Louis XIV, regency, rococo, neoclassical, empire, art nouveau, and historicist pastiche: furniture styles march across French history as regimes rise and fall. In this extraordinary social history, ...Leora Auslander explores the changing meaning of furniture from the mid-seventeenth to the early twentieth century, revealing how the aesthetics of everyday life were as integral to political events as to economic and social transformations. Enriched by Auslander's experience as a cabinetmaker, this work demonstrates how furniture served to represent and even generate its makers' and consumers' identities.
The Jews of Modern France explores the endlessly complex
encounter of France and its Jews from just before the Revolution to
the eve of the twenty-first century. In the late eighteenth
century, some ...forty thousand Jews lived in scattered communities on
the peripheries of the French state, not considered French by
others or by themselves. Two hundred years later, in 1989, France
celebrated the anniversary of the Revolution with the largest, most
vital Jewish population in western and central Europe. Paula Hyman
looks closely at the period that began when France's Jews were
offered citizenship during the Revolution. She shows how they and
succeeding generations embraced the opportunities of integration
and acculturation, redefined their identities, adapted their
Judaism to the pragmatic and ideological demands of the time, and
participated fully in French culture and politics. Within this same
period, Jews in France fell victim to a secular political
antisemitism that mocked the gains of emancipation, culminating
first in the Dreyfus Affair and later in the murder of one-fourth
of them in the Holocaust. Yet up to the present day, through
successive waves of immigration, Jews have asserted the
compatibility of their French identity with various versions of
Jewish particularity, including Zionism. This remarkable view in
microcosm of the modern Jewish experience will interest general
readers and scholars alike.
Musée de Picardie, Amiens O’Brien, David
Nineteenth-Century Art Worldwide,
10/2022, Volume:
21, Issue:
3
Journal Article, Book Review
Peer reviewed
Open access
Works by Constance Charpentier, Gustave Courbet, and Pierre Puvis de Chavannes amongst others are at the Musee de Picardie in Amiens, France. Partially closed since 2008, and wholly from 2017 to ...2020, the renovated museum has now been open for two years, with its collection reinstalled under the direction of Laure Dalon. The stunning result makes obligatory the short trip from Paris to Amiens, at least for true dix-neuvièmistes. The museum possesses excellent collections in several areas, but a variety of circumstances contributed to its special strength in nineteenth-century French art.
Two nights before he died, on March 29, Juan José Luna called me at home. We were talking about one hour, about our fifty years of sincere friendship, since he appeared as a fellow, in 1969, in the ...Diego Velázquez Institute of the CSIC. He had done his undergraduate thesis, with D. Diego Angulo, on the Bassano, a summary of which was published in the Spanish Art Archive in 1971. Gifted for teaching, Juan José Luna taught specialized courses in museums and universities, however, his research skills they are redirected by D. Diego Angulo, when he arrives as a fellow at the CSIC, to carry out the thesis doctoral. Angulo proposes as its theme "French Painting of the XVII-XVIII centuries, in Spain", discipline that would fill a gap in the artistic historiography of our country, and would open interest outside of our borders. Thanks to his scholarship, the library and photo library of the Velázquez Institute were enriched with books and photographs of French baroque painting.
Whenever the problem of the relationship between culture and politics is addressed, Julien Benda undoubtedly remains the most frequently mentioned author at the international level. His indictment of ...the intellectuals' betrayal is as famous as his speeches to the European nation, published in 1933, about five years later than his widely diffused La Trahison des clercs. Throughout the Discours à la nation européenne, the author explicitly addresses the intellectuals already mentioned in his previous essay and asks them to assume responsibility - becoming protagonists of a new moral revolution. His intention was to reply to Fichte's well-known Reden an die deutsche Nation. The idea of Europe could be built to transcend nations, manifesting itself as the individual's renunciation of himself. In this way, the idea of Europe might appear as a 'moral act': renouncing the distinct and the finite and turning to unity and infinity. Benda was aware of the possible rise of a type of 'Europhile nationalism'. To prevent this, he saw it necessary to avoid the closure of the nation and prolong this movement of association so that it might increase its tendency to be inclusive. The political vision of Europe that Julien Benda hoped for should not generate European sovereignty. But, by prompting intellectuals to follow practical and political methods, he consciously exploits their role - stated in La Trahison des clercs - with the hope of building the moral and political framework of a united Europe.
This "In Conversation" section intends to give some direction and examples to aid understanding of French studies on material religion. This introduction briefly describes the early presence of ...materiality in religious studies. especially in the Durkheimian legacy, museum practices, Levi-Strauss' works and his followers, the ontological turn and medieval history. The three following contributions illustrate some of the theoretical trends that frame and enrich the field today.
Ignacio de Ordejón Niño, nacido en 1770 en Población de Cerrato (Palencia), es una figura apenas estudiada de la Ilustración tardía en España. Aunque su nombre aparece esporádicamente en algunas ...obras históricas o filológicas, que dan cuenta de la variada actividad intelectual que desarrolló a lo largo de los años, ni su vida ni su obra han suscitado aún la atención investigadora que sin duda merece. Abogado por formación, historiador por vocación y amigo de algunos de los personajes más significativos de la España de los siglos XVIII y XIX, se dio a conocer desde 1796 como traductor de francés, labor que le permitió publicar en castellano en los veintitrés años siguientes un interesante conjunto de obras, en el que alternó lo literario con lo científico y lo religioso. Este artículo analiza su perfil de traductor y las obras que incorporó al panorama editorial español de su época.
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