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avant-garde --- manifesten --- futurisme --- dadaïsme --- surrealisme --- 1909 - 1938 --- 20ste eeuw --- Europa --- manifest --- avant-garde. --- manifest. --- futurisme. --- dadaïsme. --- surrealisme. --- 1909 - 1938. --- 20ste eeuw. --- Europa. --- tentoonstelling Gent (1883). --- Salon van Gent (1883). --- Société pour l'encouragement des Beaux-Arts de Gand (1850 - ). --- 19de eeuw.

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This collection explores the idea of music in the salon during the long nineteenth century, both as a socio-cultural phenomenon, and as a source of artistic innovation and exchange. Drawing on a wide range of scholarly approaches, this book uses the idea of the salon as a springboard to examine issues such as gender, religion, biography and performance; to explore the ways in which the salon was represented in different media; and to showcase the heterogeneity of the salon through a selection of case studies. It offers fresh considerations of familiar salons in large cultural centres, as well as insights into lesser-known salons in both Europe and the United States. Bringing together an international group of scholars, the collection underscores the enduring impact of the European musical salon.

78.27 --- Music --- Music in the home --- Home --- Manners and customs --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Social aspects --- History --- Europe. --- Musical salon culture. --- United States. --- artistic innovation. --- case studies. --- gender. --- long nineteenth century. --- performance. --- socio-cultural phenomenon. --- Salons --- Europe --- United States --- Intellectual life

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Ridiculed for her Saturday salon, her long romance novels, and her protofeminist ideas, Madeleine de Scudéry (1607-1701) has not been treated kindly by the literary establishment. Yet her multivolume novels were popular bestsellers in her time, translated almost immediately into English, German, Italian, Spanish, and even Arabic. The Story of Sapho makes available for the first time in modern English a self-contained section from Scudéry's novel Artamène ou le Grand Cyrus, best known today as the favored reading material of the would-be salonnières that Molière satirized in Les précieuses ridicules. The Story tells of Sapho, a woman writer modeled on the Greek Sappho, who deems marriage slavery. Interspersed in the love story of Sapho and Phaon are a series of conversations like those that took place in Scudéry's own salon in which Sapho and her circle discuss the nature of love, the education of women, writing, and right conduct. This edition also includes a translation of an oration, or harangue, of Scudéry's in which Sapho extols the talents and abilities of women in order to persuade them to write.

French literature --- Women --- Human females --- Wimmin --- Woman --- Womon --- Womyn --- Females --- Human beings --- Femininity --- Social conditions --- Scudéry, Madeleine de, --- romance, feminism, france, women writers, female authors, artamene ou le grand cyrus, marriage, gender, salon, novel, literature, love, sexuality, freedom, liberty, slavery, womens roles, education, writing, conduct, choice, artist, harangue, feminist theory, translation, archive, recovered text, canon, les femmes illustres, talent, ability, virtue. --- Scudery, Madeleine de,

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In this fundamental rethinking of the rise of modernism from its beginnings in the Impressionist movement, Robert Jensen reveals that market discourses were pervasive in the ideological defense of modernism from its very inception and that the avant-garde actually thrived on the commercial appeal of anti-commercialism at the turn of the century. The commercial success of modernism, he argues, depended greatly on possession of historical legitimacy. The very development of modern art was inseparable from the commercialism many of its proponents sought to transcend. Here Jensen explores the economic, aesthetic, institutional, and ideological factors that led to its dominance in the international art world by the early 1900s. He emphasizes the role of the emerging dealer/gallery market and of modernist art historiographies in evaluating modern art and legitimizing it through the formation of a canon of modernist masters. In describing the canon-building of modern dealerships, Jensen considers the new "ideological dealer" and explores the commercial construction of artistic identity through such rhetorical concepts as temperament and "independent art" and through such institutional structures as the retrospective. His inquiries into the fate of the juste milieu, a group of dissidents who saw themselves as "true heirs" of Impressionism, and his look at a new form of art history emerging in Germany further expose a linear, dealer- oriented history of modernist art constructed by or through the modernists themselves.

Art --- Art and design. --- Art criticism. --- Arts --- Criticism --- Design and art --- Design --- Marketing. --- Analysis, interpretation, appreciation --- Academic art. --- Aesthetic Theory. --- Aestheticism. --- Alfred Rethel. --- Alfred Sisley. --- Ambroise Vollard. --- Art Nouveau. --- Art for art's sake. --- Art museum. --- Arts and Crafts movement. --- Auguste Rodin. --- Avant-garde. --- Barbizon school. --- Berlin Secession. --- Berthe Weill. --- Camille Pissarro. --- Central Europe. --- Champfleury. --- Class action. --- Classicism. --- Contemporary art. --- Daniel-Henry Kahnweiler. --- Decadent movement. --- Der Blaue Reiter. --- Descriptive Catalogue (1809). --- Dreyfus affair. --- Edvard Munch. --- Frantz Jourdain. --- French art. --- Georges Seurat. --- Georges de La Tour. --- German Romanticism. --- German art. --- German idealism. --- Gustave Caillebotte. --- Gustave Courbet. --- Hans Makart. --- Harry Graf Kessler. --- Heinrich von Treitschke. --- Henri Fantin-Latour. --- Henri Matisse. --- Henry van de Velde. --- High modernism. --- Impressionism. --- International Style (architecture). --- Italian Renaissance painting. --- J. Alden Weir. --- Japonism. --- Juste milieu. --- L'Histoire. --- La Plume. --- La Revue Blanche. --- Le Figaro. --- Les Baigneuses (Gleizes). --- Louis Comfort Tiffany. --- Maison de l'Art Nouveau. --- Marcel Duchamp. --- Maximilien Luce. --- Mercure de France. --- Modern art. --- Modernism. --- Modernity. --- Munich Secession. --- Napoleon III. --- Nazism. --- Neo-impressionism. --- Neoclassical architecture. --- Neoclassicism. --- Orientalism. --- Palais de l'Industrie. --- Paul Delaroche. --- Paul Durand-Ruel. --- Paul Gauguin. --- Philosophy of Friedrich Nietzsche. --- Pierre-Auguste Renoir. --- Political Liberalism. --- Populism. --- Positioning (marketing). --- Post-Impressionism. --- Postmodernism. --- Renaissance art. --- Rococo. --- Romanticism. --- Salon d'Automne. --- Salon de la Rose + Croix. --- Salon des Cent. --- Siegfried Bing. --- Soziologie. --- The Barque of Dante. --- The Impressionists (BBC drama). --- The Realist. --- Thomas Couture. --- Trade fair. --- Use tax. --- Vienna Secession. --- Vittoria Colonna. --- William-Adolphe Bouguereau. --- École des Beaux-Arts. --- Émile Zola.

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Early modern Europe's most extensive commonwealth -- the Republic of Letters -- could not be found on any map. This republic had patriotic citizens, but no army; it had its own language, but no frontiers. From its birth during the Renaissance, the Republic of Letters long remained a small and close-knit elite community, linked by international networks of correspondence, sharing an erudite neo-Latin culture. In the late seventeenth century, however, it confronted fundamental challenges that influenced its transition to the more public, inclusive, and vernacular discourse of the Enlightenment.

Transforming the Republic of Letters is a cultural and intellectual history that chronicles this transition to "modernity" from the perspective of the internationally renowned scholar Pierre-Daniel Huet (1630-1721). Under Shelford's direction, Huet guides us into the intensely social intellectual world of salons, scientific academies, and literary academies, while his articulate critiques illumine a combative world of Cartesians versus anti-Cartesians, ancients versus moderns, Jesuits versus Jansenists, and salonnières versus humanist scholars. Transforming the Republic of Letters raises questions of critical importance in Huet's era, and our own, about defining, sharing, and controlling access to knowledge.

April G. Shelford is Assistant Professor in the History Department at American University, Washington, D.C.

History of civilization --- Huet, Pierre Daniel --- Huet, Pierre-Daniel, --- Europe --- Intellectual life --- 930.85 <4> --- 929 HUET, DANIEL --- Cultuurgeschiedenis. Kultuurgeschiedenis--Europa --- Biografie. Genealogie. Heraldiek--HUET, DANIEL --- Huet, Pierre Daniel, --- Huet, Peter Daniel, --- Huetius, Petrus Daniel, --- Huet, Daniel, --- Huet, --- Council of Europe countries --- Eastern Hemisphere --- Eurasia --- -Intellectual life --- -930.85 <4> --- 929 HUET, DANIEL Biografie. Genealogie. Heraldiek--HUET, DANIEL --- -History of civilization --- Huet, Daniel --- Huetius, Petrus Danielis --- -929 HUET, DANIEL --- HISTORY / Modern / 17th Century. --- Access to Knowledge. --- Cartesians. --- Cultural History. --- Early Modern Europe. --- Enlightenment. --- Intellectual Transformation. --- International Networks. --- Jesuits. --- Knowledge. --- Pierre-Daniel Huet. --- Republic of Letters. --- Salon Culture.