Academic literature on the topic 'Salon de l'Araignée (Paris)'
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Journal articles on the topic "Salon de l'Araignée (Paris)"
Gee, Malcolm. "From Salon to Salons: Paris 1871-1914." Art History 38, no. 1 (January 16, 2015): 218–20. http://dx.doi.org/10.1111/1467-8365.12138.
Full textBrookes, Ken. "Paris Salon showcases hard metal cutting tools." Metal Powder Report 68, no. 4 (July 2013): 22–23. http://dx.doi.org/10.1016/s0026-0657(13)70123-1.
Full textBerner, Marie-Louise. "Blomstermaleren på rejse. I.L. Jensens brev fra Paris 1823." Fund og Forskning i Det Kongelige Biblioteks Samlinger 53 (March 2, 2014): 145. http://dx.doi.org/10.7146/fof.v53i0.118848.
Full textDainese, Francesca. "Les francophonies au Salon du livre de Paris (21-24 mars 2014)." Voix Plurielles 12, no. 1 (May 6, 2015): 372–87. http://dx.doi.org/10.26522/vp.v12i1.1198.
Full textDreyer, Kirsten. "Lübeck ligger syd for Kassel. Omkring to breve fra Kamma Rahbek og et mindedigt af Friederike Brun." Fund og Forskning i Det Kongelige Biblioteks Samlinger 53 (March 2, 2014): 169. http://dx.doi.org/10.7146/fof.v53i0.118849.
Full textMathis, Rémi. "Salon de l’estampe de Paris et Lille Art Fair." Nouvelles de l'estampe, no. 238 (March 1, 2012): 90–91. http://dx.doi.org/10.4000/estampe.1080.
Full textEells, Emily. "Writing the Life of Natalie Clifford Barney's Salon: ‘le cercle d'enchantement et d'inspiration’." Comparative Critical Studies 18, supplement (October 2021): 12–35. http://dx.doi.org/10.3366/ccs.2021.0414.
Full textHill, Rory. "Staging a nation’s culinary geography at the Salon de l’Agriculture." cultural geographies 25, no. 4 (May 31, 2018): 643–49. http://dx.doi.org/10.1177/1474474018778563.
Full textLethbridge, Robert. "Book Review: James Kearns and Alister Mill (eds): The Paris Fine Art Salon/Le Salon, 1791–1881." Journal of European Studies 45, no. 4 (November 24, 2015): 375–77. http://dx.doi.org/10.1177/0047244115613466i.
Full textDavenport, Nancy. "Christ aux Outrages by Henry De Groux: Fin de Siècle Religion, Art Criticism, and the Sociology of the Crowd." Religion and the Arts 7, no. 3 (2003): 275–98. http://dx.doi.org/10.1163/156852903322694645.
Full textDissertations / Theses on the topic "Salon de l'Araignée (Paris)"
Bouillo, Eva-Frédérique. "Le salon de 1827." Paris 10, 2004. http://www.theses.fr/2004PA100106.
Full textThe 1827 Salon marked a decisive turning in the " bataille romantique " as the conflict which had opposed the " old school " painters and the " new school " ones progressively faded away after the exhibition. The present study has emphasized the particularity of the 1827 Salon as regards to the officiaIs' actions and the critics' statements which helped rornanticism develop despite a lot of remaining opposition. In my work, l assessed the importance of the " new school " in the Salon, analysed the way it developped there and its progress since 1824 and l offered a definition of what rornanticism was in 1827. L fust studied the Salon at the institutional level, enhancing the tolerance of the public institutions and Forbin's role in giving reco~tion to the new trend. L also showed the place the romantics took in the public sponsorship, thus confIrIning how well disposed the officiaIs were towards them. L finally insisted on the way the Salon was spoken of by the critics, proving that the " bataille romantique " was at the very heart of a debate in which defining " Rornanticism " and " Romantics " was uneasy -given the importance and complexity of the movement since 1824
Noël, Denise. "Les Femmes peintres au salon : Paris, 1863-1889." Paris 7, 1997. http://www.theses.fr/1997PA070140.
Full textThis doctoral dissertation, combining investigation and synthesis, attaches itself to the socio-cultural conditions underlying the artistic activity of the women painters exhibiting at the salon, in Paris, between 1863 and 1889. It gives special emphasis on the amateur / professional dilemma with which the women artists will constantly be composing, and that may have influenced their artistic choices. This dissertation consists of 3 volumes. The first introductory part describes the problematic from a historical and theoretical side. This is followed by a study of artistic life in the feminine : training in studios ; private life and its choices, in particular the possibilities offered by networks of friends and associations ; the hazards of a career, with the pressure resulting from the need of production, with its successes and its failures, sometimes hampered by other activities, yet always turned towards professional integration and acquiring more autonomy ; the works of the salon and how the critics responded. The research work is based on archives, and on numerous testimonies of french and foreign women artists, gathered from personal diaries, memoirs and correspondence. The second part is a file of 264 plates. These reproductions often unpublished, come from the illustrated catalogues of the salon, from goupil albums, and from the photographic archives "Adolphe Braun". In final, the third part lists in alphabetic order of the artists the works by women, put on exhibition in the "peinture" section of the salon between 1863 and 1889. You will find there, besides the title of the works, the place of birth of the artists, their address, and the name of their professors
Griffiths, Harriet Celia. "The jury of the Paris Fine Art Salon, 1831-1852." Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/12221.
Full textKawachi, 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.
Full textDuring 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
Laisney, Vincent. "L'arsenal romantique : le salon de charles nodier. 1824-1834." Paris 3, 1999. http://www.theses.fr/1999PA030138.
Full textCazes, Laurent. "L'Europe des arts : la participation des peintres étrangers au Salon, Paris 1852-1900." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010548.
Full textFrom 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
Laisney, Vincent. "L'Arsenal romantique : le salon de Charles Nodier, 1824-1834 /." Paris : H. Champion, 2002. http://catalogue.bnf.fr/ark:/12148/cb388102416.
Full textGerard-Austin, Anne. "The greatest voyage: Australian painters in the Paris salons, 1885-1939." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/10462.
Full textKnels, Eva Maria. "Le Salon et la scène artistique à Paris sous Napoléon I. Politique artistique – Stratégies d’artistes – Échos internationaux." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040065.
Full textThis doctoral thesis examines the Salons of living artists under the reign of Napoleon I, which are primarily known for the prominent role they played in the context of cultural politics of that time. After 1799, the Salon rapidly became an important instrument of art and cultural politics used by the ruling government to symbolically legitimise and support the political system. Given the major changes to the exhibition in these years, artists had also had to adapt to the new political and administrative structures whilst, at the same time, reacting to new artistic trends in order to stand up to the strong competition at the Salon. The exhibition's success in these years is not only reflected by the rising numbers of exhibiting artists and visitors. Also its wide-ranging coverage in the media, such as newspaper articles, letters, travelogues and graphic anthologies, is further proof of the exhibition's relevance and reach, sometimes even beyond national frontiers. Indeed, the exhibition's close locality to the famous Musée Napoléon, with its large collection of master pieces confiscated from European collections by the French armies, added further attention paid by European travellers to the Salon and the French contemporary art on display there. The aim of this doctoral thesis is to analyse the organisation of the exhibition, the range of participating artists as well as the international response it created whilst taking into consideration the complex transformation of art and the French art scene at the beginning of 19th century. By doing so, the dissertation focuses on the reciprocal relationship between art politics, artistic production and their reception
Guégan, Catherine. "Critique et théorie de l'art à la fin de l'Ancien Régime : Le Salon de 1787." Paris 4, 2001. http://www.theses.fr/2001PA040022.
Full textBooks on the topic "Salon de l'Araignée (Paris)"
Mill, Alister, and James Kearns. Paris fine art salon / Le salon, 1791-1881. Bern, Switzerland: Peter Lang AG, European Academic Publishers, 2015.
Find full textNational Gallery of Art (U.S.). Library. Documenting the Salon: Paris Salon catalogs, 1673-1945. Washington: National Gallery of Art Library, 2016.
Find full textHecke, Piet Van. Salon des réfugiés, 2015 Paris - 2016 Antwerp: Salon des réfusés, 1863 Paris. [Antwerp]: Sanne De Wolf, 2016.
Find full textHistoire du Salon de peinture. Paris: Klincksieck, 1994.
Find full textLemaire, Gérard-Georges. Histoire du Salon de peinture. Paris: Klincksieck, 2004.
Find full textDiderot, Université Paris VII-Denis, ed. Les femmes peintres au Salon: Paris 1863-1889. Lille: A.N.R.T. Université de Lille, 1997.
Find full textFrance), Grand Palais (Paris, ed. Salon de mai, 1990: 45e salon, Paris, Grand Palais, 6 mai-20 mai 1990. Paris: Le Palais, 1990.
Find full textLemaire, Gérard-Georges. Esquisses en vue d'une histoire du Salon. Paris: H. Veyrier, 1986.
Find full textSfeir-Semler, Andrée. Die Maler am Pariser Salon, 1791-1880. Frankfurt: Campus Verlag, 1992.
Find full text1951-, Ward Martha, ed. A bibliography of Salon criticism in Second Empire Paris. Cambridge [Cambridgeshire]: Cambridge University Press, 1986.
Find full textBook chapters on the topic "Salon de l'Araignée (Paris)"
Peter, Ingrid, and KLL. "Stendhal: Armance ou Quelques scènes d'un salon de Paris en 1827." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_18029-1.
Full textDollinger, Petra. "Konversation im Salon und bei Salonnièren des 19. Jahrhunderts in Paris und Berlin." In Der Wert der Konversation, 207–40. Berlin, Heidelberg: Springer Berlin Heidelberg, 2022. http://dx.doi.org/10.1007/978-3-662-65188-9_10.
Full textDollinger, Petra. "Conversation in the Salon and Among Salonnières in 19th-Century Paris and Berlin." In The Value of Conversation, 157–88. Berlin, Heidelberg: Springer Berlin Heidelberg, 2023. http://dx.doi.org/10.1007/978-3-662-67200-6_8.
Full textO’Rourke, Kristin. "Ritual and Performance in the Theater of Romanticism: Delacroix’s Self-Staging at the Paris Salon." In Life the Play of Life on the Stage of the World in Fine Arts, Stage-Play, and Literature, 277–88. Dordrecht: Springer Netherlands, 2001. http://dx.doi.org/10.1007/978-94-010-0826-6_19.
Full textEvans, Dorinda. "5. A Challenge to International Neoclassicism." In William Rimmer, 117–64. Cambridge, UK: Open Book Publishers, 2022. http://dx.doi.org/10.11647/obp.0304.05.
Full text"The Salon in Paris." In Krøyer and Paris, 146–77. Aarhus University Press, 2022. http://dx.doi.org/10.2307/j.ctv33jb5j6.16.
Full text"Chapter IV: Whose Salon?" In Painters and Public Life in Eighteenth-Century Paris. Yale University Press, 1985. http://dx.doi.org/10.37862/aaeportal.00329.5.
Full text"Salon de 1831." In A Bibliography of Salon Criticism in Paris from the July Monarchy to the Second Republic, 1831–1851, 1–13. Cambridge University Press, 1991. http://dx.doi.org/10.1017/cbo9780511597220.003.
Full text"Salon de 1833." In A Bibliography of Salon Criticism in Paris from the July Monarchy to the Second Republic, 1831–1851, 14–29. Cambridge University Press, 1991. http://dx.doi.org/10.1017/cbo9780511597220.004.
Full text"Salon de 1834." In A Bibliography of Salon Criticism in Paris from the July Monarchy to the Second Republic, 1831–1851, 30–45. Cambridge University Press, 1991. http://dx.doi.org/10.1017/cbo9780511597220.005.
Full textConference papers on the topic "Salon de l'Araignée (Paris)"
Christo, Maraliz de Castro Vieira. "Monvoisin no Salon de 1859: índios, mestiçagem e pessimismo." In Encontro da História da Arte. Universidade Estadual de Campinas, 2010. http://dx.doi.org/10.20396/eha.6.2010.3832.
Full textShimshon, Ariela. "East Versus East: The Failure of Ilya Repin’s Parisian Café at the 1875 Paris Salon." In The Paris Conference on Arts and Humanities 2022. The International Academic Forum(IAFOR), 2022. http://dx.doi.org/10.22492/issn.2758-0970.2022.12.
Full textLodo, Gabriela Cristina. "Jesús Rafael Soto nas IV, V e VII bienais de São Paulo." In Encontro de História da Arte. Universidade Estadual de Campinas, 2009. http://dx.doi.org/10.20396/eha.5.2009.4017.
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