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L'idée de la première édition scientifique et critique des Œuvres complètes de Diderot est née en 1958, lors de l'acquisition par la Bibliothèque nationale du fonds Vandeul. Ce riche ensemble de manuscrits provenant de la fille de Diderot, resté presque inexploité, fut sauvé par Herbert Dieckmann, professeur à l'université de Harvard. Aucun éditeur français n'ayant manifesté d'intérêt pour une entreprise d'une telle envergure, Julien Cain, alors directeur des Bibliothèques de France, fit appel à Pierre Bérès pour créer, en 1964, un Comité national d'édition des œuvres de Diderot où figuraient André Chastel, Herbert Dieckmann, Jean Fabre, René Pomeau, Jean Pommier, Gaëtan Picon et Jean Seznec. Une équipe internationale fut constituée sous l'impulsion d'Herbert Dieckmann et de Jean Fabre, réunissant plus de soixante spécialistes, chercheurs et universitaires français, américains, italiens, allemands, danois, etc.En 1975 parurent les trois premiers volumes des Œuvres complètes, désignées désormais sous le sigle DPV du nom des membres fondateurs du Comité de publication : Herbert Dieckmann, Jacques Proust et Jean Varloot.Après la publication du tome XX, l'édition connut des années difficiles dues, pour l'essentiel, aux problèmes particulièrement ardus posés par les œuvres de la dernière période. Leur résolution doit beaucoup à la mise en place d'un nouveau comité réunissant des chercheurs qui ont une responsabilité directe dans les volumes à paraître : Roland Mortier, Bertrand Binoche, Geroges Dulac, Gianluigi Goggi, Sergueï Karp et Didier Kahn. La relance de l'édition se manifeste par la publication, à l'automne 2004, du tome XXIV, prélude à celle des derniers volumes prévus dans toutes les années suivantes.Établie à partir des manuscrits, des premières éditions et des révisions de l'auteur, l'édition des Œuvres complètes réunit, pour chaque œuvre, les différentes étapes de la réflexion de Diderot et le meilleur texte. Un important appareil critique de variantes et d'élucidations fournit les données indispensables à l'étude. Le plan général adopté présente l'œuvre dans son ordre chronologique, au sein duquel sont introduits quelques groupements originaux qui éclairent la continuité des thèmes du philosophe et de l'écrivain : idées, fiction, critique, beaux-arts, encylopédie. Pour faciliter la lecture, l'orthographe a été modernisée.
French literature --- Philosophie --- Philosophy --- Zonder onderwerpscode: algemeen --- Art --- Literature --- Philosophy of nature --- Pure sciences. Natural sciences (general) --- Science --- Philosophie de la nature --- Sciences --- Early works to 1800 --- Ouvrages avant 1800 --- Music --- Musique --- Physiology --- Physiologie --- Early works to 1800. --- Alembert, Jean Le Rond d', --- Encyclopedias and dictionaries, French --- Booksellers and bookselling --- Encyclopédies et dictionnaires français --- Libraires et librairie --- Netherlands --- Pays-Bas --- Description and travel --- Descriptions et voyages --- Theater --- Commerce --- Criticism --- Théâtre --- Critique --- Art criticism --- Art, Modern --- Painting, French --- Critique d'art --- Peinture française --- Salon (Exhibition : Paris, France) --- Diderot (Denis). --- Mental philosophy --- Humanities --- Aesthetics of art --- Philosophie. --- Drama --- Art, French --- Themes, motives. --- Salon van Parijs (1765) --- tentoonstelling Parijs (1765) --- Diderot, Denis --- CDL --- 75.034 --- Modern art --- Nieuwe Ploeg (Group of artists) --- Art, French - 18th century - Themes, motives. --- Salon van Parijs (1765). --- tentoonstelling Parijs (1765). --- Diderot, Denis. --- Sculpture --- Painting --- Claudius, --- Nero, --- Seneca, Lucius Annaeus, --- Rome --- History --- Histoire --- Littérature --- Diderot, Denis, --- Correspondence. --- Philosophy.
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Madeleine de Scudéry (1607-1701) was the most popular novelist in her time, read in French in volume installments all over Europe and translated into English, German, Italian, and even Arabic. But she was also a charismatic figure in French salon culture, a woman who supported herself through her writing and defended women's education. She was the first woman to be honored by the French Academy, and she earned a pension from Louis XIV for her writing. Selected Letters, Orations, and Rhetorical Dialogues is a careful selection of Scudéry's shorter writings, emphasizing her abilities as a rhetorical theorist, orator, essayist, and letter writer. It provides the first English translations of some of Scudéry's Amorous Letters, only recently identified as her work, as well as selections from her Famous Women, or Heroic Speeches, and her series of Conversations. The book will be of great interest to scholars of the history of rhetoric, French literature, and women's studies.
French literature --- Scudéry, Madeleine de, --- madeleine de scudery, women writer, female author, literature, gender, europe, france, salon, career, education, feminism, feminist theory, social roles, louis xiv, french academy, pension, fame, success, recovery, archive, canon, nonfiction, essays, rhetoric, amorous letters, history, speech, marginalized, intellectual, profession. --- Scudery, Madeleine de,
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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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This critical biography of A. Mary F. Robinson traces her unorthodox journey through the literary circles of London and Paris as a writer of poetry and prose, a leading member of the Anglo-French community, and a significant contributor to the cultural and literary shift from nineteenth-century Victorianism to twentieth-century modernism.
Authors, English --- Robinson, A. Mary F. --- 1800-1899 --- Aestheticism. --- Anglo French. --- Biography. --- Decadence. --- Dreyfus Affair. --- Edmund Gosse. --- Emile Duclaux. --- Emmanuel Berl. --- Gender Studies. --- James Darmesteter. --- John Addington Symonds. --- Mabel Robinson. --- Marie Leneru. --- Neurasthenia. --- Robert Browning. --- Salon. --- Society. --- TLS. --- Travel Journalism. --- Vernon Lee. --- Victorian Poetry. --- WM Rossetti. --- War Poetry. --- Women Poets. --- findesiecle.
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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.
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Salon des Refusés, Paris, 1863 -- The first Impressionist Exhibition, Paris, 1874 -- The first Salon des Indépendants, Paris, 1884 -- Salon d'Automne, Paris, 1905 -- The first Brücke Exhibition, Desden-Löbtau, 1906 -- Manet and the Post-Impressionists, London, 1910 -- The first Blaue Reiter Exhibition, Munich, 1911 -- Les Peintres Futuristes Italiens, Paris, 1912 -- Salon de la Section d'Or, Paris, 1912 -- The first German Autumn Salon, Berlin, 1913 -- The Armony Show, New York, 1913 -- 0.10: The last Futurist Exhibition of Pictures, Petrograd, 1915 -- The first International Dada Fair, Berlin, 1920 -- The first Russian Art Exhibition. Berlin, 1922 -- Film und Foto, Stuttgart, 1929 -- Cubism and abstract art, New York, 1936 -- Degenerate Art, Munich, 1937 -- Exposition Internationale du Surréalisme, Paris, 1938 -- First Papers of Surrealism, New York, 1942 -- Art of This Century, New York, 1951 -- Ninth Street Show, New York, 1951 -- The first Gutai Art Exhibition, Tokyo, 1955 -- The is Tomorrow, London, 1956 -- The New American Painting, New York, 1959.
Art --- anno 1800-1999 --- tentoonstellingen --- kunstgeschiedenis --- impressionisme --- Die Brücke (1905-1913) --- Der Blaue Reiter --- futurisme --- Armory Show (1913) --- dadaïsme --- avant-garde --- surrealisme --- entartete Kunst --- kubisme --- abstracte kunst --- Manet, Edouard --- 1863 - 1959 --- 19de eeuw --- 20ste eeuw --- Art, Modern --- Exhibitions --- 7.037 --- 7.036 --- Tentoonstellingen ; kunsttentoonstellingen ; van kunsthistorische betekenis --- Internationale groepstentoonstellingen ; 1863-1959 --- Salons des refusés --- Salon des indépendants --- Die Brücke --- Manet Edouard --- postimpressionisme --- Blaue Reiter --- Salon de la Section d'Or --- Erster Deutscher Herbstsalon --- Armory Show --- 0.10 --- Erste Russische Kunstausstellung --- Film und Foto --- abstractie --- Entartete Kunst --- Exposition internationale du surréalisme --- Art of this century --- Ninth Street Show --- Gutai --- This is tomorrow --- New American painting --- negentiende eeuw --- twintigste eeuw --- 069 --- 7 --- Kunstgeschiedenis ; 1900 - 1950 --- Kunstgeschiedenis ; Realisme. Impressionisme. Naturalisme ; 19de eeuw --- Arte moderna. --- Bienais de arte. --- Exposições de arte (história) --- Kunstausstellung --- Exposições de arte (história). --- Kunstausstellung. --- MAD-faculty 14 --- kunsttentoonstellingen --- musea --- Der Blaue Reiter (1911-1914) --- abstracte, niet-figuratieve kunst --- Manet, Édouard --- Art, Modern - 19th century - Exhibitions --- Art, Modern - 20th century - Exhibitions --- Art, Modern - 19th century - Exhibitions - Sources --- Art, Modern - 20th century - Exhibitions - Sources --- tentoonstellingen. --- kunstgeschiedenis. --- impressionisme. --- Die Brücke. --- Der Blaue Reiter (1911-1914). --- futurisme. --- Armory Show (1913). --- dadaïsme. --- avant-garde. --- surrealisme. --- entartete Kunst. --- kubisme. --- abstracte kunst. --- Manet, Édouard. --- 1863 - 1959. --- 19de eeuw. --- 20ste eeuw.
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The years before World War I were a time of social and political ferment in Europe, which profoundly affected the art world. A major center of this creative tumult was Paris, where many avant-garde artists sought to transform modern art through their engagement with radical politics. In this provocative study of art and anarchism in prewar France, Patricia Leighten argues that anarchist aesthetics and a related politics of form played crucial roles in the development of modern art, only to be suppressed by war fever and then forgotten. Leighten examines the circle of artists-Pablo Picasso, Juan Gris, František Kupka, Maurice de Vlaminck, Kees Van Dongen, and others-for whom anarchist politics drove the idea of avant-garde art, exploring how their aesthetic choices negotiated the myriad artistic languages operating in the decade before World War I. Whether they worked on large-scale salon paintings, political cartoons, or avant-garde abstractions, these artists, she shows, were preoccupied with social criticism. Each sought an appropriate subject, medium, style, and audience based on different conceptions of how art influences society-and their choices constantly shifted as they responded to the dilemmas posed by contradictory anarchist ideas. According to anarchist theorists, art should expose the follies and iniquities of the present to the masses, but it should also be the untrammeled expression of the emancipated individual and open a path to a new social order. Revealing how these ideas generated some of modernism's most telling contradictions among the prewar Parisian avant-garde, The Liberation of Painting restores revolutionary activism to the broader history of modern art.
Painting --- schilderkunst --- Art styles --- painting [image-making] --- History of civilization --- anno 1910-1919 --- anno 1900-1909 --- anno 1800-1899 --- Paris --- Painting, French --- Modernism (Art) --- Modernism (Aesthetics) --- Anarchism and art --- Art --- History --- Political aspects --- Vivelapeinture (Group of artists) --- Ziniars (Group of artists) --- Art, Modernist --- Modern art --- Modernism in art --- Modernist art --- Aesthetic movement (Art) --- Art, Modern --- Aesthetics --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Art, Primitive --- art, history, paris, modernism, anarchism, avant-garde, radical politics, anarchist aesthetics, form, kees van dongen, maurice de vlaminck, frantisek kupka, juan gris, pablo picasso, abstract, political cartoons, salon paintings, social commentary, critique, freedom, individual, liberation, equality, caricature, cubism, collage, war, revolution, les demoiselles davignon, lart negre, colonialism, nonfiction.
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En s'attachant à l'étude des slogans, des images et des graphies, ce livre propose d'interroger l'insubordination graphique des années 68. Dans une perspective de mobilisations collectives et de circulations internationales des idées, un véritable régime visuel s'est constitué durant cette période. Influencés par le tiers-mondisme, le pacifisme, le guevarisme et le maoïsme, de nouveaux codes d'expression se définissent, dans de nouveaux lieux (rues, palissades, usines, universités, barricades), par des motifs récurrents (le poing dressé, l'usine, les chaînes brisées, les moutons, De Gaulle), mais aussi à travers une terminologie ciblée (la chienlit, la lutte, les pavés, la beauté). Des affiches des ateliers populaires des Beaux-arts aux photographies de Gilles Caron, Henri Cartier-Bresson, Bruno Barbey en passant par les dessins de Siné, Willem, Topor, Crumb... sans oublier les collectifs d'artistes français et internationaux, cette étude passionnante permet de mieux comprendre les images de cet incontournable "moment 68".
766.038 --- 77.038 --- Gebruiksgrafiek ; 1950 - 2000 --- Fotografie ; 1950 - 2000 --- Grafische vormgeving en politiek verzet --- Studentenprotest mei '68 --- Chicago Women's Graphics Collective --- OSPAAAL - Organización de Solidaridad con los Pueblos de Asia, África y América Latina --- Salón de Mayo 1967 - Cuba Colectiva --- Mexico 68 --- FAP - Front des artistes plasticiens --- Editions Maspero --- L'atelier populaire des Beaux-arts --- Situationnisten - Internazionale Situazionista --- Guy Debord --- Jacqueline de Jong (Hengelo, 3 februari 1939) --- Wolinski, pseudoniem van Georges Wolinski (Tunis, 28 juni 1934 – Parijs, 7 januari 2015) --- Michel Quarez --- Julien Blaine (°1942, Rognac Frankrijk) --- Coopérative des Malassis --- Pierre Fournier (1937-1973) --- Hara-Kiri (magazine) - Charlie Hebdo --- Elie Kagan --- Gilles Caron --- Jacques Villeglé (°1926, Quimper, Bretagne, Frankrijk) --- Seksuele revolutie --- Bernard Rancillac (°1931, Parijs, Frankrijk) --- Billboards --- Social movements in art --- Political aspects --- France --- Politics and government --- Art militant --- Affiche politique --- Art et politique --- Caricature --- Graphisme --- Graffiti
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