Author: Publisher:
ISBN:
Category : Bibliography
Languages : en
Pages : 348
Book Description
Les Livres de L'année
Author: 
Author: Publisher: Odile Jacob
ISBN: 2738192246
Category :
Languages : en
Pages : 401
Book Description
La Pénétration Allemande Du Moyen-Orient 1919-1939
Author: A FleuryPublisher: Martinus Nijhoff Publishers
ISBN: 9004637605
Category : Law
Languages : fr
Pages : 447
Book Description
L'encerclement de L'Allemagne
Author: Auguste GauvainPublisher:
ISBN:
Category : Europe
Languages : en
Pages : 178
Book Description
Journal of the ... Assembly
Author: League of Nations. AssemblyPublisher:
ISBN:
Category :
Languages : en
Pages : 444
Book Description
Labor and Reconstruction in Europe
Author: Elisha M. FriedmanPublisher:
ISBN:
Category : Labor
Languages : en
Pages : 248
Book Description
Francia, Band 48
Author: Deutsches Historisches Institut ParisPublisher: Thorbecke
ISBN: 3799581502
Category : History
Languages : en
Pages : 603
Book Description
Der Band enthält 36 Beiträge in deutscher, französischer und englischer Sprache. Die Themenvielfalt reicht von der Fredegarchronik des 7. Jahrhunderts und dem Fortleben des römischen Rechts im frühen Mittelalter, den Anfängen diplomatischer Beziehungen und dem Hundertjährigen Krieg über die deutsch-französischen Beziehungen des 17. Jahrhunderts, die Eidleistung französischer Bischöfe unter Ludwig XIV. und die Bibliotheksgeschichte der Frühen Neuzeit bis zum Pariser Musikleben während der Julimonarchie, den Vegetarismus am Vorabend des Ersten Weltkriegs und die aktuelle Genderdebatte in Afrika. Mit der Geschichte des Körpers und seiner politischen Rolle am frühmodernen Hof sowie der Bürokratisierung afrikanischer Gesellschaften befassen sich die Beiträge zweier "Ateliers".
Rivals and Conspirators
Author: Fae BrauerPublisher: Cambridge Scholars Publishing
ISBN: 144386370X
Category : Art
Languages : en
Pages : 457
Book Description
Once the State-run Salon in Paris closed, an array of independent Salons mushroomed starting with the French Artists Salon and Women’s Salon in 1881 followed by the Independent Artists’ Salon, National Salon of Fine Arts and Autumn Salon. Offering an unparalleled choice of art identities and alliances, together with undreamed-of opportunities for sales, commissions, prizes and art criticism, these great Salons guaranteed the centripetal and centrifugal power of Paris as the “modern art centre”. Lured by the prospect of being exhibited annually in Salons the size of Biennales today, a huge number and national diversity of artists, from the Australian Rupert Bunny to the Spaniards Pablo Picasso and Juan Gris, flocked to Paris. Yet by no means were these Salons equal in power, nor did they work consensually to forge this “modern art centre”. Formed on the basis of their different cultural politics, constantly they rivalled one another for State acquisitions and commissions, exhibition places and spaces, awards, and every other means of enhancing their legitimacy. By no means were the avant-garde salons those that most succeeded. Instead, as this culturo-political history demonstrates, the French Artists’ and National Fine Art Salons were the most successful, with the genderist French Artists' Salon being the most powerful and “official”. Despite the renown today of Neo-Impressionism, Art Nouveau, Fauvism, Cubism and Orphism, the most powerful artists in this “modern art centre” were not Sonia Delaunay, Émile Gallé, Paul Signac, Henri Matisse or even Picasso but such Academicians as Léon Bonnat, William Bouguereau, Fernand Cormon, Edouard Detaille, Gabriel Ferrier, Jean-Paul Laurens, Luc-Oliver Merson and Aimé Morot, who exhibited at the “official” Salon supported by the machinery of the State. In its exposure of the rivalry, conflict and struggle between the Salons and their artists, this is an unprecedented history of dissension. It also exposes how, just below the welcoming internationalist veneer of this “modern art centre”, intense persecutionist paranoia lay festering. Whenever France’s “civilizing mission” seemed culturally, commercially or colonially threatened, it erupted in waves of nationalist xenophobia turning artistic rivalry into bitter enmity. In exposing how rivals became transmuted into conspirators, ultimately this book reveals a paradox resonant in histories that celebrate the international triumph of French modern art: that this magnetic “centre”, which began by welcoming international modernists, ended by attacking them for undermining its cultural supremacy, contaminating its “civilizing mission” and politically persecuting the very modernist culture for which it has received historical renown.
European War pamphlets
Author: The American Historical Review
Author: John Franklin JamesonPublisher:
ISBN:
Category : History
Languages : en
Pages : 976
Book Description
American Historical Review is the oldest scholarly journal of history in the United States and the largest in the world. Published by the American Historical Association, it covers all areas of historical research.