Chardin and Rembrandt is an unfinished essay written around 1895 by Marcel Proust. Oft overlooked in Prousts illustrious writing career, this book is a newly translated version by David Zwirner Books as one of the first two entries in its ekphrasis series. This essay is a literary experiment in which an unnamed narrator gives advice to a young man suffering from melancholy, taking him on an imaginary tour through the Louvre where his readings of Chardin imbue the everyday world with new meaning, and his ruminations on Rembrandt take his melancholic pupil beyond the realm of mere objects.
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Charming yet scholarly, this book explores the work of the French artist Jean Baptiste Sim̌on Chardin, who brought a breath of fresh air to 18th-century painting. His masterful sense of color and light filled his simple domestic interiors and delicate renderings of still lifes with a profound humanism. - Publisher.
Pastiche, Fashion and Galanterie in Chardin’s Genre Subjects seeks to understand how Chardin’s genre subjects were composed and constructed to communicate certain things to the elites of Paris in the 1730s and 1740s. The book argues against the conventional view of Chardin as the transparent imitator of bourgeois life and values so ingrained in art history since the nineteenth century. Instead, it makes the case that these pictures were crafted to demonstrate the artist’s wit (esprit) and taste, traits linked to conventions of seventeenth-century galanterie. Early eighteenth-century Moderns like Jean-Siméon Chardin (1699–1779) embraced an aesthetic grounded upon a notion of beauty that could not be put into words—the je ne sais quoi. Despite its vagueness, this model of beauty was drawn from the present, departed from standards of formal beauty, and could only be known through the critical exercise of taste. Though selecting subjects from the present appears to be a simple matter, it was complicated by the fact that the modernizers expressed themselves through the vehicles of older, established forms. In Chardin’s case, he usually adapted the forms of seventeenth-century Dutch and Flemish genre painting in his genre subjects. This gambit required an audience familiar enough with the conventions of Lowlands art to grasp the play involved in a knowing imitation, or pastiche. Chardin’s first group of enthusiasts accordingly were collectors who bought works of living French artists as well as Dutch and Flemish masters from the previous century, notably aristocratic connoisseurs like the chevalier Antoine de la Roque and Count Carl-Gustaf Tessin. Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
Humanity's relationship to nature is central to the work of Pierre Teilhard de Chardin, an influential priest and scientist of the twentieth century. Teilhard believed that spiritual development must be viewed alongside material development and that evolutionary theory lies at the heart of humanity's understanding of its place in the world. 'Pierre Teilhard de Chardin on People and Planet' argues that Teilhard's cosmic mysticism and intense interest in both cosmological and evolutionary sciences are highly relevant to current debates about how best to construct a meaningful spirituality. The book offers a critical revision of Teilhard's thought in the light of current debates in evolutionary science, eco-theology and environmental ethics. The essays present fresh interpretations of Teilhard's work and point to the significance of his thought in the contemporary study of science and religion.
Based on the spirituality of Teilhard de Chardin, this book offers a fresh approach to the spiritual lives—the attitudes, activities, and prayers—of those who suffer, by focusing on how the positive power hidden in the potential energy of suffering can help transform our world.
The Future of Man is a magnificent introduction to the thoughts and writings of Pierre Teilhard de Chardin, one of the few figures in the history of the Catholic Church to achieve renown as both a scientist and a theologian. Trained as a paleontologist and ordained as a Jesuit priest, Teilhard de Chardin devoted himself to establishing the intimate, interdependent connection between science—particularly the theory of evolution—and the basic tenets of the Christian faith. At the center of his philosophy was the belief that the human species is evolving spiritually, progressing from a simple faith to higher and higher forms of consciousness, including a consciousness of God, and culminating in the ultimate understanding of humankind’s place and purpose in the universe. The Church, which would not condone his philosophical writings, refused to allow their publication during his lifetime. Written over a period of thirty years and presented here in chronological order, the essays cover the wide-ranging interests and inquiries that engaged Teilhard de Chardin throughout his life: intellectual and social evolution; the coming of ultra-humanity; the integral place of faith in God in the advancement of science; and the impact of scientific discoveries on traditional religious dogma. Less formal than The Phenomenon of Man and The Divine Milieu, Teilhard de Chardin’s most renowned works, The Future of Man offers a complete, fully accessible look at the genesis of ideas that continue to reverberate in both the scientific and the religious communities.
Establishes the connection between the evolutionary scientific ideas of The Human Phenomenon and the Christian spirituality and theology of The Divine Milieu.
The essential companion to Pierre Teilhard de Chardin's The Phenomenom of Man, The Divine Milieu expands on the spiritual message so basic to his thought. He shows how man's spiritual life can become a participation in the destiny of the universe. Teilhard de Chardin -- geologist, priest, and major voice in twentieth-century Christianity -- probes the ultimate meaning of all physical exploration and the fruit of his own inner life. The Divine Milieu is a spiritual treasure for every religion bookshelf.
Adapted from the lecture she delivered at the Institut für Kunstkritik, Städelschule in Frankfurt am Main, Ewa Lajer-Burcharth's essay explores the dimension of self-reflexivity in the work of eighteenth-century French painter, Jean-Siméon Chardin. Focusing on the material aspects of Chardin's practice, Lajer-Burcharth asks: In what ways were Chardin's painterly procedures "his own," and what were the implications of his possessive and personalized approach to the process of making? The author delves into these questions by examining a crucial moment in the artist's career, when he, for reasons we can only speculate about, temporarily abandoned his still life practice and turned to painting genre scenes. The essay is joined by responses from Daniel Birnbaum and Isabelle Graw, followed by the author's replies. Institut für Kunstkritik Series
