Picturing walls

2019 ◽  
Vol 32 (3) ◽  
pp. 503-508
Author(s):  
Freya Spoor ◽  
Robert Lethbridge
Keyword(s):  
Nineteenth Century ◽  
Ad Hoc ◽  
Original Version ◽  
Art Writing ◽  
Works Of Art ◽  
Close Friendships ◽  
Art And Culture

Abstract Émile Zola’s literary oeuvre continues to provide scholars with one of the most comprehensive accounts of nineteenth-century art and culture. Yet the magnitude of this material has resulted in the works of art acquired by Zola over the course of his lifetime being largely overlooked. By focusing on how this ad hoc collection of more than fifty contemporary works was gathered and subsequently dispersed, this article elucidates the influence of close friendships and professional reciprocity on the reputation of artist and critic alike. It offers an unprecedented corrective to the pioneering article by Jean Adhémar (1960) which partly reproduced the procès-verbal from the posthumous auction of Zola’s estate held in 1903. Using the original version of this document, together with available sales catalogues, letters and Zola’s art writing, it provides the most comprehensive inventory of the works owned by Zola and how they relate to his life and work.

Introduction: ‘What’s she like?’

2017 ◽  
Author(s):  
Felicity Chaplin
Keyword(s):  
Nineteenth Century ◽  
Theoretical Approach ◽  
Print Media ◽  
Printing Press ◽  
Works Of Art ◽  
French Art ◽  
Nineteenth Century France ◽  
Art And Culture ◽  
Key Features ◽  
Definition Of

The introduction provides an overview of the origins of the Parisienne type in nineteenth-century French art and culture. It traces these origins to specific works of art and literature, including the novels of Balzac, Flaubert, Zola and Dumas fils; the paintings of Renoir, James Tissot, Toulouse-Lautrec; and the numerous physiognomies written on the type. The origin of the term la Parisienne is examined and two key features of her mythology are identified: visibility and mobility. A provisional definition of la Parisienne as ‘a figure of French modernity’ and ‘more than just a female inhabitant of Paris’ is then offered. Both the technological (railways, printing press, fashion plates, photography) and cultural (art, literature, advertising, print media) developments in nineteenth-century France which provided the basis for the emergence of la Parisienne as a dominant cultural figure are then discussed. Also introduced here is the main theoretical approach of the book: iconography.The iconography of la Parisienne can be categorised according to the following concepts: visibility and mobility (both social and spatial); style and fashionability, including self-fashioning; artist and muse; cosmopolitanism; prostitution; danger; consumption (the consumer and the consumed); and transformation.

The Marble Faun

2008 ◽  
Author(s):  
Nathaniel Hawthorne
Keyword(s):  
Nineteenth Century ◽  
Human Life ◽  
Human Action ◽  
Old World ◽  
American Expatriates ◽  
Art And Culture

Any narrative of human action and adventure – whether we call it history or Romance – is certain to be a fragile handiwork, more easily rent than mended.’ The fragility – and the durability – of human life and art dominate this story of American expatriates in Italy in the mid-nineteenth century. Befriended by Donatello, a young Italian with the classical grace of the ‘Marble Faun’, Miriam, Hilda, and Kenyon find their pursuit of art taking a sinister turn as Miriam's unhappy past precipitates the present into tragedy. Hawthorne's ‘International Novel’ dramatizes the confrontation of the Old World and the New and the uncertain relationship between the ‘authentic’ and the ‘fake’, in life as in art. The author's evocative descriptions of classic sites made The Marble Faun a favourite guidebook to Rome for Victorian tourists, but this richly ambiguous symbolic romance is also the story of a murder, and a parable of the Fall of Man. As the characters find their civilized existence disrupted by the awful consequences of impulse, Hawthorne leads his readers to question the value of Art and Culture and addresses the great evolutionary debate which was beginning to shake Victorian society.

scholarly journals Johann Michael von Hermann (1793–1855): A predecessor of Max Schweidler?

2019 ◽  
Vol 40 (3-4) ◽  
pp. 239-270
Author(s):  
Susanne Wagini ◽  
Katrin Holzherr
Keyword(s):  
Nineteenth Century ◽  
Present Article ◽  
Early History ◽  
Early Nineteenth Century ◽  
Conservation History ◽  
Works Of Art ◽  
Close Study ◽  
Fresh Perspective ◽  
History Of ◽  
Paper Conservation

Abstract The restorer Johann Michael von Hermann (1793–1855), famous in the early nineteenth century, has long fallen into oblivion. A recent discovery of his work associated with old master prints at the Staatliche Graphische Sammlung München has allowed a close study of his methods and skills as well as those of his pupil Ludwig Albert von Montmorillon (1794–1854), providing a fresh perspective on the early history of paper conservation. Von Hermann’s method of facsimile inserts was praised by his contemporaries, before Max Schweidler (1885–1953) described these methods in 1938. The present article provides biographical notes on both nineteenth century restorers, gives examples of prints treated by them and adds a chapter of conservation history crediting them with a place in the history of the discipline. In summary, this offers a surprising insight on how works of art used to be almost untraceably restored by this team of Munich-based restorers more than 150 years before Schweidler.

The Idea in Motion

2020 ◽  
pp. 1-42
Author(s):  
Nell Andrew
Keyword(s):  
Nineteenth Century ◽  
Patterned Surfaces ◽  
Perceptual Cues ◽  
Works Of Art ◽  
Modern Experience ◽  
Loie Fuller

In the final decade of the nineteenth century, the serpentine dancer Loïe Fuller made her debut in Paris just as painters of the symbolist movement began to make first steps toward abstraction. In this chapter, works of art and decoration by Henri de Toulouse-Lautrec and the Nabis painters are linked to Fuller’s dance. With its repetitive, continuous motions and shifting perceptual cues, the serpentine dance allowed viewers a prolonged grasp of the sensation of watching Fuller’s transitory movement. In a similar effort, symbolist artists wove flat and patterned surfaces and serpentine lines, hindering visual rest and creating a springboard for abstract sensations of movement. Innovations in both media offered a formal and material web through which motion was sensed and caught by perception. This prolongment of form and feeling expresses the heart of the dialectics of the modern experience, balancing in a single sensation Baudelaire’s fleeting and eternal.

Sound and complete models of contracts

2006 ◽  
Vol 16 (4-5) ◽  
pp. 375-414 ◽  
Author(s):  
MATTHIAS BLUME ◽  
DAVID McALLESTER
Keyword(s):  
Ad Hoc ◽  
Expressive Power ◽  
Higher Order ◽  
Original Version ◽  
Order Types ◽  
Restricted Form ◽  
Soundness And Completeness ◽  
Recursive Contracts ◽  
Intuitive Interpretation ◽  
Typed Languages

Even in statically typed languages it is useful to have certain invariants checked dynamically. Findler and Felleisen gave an algorithm for dynamically checking expressive higher-order types called contracts. They did not, however, give a semantics of contracts. The lack of a semantics makes it impossible to define and prove soundness and completeness of the checking algorithm. (Given a semantics, a sound checker never reports violations that do not exist under that semantics; a complete checker is – in principle – able to find violations when violations exist.) Ideally, a semantics should capture what programmers intuitively feel is the meaning of a contract or otherwise clearly point out where intuition does not match reality. In this paper we give an interpretation of contracts for which we prove the Findler-Felleisen algorithm sound and (under reasonable assumptions) complete. While our semantics mostly matches intuition, it also exposes a problem with predicate contracts where an arguably more intuitive interpretation than ours would render the checking algorithm unsound. In our semantics we have to make use of a notion of safety (which we define in the paper) to avoid unsoundness. We are able to eliminate the “leakage” of safety into the semantics by changing the language, replacing the original version of unrestricted predicate contracts with a restricted form. The corresponding loss in expressive power can be recovered by making safety explicit as a contract. This can be done either in ad-hoc fashion or by including general recursive contracts. The addition of recursive contracts has far-reaching implications, deeply affecting the formulation of our model and requiring different techniques for proving soundness.

scholarly journals IL SIGNIFICATO DEL BICENTENARIO. COME UNA CONCLUSIONE

2013 ◽  
pp. 175-178
Author(s):  
Giorgio Pestelli
Keyword(s):  
Nineteenth Century ◽  
Social Contexts ◽  
Late Nineteenth Century ◽  
Musical Drama ◽  
Contemporary Theatre ◽  
The Public ◽  
Bourgeois Society ◽  
Previous Generation ◽  
Art And Culture ◽  
Late Nineteenth

The meaning of the bicentenary that solemnizes Verdi and Wagner two hundred years after their birth essentially derives from the emotion of facing two personalities extraordinary for their creative energy and inventive continuity. In all fields of art and culture, the late Nineteenth century image is conditioned by their presence. Born the very same year, they both looked for and created by themselves the accomplishments that musicians of the previous generation already possessed when they were barely twenty years old. They reached almost at the same time both the revelation of their personality (Der fliegende Holländer 1841, Nabucco 1842), and the fullness of their artistic means (Rigoletto 1851, Der Rheingold 1853), before attaining the acme of their trajectory with the astonishing operosity of their final years.While the analogy of this parallel course is impressive, the individuality of their creative patrimony is no less strong. This dissimilarity – more than on aesthetic or dramaturgic reasons, such as the distinction between naif and sentimental, or between “melodrama” and “musical drama” – rests on the different environments where it took root, each of them with its own alternative ideas of bourgeois society, of relationship with the public, the contemporary theatre and literature: that’s why it is important today to engage to enlighten the cultural and social contexts in which the genius of the two masters developed.

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