Etat : New. Language: French. The collection is sourced from the remarkable library of Victor Amadeus, whose Castle Corvey collection was one of the most spectacular discoveries of the late s. The Corvey Collection comprises one of the most important collections of Romantic era writing in existence anywhere -- including fiction, short prose, dramatic works, poetry, and more -- with a focus on especially difficult-to-find works by lesser-known, historically neglected writers.
The Corvey library was built during the last half of the 19th century by Victor and his wife Elise, both bibliophiles with varied interests. The collection thus contains everything from novels and short stories to belles lettres and more populist works, and includes many exceedingly rare works not available in any other collection from the period. These invaluable, sometimes previously unknown works are of particular interest to scholars and researchers. Plus d'informations sur ce vendeur Contacter le vendeur 3. Plus d'informations sur ce vendeur Contacter le vendeur 4.
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PDF Mary cassatt ePub. PDF Mistouk ePub. In the standard nar- rative of vandalism this prospect is totally inconceivable. Such a popular art simply does not exist, except as debased derivations of high art or as negligibly circumstantial productions. Though the immaterial value of paintings was not so easy to ascertain since artisans played only minor roles as cloth-suppliers, frame-makers and gilders compared to artists, dealers, speculators and collectors, the Revolution encouraged even those on the periphery of this commercial art system to speak their mind and explore alternative visions for a republican art.
Clay, Richard, [note 10], p.
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In: Bonnet, J. Pariset, , p. But in other instances, it was perfectly lucid and a matter of style. It aimed to destroy what some would call the aura of the form, others its agency, and others its impact on the viewer. The standard metaphor employed during the Revolution is that such motifs injured patriotic eyes. Indeed, the violence was directed against the visual expression of a social order that impeded the regeneration of society.
These acts of destruction rested on a critical discourse whose terms were defeated in by the arguments in favour of patrimonial conservation. Free men cherish and preserve them. For this reason, it should have the same fate as the Bastille prison, the detested monument of legal and judicial oppression whose demolition was promptly undertaken after the uprising of the 14th of July We would allow for the abomination of Versailles to subsist, that den of despotism, whose sole upkeep might provide comfort to three thousand families […].
Woe to he who has not shed tears upon setting eyes Tauber, Christine, [note 14], p. Les hommes libres les aiment et les conservent. Christin, Olivier, [note 3], p. The arts can all perish, if need be, as long as we can hold on to equality in real life. The project was presented to the National Convention in November by one of its members, the painter Jacques-Louis David. Cited by Dommanget, Maurice, [note 23], p. Anonymous, The People as King-Eater, Private collection.
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The rugged realism of the sans- Destruction and Conservation during the French Revolution… Philippe Bordes culotte monument defines an aesthetic. The print has never been taken seriously by art historians, though some historians have found it worthy of attention, notably Lynn Hunt in an incisive ico- nological study of the Revolutionary figurations of the French People. With regard to artistic values of the time, these traits tend to be assigned to the limited competence and bad taste of the anonymous draughtsman. Recueil de documents, Paris: Fondation Wildenstein, , p. In April during a meeting of the Re- publican Society of the Arts that brought together the great majority of Parisian artists sympathetic to the Revolution, the sculptor Jean-Joseph Espercieux presented a report on how to most swiftly develop an art suited to the republican order.
It pursued the strategy adopted by reformist opponents of the monarchy in the decade leading to the Revolution, most famously when the scandal of the Diamond Necklace Affair was exploited to discredit the queen. Though he was later to deplore the Revolution and its destructions, the provincial painter Gabriel Bouquier proved himself an outspoken Jacobin once elected deputy to the National Conven- tion and during the Terror.
He published a series of propagandistic poems, as well as a report read to the Convention in June relative to the conservation of works of art in the national collection. The flesh-coloured hue was systematically associated with the erotic imaginary of the boudoir, and implicitly with the shades of female genitalia. At his side was a girl in a pink-coloured gown. A gouache montage by Jean-Baptiste Lesueur, an amateur draughtsman born in , illus- trates this opposition between Revolutionary and rococo visions in terms of life-styles [Fig.
The gentleman-like figure of the vandalizer is positioned on the page so as to gesticulate in the direction For the reference to the full report, see note Gouache on paper, cut out and laid on cardboard. Etching illustration to A. The montage includes a figure of a sectionnaire on the left, represented as a thief. Guyot after drawings by Lenoir and Charles Percier. These aspiring artists were exclusively fond of antique vase painting and experimented with a highly simplified mode of frieze composi- tion. After the founding of the Republic in , this outlook rested on the belief that the events of the French Revolution surpassed in world historical impor- tance the glorious deeds of the ancients so admired until then.
Bouquier had proposed to encourage a dramatically tenebrous style. To respond to the call for a republican style compatible with radical democratic ideals, the options were not founded on this model, but on romantic and realist alternatives.