Literatura académica sobre el tema "Salon (1881 : Paris, France)"
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Artículos de revistas sobre el tema "Salon (1881 : Paris, France)"
Richet, Denis y Marie-Claude Lapeyre. "Les barricades à Paris, le 12 mai 1588". Annales. Histoire, Sciences Sociales 45, n.º 2 (abril de 1990): 383–95. http://dx.doi.org/10.3406/ahess.1990.278841.
Texto completoLethbridge, Robert. "Book Review: James Kearns and Alister Mill (eds): The Paris Fine Art Salon/Le Salon, 1791–1881". Journal of European Studies 45, n.º 4 (24 de noviembre de 2015): 375–77. http://dx.doi.org/10.1177/0047244115613466i.
Texto completoEwals, Leo. "Ary Scheffer, een Nederlandse Fransman". Oud Holland - Quarterly for Dutch Art History 99, n.º 4 (1985): 271–90. http://dx.doi.org/10.1163/187501785x00134.
Texto completoSerina, Florent. "C. G. JUNG’S ENCOUNTER WITH HIS FRENCH READERS. THE PARIS LECTURE (MAY 1934)". Phanes: Journal For Jung History, n.º 1 (19 de noviembre de 2018): 111–37. http://dx.doi.org/10.32724/phanes.2018.serina.
Texto completoFord, Philip. "An Early French Renaissance Salon: The Morel Household". Renaissance and Reformation 40, n.º 1 (1 de enero de 2004): 9–20. http://dx.doi.org/10.33137/rr.v40i1.8942.
Texto completoAbramczyk, Magdalena. "„Aby pojąć Paryż, trzeba długo żyć z Paryżem”... Francuskie wrażenia z podróży Łucji z książąt Giedroyciów Rautenstrauchowej". Colloquia Litteraria 14, n.º 1 (19 de noviembre de 2013): 87. http://dx.doi.org/10.21697/cl.2013.1.06.
Texto completoBurel, Oleksandr. "On Gabriel Pierné and his compositions for piano and orchestra". Aspects of Historical Musicology 16, n.º 16 (15 de septiembre de 2019): 170–89. http://dx.doi.org/10.34064/khnum2-16.10.
Texto completoWrigley, Richard. "“C’est un bourgeois, mais non un bourgeois ordinaire”: The Contested Afterlife of Ingres’s Portrait of Louis-François Bertin". Zeitschrift für Kunstgeschichte 84, n.º 2 (1 de junio de 2021): 220–47. http://dx.doi.org/10.1515/zkg-2021-2004.
Texto completoMykhailova, O. V. "Woman in art: a breath of beauty in the men’s world". Aspects of Historical Musicology 17, n.º 17 (15 de septiembre de 2019): 163–80. http://dx.doi.org/10.34064/khnum2-17.11.
Texto completoKuehn, Julia y David D. Possen. "Elisabeth Jerichau-Baumann, Constantinople 1869–70: Public Spaces". Victorians Institute Journal 50 (1 de noviembre de 2023): 221–66. http://dx.doi.org/10.5325/victinstj.50.2023.0221.
Texto completoTesis sobre el tema "Salon (1881 : Paris, France)"
Noël, Denise. "Les Femmes peintres au salon : Paris, 1863-1889". Paris 7, 1997. http://www.theses.fr/1997PA070140.
Texto completoThis 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
Orgeval, Domitille d'. "Le Salon des Réalités Nouvelles : les années décisives : de ses origines (1939) à son avènement (1946-1948)". Paris 4, 2007. http://www.theses.fr/2007PA040213.
Texto completoCreated by the art lover Frédo Sidès in july 1946, the « Salon des Réalités Nouvelles » was first directed by Auguste Herbin and Félix Del Marle. In the line from Abstraction-Creation, it was meant to set up annual « concrete art, non figurative or abstract art » exhibitions. From 1946 to 1948, the Salon, which was held in the Palais des Beaux Arts in Paris, offered a unique visibility for abstract art, with a very open policy and a will for international participation (the 1948 Salon was attended by more than 350 exhibitors representing 17 nations). Consulting the archives of the SRN, quite forgotten until now, offers the opportunity to understand how the Salon worked, and learn about its diffusion and recognition policy. This consultation also proves that the Salon was the conclusion of a long gestation which started in the 1930’s, an dis directly coneected to the exposition « Réalités Nouvelles » held in the Charpentier gallery by Frédo Sidès and Yvanohé Rambosson in 1939
Weirich, Armelle. "Berta Zuckerkandl (1864 -1945) salonnière, journaliste et critique d'art, entre Vienne et Paris (1871-1918)". Thesis, Dijon, 2014. http://www.theses.fr/2014DIJOL037.
Texto completoAt the end of the 19th and beginning of the 20th century, Berta Zuckerkandl (1864-1945), Austrian salonnière and journalist, engaged actively in artistic, cultural and political exchanges between France and the Austro-Hungarian Empire. Being on familiar terms with Georges Clemenceau gave her the opportunity to exchange ideas with artists and intellectuals in Paris, including Rodin, Carriere, Raffaelli, and Geffroy. Her salon in Vienna gathered some of the most pioneering personalities of the Wiener Moderne...- Bahr, Klimt, Wagner, Mahler...- and thus formed the centre of a vast social network within Europe. Being a spokeswoman of the Vienna Secession, Zuckerkandl established herself as one of the most active contemporary art critics. She guided artists and introduced the public into modern art by drawing on French initiatives to influence the art's development. The present study thus aims at highlighting her role in the dynamic artistic exchange between Vienna and Paris. It will first present Zuckerkandl's biography in order to draw attention to her privileged position in the exchange of the French and Austrian cultures. Secondly, it will show her impact on artistic Austrian groups and provide a detailed analysis of a corpus of selected documents dealing with modern art. It will finally discuss her interventions in favour of French artists and the reception of their works in Austria by highlighting the artistic, cultural and political aims pursued by Zuckerkandl, who was determined to preserve the Austrian culture despite the war and the collapse of the Austro-Hungarian Empire
Knels, 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.
Texto completoThis 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
Bouillo, Eva-Frédérique. "Le salon de 1827". Paris 10, 2004. http://www.theses.fr/2004PA100106.
Texto completoThe 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
Laisney, Vincent. "L'arsenal romantique : le salon de charles nodier. 1824-1834". Paris 3, 1999. http://www.theses.fr/1999PA030138.
Texto completoKawachi, 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.
Texto completoDuring 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
Péloille, Évelyne. "L'imprimerie parisienne de 1881 à 1914, aspects des mutations dans l'organisation de la production". Paris 1, 1994. http://www.theses.fr/1994PA010517.
Texto completoThe object of this thesis is to show that, because of its ambivalence, the printing production has a share in the society development, which interactively operates on the demand and its multiplication and underlies the industrial activity expansion of the printing. On the one hand, printed matter is an industrial product which integrates in the flow of goods to satisfy social needs; on the other hand, it proceeds from circumstances since it reflects it, supports it, lives from it and generates it at once, because printed matter has a specific nature compared to others goods: it has a content. With the increase of social and conjecture needs, because of the political, economical, social and cultural context specially productive, there is a considerable expansion of the printing production which necessitates to abolish, with the 29th july 1881 law, the restrictive frame set up by Napoleon 1 st between 1810 and 1812, on the printing subject. New techniques are brought into operation in order to satisfy, in its variety, the market needs. The result for the industrial environment is the establishment of new relations with the financial capital and the setting up of new production ratios. The development of production forces generates transfers such as the production process changes in form and nature, creating the emergence and the statement of contradictions of capitalist types
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.
Texto completoFrom 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.
Texto completoLibros sobre el tema "Salon (1881 : Paris, France)"
Mill, Alister. Paris fine art salon / Le salon, 1791-1881. Bern, Switzerland: Peter Lang AG, European Academic Publishers, 2015.
Buscar texto completoSfeir-Semler, Andrée. Die Maler am Pariser Salon, 1791-1880. Frankfurt: Campus Verlag, 1992.
Buscar texto completoA bibliography of Salon criticism in Paris from the July monarchy to the Second Republic, 1831-1851. Cambridge: Cambridge University Press, 1991.
Buscar texto completoTourneux, Maurice. Salons et expositions d'art a Paris, 1801-1870: Essai bibliographique. Nogent-Le-Roi: Libairie des Arts et Métiers-Éditions, 1992.
Buscar texto completoBartnicka-Górska, Hanna. W poszukiwaniu światła, kształtu i barw: Artyści polscy wystawiający na salonach paryskich w latach, 1884-1960. Warszawa: Neriton, 2005.
Buscar texto completoReyero, Carlos. Paris y la crisis de la pintura española, 1799-1889: Del museo del Louvre a la torre Eiffel. Madrid: Ediciónes de la Universidad Autónoma de Madrid, 1993.
Buscar texto completocompiler, Hagood John author, Jackall Yuriko author, Jones Kimberly A. author y Long Yuri author, eds. Documenting the Salon: Paris Salon catalogs, 1673-1945. Washington: National Gallery of Art Library, 2016.
Buscar texto completoLemaire, Gérard-Georges. Histoire du Salon de peinture. Paris: Klincksieck, 2004.
Buscar texto completoLemaire, Gérard-Georges. Esquisses en vue d'une histoire du Salon. Paris: H. Veyrier, 1986.
Buscar texto completo1951-, Ward Martha, ed. A bibliography of Salon criticism in Second Empire Paris. Cambridge [Cambridgeshire]: Cambridge University Press, 1986.
Buscar texto completoCapítulos de libros sobre el tema "Salon (1881 : Paris, France)"
Gratzer, Walter. "The Bucklands explode a miracle". En Eurekas and euphorias, 24–25. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780192804037.003.0014.
Texto completoLasc, Anca I. "Introduction". En Interior decorating in nineteenth-century France, 1–14. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526113382.003.0001.
Texto completoVere, Bernard. "Oval balls and cubist players: French paintings of rugby". En Sport and modernism in the visual arts in Europe, c.1909-39. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781784992507.003.0004.
Texto completo"Helen Maria Williams (1761?-1827)". En A Century of Sonnets, editado por Paula R. Feldman y Daniel Robinson, 42–44. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195115611.003.0012.
Texto completoLasc, Anca I. "Private home, artistic stage: the circulation and display of interior dreamscapes". En Interior decorating in nineteenth-century France, 106–51. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526113382.003.0004.
Texto completoOsipovich, Tatiana. "Gippius, Zinaida (ГИППИУС, ЗИНАИДА) (1869–1945)". En Routledge Encyclopedia of Modernism. London: Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem1971-1.
Texto completoHalpérin, Jean-Louis. "Legal Education in France Turns Its Attention to the Harvard Model". En American Legal Education Abroad, 243–57. NYU Press, 2021. http://dx.doi.org/10.18574/nyu/9781479803583.003.0012.
Texto completoSarısır, Serdar. "Anadolu’yu İşgal Eden Yunanlıların Demografik Yapıyı Değiştirmeye Yönelik Faaliyetleri: Sürgün ve İskân". En Milli Mücadelenin Yerel Tarihi 1918-1923 (Cilt 1): İzmir, Aydın, Manisa, Uşak, Kütahya, Afyonkarahisar, Eskişehir, 391–416. Türkiye Bilimler Akademisi, 2023. http://dx.doi.org/10.53478/tuba.978-625-8352-63-4.ch09.
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