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Thematische Bibliographien / Empress Josephine

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Auswahl der wissenschaftlichen Literatur zum Thema „Empress Josephine“

Autor: Grafiati

Veröffentlicht am 29. Juni 2021

Zuletzt aktualisiert am 13. Februar 2022

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Zeitschriftenartikel zum Thema "Empress Josephine"

1

Bindi, Luca, Paul G. Spry und Curzio Cipriani. „Empressite, AgTe, from the Empress-Josephine mine, Colorado, U.S.A.: Composition, physical properties, and determination of the crystal structure“. American Mineralogist 89, Nr. 7 (Juli 2004): 1043–47. http://dx.doi.org/10.2138/am-2004-0715.

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2

Sago, Kylie. „Beyond the headless Empress: Gabriel Vital Dubray’s statues of Josephine, Edouard Glissant’s Tout-monde, and contested monuments of French empire“. Nineteenth-Century Contexts 41, Nr. 5 (14.10.2019): 501–19. http://dx.doi.org/10.1080/08905495.2019.1674579.

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3

Potter, Polyxeni. „Jacques-Louis David (1748–1825). Coronation of Empress Josephine by Napoleon I at Notre Dame de Paris, 2 December 1804 (1806–1807)“. Emerging Infectious Diseases 9, Nr. 10 (Oktober 2003): 1360. http://dx.doi.org/10.3201/eid0910.ac0910.

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4

Verbova, Oksana. „Forming of the institutional field of economic selfidentification Ukrainians at the conditions of Austria-Hungary empire“. Ìstorìâ narodnogo gospodarstva ta ekonomìčnoï dumki Ukraïni 2019, Nr. 52 (2019): 121–37. http://dx.doi.org/10.15407/ingedu2019.52.121.

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The article explores the institutional conditions of the development of the national household in the West Ukrainian land as part of Austria-Hungary. Outlined the actuality of the national tradition of economic self-realization and self-identification in the crisis conditions of modern Ukraine. Pointed out the complex process of searching of the ways of stimulating the development of a modern national market economy that is required to create forming a new economic mentality of Ukrainians, educated on the values of the national tradition of economic self-identification. The essence of the modernization changes of the institutional field with the entry of Galicia, Bukovina and Transcarpathia into the Austrian Empire at the end of the eighteenth century is revealed. In particular, the judicial reforms of Empress Maria Theresa during 1768–1776 were analyzed, which led to changes primarily in the field of formal rules of the game. The institutional changes in the fiscal sphere that became important for market development are revealed. The influence of the laws of Joseph II, which for the first time affirmed the status of a subject of law for the peasant, was substantiated. The significance of the Patent of Joseph II of April 5, 1782, which abolished serfdom as a personal dependence of the peasants on the landowners, was proved, as well as that of the Urban Patent of February 10, 1789, on the abolition of the serfdom and its replacement by money tax. The role of the Josephine peasant reforms in the formation of a new institutional field of national identity, social capital, and economic self-organization is substantiated. It is established that the decrees of Joseph II (1780–1787) on the introduction of public spies created the ground for the formation of proto-civil society. The events of the "spring of peoples" and the abolition of the cornice in 1848 were characterized, which became an important stage of the institutional maturation of the basis of the national economic movement. Attention is given to the significance of the law modernization of September 7, 1848 on the elimination of the personal dependence of peasants on the former owners and granting them the rights of citizens. The author covers the formation of wealthy peasants at the expense of the parceling of the landownership, whose owners were not able to properly manage in market conditions. The conclusion is formulated about the importance of the national tradition of economic self-identification of Ukrainians in the conditions of the Austro-Hungarian Empire for the modern strategy of economic development of the Ukrainian state.

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5

Johns, C. M. S. „Empress Josephine's collection of sculpture by Canova at Malmaison“. Journal of the History of Collections 16, Nr. 1 (01.05.2004): 19–33. http://dx.doi.org/10.1093/jhc/16.1.19.

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6

WALKER, SUE. „FRANCE IN RUSSIA: THE EMPRESS JOSEPHINE'S MALMAISON COLLECTION BY FRANK ALTHAUS & MARK SUTCLIFFE (EDS)“. Art Book 15, Nr. 2 (Mai 2008): 29–31. http://dx.doi.org/10.1111/j.1467-8357.2008.00939_16.x.

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7

Mattusch, Carol C. „Herculaneum, Pompeii, and the French - MARTINE DENOYELLE, SOPHIE DESCAMPS-LEQUIME, with collaboration by MARC ETIENNE, THE EYE OF JOSEPHINE. THE ANTIQUITIES COLLECTION OF THE EMPRESS IN THE MUSÉE DU LOUVRE (Louvre Atlanta; a collaborative project of the Musée du Louvre, Paris, and the High Museum of Art, Atlanta 2007; published on the occasion of the exhibition Oct 11, 2007-May 18, 2008). Pp. 239, ills. 95, color pls. 140. ISBN 978-1-932543-18-6. $35. - SOPHIE DESCAMPS-LEQUIME and MARTINE DENOYELLE DE POMPÉI À MALMAISON. LES ANTIQUES DE JOSÉPHINE (Musée du Louvre et Réunion des musées nationaux 2008). Pp. 256, ills. 98, color pls. 166. ISBN 978-2-7118-5491-2. EUR. 39“. Journal of Roman Archaeology 22 (2009): 587–90. http://dx.doi.org/10.1017/s1047759400021103.

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8

„The Empress Josephine: art & royal identity“. Choice Reviews Online 43, Nr. 09 (01.05.2006): 43–5077. http://dx.doi.org/10.5860/choice.43-5077.

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9

„Jardin de la Malmaison: Empress Josephine's garden“. Choice Reviews Online 42, Nr. 07 (01.03.2005): 42–4021. http://dx.doi.org/10.5860/choice.42-4021.

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Dissertationen zum Thema "Empress Josephine"

1

Nystrom, Karen JoAnn Bangsund. „Aiming to Please: Antoine-Denis Chaudet's Cupid Playing with a Butterfly and the Issues of Iconography and Patronage“. The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1242827544.

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2

af, Klinteberg Kristina. „Diadem och identitet : En studie kring identiteter i kejsarinnan Josephines pärl- och kamédiadem“. Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-438810.

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This paper, on the identities shown in one of the cameos in Empress Josephine’s pearl and cameo diadem, has first of all focused on the mythological characters, and thereafter raised the question if these are to be seen as an allegory for people from the time. The process of identi-fication has followed the three levels in Panofsky’s method for analysing art, where the first and second levels consist of already known material from the Bernadotte Library, Royal Palace in Stockholm and the jeweller house of Chaumet (former Nitot et Fils) in Paris. To decipher both the mythological individuals and the possible allegories, that is the third level, the iconology itself, the thoughts and methods of Göran Hermerén on the rise and fall of allegories along with Leora Auslander’s solutions using visuals comparisons, when no written material is available, have provided the academic framework for the study. When comparing the cameo with pieces of art from the time, the subject fits the description of the Roman mythology’s love goddess Venus and her son Cupid, the lovechild fathered by Mars. Moving on to allegories, well-known material shows that Emperor Napoleon was keen to be portrayed as the god of war Mars and Empress Josephine as Venus. A portrait of special interest to the study, a rather private painting by Parent from 1807, which is probably still unknown to most people, shows how Josephine is depicted with a recently deceased grandchild, a young boy how was also the nephew of Napoleon’s, a close relative to them both, and in the line of succession to the throne, while Napoleon still was Emperor. This picture has an expression which is close to the one of Venus and Cupid, and it is also made to look like a cameo. These portraits were known at the time when Napoleon gave the diadem to Josephine in 1809. Among portraits from the Napoleonic era, there has earlier only been one known painting, even if in two examples, where the diadem is shown. It is a miniature of Empress Josephine, a work from her final period at Malmaison, 1814. However, another miniature picturing the daughter Hortense in the very same piece of jewellery, from 1812, has now become known. In both these examples, the depicted cameo has a hight measuring only millimetres, why a discussion on the execution and the rendering has to be done with restraint. But in the daughter´s portrait there is a certain attempt to show the outlines of the central cameo that differs from the later painting of the Empress. This may be an indication of how much more important it was for the daughter to relay the picture of her mother and the memory of her son, in 1812, than it was for Josephine in 1814, after the divorce, probably after the fall of Napoleon too, when she was no longer his Venus, and there was no longer a throne for any of her grandsons to inherit. Therefore, in short, the chosen methods give the answer that the mythology depicted is a scene of Venus and her son Cupid, and the allegorical interpretation of Venus is the Empress herself. The child in shape of Cupid here, may well be read as one of her daughter’s sons, at the time a much longed-for heir to the throne of Napoleon I.

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3

af, Klinteberg Kristina. „Ett diadem och dess ikonografi : En studie av kejsarinnan Josephines pärl- och kamédiadem i porträtt mellan 1812 och 2010“. Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-438793.

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The main purpose of this study of a pearl and cameo diadem, given by Napoleon to his first wife Josephine in 1809, is to follow its representation in portraiture from Paris in 1812 to Stockholm in 2010, and explore how the iconography develops during these 200 years. From the earlier years, the diadem is found only in miniatures, then after coming to the new royal family in Sweden, the Bernadottes, it is given a role of an heirloom representing history and families in grand paintings, arriving to the present well-known wedding hairpiece, covered by modern media, where the diadem is more of a crown than the open, forehead-covering piece of fashion jewellery it was during the Napoleonic era in France. The portraits from 1812, 1814, 1836, 1837, 1877, 1976, 2000/2003 and 2010 also portray a development of the female role model of its time. Just like the hair piece attains an iconography which comprises not only the highest dress codes but also a possibility of status transformation for the people involved in ceremony, the role of the country’s First Lady is about to change into a higher, more egalitarian position of present days.

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Bücher zum Thema "Empress Josephine"

1

Erickson, Carolly. Josephine: A life of the empress. New York: St. Martin's Press, 1999.

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2

Erickson, Carolly. Josephine: A life of the Empress. London: Robson, 1999.

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3

Erickson, Carolly. Josephine: A life of the Empress. London: Robson Books, 1999.

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4

Josephine: A life of the empress. New York: St. Martin's Press, 1999.

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5

Mead Art Museum (Amherst College), Hrsg. The Empress Josephine: Art and royal identity. Amherst, Mass: Mead Art Museum, Amherst College, 2005.

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6

Louis, Michael. Was Empress Josephine born at Paix Bouche?: Exploring a community's tradition. Castries, St. Lucia, W.I: St. Lucia Heritage Tourism Programme, 2003.

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7

Joséphine: Napoléon's incomparable empress. New York: H.N. Abrams, 2002.

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8

Sophie, Descamps-Lequime, Etienne Marc, High Museum of Art und Musée du Louvre, Hrsg. Eye of Josephine: The antiquities collection of the empress in the Musée du Louvre. Atlanta: High Museum of Art, 2008.

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9

Josephine: Desire, ambition, Napoleon. London: Hutchinson, 2013.

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10

Walks through Napoleon and Josephine's Paris. New York: Little Bookroom, 2004.

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