Portraying France: French Art in American World Fairs, 1893–1915

‘CENTRE OF A BENEFICENT FORCE IN EDUCATION’ OR ‘ORDINARY MERCHANT BUSINESS’? THE MUSEUM OF EDUCATION AND ART IN ROTTERDAM, 1880-1886 For a short period of time, the city of Rotterdam housed a rather unique museum, the Museum of Education and Art (Museum voor Onderwijs en Kunst). It existed for six years and only for less than a year in its original form. In 1880 it was unlike other educational or – as they were usually called – school museums. Other than today’s cultural history school museums, these museums were integrated in education and functioned as a means to support mass education by the state. They did so by exhibiting the whole range of school materials to enable headmasters and teachers to make informed choices. School materials were also displayed at educational exhibitions at world fairs. The Museum in Rotterdam was exceptional because it was a private, commercial enterprise, unlike other school museums which were established by schoolboards, local authorities, or by a state. In addition, it was the first and probably the only case with a purpose-built housing, where others generally used existing (school)buildings or were part of an arts and crafts museum.

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Japonisme and Femininity: A Study of Japanese Dress in British and French Art and Society, c. 1860–c. 1899

Costume ◽

10.1179/174963008x285223 ◽

2008 ◽

Vol 42 (1) ◽

pp. 111-129 ◽

Cited By ~ 1

Author(s):

Anna Marie Kirk

Keyword(s):

Nineteenth Century ◽

Substantial Evidence ◽

Artistic Style ◽

French Art ◽

Art And Society

Artworks of the second half of the nineteenth century offer substantial evidence of the differing ways in which the 'Japanese craze' of this period was disseminated in dress. A discussion of the availability of garments in Paris and London, and the evidence for ownership of garments, takes place in this article. This study shows that Whistler was reflecting and informing the usage of Japanese attire by aesthetic women such as Ellen Terry. These garments offered a freer, looser, artistic style. The immense popularity of Japanese accessories is explored, as is the kimono's adaptation as a dressing gown. Alfred Stevens' artworks reflect this usage in France during the 1870s and 1880s. An examination of fancy dress books provides evidence of a growing familiarity with Japanese dress towards the end of the nineteenth century. This article is informed by nineteenth-century writings on Japan, fancy dress books, Liberty's catalogues, photographs and surviving garments.

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Word-image interaction in the treatise “Voyage en Siberie”

6th International e-Conference on Studies in Humanities and Social Sciences: Conference Proceedings ◽

10.32591/coas.e-conf.06.14163p ◽

2020 ◽

Author(s):

Elizaveta Panova

Keyword(s):

18Th Century ◽

The Sun ◽

The Enlightenment ◽

French Art

“Voyage en Siberie” describes a journey through Russia carried out by Jean Chappe d'Auteroche to observe the passage of Venus across the Sun. Besides the description of this phenomenon the book contains the author’s travel notes and study of the Russian political, historical, geographic and military conditions in the middle of the 18th century. “Voyage en Siberie” was accompanied by the cycle of illustrations performed by Jean-Baptiste Le Prince. As these works were among the first examples of the costume images on the Russian subject, they became crucial in the career of the artist who is considered to be the creator of “Russerie” in French art. This paper discusses the nature of the text and illustrations developing according to the logic of ideas of the Enlightenment. The author intends to show that although Chappe d'Auteroche and Le Prince worked together on the book they had different visions of the problem.

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