Articoli di riviste: "Salon de l'Araignée (Paris)"

1

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.

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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.

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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.

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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.

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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.

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Toepfer, Karl. "Orgy Salon: Aristocracy and Pornographic Theatre in Pre-Revolutionary Paris". Performing Arts Journal 12, n. 2/3 (1990): 110. http://dx.doi.org/10.2307/3245557.

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Daniel, Johanna. "Retour sur le Salon International de l’Estampe de Paris 2015". Nouvelles de l'estampe, n. 251 (1 giugno 2015): 84–88. http://dx.doi.org/10.4000/estampe.622.

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Renaut, Didier. "Paris a accueilli le Salon international de technologie météo 2022". La Météorologie, n. 119 (2022): 015. http://dx.doi.org/10.37053/lameteorologie-2022-0079.

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Cojannot-Le Blanc, Marianne. "Le salon du palais de l’Arsenal à Paris (1654-1660)". Revue de l'art N° 176, n. 2 (1 febbraio 2012): 9–17. http://dx.doi.org/10.3917/rda.176.0009.

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Murgia, Camilla. "Les premières années du Salon des Humoristes à Alger (1924-1930) :". Manazir Journal 2 (1 aprile 2021): 34–48. http://dx.doi.org/10.36950/manazir.2020.2.3.

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My contribution focuses on the early years of the Salon des Humoristes held in Algiers in the 1920s. This event contributed to the development of caricature in Algeria in the wake of the First World War. Although it is difficult to trace the careers of all the caricaturists because of a lack of biographical information, we shall see that those present in the first editions of the Salon des Humoristes in Algiers were most often born in Europe where they trained before settling in Algeria, while some others were born in the French departments of Algeria. The first edition of the Salon des Humoristes d'Alger took place in 1924 and was hailed with success by the Algerian press. This initiative had a precedent in Paris, notably with the Salon des Humoristes held in the French capital in 1907. My paper aims to explore this echo between the Algerian and the Parisian Salon and to discuss the impact of caricature in the early years of this event. My objective is to understand to what extent the training and artistic background of the exhibitors determined and/or allowed the development of Algerian caricature and what its relationship with the Parisian exhibition was.

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Schaller, Quentin. "Jung's Alleged Madness: From Mythopoeia to Mythologisation". Phanês Journal For Jung History, n. 2 (25 novembre 2019): 1–27. http://dx.doi.org/10.32724/phanes.2019.schaller.

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This article recounts a little-known episode in C. G. Jung’s life and in the history of analytical psychology: Jung’s visit to Paris in the spring of 1934 at the invitation of the Paris Analytical Psychology Club (named ‘Le Gros Caillou’), a stay marked by a lecture on the ‘hypothesis of the collective unconscious’ held in a private setting and preceded by an evening spent in Daniel Halévy’s literary salon with some readers and critics.

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Pekacz, Jolanta T. "Salon women and the quarrels about opera in eighteenth‐century Paris". European Legacy 1, n. 4 (luglio 1996): 1608–14. http://dx.doi.org/10.1080/10848779608579619.

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Wang, Yuanjiang. "Legendary Expatriation of American Women Writers: Salon Coteries in Adventures of the Mind and The Autobiography of Alice B. Toklas". International Journal of Languages, Literature and Linguistics 9, n. 4 (agosto 2023): 289–96. http://dx.doi.org/10.18178/ijlll.2023.9.4.420.

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The expatriate life of American women writers based upon salon coteries in Paris in the early 20th century is probed into in this paper. The expatriate American women writers constructed an impressive female community through artistic salons led by Natalie Clifford Barney and Gertrude Stein as well as cosmopolitan bookshops run by Sylvia Beach and Adrienne Monnier. When post-war despair and cultural bankruptcy prevailed, they found a new approach in a different world, far from their hometown, and thus promoting American-European cultural exchanges, diversifying modernist ecosphere. The influx of expatriate women also benefited gender equality and feminist writing. Salon coteries reflected their quest for emancipation under constraints and nurtured collective creativity. In the modernist hemisphere belonging to them, the expatriate women writers shared new modes of language, and found their own freedom to write, to voice, to live. The innovation of the paper is the detailed study of salon hostesses Barney’s memoir Adventures of the Mind and Stein’s life narrative The Autobiography of Alice B. Toklas, with the analysis of public sphere theory and life-writing theory to highlight the memory of collaborative salon space—a created gender-equal sphere of women writers, and their self-discovery spirit in the legendary expatriation.

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Beeny, Emily A. "Christ and the Angels". Representations 122, n. 1 (2013): 51–82. http://dx.doi.org/10.1525/rep.2013.122.1.51.

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In 1864, with his Christ and the Angels, now in the Metropolitan Museum, New York, Manet drew an uneasy connection between the Paris salon and the public morgue, replacing the eloquent, universal body we expect to find in a religious history painting with a silent and particular corpse of the kind exhibited at the new Morgue of Paris. This replacement marked Manet’s rupture with the French tradition of religious history painting and signaled the birth of a new aesthetic vision, born at the Morgue, and defined by Zola as Naturalism.

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Serina, Florent. "C. G. JUNG’S ENCOUNTER WITH HIS FRENCH READERS. THE PARIS LECTURE (MAY 1934)". Phanes: Journal For Jung History, n. 1 (19 novembre 2018): 111–37. http://dx.doi.org/10.32724/phanes.2018.serina.

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This article recounts a little-known episode in C. G. Jung’s life and in the history of analytical psychology: Jung’s visit to Paris in the spring of 1934 at the invitation of the Paris Analytical Psychology Club (named ‘Le Gros Caillou’), a stay marked by a lecture on the ‘hypothesis of the collective unconscious’ held in a private setting and preceded by an evening spent in Daniel Halévy’s literary salon with some readers and critics. KEYWORDS collective unconscious; France; Julien Green; Daniel Halévy; Lucien Lévy-Bruhl; Ernest Seillière.

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Smart, Mary Ann. "Parlor Games: Italian Music and Italian Politics in the Parisian Salon". 19th-Century Music 34, n. 1 (2010): 39–60. http://dx.doi.org/10.1525/ncm.2010.34.1.039.

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Abstract Among a community of Italian political leaders and artists who settled in Paris after the failed Italian revolutions of 1831 was Count Carlo Pepoli, author of the libretto for Bellini's I puritani. During his years in Paris, Pepoli also wrote the poetry for two song collections: Rossini's Soiréées musicales and Mercadante's Soiréées italiennes. Both collections are conceived as a series of picturesque images of Italian locales interspersed with pastoral scenes; they are also linked by allusions to a character named Elvira, perhaps a projection of the heroine of I puritani. This article explores the connections between the Rossini and Mercadante songs and their possible link to Bellini's opera, in relation to two distinct audiences: the Parisian salons of the 1830s, with their strong Italian expatriate presence, and the market of amateurs who purchased sheet music. In both contexts, the poetic content and musical style of the songs may have fostered favorable attitudes to Italy and to Unification, showing that even music composed for private and domestic uses could be politically influential.

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Blackman, Cally. "The Colour of Fashion at the Salon du Goût Français: A Virtual Exhibition of French Luxury Commodities, 1921–1923". Costume 56, n. 1 (marzo 2022): 51–73. http://dx.doi.org/10.3366/cost.2022.0218.

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This article investigates the use of the Autochrome, an important photographic process invented by the Lumière brothers that produced the most accurate representation of colour between 1907 and the early 1930s, in a government-backed exhibition of French luxury commodities, the Salon du Goût Français. Between 1921 and 1923 the exhibition showed in Paris and undertook two international tours, first to North America and then to Australasia, China, Vietnam, Japan and India. Thousands of objects were displayed, from automobiles to umbrellas, including couture, ready to wear, lingerie, menswear, children's wear and accessories. By reducing the objects to two dimensions on the glass Autochrome plates, the exhibition could be shown in a relatively small venue in Paris, transported to America in a trunk and voyage on a decommissioned battle cruiser to the Far East. Using the trope of Western fashion as a form of soft power mediated by the global reach afforded by the Autochromes, the article proposes that the Salon du Goût Français offered a kind of roving virtual art gallery, a vividly colourful encyclopaedic display of over 2,000 images of luxury manufacturing deployed to restore France's imperial and cultural hegemony as supreme arbiter of taste after the trauma of the First World War.

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Ford, Philip. "An Early French Renaissance Salon: The Morel Household". Renaissance and Reformation 40, n. 1 (1 gennaio 2004): 9–20. http://dx.doi.org/10.33137/rr.v40i1.8942.

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Dès la fin des années 1540, la famille de Jean de Morel accueillait dans sa maison de la rue Pavée à Paris les poètes et les humanistes les plus proéminents de la capitale: Nicolas Bourbon, Jean Salmon Macrin, Jean Dorat parmi les néo-latins; Joachim Du Bellay, Ronsard, Jean-Antoine de Baïf, pour ne citer que quelques-uns des poètes de langue vulgaire. Or, la femme de Morel, Antoinette de Loynes, et ses trois filles, Camille, Lucrèce et Diane, avaient toutes les quatre reçu une éducation humaniste, leur permettant non seulement de participer aux activités littéraires et humanistes de ce que l'on a appelé le premier salon en France, mais encore d'attirer l'admiration du monde cultivé de l'époque. En examinant la correspondance des membres de la famille ainsi que certains ouvrages imprimés, cet article se propose d'illustrer les relations que les membres de la famille ont entretenues avec les visiteurs du salon ainsi que les changements d'attitude qui ont eu lieu au cours du XVIe siècle à l'égard de l'éducation des jeunes filles.

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Etro, Federico, Silvia Marchesi e Elena Stepanova. "Liberalizing art. Evidence on the Impressionists at the end of the Paris Salon". European Journal of Political Economy 62 (marzo 2020): 101857. http://dx.doi.org/10.1016/j.ejpoleco.2020.101857.

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Ndiaye, Papa Samba. "Les territoires de la mondialisation". Canadian Journal of Political Science 38, n. 2 (giugno 2005): 520–22. http://dx.doi.org/10.1017/s000842390541999x.

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Les territoires de la mondialisation, Guy Mercier (sous la direction de), Québec : Presses de l'Université Laval, 2004, 91 p.Cet ouvrage collectif sous la direction de Guy Mercier, qui est Professeur à l'Université Laval au Québec (Canada), prolonge un débat entamé au salon international du livre de Québec le 25 avril 2002. Ce sont quatre géographes réputés qui discutent de l'actuelle mondialisation des économies et des moeurs. Il s'agit de Paul Claval, professeur émérite à la Sorbonne à Paris, Rodolphe De Konnick, professeur à l'Université de Montréal, Angelo Turco, professeur à l'Université Degli Studi (L'Aquila) et enfin, Augustin Berque, directeur de recherche à l'École des hautes études en sciences sociales (EHESS) à Paris.

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Viktorová, Kateřina. "Promoting Smetana’s Bartered Bride (Prodaná nevěsta) in Paris". Musicalia 13, n. 1-2 (2022): 79–115. http://dx.doi.org/10.37520/muscz.2021.003.

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The Bartered Bride had to take a thorny path to reach the stage in Paris. Sixty years passed between the first attempts while Smetana was still living and the premiere at the Opéra-Comique. There were many people from the spheres of culture and politics involved in promoting the performing of The Bartered Bride in Paris, the most important centre of opera in those days. Foremost among them was Princess Pauline von Metternich, the French baritone Victor Maurel who held the first fragmentary performance of the opera in 1897 in his salon with soloists from the Opéra-Comique, the director of the National Theatre František A. Šubert, the French conductor Charles Lamoureux, the physician and translator Raoul Blondel, the violinist Jan Kubelík, the theatre director Gabriel Astruc, and the wife of the Czechoslovak ambassador in Paris Pavla Osuská. However, the Paris premiere of The Bartered Bride in 1928 did not earn the opera a more permanent place at that city’s theatres.

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Wrigley, 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. 2 (1 giugno 2021): 220–47. http://dx.doi.org/10.1515/zkg-2021-2004.

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Abstract Ingres’s portrait of Louis-François Bertin (1832) has been universally accepted as a visual “apotheosis” of the newly powerful early 19th-century bourgeoisie in France. Here, we study the inconsistencies and contestation which contributed to this identification. Beginning with the moment of its first public exhibition in the 1833 Paris Salon, this article traces Bertin’s evolving reputation as an image of its epoch, focusing on its reappearance in public first at the Bazar Bonne-Nouvelle in 1846, and then in the display of Ingres’s works at the Exposition Universelle of 1855. This leads to a critical assessment of how the picture’s role as a political emblem has been related to later assertions that it also exemplified the artist’s incipient modernism. The exhibition of works by Ingres at the Paris Salon d’Automne in 1905 allows us to take stock of claims made about the picture’s status in the early 20th century. However, in contrast to the habitual desire to modernise Ingres (and thereby to detach him from a lingering taint of academicism), this article argues that a key element in the reception of Ingres’s portrait in the second half of the 19th century is a recognition of its rootedness in values emanating from the Revolution of 1789, embodied both in the person of LouisFrançois Bertin and Ingres’s representation of him.

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Hockey, Jenny, e Kate Woodthorpe. "Funeraire 2005, Report on the Salon Professionnel International de l'Art Funeraire, Paris, Le Bourget". Mortality 11, n. 4 (novembre 2006): 382–83. http://dx.doi.org/10.1080/13576270600945881.

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Strasser, Michael Creasman. "Mecenes et Musiciens: Du salon au concert a Paris sous la IIIe Republique (review)". Notes 62, n. 4 (2006): 963–65. http://dx.doi.org/10.1353/not.2006.0074.

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Holovnia, O. M. "Exhibitions and Fairs as an Integration Tool for Implementing the Interests of Agricultural Enterprises". PROBLEMS OF ECONOMY 1, n. 51 (2022): 20–25. http://dx.doi.org/10.32983/2222-0712-2022-1-20-25.

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The state of modern exhibitions is considered, the latter being an important means of communication between producers and consumers in the Ukrainian market under market economy. Exhibitions reflect the material, technological, information, and communication development; they have become a standardized price indicator, an economic and political platform forecasting changes in supply and demand in the global agricultural market, and a globalized phenomenon with economic, political and socio-cultural content. The author argues that international agricultural exhibitions and fairs are the most effective tools for studying the situation in the agro-industrial market, finding potential consumers, establishing business and cooperation contacts, setting up business cooperation and integration, searching for investors, and more. The article characterizes such leading international agricultural exhibitions as: “Agritechnica”, or the International Exhibition of Agricultural Machinery and Equipment in Hanover; IGW Berlin (International Green Week), which is the largest platform for exhibiting equipment and products of the food industry, agriculture and horticulture; International Green Week (IGW); EuroTier Hannover, or the International Exhibition of Livestock and Poultry; SIMA Simagena Simavip, which is an agricultural exhibition in Paris; SIA (Salon International de L'agriculture), or Paris Agricultural Salon, specializing in animal husbandry, horticulture and food; AgriEquip, or International Modern Agricultural Equipment & Technology Exhibition held in Shanghai; the international exhibition of Warsaw Food Expo in Poland; and International Agro-Industrial Exhibition in Kyiv. It is argued that participation in exhibitions strengthens the competitiveness of agricultural enterprises, create long-term mutually beneficial partnerships, increase the enterprise’s domestic and foreign trade, and promote agricultural and food products in other market segments.

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Coutinho, Bárbara. "Why Preserve Modern Now?" Designing Modern Life, n. 46 (2012): 6–9. http://dx.doi.org/10.52200/46.a.rnq217bp.

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Coming to design in a natural development from architectural practice, Le Corbusier considered design not as a sum or addition to architecture. Its existence decisively constructed and modulated interior space, as light and shadows, materials or planes. From that belief, he quests the perfect and ideal form that asserts itself as a model of universal validity, arriving at three different furniture types: type–needs, type–furniture and human limb objects. Consequently, together with Charlotte Perriand and Pierre Jeanneret, in 1928 he drew the prototype of the Grand Confort armchair, presented the following year at the Salon d’Automne in Paris.

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LETHBRIDGE, R. "Review. A Bibliography of Salon Criticism in Second Empire Paris. Parsons, Christopher and Ward, Martha". French Studies 42, n. 1 (1 gennaio 1988): 103. http://dx.doi.org/10.1093/fs/42.1.103.

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Szabolcs, Serfözö. "Le pavillon hongrois et le salon des Hussards à l’Exposition Universelle de 1900 à Paris". Parcours anthropologiques, n. 1 (1 gennaio 2001): 43–46. http://dx.doi.org/10.4000/pa.2185.

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Whitley, Edward. "The Southern Origins of Bohemian New York: Edward Howland, Ada Clare and Edgar Allan Poe". Poe Studies 49, n. 1 (2016): 35–49. http://dx.doi.org/10.1353/poe.2016.a643026.

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ABSTRACT: The first Americans to identify as artistic bohemians gathered at a Manhattan beer cellar in the 1850s. They counted Walt Whitman as one of their number, and considered Edgar Allan Poe a bohemian avant la lettre . But New York’s first bohemians were not displaced Parisians living in a section of the Latin Quarter magically transplanted to the United States. Rather, bohemianism in the United States has roots in Charleston, South Carolina—the hometown of both Ada Clare (the “Queen of Bohemia” and host of a weekly literary salon) and Edward Howland (the financial backer for the bohemians’ literary weekly, the New York Saturday Press) , as well as the setting of Poe’s “The Gold-Bug” (1843), which influenced the first literary representation of American bohemianism in Fitz-James O’Brien’s short story “The Bohemian” (1855). Charleston’s cotton plantations provided Howland and Clare with the money to fund the institutions that were essential for bohemianism to flourish: the periodical and the salon. With Poe at the imaginative center of American bohemia and Clare and Howland at its financial center, US bohemianism emerges as a complex network of people, money, and ideas circulating between the North and the South as well as New York and Paris.

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Winestein, Anna. "Artists at Play". Experiment 25, n. 1 (30 settembre 2019): 328–45. http://dx.doi.org/10.1163/2211730x-12341346.

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Abstract The exhibition of Russian folk art at the Paris “Salon d’Automne” of 1913 has been generally overlooked in scholarship on folk art, overshadowed by the “All-Russian Kustar Exhibitions” and the Moscow avant-garde gallery shows of the same year. This article examines the contributions of its curator, Natalia Erenburg, and the project’s instigator, Iakov Tugendkhold, who wrote the catalogue essay and headed the committee—both of whom were artists who became critics, historians, and collectors. The article elucidates the show’s rationale and selection of exhibits, the critical response to it and its legacy. It also discusses the artistic circles of Russian Paris in which the project originated, particularly the Académie russe. Finally, it examines the project in the context of earlier efforts to present Russian folk art in Paris, and shows how it—and Russian folk art as a source and object of collecting and display—brought together artists, collectors, and scholars from the ranks of the Mir iskusstva [World of Art] group, as well as the younger avant-gardists, and allowed them to engage Parisian and European audiences with their own ideas and artworks.

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Egorova, L. V. "Svetlov, I., Lukicheva, K. and Arias-Vikhil, M., eds. (2023). Paris around the 1900s. Joséphin Péladan’s Society of ‘Rose + Croix.’ St. Petersburg: Aleteya. (In Russ.)". Voprosy literatury, n. 2 (15 marzo 2024): 174–77. http://dx.doi.org/10.31425/0042-8795-2024-2-174-177.

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The review discusses a collection of articles produced by a team of scholars under the supervision of professor Igor Svetlov. The book focuses on alternative experiments in late 1800s — early 1900s French art, which, although they failed to grow into independent movements, succeeded in producing several interesting concepts. The study is especially concerned with the Paris-based salon of ‘Rose + Croix’ and its founder Josephin Peladan — a writer, philosopher, occultist, and an able organizer. The book considers his artistic interests and views on the connection between art and religion, the role of symbolism in artistic thought, and the relationship between the modernity of his day and the previous epochs, including the esoteric and magical traditions. The collection covers a broad variety of subjects, such as the fantastic and the demonic in Paris, the mystical components in landscape paintings of the late 1800s, illustrations in the era of decadent art, intellectualism and intuition of the regulars of Peladan’s salons, esotericism and symbolism as a bridge into otherness, the existential and the universal in 1900s’ Parisian architecture, M. Voloshin’s turn-of-the-century spiritual and aesthetic experiments, the Parisian ‘imprint’ in Kandinsky’s early works, and Paris photographed at nighttime.

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Gellert, James H. "Once Upon a Time in a Paris Salon: Journeys and the Fairy Tales of Charles Perrault". Children's Literature Association Quarterly 1986, n. 1 (1986): 116–19. http://dx.doi.org/10.1353/chq.1986.0006.

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Fava-Piz, Clarisse. "Spanish sculptors and the Paris ‘Salon culture’, 1880–1914: the case of Miguel Blay y Fábrega". Sculpture Journal 27, n. 1 (gennaio 2018): 47–60. http://dx.doi.org/10.3828/sj.2018.27.1.5.

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Saint-Raymond, Léa. "Bordeaux vs. Paris: An Alternative Market for Local and Independent Artists?" Arts 9, n. 4 (4 novembre 2020): 114. http://dx.doi.org/10.3390/arts9040114.

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In 1928, some young artists living in Bordeaux decided to create a local market for contemporary art, as an alternative to the Salon des Amis des Arts of their own city, on the one hand, which they considered retrograde and conservative, and to the centralized and centripetal Parisian world on the other. They joined forces to create the group of the “Artistes indépendants bordelais” (AIB) and they organized an annual exhibition in which they could sell their works, in Bordeaux. This article aims to understand the functioning of this so-called “provincial” alternative to Paris and to measure its potential success, both as a market and as an arbiter of taste. The analysis proves that the AIB exhibitions happened to be a semi-failure, since this local initiative could not detach itself from Paris. In order to gain legitimacy, the AIB invited avant-garde painters and sculptors and they left the door open to Parisian dealers and art critics but all these actors, in turn, overshadowed the artists from Bordeaux. This economic and symbolic domination stemmed from the lack of a strong artistic identity for this group, the absence of domestic galleries specializing in contemporary art and the low demographics of Bordeaux collectors.

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Lecuppre-Desjardin, Élodie. "Isabelle de Portugal et Sophie Rude. Quand le Grand Genre se fait miroir de la détresse maternelle". Revue du Nord 446, n. 2 (14 marzo 2023): 275–89. http://dx.doi.org/10.3917/rdn.1446.0275.

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En 1841, au Salon de Paris, Sophie Rude, artiste dijonnaise, présente un tableau de grande format : La duchesse de Bourgogne arrêtée aux portes de Bruges . Illustrant un des épisodes des relations tendues entre la ville de Flandre et le duc Philippe le Bon, l’œuvre s’appuie sur la récente histoire des ducs rédigée par le Baron de Barante et s’intègre dans un courant qui fait de la peinture du Grand Genre un art au service de la gloire des États nations en construction. Toutefois, l’article présenté ici soumet l’hypothèse d’une interprétation permettant de mêler vie privée de l’artiste et trame historique. Ou quand l’intelligence sensible, dans un effet miroir, offre à l’historien une voie esthétique pour ne pas négliger les sentiments de ses protagonistes.

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Giyasova, Irina V. "The Technology of Translucent Skylight Structures Made of Falconnier’s Glass Bricks". Issue 01-2024, n. 01-2024 (febbraio 2024): 33–38. http://dx.doi.org/10.33383/2023-071.

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Falconnier’s blown brick vaults are unique structures preserved in single copies. Most of these structures have been lost and we can only admire them in old photographs. However at present, there are real possibilities for their revival since the technology for manufacturing Falconnier’s blown bricks has been restored. Currently there are manufacturing facilities in Germany, the Czech Republic, and Russia. The article examines objects with translucent overhead light structures made from Falconnier’s bricks: Villa Wassenberg, Siegfried Bing’s Salon de l’Art Nouveau galleries in Paris, the dome of the Church of Saint-Antoine-de-QuinzeVent, the atrium coverings of the Zürich Stadthaus, etc. Based on the results of an analysis of patents received by Gustave Falconnier, the technology for making vaults using blown Falconnier’s bricks is described.

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Greenwald, Diana Seave. "Modernization and rural imagery at the Paris Salon: an interdisciplinary approach to the economic history of art". Economic History Review 72, n. 2 (22 marzo 2018): 531–67. http://dx.doi.org/10.1111/ehr.12695.

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Abramczyk, Magdalena. "„Aby pojąć Paryż, trzeba długo żyć z Paryżem”... Francuskie wrażenia z podróży Łucji z książąt Giedroyciów Rautenstrauchowej". Colloquia Litteraria 14, n. 1 (19 novembre 2013): 87. http://dx.doi.org/10.21697/cl.2013.1.06.

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‘To grasp Paris, one has to live with Paris for a long time’. French impressions from journeys of Łucja Rautenstrauch from the ducal family of Giedroyć The article is a short attempt to present the reader with a profile of the now-forgotten Łucja Rautenstrauch from the ducal family of Giedroyć, a nineteenth century writer and traveller, who gained her fame and appreciation in the epoch thanks to her travel writings. Two of Łucja Rautenstrauch’s works deserve special attention: My memories of France [Wspomnienia moje o Francyi] and The last journey to France [Ostatnia podróż do Francyi], where she gave an impartial description of Paris. The author depicts the city pointing both to its good and bad sides. Her memories distinguish themselves from among other travel writings because of the author’s unusual sense of perception and the accuracy of her remarks. One will not find any instances of artificial admiration nor unnecessary humility in front of the people who meant more than her. On the contrary, an image of an educated aristocrat who does not feel the obligation to uphold the rules of the world she did not appreciate emerges for My memories of France. In the same work Łucja Rautenstrauch focuses on the description of the visible and external world: the customs, fashion, the French street, the salon and the history of the visited places.

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Germiniani, Francisco M. B., Adriana Moro, Renato P. Munhoz e Hélio A. G. Teive. "Where is Gilles? Or, the little mistake in a copy of Brouillet's painting: "A clinical lesson at the Salpêtrière"". Arquivos de Neuro-Psiquiatria 71, n. 5 (maggio 2013): 327–29. http://dx.doi.org/10.1590/0004-282x20130029.

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Professor Jean-Martin Charcot is considered the most important professor of Neurology and also the head of the Salpêtrière School of Neurology. In a famous picture painted by André Brouillet and presented at the Salon of 1887, under the title "A clinical lesson at the Salpêtrière", Professor Charcot presents a case of hysteria to a large audience of physicians and renowned intellectuals. Copies of this guided picture are also available for sale at the shop of the Museum of the School of Medicine of Paris and are frequently used in lectures by neurologists worldwide. However, in these reproductions, Gilles de la Tourette's and Charles Féré's positions are inverted. This historical note sheds some light on this little mistake in some of the reproductions of Brouillet's famous painting, so that further confusion can be avoided.

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Chimènes. "LE SALON DES GIRETTE. UN MODÈLE EXEMPLAIRE DE COLLABORATION ENTRE MUSICIENS AMATEURS ET PROFESSIONNELS À PARIS VERS 1900". Revista de Musicología 16, n. 6 (1993): 3692. http://dx.doi.org/10.2307/20796967.

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Binckes, Faith, e Kathryn Laing. "A Forgotten Franco-Irish Literary Network: Hannah Lynch, Arvède Barine and Salon Culture of Fin-de-Siècle Paris". Études irlandaises, n. 36-2 (30 dicembre 2011): 157–71. http://dx.doi.org/10.4000/etudesirlandaises.2477.

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Colera, Christophe. "La pornographie publique, entre liberté sexuelle et contrôle social. Le cas du « Salon de la Vidéo Hot » en région parisienne". Sociologie et sociétés 40, n. 2 (10 marzo 2009): 199–216. http://dx.doi.org/10.7202/000654ar.

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Résumé Selon un certain discours savant, les salons de films X ne sont qu’un avatar de la facticité du genre pornographique. Pour leurs organisateurs, ces salons peuvent être l’occasion de mettre en scène leur conception légitime de l’« art du X » et du style de contemplation qu’il impose, comparativement à des conceptions rivales. Pour le public, la participation aux salons du X suppose une négociation entre l’aspiration à une sexualité libre, que représente le style hard, et les réalités d’un « être-ensemble » dont le visiteur n’est plus protégé. À partir d’une enquête de terrain (questionnaire minute) effectuée au « Salon de la Vidéo Hot » en novembre 2000 à Paris, nous souhaitons montrer quelles alternatives s’offrent au déploiement dans un espace collectif d’un type de représentation sexuelle initialement conçu pour une consommation individuelle asociale, et sur quelles apories débouche cet exercice.

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Pardo, M. Carmen Villarino. "Las ferias internacionales del libro y la condición de invitado de honor: ¿Un escaparate (también) para la promoción de la lectura en el exterior?" Estudos de Literatura Brasileira Contemporânea, n. 55 (dicembre 2018): 161–76. http://dx.doi.org/10.1590/10.1590/2316-4018559.

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Resumen El objetivo principal del trabajo es analizar las ferias internacionales del libro en el actual siglo y verificar en que medida constituyen un espacio de posibilidades (económicas, culturales, simbólicas) para los países (o culturas y ciudades) que se presentan como invitados de honor, a través de su producción literaria. Partimos de la hipótesis de que esa distinción puede ser también una oportunidad para promover la lectura de autores/as y de sus propias tradiciones -nacionales, locales; asociadas o no a un determinado canon- en un espacio transnacional en que la traducción desempeña un papel central. Para ello, y desde una perspectiva de la sociología de la literatura, analizamos como estudio de caso la participación de Brasil en el Salon du Livre de Paris, en 2015, como país invitado de honor por segunda vez en la historia del evento.

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TOOKE, A. "Review. A Bibliography of Salon Criticism in Paris from the July Monarchy to the Second Republic, 1831-1851. McWilliam, Neil". French Studies 51, n. 1 (1 gennaio 1997): 88. http://dx.doi.org/10.1093/fs/51.1.88.

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Wang, Lisu. "Breaking the Borders: Elizabeth Gaskell’s Travel, ‘French Life’ and its Spatial Intertextuality". International Journal of English and Comparative Literary Studies 4, n. 3 (13 agosto 2023): 29–36. http://dx.doi.org/10.47631/ijecls.v4i3.637.

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According to the nineteenth-century ideology of separate spheres, women were supposed to avoid the public sphere and to stay at home, as depicted in most artistic and literary representations. Even though much content in her travel writing represented by letters and the journal article ‘French Life’ is about daily living in ordinary foreign societies, I argue that Elizabeth Gaskell is treating some basic questions of human and social values such as class differences and gender distinctions. This paper emphasizes the significance of travel and travel-writing in Gaskell's personal and professional life, examining how her exposure to other cultures shapes her novels and positions her as a cross-cultural literary figure. Combining ESRI technology, I apply the old map (1864, Paris) to it and draw a GIS picture. The route is based on the journal article ‘French Life’ by Gaskell: by comparing it with the locations and landscapes mentioned in Charles Dickens’s The Tale of the Two Cities, I find there is only one overlapping place: Faubourg Saint-Germain. However, the narratives of the two writers about this same place are so different. Multiple layers of mobility are uncovered in ‘French Life’: starting with Gaskell's physical mobility in Paris and the Mohls' residence, followed by an exploration of her social activities within the salon setting as a British writer, and culminating in an analysis of Gaskell's professional development exemplified through her creation during her time with the French families.

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