Letteratura scientifica selezionata sul tema "Salon de l'Araignée (Paris)"
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Articoli di riviste sul tema "Salon de l'Araignée (Paris)"
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Gee, Malcolm. "From Salon to Salons: Paris 1871-1914". Art History 38, n. 1 (16 gennaio 2015): 218–20. http://dx.doi.org/10.1111/1467-8365.12138.
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Brookes, Ken. "Paris Salon showcases hard metal cutting tools". Metal Powder Report 68, n. 4 (luglio 2013): 22–23. http://dx.doi.org/10.1016/s0026-0657(13)70123-1.
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Berner, Marie-Louise. "Blomstermaleren på rejse. I.L. Jensens brev fra Paris 1823". Fund og Forskning i Det Kongelige Biblioteks Samlinger 53 (2 marzo 2014): 145. http://dx.doi.org/10.7146/fof.v53i0.118848.
Testo completoAbstract (sommario):
Marie-Louise Berner: The Flower Painter on His Travels. I.L. Jensen’s Letter from Paris, 1823On 15 March 1823, the flower painter Johan Laurentz Jensen (1800–1856) wrote a letter from Paris to his friend the sculptor H.V. Bissen. In it, he describes his journey from Copenhagen across the Netherlands to Paris, and he relates his impressions and experiences, especially during the eight months spent in that city. He describes in detail the salon and the exhibition of contemporary art at the Musée du Luxembourg that year. He also makes a number of observations about his daily life, friends and activities, and lastly states that he is on his way to Sèvres, to paint on porcelain.In addition to publishing the letter in its entirety, this article provides an account of the painter’s background, and an analysis of the experiences related and observations made in the letter. It further provides background on the salon: its format and organizational principles, its location, opening hours, visitors, contents and catalogue. Additionally, detailed commentary is provided on Jensen’s observations on the art at the salon and at the Musée du Luxembourg, as well as on Jensen’s life in the city. The article concludes with an appraisal of the importance of the journey to Jensen and his art.
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Dainese, Francesca. "Les francophonies au Salon du livre de Paris (21-24 mars 2014)". Voix Plurielles 12, n. 1 (6 maggio 2015): 372–87. http://dx.doi.org/10.26522/vp.v12i1.1198.
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Dreyer, 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 (2 marzo 2014): 169. http://dx.doi.org/10.7146/fof.v53i0.118849.
Testo completoAbstract (sommario):
Marie-Louise Berner: The Flower Painter on His Travels. I.L. Jensen’s Letter from Paris, 1823
On 15 March 1823, the flower painter Johan Laurentz Jensen (1800–1856) wrote a letter from Paris to his friend the sculptor H.V. Bissen. In it, he describes his journey from Copenhagen across the Netherlands to Paris, and he relates his impressions and experiences, especially during the eight months spent in that city. He describes in detail the salon and the exhibition of contemporary art at the Musée du Luxembourg that year. He also makes a number of observations about his daily life, friends and activities, and lastly states that he is on his way to Sèvres, to paint on porcelain.In addition to publishing the letter in its entirety, this article provides an account of the painter’s background, and an analysis of the experiences related and observations made in the letter. It further provides background on the salon: its format and organizational principles, its location, opening hours, visitors, contents and catalogue. Additionally, detailed commentary is provided on Jensen’s observations on the art at the salon and at the Musée du Luxembourg, as well as on Jensen’s life in the city. The article concludes with an appraisal of the importance of the journey to Jensen and his art.
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Mathis, Rémi. "Salon de l’estampe de Paris et Lille Art Fair". Nouvelles de l'estampe, n. 238 (1 marzo 2012): 90–91. http://dx.doi.org/10.4000/estampe.1080.
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Eells, Emily. "Writing the Life of Natalie Clifford Barney's Salon: ‘le cercle d'enchantement et d'inspiration’". Comparative Critical Studies 18, supplement (ottobre 2021): 12–35. http://dx.doi.org/10.3366/ccs.2021.0414.
Testo completoAbstract (sommario):
This paper focuses on the expatriate American poet Natalie Clifford Barney and her life as salon hostess in Paris which spanned the sixty-year period from 1908 to 1968. It explores how Barney embodied transnationalism, adopting the French language in her writing and creating an international friendship circle around herself. That transnationalism granted her both sexual freedom as a promiscuous lesbian and freedom of speech as an active feminist. Her unconventional salon not only openly supported homosexuality but also served as a forum fostering exchange between prominent politicians, writers, musicians and artists from all over the world. Her life as a salon hostess became the object of two innovative forms of life writing, both dating from the late 1920s: André Rouveyre's sketch map of the guest list of the international figureheads of modernism who frequented Barney's salon, and Djuna Barnes's satirical portrait of the salon written and illustrated under the title The Ladies Almanack. The study of these two little-known pieces as original forms of life writing highlights Barney's pivotal role at the centre of a forward-looking cosmopolitan artistic circle.
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Hill, Rory. "Staging a nation’s culinary geography at the Salon de l’Agriculture". cultural geographies 25, n. 4 (31 maggio 2018): 643–49. http://dx.doi.org/10.1177/1474474018778563.
Testo completoAbstract (sommario):
The Salon International de l’Agriculture, held every spring in Paris, is an event at which the public discover, judge and consume the fruit of France’s diverse agricultural and artisanal activities. In this article, I provide a firsthand account of how the event stages the imaginative geography of France’s regions, facilitates the edible appreciation of French cultural goods and stimulates dialogue among producers, politicians and the public. The Salon is an impressive and understudied event at which we can witness and participate in the making of culinary geographies.
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Lethbridge, Robert. "Book Review: James Kearns and Alister Mill (eds): The Paris Fine Art Salon/Le Salon, 1791–1881". Journal of European Studies 45, n. 4 (24 novembre 2015): 375–77. http://dx.doi.org/10.1177/0047244115613466i.
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Davenport, 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, n. 3 (2003): 275–98. http://dx.doi.org/10.1163/156852903322694645.
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AbstractThe Belgian symbolist painter, Henry De Groux (1866-1930), produced in his life one masterwork, Christ aux Outrages (1888-1889), a vast painting (293-363 cm.) which both embodies his own tormented nature and that of many similarly unsettled fin de siècle Catholics in that age of Positivism, secularization, European sabre rattling, and anarchism. Following its success in the Salon Triennal in Brussels, Henry De Groux, financed by King Leopold II of the Belgians, brought his painting to Paris in 1890 where it was exhibited in the Salon des Arts Liberaux, after being rejected by the salon jury. The image of a timorous, bound, and defenseless Christ and a savagely screaming mob of women, dogs, and children repelled faint-hearted academically-minded critics concerned with religious art and moved the ardent and orthodox. While these writers of religious orientation had their own reasons for praise and blame, this research considers the connection between the painting and the dominant concern among socialists such as Gustave Le Bon in Le Psychologie des Foules (1895) and novelists such as Emile Zola in Germinal and other of his novel for "Crowd Theory." It is the fearful and irrepressible crowd attacking Christ, it is argued, that gave Christ aux Outrages its peculiar significance in fin de siècle Paris.
Tesi sul tema "Salon de l'Araignée (Paris)"
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Bouillo, Eva-Frédérique. "Le salon de 1827". Paris 10, 2004. http://www.theses.fr/2004PA100106.
Testo completoAbstract (sommario):
Le Salon de 1827 marqua un tournant décisif dans la " bataille romantique " puisqu'après cette exposition le conflit entre les peintres de l'ancienne et de la nouvelle école s'étiola progressivement. L'enjeu de cette étude est de mettre l'accent sur la singularité du Salon de 1827 au vu des actions officielles et du discours critique, lesquels participent au développement du romantisme, en dépit des résistances. Evaluer l'importance de la nouvelle école au Salon, analyser la manière dont elle s'y implante, sa progression depuis 1824 et proposer une définition du romantisme en 1827 furent mes principaux axes de réflexion. J'ai tout d'abord envisagé le Salon au plan institutionnel, soulignant la tolérance de l'administration des beaux-arts et le rôle de Forbin à l'égard du courant novateur, première étape de sa reconnaissance; j' ai également montré la place des romantiques dans le mécénat officiel, confirmant ainsi la bienveillance de l'administration à leur égard ; enfin, je me suis attachée à la réception critique du Salon, démontrant que la bataille romantique occupait l'essentiel d'un discours qui, devant l'ampleur et la complexité qu'avait pris le mouvement depuis 1824, avait bien du mal à définir le romantisme et ses partisansThe 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
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Noël, Denise. "Les Femmes peintres au salon : Paris, 1863-1889". Paris 7, 1997. http://www.theses.fr/1997PA070140.
Testo completoAbstract (sommario):
Cette thèse est un travail d'enquête et de synthèse sur les conditions socioculturelles qui ont sous-tendu l'activité artistique des femmes peintres exposantes du salon, à Paris, entre 1863 et 1889. Y est particulièrement mis en évidence le dilemme dilettantisme / professionnalisme avec lequel les femmes artistes auront constamment à composer, et qui parait avoir notamment pèse sur leurs choix stylistiques. Cette thèse consiste en trois volumes. Dans le premier tome, un "liminaire" explicite tout d'abord la problématique d'un point de vue historique et théorique. Sont ensuite successivement étudiés les divers aspects d'une vie artistique au féminin : la formation dans les ateliers ; la vie privée et ses choix, et surtout les potentialités offertes par les réseaux amicaux et associatifs ; les aléas de la carrière, soumise a la pression de la production, rythmée par les succès et les échecs, parfois entravée par des activités annexes, mais toujours orientée vers l'insertion professionnelle et l'acquisition d'une plus large autonomie ; les oeuvres du salon et leur réception par la critique. Cette recherche s'appuie sur des documents d'archives et de nombreux témoignages d'artistes françaises et étrangères, puises dans leurs journaux intimes, leurs mémoires et leurs correspondances. Le deuxième tome correspond à un dossier iconographique de 264 planches. Ces reproductions - souvent inédites - émanent notamment des catalogues illustres des salons, des albums de la maison goupil et du fonds photographique "Adolphe Braun". Enfin, dans le troisième tome, se trouve la liste, par ordre alphabétique d'artistes, des oeuvres exposées par des femmes dans la section peinture du salon entre 1863 et 1889. Y sont mentionnés, outre les titres des tableaux, le lieu de naissance des artistes, leur adresse et le nom de leurs professeursThis 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
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Griffiths, Harriet Celia. "The jury of the Paris Fine Art Salon, 1831-1852". Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/12221.
Testo completoAbstract (sommario):
This thesis provides the first detailed study of the jury of the Paris Fine Art Salon under the July Monarchy and Second Republic. In 1831, Louis-Philippe delegated the role of jury to the members of the first four sections of the Académie des Beaux-Arts. This thesis analyses the diverse composition of the July Monarchy jury and offers the first account of its procedures and decisions based on a rigorous examination of archival sources. It also examines the nature and extent of the growing opposition to the jury, its eventual abolition in 1848 and the decisions taken in forming a new jury under the Second Republic. In so doing it reveals the failure of the king and his arts administration to respond to the aspirations and expectations of the artistic community under the post-revolution constitutional monarchy. It also shows how the jury’s diverse membership sparked conflict, notably between a conservative group of architects and certain more open-minded members of the painting section, as it sought to adjust its academic values and expectations in response to the artistic developments of the period. My examination of the opposition to the jury among artists and art journalists during this period brings to light the key issues surrounding admission to the Salon at the time. Finally, the analysis of the Second Republic reveals the ways in which this opposition was temporarily satisfied by reforms to the jury, examining the significance of changes not only to its composition, but also to its procedures. At each stage the thesis challenges the simplistic misrepresentations of the Salon jury’s procedures and decisions prevalent during the July Monarchy itself and subsequently in the history of the emergence of modern art in France during the nineteenth century.
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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.
Testo completoAbstract (sommario):
A la fin du XIXe siècle et au début du XXe siècle, les artistes japonais s’installant à Paris sont peu nombreux. Cependant, après la Première Guerre mondiale, à partir de 1920, un grand nombre d’artistes japonais arrivent en France. Au total deux cent huit artistes japonais ont figuré dans les Salons parisiens durant la décennie entre 1920 et 1929. La plupart de ces artistes choisissent comme lieu de résidence le quartier de Montparnasse. A cette époque à Paris, dans le milieu des artistes travaillant la peinture à l’huile, dite « yô-ga », nous pouvons distinguer trois courants : Le premier circule autour de Foujita Tsugouharu, artiste de renom associant la peinture occidentale et l’art traditionnel du Japon. Le second regroupe un certain nombre de jeunes artistes, dont Saeki Uzo, attirés par la peinture occidentale et la peinture moderne de Montparnasse. Le troisième courant est de nature académique : dans la lignée de Kuroda Seiki, les artistes suivent l’enseignement des Académies parisiennes. D’autres artistes choisissent la voie d’un art plus indépendant, à l’instar de Tanaka Yasushi, Hasegawa Kiyoshi ou bien Oka Shikanosuke, mais leur nombre reste limité, comme par ailleurs ceux exerçant la technique de la peinture japonaise, dite « nihon-ga », et également ceux pratiquant la sculpture, la gravure, la laque et la tenture. Le résultat suite au dépouillement mené dans les centres de documentation et les fonds photographiques au Japon et en France prouve l’importance de la présence des artistes japonais sur la scène artistique à Paris durant les années 1920 et permet de comprendre les motivations et créations de ces artistesDuring 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
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Laisney, Vincent. "L'arsenal romantique : le salon de charles nodier. 1824-1834". Paris 3, 1999. http://www.theses.fr/1999PA030138.
Testo completoAbstract (sommario):
Ce travail veut eclairer une periode-cle de l'histoire du romantisme naissant (1824-1834) a travers l'etude particuliere du "salon de l'arsenal" (lequel tire son nom de la bibliotheque de monsieur, dont charles nodier fut le conservateur en chef a partir de 1824). Les appartements de la famille nodier accueillirent chaque dimanche soir toute l'elite litteraire et artistique durant les dernieres annees de la restauration et les premieres annees de la monarchie de juillet : il y avait donc urgence a reevaluer l'importance de ces reunions dans l'histoire litteraire et sociologique du romantisme, en montrant notamment qu'il fut un lieu de rencontre privilegie, ouvert a toutes les specialites, toutes les individualites et toutes les generations; l'un des rares carrefours d'idees ou la pensee romantique ait pu s'affiner en trouvant des contradicteurs; enfin un espace favorable a la naissance de projets et de collaborations litteraires. Ce travail presente successivement: une description objective des soirees (etude du rite de l'arsenal), un catalogue exhaustif des invites (les celebrites lamartine, vigny, balzac, etc. - et les autres regroupes en differentes categories - les provinciaux, les journalistes, les femmes, etc. -); une etude des rapports specifiques de charles nodier avec victor hugo, convive privilegie de l'arsenal; un bilan des travaux de nodier et de sa fille durant ces dix ans; enfin une analyse des consequences sociologique (la camaraderie litteraire) et ideologique (cristallisation, puis atomisation de la pensee romantique) de ces soirees dominicales. Ce travailsera en outre accompagne de nombreux documents inedits (les souvenirs de marie nodier, l'annee 1832 du journal intime de fontaney, etc. ).
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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.
Testo completoAbstract (sommario):
Depuis l'apparition des expositions universelles jusqu'à la création des sécessions européennes, le Salon parisien a joué un rôle plus ou moins déterminant dans la carrière de centaines de peintres étrangers. Sans partis-pris esthétique, le corpus d'œuvres, d'artistes et de textes étudiés retrace la présence et la réception de la peinture étrangère au Salon de 1852 à 1900. L'histoire politique et administrative de l'institution révèle un statut de l'exposant étranger presque inexistant au début du Second Empire, qui devint une question majeure à la fin du siècle, liée à la création de la Société nationale des beaux-arts. Hasardeuse et compétitive, l'expérience du Salon constituait pour l'ensemble des artistes un enjeu considérable, tant symbolique que commercial. Les carrières parisiennes des peintres étrangers, depuis le séjour de formation jusqu'à l'impact de l'exposition au Salon, se prêtent moins que celles de leurs homologues français à une opposition entre sphère officielle et sphère indépendante; elles décrivent un système des beaux-arts largement ouvert sur le monde et sur l'ensemble du champ artistique. La réalité internationale des expositions parisiennes eut un profond impact sur l'évolution et la définition d'un art français qui en fit rapidement un motif d'hégémonie. Contrairement au cloisonnement nationaliste des expositions universelles, le brassage du Salon décrit l'unité et la diversité des forces créatrices européennes. L'expression nationale participe d'une communauté de démarches et de formes, et l'Europe des arts ne peut se réduire ni aux catégories d'écoles nationales, ni aux catégories de style de la tradition modernisteFrom 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
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Laisney, Vincent. "L'Arsenal romantique : le salon de Charles Nodier, 1824-1834 /". Paris : H. Champion, 2002. http://catalogue.bnf.fr/ark:/12148/cb388102416.
Testo completo
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Gerard-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.
Testo completoAbstract (sommario):
From the 1880s, the first generation of Australian artists began to travel abroad and many chose Paris, the undisputed capital of the arts in the nineteenth century, as their final destination. With them began a long tradition to go to the French capital to complete one’s artistic training and obtain acceptance in official artistic circles there. This thesis attempts to reveal the extent of Australian artists’ engagement with Parisian artistic practices from 1885 to 1939. The argument is divided into two main sections: the first section investigates the notions of expatriatism, migration and sense of belonging among the Australian community in the French capital, while the second section explores the responses Australian artists brought to Parisian artistic institutions. The research pays particular attention to their participation in the major Paris Salons and the rare Australian solo exhibitions organised in Paris in the early twentieth century. The result underlines the predominant position of Rupert Bunny, the most successful and best-integrated into Parisian art circles during the five decades he spent in France. A crucial component of this research is a dictionary of artists active in Paris and an illustrated catalogue of their works in colour. If the predominance of the Salon system slowly attenuated during the twentieth century, the tradition prospered until the Second World War among foreign artists. The thesis is not an exhaustive account of the Australian presence in Paris and does not take in account some Australian artists such as John Power and Anne Dangar who took alternative paths in the early 1920s, the focus here is rather on the painters who exhibited at least once in the official Paris Salons.
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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.
Testo completoAbstract (sommario):
Cette thèse de doctorat se propose d’étudier les Salons sous l’ère napoléonienne, connus surtout pour le rôle important qu’ils jouèrent dans le cadre de l’instrumentalisation politique de l’art contemporain. Ainsi, après 1799, le Salon devint rapidement un important outil de la vaste politique culturelle du Consulat et de l’Empire, qui servit à représenter de manière symbolique le système politique. Face à ce changement radical du Salon et de sa politique artistique, les artistes, eux aussi, ont dû se positionner et s’adapter aux nouvelles structures politiques et administratives, tout en réagissant aux nouvelles tendances artistiques et à l’évolution du milieu artistique, afin de s’imposer au Salon. Le succès rencontré par les Salons en ces années-là ne se manifeste pas seulement par le chiffre croissant des exposants et des visiteurs : les diverses formes de la réception du Salon – journaux, brochures, récits de voyage, lettres et œuvres graphiques - témoignent également de l’écho rencontré par l’exposition, et ceci bien au-delà des frontières nationales. Jouxtant les salles du fameux Musée Napoléon qui regroupe les chefs-d’œuvre artistiques les plus importants, saisis par les armées françaises dans des collections de l’Europe, le Salon profite de la forte fréquentation du Louvre entre 1800 et 1815, de la part de visiteurs aussi bien français qu’étrangers. L’objectif de cette thèse est d’analyser l’organisation de l’exposition, le paysage des artistes exposants ainsi que l’écho rencontré par cet évènement sur la scène internationale en tenant compte de cette mutation complexe de la vie artistique parisienne au début du XIXème siècle. Dans cette perspective, le présent travail s’interroge sur les rapports entre la politique artistique, les pratiques artistiques et culturelles ainsi que leur réceptionThis 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
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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.
Testo completoAbstract (sommario):
La présente étude porte sur le problème de la réception des œuvres exposées au Salon de 1787. La description du contexte de cette exposition a déterminé les conditions de cette réception et a précisé le cadre dans lequel s'exerçait la critique. L'identification des auteurs, longtemps anonymes, a montré qu'ils constituaient, malgré des positions politiques contrastées, un milieu culturellement homogène, étroitement lié au monde des lettres. Elle a aussi permis de préciser la nature des rapports entre critique d'art et littérature, d'une part à travers l'étude des conditions de sa production, d'autre part à travers l'étude formelle et stylistique des textes produits. L'analyse de ces textes porte à la fois sur le statut qui leur est attribué et sur le problème de l'interprétation des œuvres, dont les facteurs qui la conditionnent ont été répertoriés. L'examen des principes théoriques qui guident les procédures d'analyse des critiques a montré la prééminence du genre de l'histoire, seul capable de répondre à leurs exigences morales et formelles. Ces dernières participent d'une réflexion nouvelle sur la place des arts dans l'histoire, dont les développements ont été examinés. Cette réflexion conduit à définir la spécificité de l'école française, dont les caractéristiques ont été indiquées. L'analyse du problème de la représentation de l'histoire a montré que les convergences idéologiques ne recouvraient pas nécessairement de nettes prises de position esthétiques. L'étude de la question centrale des moyens de l'imitation a été liée à celle des relations entre texte littéraire et image, et les notions de convenance et de représentation du héros, relues à la lumière de deux œuvres emblématiques, l’Alexandre de Lagrenée et le Socrate de David. L'appréciation des genres mineurs, qui met en avant le plaisir qu'ils génèrent, a enfin permis de définir l'existence d'une sensibilité préromantique dans le discours critique, sous l'influence du sensualisme et de l'esthétique du sublime.
Libri sul tema "Salon de l'Araignée (Paris)"
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Mill, Alister, e James Kearns. Paris fine art salon / Le salon, 1791-1881. Bern, Switzerland: Peter Lang AG, European Academic Publishers, 2015.
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National Gallery of Art (U.S.). Library. Documenting the Salon: Paris Salon catalogs, 1673-1945. Washington: National Gallery of Art Library, 2016.
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Hecke, Piet Van. Salon des réfugiés, 2015 Paris - 2016 Antwerp: Salon des réfusés, 1863 Paris. [Antwerp]: Sanne De Wolf, 2016.
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Histoire du Salon de peinture. Paris: Klincksieck, 1994.
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Lemaire, Gérard-Georges. Histoire du Salon de peinture. Paris: Klincksieck, 2004.
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Diderot, Université Paris VII-Denis, a cura di. Les femmes peintres au Salon: Paris 1863-1889. Lille: A.N.R.T. Université de Lille, 1997.
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France), Grand Palais (Paris, a cura di. Salon de mai, 1990: 45e salon, Paris, Grand Palais, 6 mai-20 mai 1990. Paris: Le Palais, 1990.
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Lemaire, Gérard-Georges. Esquisses en vue d'une histoire du Salon. Paris: H. Veyrier, 1986.
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Sfeir-Semler, Andrée. Die Maler am Pariser Salon, 1791-1880. Frankfurt: Campus Verlag, 1992.
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1951-, Ward Martha, a cura di. A bibliography of Salon criticism in Second Empire Paris. Cambridge [Cambridgeshire]: Cambridge University Press, 1986.
Cerca il testo completoCapitoli di libri sul tema "Salon de l'Araignée (Paris)"
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Peter, Ingrid, e 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.
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Dollinger, 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.
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Dollinger, 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.
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O’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.
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Evans, 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.
Testo completoAbstract (sommario):
Rimmer's major sculptural works, such as St. Stephen, Falling Gladiator, Dying Centaur, and Osirus (destroyed), were created for exhibition and in response to the international neoclassical movement. In different ways, they are actually critiques of the rage for neoclassicism. Much of what Rimmer was trying to do is conveyed in his teaching, and he used his exhibited art as an extension of this. He wanted an art based not on copying from antique casts or from life but, rather, on the artist's own imagination so that the work is self-expressive. The fact that the man in Falling Gladiator assumes an impossible position is an instance of his insistence on the imaginative. The St. Stephen and a cast of the Falling Gladiator were exhibited in Paris at the Salon des Refusés, where the Gladiator created a stir as it seemed, wrongly, to be a cast of a live person. Rimmer broke new ground in producing fragmented human figures with an antique reference, such as his Osiris, a classical-Greek-looking nude male without parts of his arms. They resembled the broken ancient sculpture of the present rather than of the revered past. Originally Osiris had the head of a hawk. As with his pictures, Rimmer also was unusual in frankly accepting and portraying abnormalities as in his Seated Man (Despair). The late Fighting Lions, showing a male and female in vicious combat is arguably an allegory of male dominance. As an original thinker, Rimmer, more than once, explored the problem of expressing the spiritual in the material, most effectively in his relatively abstract Torso, which is an attempt to show the divine awakening or creation of a human soul. Following the Bible, the plaster cast retains the effect of a man’s torso having been crudely fashioned from clay. Perhaps just as unexpected was his plan for a colossal sculpture, Tri Mountain (never executed), which amalgamated the effect of three men and three hills as a symbol of the city of Boston. His one major public statue is the over-life-size Alexander Hamilton on Commonwealth Mall in Boston.
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"The Salon in Paris". In Krøyer and Paris, 146–77. Aarhus University Press, 2022. http://dx.doi.org/10.2307/j.ctv33jb5j6.16.
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"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.
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"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.
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"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.
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"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.
Testo completoAtti di convegni sul tema "Salon de l'Araignée (Paris)"
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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.
Testo completoAbstract (sommario):
A escassa biografia de Monvoisin salienta a trajetória de um pintor de sólida formação que, embora tenha conseguido prêmios e certa notoriedade na corte de Luís XVIII e Luís Felipe I, não se sentia suficientemente reconhecido, a ponto de abandonar Paris e buscar fama na América Latina. No Chile, Monvoisin estabeleceu ótimo relacionamento com a elite local, ávida de ser representada, realizando mais de 300 retratos entre 1843 e 1857, a começar pelo retrato do General D. Manuel Bulnes, presidente do país. Em 1858, Monvoisin retornou definitivamente à França e participou do Salon de Paris de 1859. Na publicação explicativa das obras do Salon, constam as telas: Casal paraguaio; Caupolican, chefe dos araucanos, prisioneiro dos espanhóis e Uma chilena prisioneira dos índios nas costas da Araucania.
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Shimshon, 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.
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Lodo, 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.
Testo completoAbstract (sommario):
Jesús Rafael Soto nasce em 1923 em Cuidad Bolívar, na Venezuela, e após demonstrar interesse pela arte ainda na infância, ingressa, em 1942, na Escola de Artes Plásticas de Caracas, onde toma os primeiros contatos com a arte moderna. Porém, não é no seu país natal que Soto desenvolve sua produção. O artista deixa a Venezuela e estabelece-se em Paris no início da década de 1950, onde reside até sua morte. É na Europa que ele realiza pesquisas de cunho abstrato-geométrico, juntamente com outros artistas, na sua maioria estrangeiros, como o israelense Yaacov Agan, o suíço Jean Tinguely, o húngaro Victor Vasarely, o argentino Tomasello, o americano Alexander Calder, e entre outros ligados ao Salon de Réalités Nouvelles, todos apoiados pela Galeria Denise René, importante galeria francesa de participação ativa e fundamental para os artistas abstrato-geométricos e cinéticos.