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The article discusses Emily Kilpatrick's book, "French Art Song: History of a New Music, 1870-1914," which challenges the perception that French art song is a marginal form of music. Kilpatrick explores the period from the Franco-Prussian War to World War I, examining the relationships between composers and interpreters, the role of salons and conservatories in song dissemination, and the question of transposition. The book also highlights the contributions of specific poets, singers, and the public to the development of French art song during this time. The given text discusses Barbara Kelly Kilpatrick's book, "French Art Song: The Mélodie in the Belle Époque," which explores the development and significance of French art songs during the Belle Époque period. It examines the works of composers such as Gabriel Fauré, Claude Debussy, and poets like Paul Verlaine. The book also discusses the role of the Paris Conservatory in promoting French song and the contributions of women singers. While not covering all important figures in the genre, the book is a valuable resource for scholars, performers, and admirers of French art song. [Extracted from the article]

This research paper proceeds in three parts. After a brief presentation of Bernard Palissy, the first part examines his panpsychic ideas, the second part his ideas on art, which I connect in the third part to some of his remaining works and projects. [ABSTRACT FROM AUTHOR]

Copyright of Adab Al-Kufa is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article probes the complex interrelationship between Derek Walcott's poetry, Paul Gauguin's art, and Ernest Hemingway's prose. Following an overview of cutting-edge research into postcolonial artistic intermediality, it argues that Walcott admired Gauguin's depictions of Caribbean landscapes, but that this admiration was tempered by his awareness of the artist's racism. Having established the broad strokes of their relationship, the article hones in on the influence Gauguin exerted on Walcott's early lyric 'Letter to a Painter in England' (1948). Through close reading, it outlines the role Gauguin's synthetism played in shaping the work's aesthetic, especially with regard to its nonmimetic use of colour, and contends that Walcott's early imitation of Gauguin was inspired by Ernest Hemingway's intermedial imitations of Cézanne. However, unlike Hemingway, Walcott sought to 're-vision' his model through visual-verbal translation. [ABSTRACT FROM AUTHOR]

A Parisian public library specializing in decorative arts, the Bibliothèque Forney is considered one of the first public lending art libraries in France. From the library's opening in the nineteenth century to the year 2000, readers could borrow art images to use as models or sources of inspiration. Today a selection of art plates are still freely accessible. The history of this unique service highlights the librarians' efforts to meet the evolving needs of researchers looking for easily accessible art; their work to keep up with modernity; and their efforts to add value for their users. [ABSTRACT FROM AUTHOR]

Art librarians face many changes in the professional relationship with their users. Technological and cultural evolutions lead us to learn new skills to adapt ourselves to these new audiences. But are these changes really so new to librarians? Librarians have always had to embrace new technological expertise for library catalogues, databases and digital libraries. We know that librarianship is a profession where communication is primordial; communication with library users, and also with the general public – there's not much new here vis-à-vis the traditional missions of librarians. Still, librarians must become more competent than ever at conversing with patrons, to better understand their needs and their ways of expressing those needs, particularly their need to interact with our libraries and collections. Diverse examples from French art libraries illustrate how library professionals tend to use new media, technologies, and cultural trends to enable their institutions to disseminate knowledge and contribute to a more open society that can partake freely of the riches and learning history that art libraries have to offer. [ABSTRACT FROM AUTHOR]

This article explores the influence of The Federalist Papers on Alexis de Tocqueville's Democracy in America. It discusses how Tocqueville's work draws heavily from the ideas presented in The Federalist Papers, particularly those of James Madison and Alexander Hamilton. The article also examines the concept of "monstrous disfiguration" as a metaphor used by the Founders to describe the imperfections within the Constitution. It highlights the tension between the North and South, with abolition being a central concern for the Founders. The text discusses the power dynamics between different regions in the United States and the role of the Senate in balancing competing interests. It emphasizes the need to protect against future forms of tyranny, even as the country abolishes slavery. The article also discusses the use of literary concepts by Jorge Luis Borges and Tocqueville to comment on political and social issues. It explores how Tocqueville's ideas on honor, social conditions, and the dangers of tyranny are influenced by the themes and characters in Don Quijote. The text argues that Tocqueville's reading of the novel provides insights into the sociopolitical implications of modern democracy and the importance of preserving individual rights. It suggests that studying The Federalist Papers and Don Quixote together provides a comprehensive understanding of Tocqueville's work and its relevance to both Anglo and Hispanic cultures. [Extracted from the article]

"French Art Song: History of a New Music, 1870–1914" by Emily Kilpatrick is a comprehensive study of the mélodie genre during its "golden age" in France. Kilpatrick explores the transformation of mélodie from a salon delicacy to a serious concert genre through case studies that examine the complex network of composers, poets, performers, journalists, educators, and impresarios involved. The book combines meticulous research, musical and poetic analysis, and approaches from social history, feminist critique, and reception studies to provide a multifaceted understanding of the mélodie. Kilpatrick's contrarian approach challenges traditional musicology by focusing on the conversations and collaborations that shaped the genre, rather than solely on the creative work of composers. The book also highlights the role of key figures, such as tenor Maurice Bagès and female singers, in popularizing and advancing the mélodie. Overall, "French Art Song" offers a rich historical perspective and invites readers to engage in the ongoing conversation surrounding this unique genre. [Extracted from the article]

Some albums entail more than meets the ear. In the Age of Ravel and In the Age of Debussy surround representative works of Maurice Ravel (1875–1937) and Claude Debussy (1862–1918) with contextualizing selections from contemporaries. Compellingly rendered by Ransom Wilson and François Dumont, these discs document six decades of innovation. They also illuminate intriguing connections as well as fascinating contrasts among familiar and unfamiliar works. And each celebrates the art of the French flute. But there's more. [ABSTRACT FROM AUTHOR]

The dominant institution in the French art world for the display of new art for most of the 19th century was the Paris Salon. Artistic reputations depended upon showing works at the Salon, and critics made their names through writing about the event. In this article, statistical analysis of the contents and structure of the catalogues of the Salon and of Salon criticism is utilized to understand how the practice of titling new paintings emerged and was adopted in the 19th-century French art world. My work shows how statistical methods can be used to investigate practical and conceptual change, and problematizes accounts of the emergence of titling given by earlier authors. There are also methodological lessons for those working in the digital humanities from the approach adopted in this article. [ABSTRACT FROM AUTHOR]

Annamaria Ducci's book, "Henri Focillon et son temps: La liberté des formes," explores the life and work of Henri Focillon, a renowned historian of French art. Ducci examines Focillon's intellectual context during the interwar period and highlights the fundamental components of his formalist thought. She emphasizes Focillon's focus on the artist, material, and skills, which gave his formalism a concrete foundation. Ducci also analyzes Focillon's views on various art-historical issues and debates, including his interpretation of Jan van Eyck's painting, "Portrait of Giovanni Arnolfini and his Wife." Overall, Ducci challenges the perception of Focillon's formalism as apolitical and empty, providing a multifaceted and complex understanding of his work. [Extracted from the article]

Articles and Sections of Books Wright, Barbara. Wright, Barbara, and James Thompson. Wright, Barbara, and James Thompson. Wright, Barbara, and David H. T. Scott. Wright, Barbara, and James Thompson. [Extracted from the article]

This article investigates the role of regulation and reputation in the art trade. We look at attribution issues in the auction market, and in France in particular, where both regulatory and reputational mechanisms have been implemented. More specifically, we focus on the Marcus Decree—a pioneering decree that regulates the authentication process of artworks in France since 1981—and the self-regulated authentication systems developed by international top-tier auction houses. Our findings suggest that the implementation of the decree did neither significantly strengthen the market for autograph and non-autograph works, nor radically modify the landscape of attributions in France, whereas similar but stronger trends in prices and volumes are found in reputational markets (UK, US). We also attribute the moderate effects of the Marcus decree to the size and relative depth of the French art market, the concomitant globalization of the art trade and the development of technical art history, compliance mechanisms and legal compliance costs. Our results are supported by empirical evidence from a data set composed of 15th- and 16th-century Flemish paintings auctioned between 1972 and 2015 in a regulated market (FR), but also in reputational markets (UK, US, and other European countries). [ABSTRACT FROM AUTHOR]

This article focuses on British women sculptors of the late nineteenth century who were completing their education in France; it investigates how they accessed French art institutions and what benefit this provided to the progression of their careers. Through individual cases such as those of Ottilie McLaren, Mary Pownall and Edith Gwyn Jeffreys, the article explores the Franco-British networks that supported the careers of British women sculptors and analyses the importance of key figures in their artistic training, including Edouard Lantéri and Auguste Rodin. [ABSTRACT FROM AUTHOR]

Pictorial representations of women in galleries and museums, clutching a catalogue, abound in the nineteenth century. Hilary Fraser has emphasized the importance of women to the development of art writing and its increasing professionalism in the nineteenth century. This article examines the interrelated art historical processes of looking, reading, and writing through the professional trajectories of three very different art writers: Emily Dilke (E. F. S. Pattison) (1840-1904) was a specialist in eighteenth-century French art; Gertrude Campbell (1857-1911) was a London-based art reviewer; and Christiana Herringham (1852-1929) developed technical expertise on the early Renaissance. It argues that 'looking back' at the intellectual and material legacies of these writers gives insight into how these women worked as professionals inside and outside the museum. [ABSTRACT FROM AUTHOR]

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Copyright of Human Review is the property of Eagora Science and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The French historian and art critic Georges Didi-Huberman has a vast and profound theoretical trajectory devoted to examining the role of images in the legibility of history. In several of his essays, he sets about to reflect on the problems surrounding the representation of the Shoah and the ways in which the images related to this limit event deepen the senses of what is depicted. We aim to propose a reading of the short story "Helga", by Lygia Fagundes Telles, in the light of the concept of image conceived by Didi-Huberman in texts devoted to the experience of the Shoah. Our focus is, above all, on the centrality of the body in Lygia Fagundes' short story as a symptom image, which gives the weight of meaning to the narrative for what is missing, for what has been mutilated. [ABSTRACT FROM AUTHOR]

What does it mean to read through a library? Can viewing objects through their collector, rather than their user or even their maker, offer a worthwhile lens through which to understand a design culture? This article addresses those questions by unpacking the remarkable collection of 1920s French decorative arts folios from the shelves of the office library of architect Albert Kahn (1869–1942). Overwhelmingly remembered for his practice in industrial architecture, I ask why we might find these folios of French articles de luxe in the collection of a factory architect from Detroit. While it may be tempting to see Kahn's project of bureaucratic or factory architecture in stark contrast to the contemporaneous burst of moderne luxury home goods across the Atlantic, this study prompts a reconsideration of how the form and purpose of these prints might have been implicated in, and resonated with, a culture of design and production in the Motor City. [ABSTRACT FROM AUTHOR]

This article studies the relationships that the Centre des Métiers d'Art de la Polynésie française (CMA—Centre for Arts and Crafts of French Polynesia), five contemporary artists connected to it, and their artworks, have with the city of Pape'ete and its urban environment. The first part analyses the teaching philosophy of the CMA and foregrounds its role as a tool of social mobility for its students and in reinforcing positive representations of Indigenous Polynesians and heritage. The second part examines how the initiatives led by the CMA in Pape'ete are invitations to a shift in mindset. The third part explores how the artists express and reflect on their sense of belonging and highlights how their relationship with urban areas is enriched by their life experiences and their family roots in broader territories. [ABSTRACT FROM AUTHOR]

Copyright of Art / Umění is the property of Institute of Art History of the Academy of Sciences of the Czech Republic and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article examines the struggle over the meaning of atomic science and nuclear power in mid-century French film culture, including popular and art cinema, newsreels, television, and industrial films produced by the French atomic energy commission. It considers the nuclear as a representational problem, rooted in the enduring iconicity of the bombings of Hiroshima and Nagasaki and the difficulty of making atomic science's value visible. Building on recent criticism of France's 'Trente glorieuses,' it focuses on the less-than-glorious image of nuclear power that filled French screens during the 1940s and 1950s, especially in two films released in 1950: René Clair's popular but largely forgotten, La beauté du diable, a Faust adaptation-cum-nuclear allegory, and Nicole Védrès's seldom-seen (but recently restored and re-released) La vie commence demain (the follow-up to her better-known Paris 1900 (1947)), which uses a who's who of French arts and letters—including Sartre, Gide, Prévert, Picasso, Le Corbusier and Jean Rostand, among others—to denounce nuclear weapons while imagining a future enlightened by peaceful atomic science. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Journal of Religious Education Studies / Türkiye Din Eğitimi Araştırmaları Dergisi is the property of Turkish Journal of Religious Education Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Various types of urban art emerged and prospered in recent decades when degenerating cities were embracing art as a marketing strategy. This urban-rejuvenation approach sheds less light on the agency and motivation of artists. This paper examines how ethnic artists represent traumatic memory, reflect nostalgia, and mobilize individuals to collaborate with one another to build resilience. This study contributes to the literature that explores the agency and creativity of underrepresented ethnic minority artists in a global society at large. [ABSTRACT FROM AUTHOR]

Copyright of Anastasis: Research in Medieval Culture & Art is the property of George Enescu University of Arts, Artes Publishing House and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Librosdelacorte.es is the property of Instituto Universitario "La Corte en Europa" - IULCE and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article aims to reveal similarities between the artistic approaches of the Czechoslovakian-born Argentine artist Gyula Kosice and the Slovak art scene. Referencing Polish art historian Piotr Piotrowski's concept of "horizontal art history", the article focuses on the artistic dialogue between kinetic and op art artists developed during the Cold War period in the countries of Central Europe and Latin America. The goal of the article is twofold. Firstly, it will expose the specificity of artistic practices and strategies developed in non-Western art scenes. It also aims to reveal certain proximities among artists, especially those engaged in kinetic and geometrical art. Adopting a transnational and transmodern approach, the text will focus on Gyula Kosice's contact with the Slovak artist Alex Mlynárčik, established through the French art critic Michel Ragon. It will also highlight similarities between Kosice's hydrospatial cities, Mlynárčik's architectural proposals realised with the VAL group in the 1970s, and the concept of prospective architecture coined by Michel Ragon. [ABSTRACT FROM AUTHOR]

On 22 February 2022, the French Parliament enacted legislation1 to enable the restitution of fifteen works (paintings, drawings and sculptures) which had been looted during the Second World War, but whose return was rendered illegal by virtue of the principle of inalienability of cultural objects held in national collections. The draft bill had been announced by the French Culture Minister on 3 November 2021 and sought to authorise the deaccession ('declassification') of certain items of cultural property held in public collections and which the State had decided, for various reasons, to hand over to the heirs of people from whom it was looted during the Second World War. The format of the legislation is simple: it contains four articles, each dealing with a specific cultural item or items, together with annexes detailing the inventory numbers of the items. [ABSTRACT FROM AUTHOR]

The controversy surrounding Luke Willis Thompson's film autoportrait (2017) raised important questions regarding the role art events and museums such as the Turner Prize and Tate Britain play in representing traumatic images. My concern in this article is with how French art historian Georges Didi-Huberman's theorisation of the symptom might help us think about representing traumatic images in museums. First, a symptomatic reading of autoportrait is apposite to representing trauma as it sidesteps a binary oscillation between mimetic and anti-mimetic curatorial approaches that have historically structured traumatic representation in the museum. Second, a symptomatic approach is sympathetic to a theorisation of the ongoing effects of racial and postcolonial trauma as it eludes the single event model that has formed a cornerstone in trauma theory since the 1990s. [ABSTRACT FROM AUTHOR]

The Palau de la Música Catalana is a concert hall built in Barcelona between 1905 and 1908, following the ideals of the so)called Catalan Modernist style (the Catalan equivalent to a number of other fin-de-siècle art movements such as the French Art Nou)veau, the German Jugendstil and the Vienna Secession). It was commissioned in 1904 by the Orfeó Català, a renowned choral society founded in 1891 by members of Barcelona’s bourgeoisie. The Orfeó was one of the institutions of that period which contri)buted the most to expanding the modernist ideals; in fact, the Palau is considered one of the masterpieces of the Catalan Modernism: it combines an iron structure with a rich decoration including not only the floral style characteristic of the fin-de-siècle but also a complex iconographic program essentially consisting of the convergence of universal music and the popular Catalan music. The iconographic program includes two busts of Beethoven, one of them located outside, in the balcony of the main façade, together with the sculptures of other composers (Palestrina, J.S. Bach and Richard Wagner). The second one is inside, framed with Doric columns and placed in the proscenium; above it, an impressive sculpture depicting Wagner’s Die Walkÿrie cavalcade rises. Although these busts were made by two different sculptors—Eusebi Arnau (1864–1933) and Pablo Gargallo (1881–1934)—both of them were sketched by Lluís Domènech i Montaner (1850–1923), the Palau’s main architect, following international models. [ABSTRACT FROM AUTHOR]

During the Great War, Guillaume Apollinaire tried to drive back the attacks against foreign avant-garde painters in France, by demonstrating the compatibility of their art with the country's aesthetic and spiritual values, as well as with those of 'Latin' civilization as a whole. Upon his return from the front line, he started working again as a journalist and embarked on a campaign aiming to legitimize Cubism and Futurism. These movements, composed mostly of French, Spanish and Italian creators, offered Apollinaire the possibility to enhance the Parisian avant-gardes' 'Latin' essence. Thus, he elaborated on a conceptual synthesis reconciling this avant-garde art with French classicism, and with the latter's Greco-Roman origins. Analyzing various texts written by Apollinaire between 1915 and 1918, I explore in this article the main thematic axes underlying his reflection upon a modern, national and Latin art. [ABSTRACT FROM AUTHOR]

Copyright of Ethnologie Française is the property of Presses Universitaires de France and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Starting from the observation that nearly one pupil in two is nowadays enrolled in a multigrade class in France, this article highlights the hiatus between the frequency of this class configuration, historically anchored in the French school landscape since the 19th century in the initial form of the one class school, and the very low consideration of these classes on the part of the state school institution. After a presentation of the state of the art on the performance of French multigrade classes, an analysis of several institutional writings since the end of the 19th century allows us to corroborate the hypothesis that the reticence towards these classes can be explained by the attachment to a pedagogical model incompatible with the reality of a multigrade class: a model of simultaneous teaching, consubstantial with the school form, prescribing the constitution of homogeneous classes. The multigrade class, in particular the one that brings together more than two grades, thus appears as potentially subversive of this school form. [ABSTRACT FROM AUTHOR]

The article analyzes the political drift of French philosopher Michel Onfray in the last decade, culminating in his book "The Art of Being French". It highlights the capture of themes and gestures traditionally associated with the left by the far right, generating ideological confusion. Onfray's relationship with far-right leaders is mentioned, as well as the criticism for spreading historical falsifications. The text also presents the philosopher's ideas on French culture, the crisis of the Cartesian spirit, Judeo-Christianity, being Hugo-esque, psychoanalysis, the infantilization of society, neo-feminism, structuralism, decolonialism, fascism, art, ecology, Hans Jonas' ethics, Peter Singer's anti-speciesism, and transhumanist civilization. Neoliberalism and ideological confusion are criticized, and concern is mentioned about the destruction of borders and distinctions between different groups. [Extracted from the article]

Centered on the life story of the Tallamy family's copy of John French's The Art of Distillation (London, 1651), this article explores translation, print, and medical reading in early modern England. It traces the adaptation and reuse of textual and practical knowledge across linguistic, geographical, gender, and spatial boundaries and shines light on the scientific labor of translators, technicians, and householders, historical actors who are so often hidden by structures of the archival record. By historically situating translation, reading, and writing practices, it joins recent calls to view each translation as an independent text shaped by new contextual settings. It concludes by offering the concept of "knowledge itineraries" as a framework for analyzing long-view connected histories of knowledge transfer across time and space. [ABSTRACT FROM AUTHOR]

The objective of the following paper is to propose a metacritical reading, that is, a critique of criticism, of the thought on art and literature of the French philosopher Jacques Rancière. The hypothesis of a paradigmatic text will be overlapped and re-problematized under increasingly larger units (book, system of concepts, dialogues with other systems). Precisely, starting from the edges that reveal the controversy of Rancière with Jean-François Lyotard and Alain Badiou, we will proceed to a general evaluation of the limits and powers of the theory of art regimes. [ABSTRACT FROM AUTHOR]