Auswahl der wissenschaftlichen Literatur zum Thema „Société des artistes français. Salon (1881 : Paris, France)“
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Dissertationen zum Thema "Société des artistes français. Salon (1881 : Paris, France)"
Kawachi, Akiko. „Les artistes japonais à Paris durant les années 1920 : à travers le Salon de la Société des Artistes Français, le Salon de la Société Nationale des Beaux-Arts, le Salon d’Automne, le Salon de la Société des Artistes Indépendants et le Salon des Tuileries“. Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040188.
Der volle Inhalt der QuelleDuring the end of the 19th century and the beginning of the 20th century, not many Japanese artists settled in Paris. However, after the First World War, starting from 1920, a large number of Japanese artists arrived in France. In total two hundred and eight Japanese artists appeared in Parisian Salons during the decade between 1920 and 1929. Most of these artists choose Montparnasse district as their residence. In Paris those days, amongst artists who worked on oil painting called « yô-ga » we can distinguish three movements. The first circulated around Fujita Tsuguharu, a renowned artist who associated the Western painting and the traditional Japanese art. The second gathered a certain number of young artists, such as Saeki Yuzo, who were attracted by the Western painting and the modern painting of Montparnasse. The third movement was of an academic nature: as Kuroda Seiki did, artists were following the teaching of Paris Academies. Other artists choose the route of a more independent art, following the examples of Tanaka Yasushi, Hasegawa Kiyoshi or Oka Shikanosuke, but the number of these artists remains limited, same as those who practiced the technique of Japanese painting, i.e. « Nihon-ga », and also those who practiced sculpture, engraving, lacquer painting, and hangings. The result of going through the data of the documentation centres and photography funds in Japan and in France proves the importance of the presence of Japanese artists on the artistic scenes in Paris during the 1920’s and allows us to comprehend the motives and creations of these artists
Cazes, Laurent. „L'Europe des arts : la participation des peintres étrangers au Salon, Paris 1852-1900“. Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010548.
Der volle Inhalt der QuelleFrom the origin of World Fairs until the creation of the European secessions, the Paris Salon played a fairly significant role in the careers of hundreds of foreign painters. Avoiding aesthetic biases, the corpus of works, artists and texts studied traces the presence and the reception of foreign painting in the Paris Salon, from 1852 to 1900. The political and administrative history of the institution reveals the evolution of foreign painter status: from almost nonexistent at the beginning of the Second Empire, to a major issue at the end of the century, linked to the creation of the Société Nationale des beaux-arts. Risky and competitive, the Salon experience was a considerable challenge for all artists, both symbolic and commercial. Parisian careers of foreign painters, from their training studio to their exposition in the Salon, are less interpretable than for their French counterparts as an opposition between official and independent sphere; Fine Art system appears as wide open to the world and to the whole artistic field. The international dimension of Paris exhibitions had a profound impact on the evolution and the definition of French art who quickly built a hegemonic pattern on it. Unlike the nationalist partitioning of world fairs, the melting of the Salon is an image of the unity and diversity of European creative forces. The national expression is part of a community of approaches and expressions, and Arts of Europe cannot be categorized into national schools nor the style categories of the modernist tradition
Archondoulis-Jaccard, Nelly. „La représentation des élites (bourgeoisie et aristocratie) dans les salons de peinture parisiens entre 1880 et 1914 (Exposition nationale des Beaux-Arts, Société des Artistes français, Société nationale des Beaux-Arts) : analyse d'un goût social“. Paris 1, 2000. http://www.theses.fr/2000PA010577.
Der volle Inhalt der QuelleBücher zum Thema "Société des artistes français. Salon (1881 : Paris, France)"
National Gallery of Art (U.S.). Library. Documenting the Salon: Paris Salon catalogs, 1673-1945. Washington: National Gallery of Art Library, 2016.
Den vollen Inhalt der Quelle findenLobstein, Dominique. Les salons au XIXe siècle: Paris, capitale des arts. Paris: La Martinière, 2006.
Den vollen Inhalt der Quelle findenKearns, James. "Ce Salon à quoi tout se ramène": Le Salon de peinture et de sculpture, 1791-1890. Bern, Switzerland: Peter Lang, 2010.
Den vollen Inhalt der Quelle findenChenique, Bruno. Girodet face à Géricault, ou, La bataille romantique du Salon de 1819. Montargis: Musée Girodet, 2019.
Den vollen Inhalt der Quelle findenChicago, Art Institute of. French Salon artists, 1800-1900. Chicago, Ill: Art Institute of Chicago, 1986.
Den vollen Inhalt der Quelle findenCentre national du livre (France), Hrsg. Les salons au XIXe siècle: Paris, capitale des arts. Paris: Martinière, 2006.
Den vollen Inhalt der Quelle finden1947-, Kearns James, und Vaisse Pierre, Hrsg. "Ce Salon à quoi tout se ramène": Le Salon de peinture et de sculpture, 1791-1890. New York: Peter Lang, 2009.
Den vollen Inhalt der Quelle finden1947-, Kearns James, und Vaisse Pierre, Hrsg. "Ce Salon à quoi tout se ramène": Le Salon de peinture et de sculpture, 1791-1890. Bern, Switzerland: Peter Lang, 2010.
Den vollen Inhalt der Quelle finden1947-, Kearns James, und Vaisse Pierre, Hrsg. "Ce Salon à quoi tout se ramène": Le Salon de peinture et de sculpture, 1791-1890. New York: Peter Lang, 2009.
Den vollen Inhalt der Quelle findenChicago, Art Institute of, Hrsg. French Salon artists, 1800-1900. [Chicago, Ill.]: Art Institute of Chicago, 1987.
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