Academic literature on the topic 'Paris. Salon, 1859'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Paris. Salon, 1859.'
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.
Journal articles on the topic "Paris. Salon, 1859":
Ewals, Leo. "Ary Scheffer, een Nederlandse Fransman." Oud Holland - Quarterly for Dutch Art History 99, no. 4 (1985): 271–90. http://dx.doi.org/10.1163/187501785x00134.
Berner, Marie-Louise. "Blomstermaleren på rejse. I.L. Jensens brev fra Paris 1823." Fund og Forskning i Det Kongelige Biblioteks Samlinger 53 (March 2, 2014): 145. http://dx.doi.org/10.7146/fof.v53i0.118848.
Dreyer, Kirsten. "Lübeck ligger syd for Kassel. Omkring to breve fra Kamma Rahbek og et mindedigt af Friederike Brun." Fund og Forskning i Det Kongelige Biblioteks Samlinger 53 (March 2, 2014): 169. http://dx.doi.org/10.7146/fof.v53i0.118849.
Wrigley, Richard. "“C’est un bourgeois, mais non un bourgeois ordinaire”: The Contested Afterlife of Ingres’s Portrait of Louis-François Bertin." Zeitschrift für Kunstgeschichte 84, no. 2 (June 1, 2021): 220–47. http://dx.doi.org/10.1515/zkg-2021-2004.
Mykhailova, O. V. "Woman in art: a breath of beauty in the men’s world." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 163–80. http://dx.doi.org/10.34064/khnum2-17.11.
Loeser, Martin. "Zur Rezeption der Oratorien Haydns in Paris zwischen 1800 und 1850: Institutionelle und ästhetische aspekte." Studia Musicologica 51, no. 1-2 (March 1, 2010): 201–13. http://dx.doi.org/10.1556/smus.51.2010.1-2.14.
TOOKE, A. "Review. A Bibliography of Salon Criticism in Paris from the July Monarchy to the Second Republic, 1831-1851. McWilliam, Neil." French Studies 51, no. 1 (January 1, 1997): 88. http://dx.doi.org/10.1093/fs/51.1.88.
Damsté, P. H. "De geschiedenis van het portret van Jaspar Schade door Frans Hals1." Oud Holland - Quarterly for Dutch Art History 99, no. 1 (1985): 30–42. http://dx.doi.org/10.1163/187501785x00035.
Ray, Sylvie Le. "Les catalogues des Salons. Edited by Pierre Sanchez and Xavier Seydoux. Paris: L’Echelle de Jacob (48 rue Berbisey, 21000 Dijon, France; email: echelledejacob@wanadoo.fr), 1999-. 5 vols, to date: vol. 1, 1801-19 ISBN 2913224032; vol. 2, 1819 supp. and 1822-34 ISBN 2913224040; vol. 3, 1802 supp. and 1835-40 ISBN 2813224075; vol. 4, 1841-45 ISBN 2913224083; vol. 5, 1846-50 ISBN 2913224121 (pa.). 69 euros (per volume)." Art Libraries Journal 28, no. 1 (2003): 45–47. http://dx.doi.org/10.1017/s0307472200013006.
"Americans in Paris, 1850-1910: the academy, the salon, the studio, and the artists' colony." Choice Reviews Online 41, no. 11 (July 1, 2004): 41–6320. http://dx.doi.org/10.5860/choice.41-6320.
Dissertations / Theses on the topic "Paris. Salon, 1859":
Noël, Denise. "Les Femmes peintres au salon : Paris, 1863-1889." Paris 7, 1997. http://www.theses.fr/1997PA070140.
This doctoral dissertation, combining investigation and synthesis, attaches itself to the socio-cultural conditions underlying the artistic activity of the women painters exhibiting at the salon, in Paris, between 1863 and 1889. It gives special emphasis on the amateur / professional dilemma with which the women artists will constantly be composing, and that may have influenced their artistic choices. This dissertation consists of 3 volumes. The first introductory part describes the problematic from a historical and theoretical side. This is followed by a study of artistic life in the feminine : training in studios ; private life and its choices, in particular the possibilities offered by networks of friends and associations ; the hazards of a career, with the pressure resulting from the need of production, with its successes and its failures, sometimes hampered by other activities, yet always turned towards professional integration and acquiring more autonomy ; the works of the salon and how the critics responded. The research work is based on archives, and on numerous testimonies of french and foreign women artists, gathered from personal diaries, memoirs and correspondence. The second part is a file of 264 plates. These reproductions often unpublished, come from the illustrated catalogues of the salon, from goupil albums, and from the photographic archives "Adolphe Braun". In final, the third part lists in alphabetic order of the artists the works by women, put on exhibition in the "peinture" section of the salon between 1863 and 1889. You will find there, besides the title of the works, the place of birth of the artists, their address, and the name of their professors
Griffiths, Harriet Celia. "The jury of the Paris Fine Art Salon, 1831-1852." Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/12221.
Cazes, Laurent. "L'Europe des arts : la participation des peintres étrangers au Salon, Paris 1852-1900." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010548.
From the origin of World Fairs until the creation of the European secessions, the Paris Salon played a fairly significant role in the careers of hundreds of foreign painters. Avoiding aesthetic biases, the corpus of works, artists and texts studied traces the presence and the reception of foreign painting in the Paris Salon, from 1852 to 1900. The political and administrative history of the institution reveals the evolution of foreign painter status: from almost nonexistent at the beginning of the Second Empire, to a major issue at the end of the century, linked to the creation of the Société Nationale des beaux-arts. Risky and competitive, the Salon experience was a considerable challenge for all artists, both symbolic and commercial. Parisian careers of foreign painters, from their training studio to their exposition in the Salon, are less interpretable than for their French counterparts as an opposition between official and independent sphere; Fine Art system appears as wide open to the world and to the whole artistic field. The international dimension of Paris exhibitions had a profound impact on the evolution and the definition of French art who quickly built a hegemonic pattern on it. Unlike the nationalist partitioning of world fairs, the melting of the Salon is an image of the unity and diversity of European creative forces. The national expression is part of a community of approaches and expressions, and Arts of Europe cannot be categorized into national schools nor the style categories of the modernist tradition
Duplâtre-Debès, Brigitte. "Les peintres espagnols à Paris à la fin du XIXe siècle (1872-1899)." Paris 4, 2000. http://www.theses.fr/2000PA040140.
Orgeval, Domitille d'. "Le Salon des Réalités Nouvelles : les années décisives : de ses origines (1939) à son avènement (1946-1948)." Paris 4, 2007. http://www.theses.fr/2007PA040213.
Created by the art lover Frédo Sidès in july 1946, the « Salon des Réalités Nouvelles » was first directed by Auguste Herbin and Félix Del Marle. In the line from Abstraction-Creation, it was meant to set up annual « concrete art, non figurative or abstract art » exhibitions. From 1946 to 1948, the Salon, which was held in the Palais des Beaux Arts in Paris, offered a unique visibility for abstract art, with a very open policy and a will for international participation (the 1948 Salon was attended by more than 350 exhibitors representing 17 nations). Consulting the archives of the SRN, quite forgotten until now, offers the opportunity to understand how the Salon worked, and learn about its diffusion and recognition policy. This consultation also proves that the Salon was the conclusion of a long gestation which started in the 1930’s, an dis directly coneected to the exposition « Réalités Nouvelles » held in the Charpentier gallery by Frédo Sidès and Yvanohé Rambosson in 1939
Howrie, Thomas George. "The art criticism of EÌtienne DeleÌcluze as exemplified in his reviews of the Paris Salons held between 1819 and 1827, considered in the context of the developing artistic, social and political situation of his time." Thesis, Oxford Brookes University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.427206.
Books on the topic "Paris. Salon, 1859":
Baudelaire, Charles. Salon de 1859: Texte de la Revue française. Paris: H. Champion, 2006.
Baudelaire, Charles. Salon de 1859: Texte de la Revue française. Paris: H. Champion, 2006.
Duncan, Alastair. The Paris salons, 1895-1914. Woodbridge, Suffolk: Antique Collectors' Club, 1994.
McWilliam, Neil. A bibliography of Salon criticism in Paris from the July monarchy to the Second Republic, 1831-1851. Cambridge: Cambridge University Press, 1991.
Reyero, Carlos. Paris y la crisis de la pintura española, 1799-1889: Del museo del Louvre a la torre Eiffel. Madrid: Ediciónes de la Universidad Autónoma de Madrid, 1993.
Duncan, Alastair. Paris Salons 1895-1914 Ceramics & Glass (Paris Salons Series). Antique Collectors' Club, 1998.
Duncan, Alastair. Paris Salons Vol 3: Furniture (Paris Salons, 1895-1914). Antique Collectors Club Dist A/C, 1996.
Duncan, Alastair. Paris Salons 1895-1914: Jewellery 2 Vols. ANTIQUE COLLECTORS' CLUB, 1994.
Duncan, Alastair. The Paris Salons 1895-1914: Objects D'Art & Metalware (Art Nouveau Designers at the Paris Salons). Antique Collectors' Club, 2000.
Duncan, Alastair. Paris Salons 1895-1914: Vol VI--Textiles and Leatherware. Antique Collectors Club Dist A/C, 2002.
Book chapters on the topic "Paris. Salon, 1859":
"Salon de 1850–1851." In A Bibliography of Salon Criticism in Paris from the July Monarchy to the Second Republic, 1831–1851, 269–80. Cambridge University Press, 1991. http://dx.doi.org/10.1017/cbo9780511597220.021.
"Salon de 1839." In A Bibliography of Salon Criticism in Paris from the July Monarchy to the Second Republic, 1831–1851, 104–16. Cambridge University Press, 1991. http://dx.doi.org/10.1017/cbo9780511597220.010.
"Salon de 1849." In A Bibliography of Salon Criticism in Paris from the July Monarchy to the Second Republic, 1831–1851, 258–68. Cambridge University Press, 1991. http://dx.doi.org/10.1017/cbo9780511597220.020.
"Salon de 1831." In A Bibliography of Salon Criticism in Paris from the July Monarchy to the Second Republic, 1831–1851, 1–13. Cambridge University Press, 1991. http://dx.doi.org/10.1017/cbo9780511597220.003.
"Salon de 1833." In A Bibliography of Salon Criticism in Paris from the July Monarchy to the Second Republic, 1831–1851, 14–29. Cambridge University Press, 1991. http://dx.doi.org/10.1017/cbo9780511597220.004.
"Salon de 1834." In A Bibliography of Salon Criticism in Paris from the July Monarchy to the Second Republic, 1831–1851, 30–45. Cambridge University Press, 1991. http://dx.doi.org/10.1017/cbo9780511597220.005.
"Salon de 1835." In A Bibliography of Salon Criticism in Paris from the July Monarchy to the Second Republic, 1831–1851, 46–60. Cambridge University Press, 1991. http://dx.doi.org/10.1017/cbo9780511597220.006.
"Salon de 1836." In A Bibliography of Salon Criticism in Paris from the July Monarchy to the Second Republic, 1831–1851, 61–75. Cambridge University Press, 1991. http://dx.doi.org/10.1017/cbo9780511597220.007.
"Salon de 1837." In A Bibliography of Salon Criticism in Paris from the July Monarchy to the Second Republic, 1831–1851, 76–90. Cambridge University Press, 1991. http://dx.doi.org/10.1017/cbo9780511597220.008.
"Salon de 1838." In A Bibliography of Salon Criticism in Paris from the July Monarchy to the Second Republic, 1831–1851, 91–103. Cambridge University Press, 1991. http://dx.doi.org/10.1017/cbo9780511597220.009.