The Problematics of Artistic Patronage under the Second Empire: Gustave Courbet's Involved Relations with the Regime of Napoleon III

1995 ◽  
Vol 58 (2) ◽  
pp. 240 ◽  
Author(s):  
Paul B. Crapo
Keyword(s):  
Second Empire ◽  
Napoleon Iii ◽  
Artistic Patronage

Clochards, Commercials, Cohabitation, Continuity, and Change, a Summary of Colloquia Held at the Institute of French Studies, New York University, Autumn 1986

1987 ◽  
Vol 8 (x) ◽  
pp. 341-352
Author(s):  
Melissa Clegg
Keyword(s):  
New York ◽  
Political Life ◽  
Professor Emeritus ◽  
Second Empire ◽  
New York University ◽  
Fifth Republic ◽  
French Studies ◽  
Continuity And Change ◽  
Napoleon Iii ◽  
The University

Since the founding of the Fifth Republic Paris has been rebuilt to an extent only the reconstructions of the Second Empire under Napoleon III could match. The story of its rebuilding—told by David Pinkney, Professor Emeritus of History at the University of Washington—could serve as a fable with a moral about the whole of French cultural and political life for the last twenty-five years. De Gaulle began the transformation of Paris by deregulating the building industry. The threats of that policy to the historical character of the city eventually provoked, under Giscard d’Estaing and Mitterrand, a return to the centrist practices of a state accustomed to regulation.

Victor Hugo's Theatrical Royalties during his Exile Years

1982 ◽  
Vol 7 (2) ◽  
pp. 132-137
Author(s):  
Pierre L. Horn
Keyword(s):  
Victor Hugo ◽  
Second Empire ◽  
Napoleon Iii ◽  
History Of

It is commonly known that Victor Hugo felt only contempt and hatred for Napoleon III and his Second Empire, so readers of Hugo's History of a Crime might easily expect that the Emperor's vengeful wrath would fall on the poet. However, far from trying to destroy Hugo financially, Napoleon not only allowed the sale of numerous of his masterpieces in France (with the exception of Châtiments and other writings considered insulting to the regime) but he did not interfere with the performance of the Hugolian repertoire on the stage of Parisian theatres.

L'arrivée des «Bourbaki» aux Verrières: L'internement de la Première Armée française en Suisse le 1er février 1871

1996 ◽  
Vol 78 (818) ◽  
pp. 191-203
Author(s):  
François Bugnion
Keyword(s):  
Second Empire ◽  
Napoleon Iii

«L'Armée est prête, il ne lui manque pas un bouton de guêtre» avait declaré le maréchal Lebœuf, ministre de la Guerre de Napoléon III, lors du vote des crédits nécessaires à la mobilisation.On a rarement fait preuve d'un tel aveuglement: médiocrement équipée, mal entraînee et, surtout, dramatiquement mal commandée, l'armée française allait subir défaite sur défaite. Dès les premiers affrontements, en août 1870, elle doit abandonner l'Alsace et la Lorraine, à l'exception de quelques places fortes — Strasbourg, Sélestat, Neuf-Brisach, Metz et Belfort — qui sont assiégées. Le 2 septembre, Napoléon III capitule à Sedan avec 80 000 hommes, entraînant dans sa chute le Second Empire, tandis que les Prussiens marchent sur Paris.

scholarly journals La métaphore dans le poème Océan de Victor Hugo

2019 ◽  
Vol 3 ◽  
pp. 00009
Author(s):  
Bagas Anugrah Perdana ◽  
Myrna Laksman-Huntley
Keyword(s):  
Historical Context ◽  
Victor Hugo ◽  
Second Empire ◽  
Font Size ◽  
French Society ◽  
Poetic Structure ◽  
The Third ◽  
Romantic Poet ◽  
Napoleon Iii ◽  
Almost All

<p class="Abstract">Victor Hugo is one of the romantic poets who has experience in&nbsp;<span style="font-size: 1rem;">politics. He criticized the Second Empire and Napoleon III almost all&nbsp;</span><span style="font-size: 1rem;">his life and his criticism became the cause of his exile. The third series&nbsp;</span><span style="font-size: 1rem;">of La Légende des Sièclesis the last book of poetry published before the&nbsp;</span><span style="font-size: 1rem;">death of Victor Hugo. Océan is an example of a poem in the third series&nbsp;</span><span style="font-size: 1rem;">that presents a contradiction between small and large spaces,&nbsp;</span><span style="font-size: 1rem;">restrictions and extensions. This article will link the meaning and&nbsp;</span><span style="font-size: 1rem;">function of the metaphor and structure of the poem used by Victor&nbsp;</span><span style="font-size: 1rem;">Hugo in the poem Océan with his personal life and historical context.&nbsp;</span><span style="font-size: 1rem;">This study uses qualitative methods with techniques for the study of&nbsp;</span><span style="font-size: 1rem;">literature. Through the analysis of the metaphorical function of Camp&nbsp;</span><span style="font-size: 1rem;">(2003) and the poetic structure of Schmitt and Viala (1982), Océan&nbsp;</span><span style="font-size: 1rem;">reflects Hugo as an innovative romantic poet who differs from the&nbsp;</span><span style="font-size: 1rem;">rules of classicism and he has placed the ocean and humans in the&nbsp;</span><span style="font-size: 1rem;">poem as representatives of Napoleon III specifically and the monarchy&nbsp;</span><span style="font-size: 1rem;">in general and French society in those days. The metaphors are used&nbsp;</span><span style="font-size: 1rem;">to describe the nature of the French government at that time.</span></p>

scholarly journals EUGÉNIE ET LA JOAILLERIE AVANT ET APRÈS L’EMPIRE: UNE HISTOIRE DE SENTIMENTS

2021 ◽  
pp. 311-322
Author(s):  
Karine Huguenaud
Keyword(s):  
Second Empire ◽  
Napoleon Iii

A l’image des fastes de la France impériale, l’impératrice Eugénie n’eut de cesse d’éblouir ses contemporains en portant de splendides parures et de somptueux bijoux. Elle les choisissait parmi les Joyaux de la Couronne pour les cérémonies, les réceptions et les bals officiels, ou dans son écrin personnel pour les autres occasions.Sa collection est ainsi considérée comme l’une des plus fabuleuses du XIX e siècle. Ce goût des bijoux, Eugénie le possédait dès avant son accession au trône par son mariage avec Napoléon III en 1853. Il persistera après la chute du Second Empire, recentré autour des cadeaux dynastiques et familiaux.

The Search for the Néo-Grec in Second Empire Paris

2011 ◽  
Vol 70 (2) ◽  
pp. 174-189
Author(s):  
Josephine Grieder
Keyword(s):  
Urban Transformation ◽  
Second Empire ◽  
Napoleon Iii ◽  
Visual Characteristics

Entering the architectural dialogue in 1830, the term néo-grec came to characterize the stylistic movement represented by Henri Labrouste's Bibliothèque Sainte-Geneviève, but the meaning of the term was always elusive. Josephine Grieder analyzes the confusing record of remarks by architects and the subsequent commentary by scholars and historians, noting the difficulty of aligning the terminology with visible architectural phenomena. The Search for the Néo-Grec in Second Empire Paris turns to contemporary books and journals for testimony about the visual characteristics of the style and traces the subtle shift in its meaning as néo-grec be-came inextricably linked with the urban transformation effected by Napoleon III and Haussmann.

Urban Contingency and the Problem of Representation in Second Empire Paris

1995 ◽  
Vol 54 (2) ◽  
pp. 138-174 ◽  
Author(s):  
Christopher Mead
Keyword(s):  
Continuous Process ◽  
State Institution ◽  
The State ◽  
Second Empire ◽  
Paris Opera ◽  
Napoleon Iii ◽  
History Of ◽  
A Chain ◽  
The City

Charles Garnier's Paris Opéra (1861-75) and Baron Haussmann's contemporary replanning of Paris (1853-70) supposedly represent the Second Empire of Napoléon III. But this case study of the Opéra within the context of its quarter of Paris contradicts the usual assumptions that the monument and the city were either the inevitable products or the characteristic political expressions of the state. First, a chain of events dating back to the seventeenth century is reconstructed in order to demonstrate that the decision reached in 1860 to site the Opéra on the Grands Boulevards at the end of a projected new avenue was less the consequence of an imperial plan than the pragmatic result of the often contingent urban history of Paris. Second, the parallel and equally pragmatic evolution of the characteristic Parisian façade of a giant order on an arcuated base is traced from the seventeenth to the nineteenth centuries in order to explain why Garnier's Opéra and Haussmann's surrounding buildings came to have the same form of elevation. Interpreted in light of both the Opéra's own ambiguous status as a state institution and the ambiguous nature of nineteenth-century bourgeois civil society, this evidence suggests that neither urban nor architectural forms are fixed in their meaning, but tend rather to adjust their meaning to the changing circumstances of their use. This article concludes that a city and its monuments find their meaning in the continuous process by which a city's inhabitants shape and experience their surroundings, rather than in the episodic political programs of the state.

scholarly journals Le théâtre des vanités mondaines : le Bois de Boulogne dans les chroniques zoliennes

2018 ◽  
pp. 88-98 ◽  
Author(s):  
Anna Kaczmarek-Wiśniewska
Keyword(s):  
Second Empire ◽  
Napoleon Iii

L’œuvre journalistique d’Émile Zola touche tous les aspects de la réalité parisienne de son époque : des sujets « sérieux », sociaux et politiques, à ceux qu’on peut qualifier de légers, voire frivoles. L’existence de la gentry de la capitale sous le règne de Napoléon III compte, selon l’écrivain, selon ces derniers, étant focalisée sur les apparences et sur un affichage ostentatoire de la richesse. En effet, la vanité s’avère être le défaut principal de la belle société parisienne du Second Empire, et le paraître devient sa nouvelle religion. La scène préférée de la parade quotidienne des mondains est le Bois de Boulogne, récemment transformé en un parc à l’anglaise. L’article se penche sur quelques éléments de cette « parade des vanités » dans le contexte de l’attitude hostile de Zola à l’égard du régime qu’il déteste.

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