) in 1901 with responsibility for listing and protecting antiquities in the French colonies; its library in Paris constitutes a major resource. France’s relationship with Afghanistan facilitated French archaeological activities in that country until 1975; archaeological finds enabled the Musée Guimet to extend its scope and to become a museum of Asiatic art, and its library became and remains the major library in Paris so far as Asian art is concerned. The library of the Ecole du Louvre supports courses on Asian art, while the Bibliothèque Nationale and such libraries as the Bibliothèque Forney also contain valuable collections. Photographic collections in some of these institutions have not been so well looked after as books, and their condition is a matter of concern. Unpublished archival materials are also held in some of the same institutions. The resources of a number of smaller, specialised institutes are currently being brought together in a new building under the name ‘Institute d’Asie du Collège de France’, while some other collections are being linked with the library of the EFEO to create a ‘Bibliothèque d’Asie’. Meanwhile it remains to be seen whether the new Bibliothèque Nationale des Arts will include the arts of Asia within its scope. No library in France has responsibility for modern Indian art. (An English translation follows the text in French).
19
Cours, Isabelle de. "Choosing a classification scheme for the Inha library in Paris." Art Libraries Journal 27, no. 1 (2002): 23–26. http://dx.doi.org/10.1017/s0307472200019945.
Full textAbstract:
The library of the Institut national d’histoire de l’art in Paris has recently conducted detailed research into the classification which will be used for the large amount of stock which will be on open access to its users. A working group was established which, after rejecting the idea of a specially created scheme, looked at what other systems were available, comparing those currently in use in the largest art and archaeology libraries in France and abroad. They also studied the two encyclopaedic classifications – Dewey and UDC. The final recommendation was adoption of the Library of Congress Classification and work to implement this decision is now under way.
20
Luba, Iwona. "Kobro and Strzemiński: Łódź – Warsaw – Paris (1956–1957)." Ikonotheka 26 (June 26, 2017): 137–66. http://dx.doi.org/10.5604/01.3001.0010.1676.
Full textAbstract:
From December 1956 to December 1957, no fewer than four exhibitions presenting the oeuvre of Katarzyna Kobro and Władysław Strzemiński were organised: the Posthumous Exhibition of Władysław Strzemiński’s and Katarzyna Kobro’s Oeuvre, shown fi rst in Łódź (16 December 1956 – 14 January 1957) and then in Warsaw (18 January – 10 February 1957), and two exhibitions in Paris: 50 ans de peinture abstraite at Galerie Raymond Creuze (9 May – 12 June 1957) and Précurseurs de l’art abstrait en Pologne: Malewicz, Kobro, Strzemiński, Berlewi, Stażewski at Galerie Denise René (22 November 1957 – 10 January 1958). All received a strong response, both in Poland and abroad. Research focused on these exhibitions has brought some surprising results. None of them had been planned until 1956, and only after the events of October 1956 was it possible to show the works of Kobro and Strzemiński in Warsaw in 1957. The exhibition at the Łódź Division of the Central Bureau of Art Exhibitions was prepared with exceptional care and is immensely important, as it occasioned the fi rst attempt at preparing a catalogue of both Kobro’s and Strzemiński’s works, of Strzemiński’s biography and a bibliography of texts authored by Strzemiński and Kobro. In addition, it was there that Strzemiński’s treatise Teoria widzenia fi rst came to public attention; it was published only two years later. The exhibition was transferred, quite unexpectedly, to the Central Bureau of Art Exhibitions in Warsaw, which was the chief institution involved in exhibiting modern art in Poland; this gave offi cial sanction and a considerable status to the oeuvre of both avant-garde artists. The exhibition entitled Précurseurs de l’art abstrait en Pologne became, paradoxically, the fi rst-ever offi cial exhibition of Polish avant-garde art to be held abroad and organised by a state agency, i.e. the Central Bureau of Art Exhibitions, under the aegis of the ambassador of the People’s Republic of Poland in France. It was also the only exhibition in which Kazimierz Malewicz was regarded as a Pole and presented as belonging to the history of art in Poland; the mission initiated by Strzemiński in 1922 was thus completed. The institutions involved in arranging the loans of Malewicz’s works for this exhibition were the Ministry of Culture and Art, the Ministry of Foreign Affairs and its subordinate Polish embassies in Paris and Moscow. This was the fi rst time that the works of Kazimierz Malewicz were presented in the West, thanks to the efforts and under the aegis of the Polish Ministry of Foreign Affairs during the period of the post-Stalinist thaw; notably, this happened before their presentation at the Stedelijk Museum in Amsterdam (29 December 1957).
21
Stefanou, Maria-Ioanna, and Sophia Peloponnissiou-Vassilacos. "Angelos Katakouzenos (1902–1982): A Lifework of Neurology and Art." European Neurology 80, no. 3-4 (2018): 217–22. http://dx.doi.org/10.1159/000496352.
Full textAbstract:
Angelos Katakouzenos, a Greek neurologist and prolific medical writer at the beginning of the 20th century, belonged to a group of artists and scholars that formed the “generation of the 30s,” a cultural movement that emerged after World War I and introduced modernism in Greek art and literature. Born in 1902, Katakouzenos studied medicine in France at the Universities of Montpellier and Paris, where he trained in neurology and psychiatry under Georges Guillain, Henri Claude, Jean-Athanase Sicard, Pierre Marie, Clovis Vincent and Théophile Alajouanine. In Paris, he attended to Freud’s patients, collaborating with the psychoanalyst Marie Bonaparte, while he was introduced to the contemporary avant-garde movements of this time, developing long-lasting friendships with artists and intellectuals, including Marc Chagall and Tériade. Although Professor of Neurology and Psychiatry at the University of Paris, Commandeur of the Légion d’honneur and founder of the first neuropsychiatric clinics in Greece, Katakouzenos lived far from the limelight. Despite his numerous publications, his scientific work remained largely unacknowledged. Yet, as a psychoanalyst he gained international fame and treated patients including William Faulkner who later would write, “To the wise scientist, the in-depth judge of the human soul, my friend Dr. Katakouzenos, who has helped me like no one else to redeem myself from the tortuous questions that troubled me for years – from the depths of my heart, many, very many thanks”. In this paper, the rediscovery of Katakouzenos’s remarkable work in the field of neuroscience aims to tell the story of a great physician whose lifework in bridging art and science may, in retrospect, reinstate him as one of the most captivating neurologists of the 20th century.
22
Shamshur, Oleh. "Ukraine–France: Contemporary Cooperation." Diplomatic Ukraine, no. XIX (2018): 447–65. http://dx.doi.org/10.37837/2707-7683-2018-31.
Full textAbstract:
In 2014, in the course of the Revolution of Dignity, Ukraine consciously opted for European values. Thus, cooperation with one of the founding member states of the EU bears strategic importance. The author believes that the the interaction between the two countries is based on ancient relations between France and Ukraine. Apart from political relations, France and Ukraine are bound by creative endeavours of many artists. After celebrating the 25th anniversary since the establishment of diplomatic relations between our countries, the Ministers for Foreign Affairs of Ukraine and France opened an exhibition dedicated to the 100th anniversary of the foundation of Ukrainian diplomatic service. The author stresses that France was the first Western state with which Ukraine signed the 1991 Interstate Agreement on Mutual Understanding and Cooperation. Moreover, it was in Paris where the Charter of Paris for a New Europe was signed, the document which allowed Ukraine to join the CSCE as a full-fledged member. Taking into account the current development in the east of Ukraine, the author underscores that France and Germany were the initiators of the Normandy Format negotiations. France consistently supports the territorial integrity of Ukraine, while not recognising the annexation of Crimea and takes a firm stand towards Russia. The author mentions the establishment of the France-Ukraine friendship group, headed by Valerie For-Muntean. Apart from political cooperation, economic ties between the two states are also gaining momentum. Nowadays, Ukraine is examining modern initiatives of France in ecology, energy efficiency, etc. The article outlines the interation of the two states in the educational sphere. France is encouraging numerous riveting projects intercultural projects displaying the best specimens of modern Ukrainian art. New intercultural contacts are also gaining ground. The author highlights the main events held at the culture and information centre of the Embassy and reports about the multidisciplinary festival Week-End a l’Est – Kyiv. Yet another recent development has been the inauguration of the web platform Nouvelle Ukraine, whose aim is to raise awareness about Ukraine in France, contribute to the positive image of the country, and build economic and cultural contacts. According to the author, the cooperation of Ukraine and France is only beginning to gain momentum and has infinite potential. Keywords: France, Ukraine, the EU, France-Ukraine friendship group, Ukrainian-French ties.
23
Kluczewska-Wójcik, Agnieszka. "TO PROTECT HERITAGE, TO INSPIRE EMOTIONS. PRIVATE MUSEUMS IN FRANCE." Muzealnictwo 60 (July 19, 2019): 143–53. http://dx.doi.org/10.5604/01.3001.0013.2973.
Full textAbstract:
The French museum world is dominated by large public institution. The cradle of public museology, France boasts a long-standing tradition of central management in this domain, whose continuation can be found in the current legislative solutions (Act of 4 January 2002) organizing the system of museum activity, their approval, and financing modes. It is all based on the musée de France status that can be granted to institutions owned either by the state or to any other legal entity under public law or legal entity under private law engaged in a non-profit activity. The latter, belonging to associations and foundations, or run by them, in order to win the state’s recognition and support, have to comply with specific requirements defined in particular with respect to conservation and scientific elaboration of the collections, as well as to making them available for public viewing. What dominates among ‘private’ museums are institutions of the public benefit organization status, whose model was shaped in the 19th century, e.g. the Paris Union Centrale des Arts Décoratifs or Cinémathèque Française, to a substantial degree financed with public resources. Some of them, e.g. ecomuseums and industrial museums in Mulhouse, are almost self-sufficient financially. Another form of a ‘private’ museum is a foundation set up by a company/ concern or artists and patrons. The latter group includes institutions that are owned by e.g. Institut de France in Paris, Musée Calvet in Avignon, or Fondation Maeght in Saint-Paul-de-Vence, as well as first of all those involved in mounting big Paris exhibitions, foundations – museums of modern art: Fondation Cartier, Fondation Louis Vuitton, or Collection Pinault which is currently being established. Thanks to their spectacular architectural settings, aggressive publicity policy, and astounding turn-out successes, these new private museums are substantially transforming the artistic stage in France.
24
Agratina, Elena E. "Royal Free School of Drawing by Jean-Jacques Bachelier: Development of Education and Craftwork in France." Observatory of Culture 17, no. 5 (November 12, 2020): 538–49. http://dx.doi.org/10.25281/2072-3156-2020-17-5-538-549.
Full textAbstract:
For the first time in Russian, the article reconstructs the history of the free school of drawing founded by the French artist and talented teacher J.-J. Bachelier (1724—1806); analyzes the charter and rules of this institution, its educational programs and practical activities; determines the role in the development of artistic craft in France. The article’s subject matter is multidisciplinary and is located at the intersection of the theory and history of art, art education and pedagogy. In view of the small number of comprehensive studies on the history of art education in France, this study expands the notion of it on the example of this educational institution. The school was opened in Paris at the initiative of J.-J. Bachelier for boys from the craftsmen environment. Although many different schools had been founded throughout France, the educational institution of Bachelier had special conditions of origin and a fortunate destiny — later it became part of the National School of Decorative Arts. From 1750, Bachelier became head of the Painting Department of the Vincennes (later Sevres) Porcelain Manufactory. According to his notes, his first concern was to make specialists. That is why he decided to organize a school where children were accepted from the age of eight and spent six years receiving the highest quality secondary art education of that time. Until now, Russian scientific literature has not paid enough attention to the history of French educational institutions in the field of art, despite the fact that France used to serve as a model for the whole of Europe in this regard. This article partially fills this gap, as well as provides a brief overview of other (less successful, but no less interesting) projects of J. Bachelier, for example, an art school for girls, the brilliant idea of which was never realized.
25
Wagner, Malene. "Eastern Wind, Northern Sky." Journal of Japonisme 1, no. 1 (January 4, 2016): 41–65. http://dx.doi.org/10.1163/24054992-00011p04.
Full textAbstract:
Among countries like Germany, France and England, Denmark took part in the ‘japanomania’ that swept the West in the second half of the nineteenth and early twentieth centuries. Key figures in promoting Japanese art were art historian Karl Madsen and artist and museum director Pietro Krohn. Both played a significant role in trying to establish Denmark in the field of Japanese art on a par with serious international art collectors and connoisseurs. Their connections to Justus Brinckmann in Hamburg and Siegfried Bing in Paris enabled them to put on exhibitions that would introduce to a Danish audience a, so far, relatively unknown and ‘exotic’ art and culture. Often perceived in the West as expressing an innate understanding of nature, Japanese art became a source of inspiration for Danish artists and designers, such as Arnold Krog, who would create a synthesis between the Nordic and Japanese in his porcelain works.
26
Hora, Heinrich. "Conference report on the ‘First International Colloquium on X-ray Lasers’ 14–17 April 1986 at Aussois, France." Laser and Particle Beams 4, no. 3-4 (August 1986): 589–93. http://dx.doi.org/10.1017/s0263034600002275.
Full textAbstract:
This was the first international meeting for unclassified research worldwide on X-ray lasers. There were 86 participants from 10 countries. It was organized most perfectly in the French Alps just before the end of the skiing season by Pierre Jaegle (Universite Paris-Sud, Orsay) who himself may be considered as one of the first, in the field of X-ray lasers. Jeagle et al. published, in 1971, a paper on the extraordinary increase of the 117 angstrom aluminium lines when a target was irradiated by laser and a comparison with cases emitted from different volumes. His result was highlighted in 1973 by Benjamin Lax and Art Guenther (1974): ‘The most definitive evidence of non-equilibrium population of excited atomic states in a laser-produced plasma was obtained by Jaegle et al. at the University of Paris in Orsay’.
27
Laberge, Yves. "Fabienne Brugère, Le goût. Art, passions et société. Paris, Presses Universitaires de France (coll. « Philosophies », 130), 2000, 128 p." Laval théologique et philosophique 61, no. 1 (2005): 212. http://dx.doi.org/10.7202/011516ar.
Full text
28
Camus, Jean-Sylvain. "Fulsher (Jane), Le grand opéra de France: un art politique 1820-1870, Paris, Belin, coll. "Modernités XIXe-XXe", 1988." Politix 2, no. 6 (1989): 93–94. http://dx.doi.org/10.3406/polix.1989.2107.
Full text
29
Tressol, Nathanaëlle. "The Reception of Russian Arts and Crafts in French Art Journals." Experiment 25, no. 1 (September 30, 2019): 346–62. http://dx.doi.org/10.1163/2211730x-12341347.
Full textAbstract:
Abstract This article focuses on the French reception of Russian Arts and Crafts in the early 1900s. As a consequence, firstly, of the Russian display at the 1900 “Exposition Universelle,” and, secondly, of the increasing number of Russian exhibitions and other cultural events in Paris, French art periodicals and sections on art in the mainstream press contained many reports about the movement. Several writers expressed their opinion about Russian modern Arts and Crafts and participated in their promotion in France. The main purpose of the article is to shed light on those French critics who were responsible for this process of mediation and the way in which their discourses adopted a comprehensive approach to Russian Arts and Crafts experiments. It examines which artists and which exhibitions were particularly welcomed in around 1906; special attention is paid to Abramtsevo and Talashkino, and, therefore, to Maria Tenisheva.
30
Chandrasekaran, Muthu Kumar, and Philipp Mayr. "Report on the 4th Joint Workshop on Bibliometric-Enhanced Information Retrieval and Natural Language Processing for Digital Libraries at SIGIR 2019." ACM SIGIR Forum 53, no. 2 (December 2019): 3–10. http://dx.doi.org/10.1145/3458553.3458554.
Full textAbstract:
The 4 th joint BIRNDL workshop was held at the 42nd ACM SIGIR Conference on Research and Development in Information Retrieval (SIGIR 2019) in Paris, France. BIRNDL 2019 intended to stimulate IR researchers and digital library professionals to elaborate on new approaches in natural language processing, information retrieval, scientometrics, and recommendation techniques that can advance the state-of-the-art in scholarly document understanding, analysis, and retrieval at scale. The workshop incorporated different paper sessions and the 5 th edition of the CL-SciSumm Shared Task.
31
Walton, Whitney. "“To Triumph before Feminine Taste”: Bourgeois Women's Consumption and Hand Methods of Production in Mid-Nineteenth-Century Paris." Business History Review 60, no. 4 (1986): 541–63. http://dx.doi.org/10.2307/3115658.
Full textAbstract:
In this article Professor Walton examines the influence of bourgeois women on industrial production in nineteenth-century Paris. She argues that women, as arbiters of taste and consumers for the family, sought art and originality in manufactured goods, and that their demands in turn fostered handicraft and less skilled hand methods of manufacturing as the best means of providing such goods. By establishing the connections between women's roles and bourgeois demand, and between bourgeois demand and hand manufacturing, this study offers a new perspective on the persistence of hand production in France.
32
Koopstra, Anna. "De Antwerpse 'witter ende paneelmaker' Melchior de Bout (werkzaam 1625/26-1658): leverancier van 'ready-made' panelen voor de Parijse markt." Oud Holland - Quarterly for Dutch Art History 123, no. 2 (2010): 108–24. http://dx.doi.org/10.1163/003067212x13397495480826.
Full textAbstract:
AbstractOn the back of several paintings on panel in the oeuvre of Willem Kalf, the panelmakers mark of Melchior de Bout has been found. Like his father Philip, De Bout was registered in Antwerp as a 'witter ende paneelmaker'. He thus seems to have specialised in producing panels that were covered, on both sides of the wooden support, with a preparatory (ground) layer consisting of chalk and glue. Occasionally, an imprimatura was also applied. De Bout's 'ready-made' panels were not only used by Willem Kalf, but also by Sebastian Stosskopf, Charles Le Brun, Jacques Linard, Lubin Baugin and Willem van Aelst. Since these artists were all working in Paris around the middle of the seventeenth century, it seems justified to conclude that for a certain time, the Antwerp panel maker specifically produced his panels for distribution in the French capital. The popularity of the panels of this highly specialised Antwerp panelmaker illustrates the strong appeal that the dynamic art market in Paris had for artists, art dealers and buyers from France and abroad.
33
Annoepel-Cabrignac, Sophie. "AGORHA: the new multi-media database at the Institut National d’Histoire de l’Art (INHA) in Paris." Art Libraries Journal 36, no. 3 (2011): 31–33. http://dx.doi.org/10.1017/s030747220001703x.
Full textAbstract:
The new AGORHA database at the INHA in Paris gives access to numerous information resources of value to art history researchers internationally. These include the catalogues of the Institute’s Library and its Jacques Doucet collection, which record the details of its heritage collections and archives, and the entire run of the Répertoire d’art et d’archéologie (1910-1972). It also hosts an increasing number of research databases that are a product of the research and teaching activities of the Galerie Colbert, which works in partnership with specialist education bodies throughout France. AGORHA will be online on the web by the time this article is published.
34
Laberge, Yves. "Pierre Bourdieu : la méthodologie, l'épistémologie, l'interdisciplinarité." Canadian Journal of Political Science 40, no. 3 (September 2007): 759–67. http://dx.doi.org/10.1017/s0008423907070771.
Full textAbstract:
Pierre Bourdieu, Esquisse pour une auto-analyse. Paris, Raisons d'agir (Collection “ Cours et travaux ”), 2004, 144 p.Pierre Bourdieu, Jean-Claude Chamboredon, Jean-Claude Passeron (dir.), Le métier de sociologue. Préalables épistémologiques. 5e édition. Berlin et New York, Mouton de Gruyter, 2005 [1968], xix + 357 p.Edwige Corcia, Bertrand Geay, Annick Coupé, Violaine Roussel, Sylvia Faure, Philippe Adrien, Markos Zafiropoulos, Martine Fournier, Sylvain Bourmeau, Philippe Corcuff, Bernard Vernier, Daniel Buren, Gérard Mauger, Vincent de Gaulejac. Pierre Bourdieu: les champs de la critique. Paris, Bibliothèque Centre-Pompidou, Collection “ BPI en actes ”, 2004, 284 p.Carles, Pierre (réalisateur), avec Pierre Bourdieu, La sociologie est un sport de combat [en anglais : Sociology Is a Martial Art]. Paris et Brooklyn : VF Films, et Pierre Carles (C-P Productions). Distributeur pour l'Amérique du Nord : First Run/Icarus Films, 2001. Vidéocassette VHS, NTSC, 146 minutes.Yvette Delsaut et Marie-Christine Rivière, Bibliographie des travaux de Pierre Bourdieu, Pantin (France), Le temps des cerises, 2002.
35
Noël, Pierre C. "Jean-Marie Lustiger, Pour l’Europe. Un nouvel art de vivre. Paris, Presses Universitaires de France (coll. « Communio »), 1999, 108 p." Laval théologique et philosophique 58, no. 2 (2002): 406. http://dx.doi.org/10.7202/000403ar.
Full text
36
Lutkus, Anne D. "The Food Lover's Guide to Paris; The Knopf Traveler's Guide to Art: France; Guide des Musées de FranceWells, Patricia. The Food Lover's Guide to Paris. New York: Workman, 1984. Pp. 292.Jacobs, Michael and Paul Stirton. The Knopf Traveler's Guide to Art: France. New York: Knopf, 1984. Pp. 304.Cabane, Paul. Guide des Musées de France. Paris: Bordas, 1984. Pp. 517." Contemporary French Civilization 11, no. 1 (October 1987): 129–31. http://dx.doi.org/10.3828/cfc.1987.11.1.021.
Full text
37
TOURNÈS, LUDOVIC. "The Landscape of Sound in the Nineteenth and Twentieth Centuries." Contemporary European History 13, no. 4 (November 2004): 493–504. http://dx.doi.org/10.1017/s0960777304001912.
Full textAbstract:
Alain Corbin, Les cloches de la terre. Paysage sonore et culture sensible dans les campagnes au XIXe siècle (Paris: Flammarion, 1994), 359 pp., €8.69 (pb), ISBN 2080814532.Glenn Watkins, Proof through the Night. Music and the Great War (Berkeley, Los Angeles and London: University of California Press, 2003), 598 pp., $49.95 (hb), ISBN 0520231589.Jeffrey Jackson, Making Jazz French. Music and Modern Life in Interwar Paris (Durham, NC, and London: Duke University Press, 2003), 266 pp., $21.95 (pb), ISBN 0822331373.Bernard Gendron, Between Montmartre and the Mudd Club. Popular Music and the Avant-Garde (Chicago and London: University of Chicago Press, 2003), 388 pp., $55.00 (hb), ISBN 0226287351.David Looseley, Popular Music in Contemporary France (Oxford and New York: Berg, 2003), 254 pp., $25.00 (pb), ISBN 1859736319.Though undoubtedly thriving, the history of music is still a somewhat peripheral area of research which many historians dismiss as secondary. For many years publication in the subject remained the domain of two kinds of researchers, either musicologists – ‘insiders’ au fait with the technical vocabulary – or sociologists and practitioners of ‘cultural studies’ – ‘outsiders’ chiefly interested in the reception of musical phenomena and their role in the constitution of individual and collective identities. This division has become very blurred over the last few years, which have seen the emergence of a number of works with an interdisciplinary approach. But for most historians the history of music remains a largely unfamiliar theme which they struggle to include in any global social or cultural analysis. This struggle is apparent at two levels: first, the difficulty of developing guidelines to the historicity of musical events and, second, the difficulty of escaping the chronology of classical music, which is predicated on a succession of styles and composers. Based on these two points, this article will attempt to develop, through a transverse reading of certain recent works, some working hypotheses centring on the notion of a ‘landscape of sound’ or paysage sonore, as proposed some ten years ago by Alain Corbin, a notion which, it seems to me, may make a valuable contribution to rejuvenating the history of music.
38
Coman, Sonia. "The Bracquemond-Rousseau Table Service of 1866." Journal of Japonisme 1, no. 1 (January 4, 2016): 17–40. http://dx.doi.org/10.1163/24054992-00011p03.
Full textAbstract:
Inspired by Japanese art and French eighteenth-century porcelain, the Rousseau-Bracquemond ceramic table service of 1866 blurred the line between the decorative and the fine arts. Exhibited at the 1867 World’s Fair in Paris, the service met with exceptional critical and commercial success. This paper focuses on the Rousseau-Bracquemond service to propose that cross-cultural encounters unsettled hierarchical relationships among media in nineteenth-century France. Through a visual and historiographical analysis of this case study, the paper offers a re-evaluation of the interrelationships among ceramics and modern painting. Challenging Eurocentric art historical narratives, the paper explores how the Rousseau-Bracquemond service connected Japonisme, historicism, and Republican thought. Politically charged and technically innovative, the service exemplified a new type of cross-media collaborations among a network of artists, dealers, critics, and collectors. At the intersection of ornament and realism, their radical work marked a major change in the relation between art and design.
39
Clericuzio, Peter. "Art Nouveau and Bank Architecture in Nancy: Negotiating the Re-Emergence of a French Regional Identity." Architectural History 63 (2020): 219–56. http://dx.doi.org/10.1017/arh.2020.6.
Full textAbstract:
AbstractArt nouveau design is one of the principal markers of the identity of the French city of Nancy, which became internationally renowned as one of the most important centres for the development of this artistic style around 1900. Like other strands of the style, especially in Spain, Germany and parts of the Austro-Hungarian empire, art nouveau in eastern France has been linked to long-standing regionalist sentiments that resisted centralised Parisian control over local affairs typical in nineteenth-century France. This article examines the evolving bank architecture in central Nancy, a major facet of the introduction of art nouveau in its urban environment, to show that the construction of the city's modern character was a negotiated process that involved careful planning among financial institutions, architects and decorative artists. The design and erection of modern banks in Nancy in the first decade of the twentieth century balanced generalised architectural principles emanating from the École des Beaux-Arts in Paris with the employment of highly symbolic regional naturalist motifs and architectural elements. This strategy fulfilled a variety of communicative functions to appeal to a civic populace whose identity was multivalent and shifting with the era's political climate, particularly with regard to the nearby ‘lost provinces’ of Alsace-Lorraine in the aftermath of the Franco-Prussian war.
40
TYRE, JESS. "Music in Paris during the Franco-Prussian War and the Commune." Journal of Musicology 22, no. 2 (2005): 173–202. http://dx.doi.org/10.1525/jm.2005.22.2.173.
Full textAbstract:
ABSTRACT The years 1870––71 marked the beginning of dramatic changes in French political and cultural life. A few short months witnessed defeat to Germany in the Franco-Prussian War and the fall of the Second Empire, as well as the rapid rise of the Paris Commune and its subsequent violent suppression through the establishment of republican government. The Parisian musical world, while severely affected by the events of war and deprived of performers and audiences, did not come to a standstill. Indeed, these years ushered in a remarkable increase in the number of institutions and concert societies dedicated to supporting French music and to making what would become the standard repertoire more accessible to the average citizen. Music heightened reactions to the turmoil of war and revolution in Paris at this crucial moment in France's history. Because of their stringent governmental control and largely middle- and working-class audiences, entertainments organized initially by wartime concert societies, and then under the aegis of the Commune, provide us with the greatest opportunity for understanding the political and social contexts in which music operated. Through investigation of the contemporary French press it can be shown that: (1) the perceived function of musical performance was adjusted to suit the practical and symbolic needs of a besieged city; (2) all the factions competing for power during the war and the post-war insurrection in Paris appropriated the connotations of civilization, social stability, and good taste that surrounded ““art music””; (3) the Commune's sudden rejection of the Austro-German musical tradition marked a brief but significant moment in which nationalistic preoccupations supplanted historically cosmopolitan attitudes toward foreign art. The study concludes with a meditation on Alfred Roll's painting of the execution of a Communard trumpeter, in which we find one of the strongest images relating war and rebellion to music in the France of 1871.
41
Шапченко, Юлия. "Дальневосточные зарисовки Александра Яковлева." Acta Polono-Ruthenica 2, no. XXIV (June 30, 2019): 43–53. http://dx.doi.org/10.31648/apr.4460.
Full textAbstract:
Alexandre Yakovlev was a famous Russian painter, graphic and theatre artist, a graduate from the Imperial Academy of Arts and a member of the “World of Art”. In 1917 by the order of the Academy (material collection to decorate interiors of the Kazanian railway station) Yakovlev went to Beijing, then he traveled a lot throughout China, Mongolia and Japan. He explored Chinese and Japanese theaters, as a result he made many ethnographic sketches, portraits and photographs. He arranged the exhibition of his drawings in Shanghai (in 1919). Finding out about the revolution in Russia he emigrated to France. Since 1919 he lived in Paris. He showed multiple works of Far Eastern cycle at personal exhibitions in Paris (Barbazanges Gallery, 1920 and 1921; together with V. Shuhaev), London (Grafton Gallery, 1920) and Chicago (Art Institute, 1922). In 1922 the pub-lisher Lucien Vogel published an album Drawings and paintings of the Far East, which included 50 reproductions of Yakovlev’s Far-East cycle (the book was designed by Shuhaev). At the same time the artist produced an album on the Chinese theater with accompanying text by a Chinese author Zhu Kim-Kim. In 1931–1932 Yakovlev took part in the “Yellow Cruise” arranged by the “Citroen” company. From this expedition he brought some new series of drawings. At the end of the cruise he presented his artworks in Paris and at foreign exhibitions. This background of the artist’s life is subject to be studied better in Russia.
42
Pomp, Joseph. "France as author of world cinema: International co-production and the Fonds Sud, 1984–2012." French Cultural Studies 31, no. 2 (May 2020): 111–23. http://dx.doi.org/10.1177/0957155820910858.
Full textAbstract:
While the profound effect that metropolitan France has had on the contours of the global literary marketplace (or ‘littérature-monde’) has figured prominently in much recent scholarship, the similarly central role that Paris plays in the nebulous domain of world cinema remains ripe for scrutiny. The status of the Cannes Festival is well known as perhaps the single most powerful gatekeeper to a filmmaker’s international circulation, but the broader relationship between France’s administration of film culture and the international art-house circuit is not widely understood. This paper engages with competing definitions of ‘world cinema’ on both sides of the Atlantic and lays the groundwork for a historical inquiry into the Aide aux cinémas du monde, a production grant that the Centre national du cinéma established in 2012 to replace its long-running Fonds Sud, a fund for film projects originating in the southern hemisphere and beyond.
43
Vyrodova, Mariya Vadimovna. "Women of the bohemian circles of Paris in establishment of French theatricality of “Belle Epoque”." Genesis: исторические исследования, no. 2 (February 2020): 69–77. http://dx.doi.org/10.25136/2409-868x.2020.2.32168.
Full textAbstract:
The period of last quarter of the XIX – beginning of the XX century in France after the World War I receives a name “Belle Epoque”. It is the time of development of entertainment industry, origination of mass culture, where women play a special role. The object of this research is the life strategies of women of the bohemian circles of Paris of “Belle Epoque”. The subjects is the women in French theatricality of the late XIX – early XX century. The goal of the work consists in determining the role played by thre women with a new female life strategy in formation of the phenomenon of French theatricality of “Belle Epoque”. Methodology is based on the sociocultural approach towards the problem, and suggests detailed analysis of the rare memoires of the performers, actresses and dancers, which were not published in Russian or translated into the Russian language. It is noted that women in the bohemian circles reconsidered their strategies in achieving life goals, putting the questions of career and personal growth to the forefront. They also were able to respond to the desires of audience of the late XIX – early XX century, attracting attention to the art of dance, pantomime, theatre, bringing their personal outlook upon the manner of performing. Women performed equal to men, often superseding them in some fields of art due to their natural femininity and talent.
44
Gutgesell, Natalie. "THE BALTIC PORTRAIT AND STILL LIFE PAINTER ALEXANDRA VON BERCKHOLTZ (1821–1899)." Baltic Journal of Art History 18 (December 30, 2019): 249–94. http://dx.doi.org/10.12697/bjah.2019.18.08.
Full textAbstract:
The Baltic artist Alexandra von Berckholtz was among the mostimportant portrait painters of her time. However, her works haddisappeared from art-historical memory because, after her death, theywere sold and spread all over the world. An international researchproject started in 2014 was able to rediscover her works and her lifestory.Von Berckholtz was given her first art lessons in 1841 by the courtpainter Louis Wagner in Karlsruhe, Germany. From 1847 until 1854she studied in Paris at the studio of the history painter Joseph-NicolasRobert-Fleury, who had considerable influence on her pictorialstyle which combined realism and idealism. Another significantinfluence was Richard Lauchert, a former student and close friendof Franz Xaver Winterhalter. Von Berckholtz’s numerous travels,e.g. to Switzerland, France, and the Czech Republic, were also arich source of inspiration. She changed the conventions of nobilityportrait and concentrated on still lifes in her later work, in whichshe reflected the Dutch style of the Baroque period. Alexandra vonBerckholtz associated with important personalities from the fieldsof art, music, politics, and technology, and was socially active.
45
Farrell, Helen. "Re-reading Merleau-Ponty through the language of drawing." Drawing: Research, Theory, Practice 6, no. 1 (April 1, 2021): 33–48. http://dx.doi.org/10.1386/drtp_00049_1.
Full textAbstract:
In order to present visual art as a paradigm for philosophy, Maurice Merleau-Ponty investigated the creative processes of artists whose work corresponded closely with his philosophical ideas. His essays on art are widely valued for emphasizing process over product, and for challenging the primacy of the written word in all spheres of human expression. While it is clear that he initially favoured painting, in his late work Merleau-Ponty began to develop a much deeper understanding of the complexities of how art is made in parallel with his advancement of a new ontology. In this article I focus on the materiality of Merleau-Ponty’s work in progress through an examination of his unfinished manuscript and working notes in the Bibliothèque national de France (BnF) in Paris. Through a reflection on the potential of these archive documents to reveal new insights into his working processes, I establish a connection to Merleau-Ponty’s own embodied thought mechanisms to uncover comparative methods of enquiry to those used in drawing practice.
46
Pavliuk, T. "Influence of France on the formation of ballroom choreography in the context of Western Europe culture development in the XVI — early XXI centuries." Culture of Ukraine, no. 72 (June 23, 2021): 166–71. http://dx.doi.org/10.31516/2410-5325.072.23.
Full textAbstract:
The purpose of this paper to analyze the transformations in the French ballroom and choreographic practice, in the context of the development of culture of Western European countries of the XVI — early XXI centuries.
The methodology is an organic set of basic principles of research: objectivity, historicism, multifactority, systemicity, complexity, development and pluralism, and to achieve the goal, the following methods of scientific knowledge are used: problem-chronological, concrete historical, statistical, descriptive, logical and analytical.
The results. The analysis of trends in the development of ballroom dance in France and the influence of French culture on the formation of ballroom choreography in the XVI — early XXI centuries.
The analysis of trends in the development of ballroom dance in France and the influence of French culture on the formation of ballroom choreography in the XVI — early XXI centuries took place. The processes of transformation and democratization of ballroom choreography in the XVIII century, which already in the XIX century turned from salon art into a leisure object for various social strata throughout Europe, were investigated. In the XX century it was France that discovered non-European types of ballroom dancing for Europe, which subsequently acquired standardization in the English professional environment.
In the XX century France became the country where foreign art forms appeared and adapted to the conditions of European realities. France attracted artists from all over the world because of the special national culture formed in it. During the XX century the art of ballroom choreography in France developed rapidly. French performers and teachers continued long-standing national traditions. This factor had a positive effect on the training level of dancers in the field of professional and amateur ballroom dancing. Since 2010, France has been an active member of the World Dance Sports Federation (WDSF). The French Dance Federation (Fédération Française de Danse) is one of the largest organizations that develops ballroom choreography in the country. Over the past decades, dozens of open national and world ballroom dancing championships have been held in French cities (Paris, Marseille, Lyon, Nice, etc.).
The scientific topicality is to identify the processes of the influence of French culture on the development of ballroom choreography in the XVI — early XXI centuries.
The practical significance. The research may be used in developing lectures by specialists in choreography.
47
Parisot, Véronique. "Pillage and Restitution: What Became of Works of Art Removed from France to Germany during World War II?, Paris, 17 November 1996." International Journal of Cultural Property 6, no. 1 (January 1997): 156–57. http://dx.doi.org/10.1017/s0940739197000209.
Full text
48
Rozwadowska, Alicja. "The French Art of the Natural Horn Playing and the Adaptation of Valve Mechanisms in the 19th Century." Kwartalnik Młodych Muzykologów UJ, no. 45 (2) (2020): 5–22. http://dx.doi.org/10.4467/23537094kmmuj.20.028.13901.
Full textAbstract:
The article is an attempt at identifying issues related to the problem of the adaptation of valve mechanisms in Parisian orchestras and Conservatoire. Opinions and postulates of supporters and opponents are being presented, as well as the concepts of combining the valve instrument with the use of the natural horn playing technique. In this context, the perspective of natural horn players, who contributed to the significant delay in the adaptation of valve horns in Paris, are being discussed. Further parts of the text explain the construction of natural horns commonly used in the discussed period in France (cor solo and cor d’orchestre), as well as various issues related to the specific playing technique. The differences between cor alto and cor basse are being examined as well as the concept of cor mixte proposed by Frédéric Duvernoy.
49
Krotki, Karol J. "S. Chandrasekhar (ed.). From India to Canada. A Brief History of Immigration; Problems of Discrimination; Admission and Assimilation. La Jolla, California: A Population Review Book, 1986.217 pp.US $ 25.00 Cloth, US $10.00 Paperback." Pakistan Development Review 28, no. 1 (March 1, 1989): 57–64. http://dx.doi.org/10.30541/v28i1pp.57-64.
Full textAbstract:
S. Chandrasekhar (ed.). From India to Canada. A Brief History of Immigration; Problems of Discrimination; Admission and Assimilation. La Jolla, California: A Population Review Book, 1986.217 pp.US $ 25.00 Cloth, US $10.00 Paperback. Hubert CharboJUleau, Bertrand Desjardins, Andre Guilemette, Yves Landry, Jacques Legare and Francom Nault. Naissance d 'une Population. Les Francais etablis au Canada au XVIIe siecle. Paris, France: Institut Nationala d'Etudes Demo· graphiques, Presses Universitaires de France. Montreal: Presses de l'Universite de Montreal, 1987. viii +232 pp + 3 folded graphs and maps. Fr francs 60.00 Paperback. Art Hansen and Anthony OJiver-Smith (eds.). Involuntary Migration and Resettlement. The Problem and Responses of Dislocated People. Boulder, Colorado: West· view Press, 1982. xi + 333 pp.US $ 25.00 Cloth. Hania Zlotnik and Silvano M. Tomasi (eds.). International Migration Review: Measuring International Migration: Theory and Practice. Special Issue in cooperation with International Union for the Scientific Study of Population. Vol. 21, No.4. Winter 1987. xii + 689 (925-1613) pp.
50
Davenport, Nancy. "Odilon Redon, Armand Clavaud, and Benedict Spinoza: Nature as God." Religion and the Arts 10, no. 1 (2006): 1–38. http://dx.doi.org/10.1163/156852906776520245.
Full textAbstract:
AbstractThe enigma of Odilon Redon's art and his lifelong disinterest in discussing it directly have caused his critics and admirers to range widely in their investigations across the cultural, philosophical, and mystical landscape of his time and habitats: fin de siècle France in Paris and his family home and vineyard at Peyrelebade outside Bordeaux. This essay looks closely at two lesser known aspects of his childhood and adolescence: his mystical devotion to the rituals of the Catholic faith and, contradictorily, his close friendship with an older man, the polymath Bordelais botanist, Armand Clavaud. The artist's and the scientist's shared devotion for Nature in its spiritual richness evident in their writing, their intense observation, their perceptive recording, and their shared interest in the pantheistic philosophy of Spinoza with respect to Nature and to God, offer insights into Redon's mind and art that have not been considered together before and which seem to the author to be elemental if one is to understand its power and content.