Journal de Eugène Delacroix, Tome 1, un livre classique, a été considéré comme important tout au long de l'histoire humaine, et pour que cet ouvrage ne soit jamais oublié, nous, aux éditions Alpha, nous sommes efforcés de le préserver en republiant ce livre dans un format moderne pour les générations présentes et futures. Tout ce livre a été reformaté, retapé et conçu. Ces livres ne sont pas constitués de copies numérisées de leur travail original et, par conséquent, le texte est clair et lisible.
This study concentrates on the discourses around animal death in arts and the ways they changed over time. Chapter topics span from religious symbolism to natural history cabinets, from hunting laws to animal rights, from economic history to formalist views on art. In other words, the book asks why artists have represented animal death in visual culture, maintaining that the practice has, through the whole era, been a crucial part of the understanding of our relation to the world and our identity as humans. This is the first truly integrative book-length examination of the depiction of dead animals in Western art. The book will be of interest to scholars working in art history, animal studies, and cultural history.
The self has a history. In the West, the idea of the soul entered Christianity with the Church Fathers, notably Augustine. During the Renaissance the idea of the individual attained preeminence, as in the works of Montaigne. In the seventeenth century, philosophers such as Descartes formulated notions of selfhood that did not require a divine foundation; in the next century, Hume grew skeptical of the self's very existence. Ideas of the self have changed markedly since the Romantic period and most scholars today regard it as at best a mental construct. First-person genres such as diaries and memoirs have provided an outlet for self-expression. Protestant diaries replaced the Catholic confessional, but secular diaries such as Pepys's may reveal yet more about the self. After Richardson, novels competed with diaries and memoirs as vehicles of self-expression, though memoirs survived and continue to thrive, while the diary has found a new incarnation in the personal blog. Writing the Self narrates the intertwined histories of the self and of self-expression through first-person literature.
In this new monograph, part of Phaidon’s Art & Ideas series, Simon Lee, Senior Lecturer in the History of Art the University of Reading, examines the work of Delacroix within the framework of his turbulent times, as France experienced the upheavals of the Napoleonic era. Written in a lively and accessible style, and incorporating the latest scholarship on the artist, Lee provides fresh analyses into the life and times of Delacroix and uncovers the creative process behind his most famous works.
Théodore Rousseau (1812–1867), arguably the most important French landscape artist of the mid-nineteenth century and a leader of the so-called Barbizon School, occupies a crucial moment of transition from the idealizing effects of academic painting to the radically modern vision of the Impressionists. He was an experimental artist who rejected the traditional historical, biblical, or literary subject matter in favor of “unruly nature,” a Romantic naturalism that confounded his contemporaries with its “bizarre” compositional and coloristic innovations. Lavishly illustrated and thoroughly documented, this volume includes five essays by experts in the field. Scott Allan and Édouard Kopp alternately examine Rousseau’s diverse techniques and working procedures as a painter and as a draftsman, as well as his art’s mixed economic and critical fortunes on the art market and at the Salon. Line Clausen Pedersen’s essay focuses on Mont Blanc Seen from La Faucille, Storm Effect, an early touchstone for the artist and a spectacular example of the Romantic sublime in the Ny Carlsberg Glyptotek’s collection. This catalogue accompanies an eponymous exhibition on view at the J. Paul Getty Museum from June 21 to September 11, 2016, and at the Ny Carlsberg Glyptotek from October 13, 2016, to January 8, 2017.
Journal de Eugène Delacroix, Tome 2, un livre classique, a été considéré comme important tout au long de l'histoire humaine, et pour que cet ouvrage ne soit jamais oublié, nous, aux éditions Alpha, nous sommes efforcés de le préserver en republiant ce livre dans un format moderne pour les générations présentes et futures. Tout ce livre a été reformaté, retapé et conçu. Ces livres ne sont pas constitués de copies numérisées de leur travail original et, par conséquent, le texte est clair et lisible.
