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The article outlines some aspects of Vaska Emanuilova's work such as: the theme of the restorative current of modernism known as neoclassical art in France and its cultural prerequisites; the theme of women in sculpture; the theme of the primitive and its specific role in the genesis of Bulgarian modern sculpture and painting from the 1930s. [ABSTRACT FROM AUTHOR]

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The article presents an examination into 20th-century French avant-garde tapestry makers, including the work of artist Marie Cuttoli, the collaborating artist Fernand Léger, and the aesthetic theme of Muralnomad. Topics addressed include the origins and tradition of tapestry in France, Cuttoli's and Léger's modernist revival of the form, and the social theme of homelessness and nomadism in their works.

The city of Paris is a primary cultural site for western/European modernism. Creative and critical projects engaging with Parisian modernities work collectively to remember the city as spectacle: as myth, legend and icon. This study examines Philippe Soupault's Les Dernières Nuits de Paris (1928), seeing it as a modernist work typifying the Surrealist fascination with the city at night. It argues that Soupault's novel renders Paris as urban spectacle, manifesting an experiential urban mode, or poetics of place, that foreshadows the experiments of the Situationists and the contemporary civic festival, the Nuit Blanche. [ABSTRACT FROM AUTHOR]

The article discusses the interpretation of African sculpture as part of the genre of primitive art in France between World War I and World War II. Particular focus is given to how French colonialism and the dominance of Paris, France as the center of the global art world during this period influenced French perceptions regarding the significance of African sculpture. Other topics explored include definitions of aesthetic modernism, art critiques regarding the concept of primitivism, and literature on material culture studies.

The debate on the responsibility of the writer was, in France as in the USA, an attack against literary and artistic modernism. From Charles Maurras to Irving Babbit, the reaction against modernism presented itself as a defense of classicism and of tradition against romanticism. Far from being politically neutral, this attack identified romanticism with revolution and the destruction of the social order. The opposition between responsibility and freedom structured the debate from the end of the nineteenth century until World War II. The war entailed a loss of autonomy of the literary field which fostered, like during World War I, the imposition of national moralism. In both countries, a debate arose on the question of the responsibility of the writer, but it took a different form. Whereas the opposition between art for art’s sake and responsibility continued to structure it in the USA, the notion of responsibility was appropriated in France by the literary Resistance and redefined by Sartre at the Liberation. [ABSTRACT FROM AUTHOR]

The article discusses the representation of the Paris Commune in the painting "A Paris Street in 1871," by artist Maximilien Luce. It states that the Commune had become distant by the time the painting was completed in 1905. It mentions that Luce's painting was not modernistic. It argues that Luce was aware that his painting was retrospective, and he must not have three things in his mind while creating the painting including to raise the vision of the Commune, the relationship of Neo-Impressionism to radical politics, and the fading of politically engaged painting. It is opined that Luce could not craft an effective image of the Paris Commune from the materials of art history.

The article discusses the attribution of Byzantine art on the masterpieces of French artist Henri Matisse. According to the author, Byzantine art is recognized by modernism artists as a broad movement and concept source of modern panting and sculpture because it represents formality and spiritual wholeness. In addition, the author notes that Matisse's approach on Byzantine art and style was regarded by scholars as exceptional since he was able to present a shared formalist and spiritual interests in a fulfilled artistic maturity. It also cites several Byzantine artworks of Matisse along with its relevance and meaning on art.

This article examines the alliance between painterly modernism and right-wing politics in France at the height of the Dreyfus Affair. Political struggles took on an aesthetic dimension in the cultural battles waged around 1900. Maurice Denis's monumental group portrait Homage to Cézanne (1900) serves as the focus of my inquiry. This painting is often cited and reproduced in histories of French modernism, but has yet to be examined within its historical and political moment. Although Homage does not directly reference contemporary political events, Denis's formal and compositional choices in Homage were informed by Adrien Mithouard's right-wing nationalist cultural politics. [ABSTRACT FROM AUTHOR]

Discovered in 1940 a few months after the military collapse of France, the prehistoric cave paintings of Lascaux were to become for many writers and artists of the post-war period a symbol of the twin births of art and homo sapiens. This new primitivism may be explained with reference to three contexts: the institutional recognition of Modernism by the French state; the Gaullist rehabilitation of national cultural identity after Vichy; and French resistance to growing American cultural hegemony. In each case, the cultural reconstruction of France privileges the originary moment symbolized by Lascaux. The work of Georges Bataille, René Char and Maurice Blanchot, however, explores and problematizes the originary status of prehistoric art in terms of anthropology, ontology and aesthetics. Far from providing a solid foundation for cultural reconstruction, Lascaux comes to represent the suspended and precarious nature of human existence in the post-war years and to function as a caution against the dangers implicit in the quest for cultural origins. [ABSTRACT FROM AUTHOR]

Attempts to intervene into the late nineteenth-century popular culture and modernist art through the concept of 'race' as a category of critical analysis in France. Historical and theoretical link between race, spectacle and modernity; Various practice of racial signification; Criticism of the inclusion and occlusion of blacks in the high modernist art of Edgar Degas.

Explores the influence of colonial modernity in the architectural design of the Grande Mosquee of Paris, France. Relationship between colonial modernity and the planning of the modern city; Significance of the link between monument, commerce, industry and the exotic; Descriptions of the Mosque.

The article presents a speech by Francois Rouan at a conference of L'Ecole de la Cause freudienne held in Lyon in 1991. Rouan discusses briefly a brief history of his life at Ecole des Beaux-Arts in Montpellier and the Beaux-Arts in Paris. He believes that he followed a course that was truly a chameleon-like, one that involved an appetite for modern painting and going from Post-Impressionism to abstract art. Details related to Rouan's relationship with Jacques Lacan is presented.

The article discusses anthropomorphism in art. The author draws on cave art in the Chauvet cave in France shown in the 2011 film "Cave of Forgotten Dreams," directed by Werner Herzog, suggesting that human emotion is projected onto the animals depicted in the cave. The author describes enlightenment as criticism of anthropomorphism and discusses the relationship between modernism and the overcoming of anthropomorphism, focusing on the art movement of Cubism. The author argues against the critique of anthropomorphism, suggesting that human subjectivity leads to the formation of cultural objectivity.

This article focuses on the importance of Europhilia, Francophilia and Negrophilia in the making of modernism in Paris, France. Paris represented the capital of opportunity and acceptance to African Americans. Negrophilia was never really about the Negros but about France, its needs, its wants and desires. France retrieved its cosmopolitan flair as its culture commingled with blackness as a sign of modernity. Negrophilia combined with black europhilia and francophilia can bring about the idea of a viable black internationalism, the wonderfully complicated and rich transcultural, multiethnic, and multilingual tapestry that has become the hallmark of modernism.

The article highlights American painter Marsden Hartley and his painting "Calla Lillies,' which appears as the cover art of this issue of the "Journal of the American Medical Association." Hartley was a painter of American Modernism. He traveled widely, but started and ended his life in Maine. Hartley greatly admired the art work of Paul Cézanne. Hartley believed that Cézanne's art served as a bridge between Impressionism and Modernism. Hartley's time spent in Aix-en-Provence, France is discussed.