Moore argues that the organization of archives and libraries in 19th-century France was neither steady nor progressive. By following the development of the Ecole des Chartes, the state school for archivists and librarians, Moore shows that conceptions of "order" changed dramatically from one decade to the next.
When David and Doris Johnson restored a French mini-chateau, they learnt new skills, solved the mysteries of septic drainage, and excavated not only the ancient foundations, but the chequered history of the house itself. And through all this, and through new friends, they also rediscovered themselves. French property expert, Clive Kristen, records their adventures.
How social upheavals after the collapse of the French Empire shaped the lives and work of artists in early nineteenth-century Europe As the French Empire collapsed between 1812 and 1815, artists throughout Europe were left uncertain and adrift. The final abdication of Emperor Napoleon, clearing the way for a restored monarchy, profoundly unsettled prevailing national, religious, and social boundaries. In Restoration, Thomas Crow combines a sweeping view of European art centers—Rome, Paris, London, Madrid, Brussels, and Vienna—with a close-up look at pivotal artists, including Antonio Canova, Jacques-Louis David, Théodore Géricault, Francisco Goya, Jean-Auguste-Dominique Ingres, Thomas Lawrence, and forgotten but meteoric painters François-Joseph Navez and Antoine Jean-Baptiste Thomas. Whether directly or indirectly, all were joined in a newly international network, from which changing artistic priorities and possibilities emerged out of the ruins of the old. Crow examines how artists of this period faced dramatic circumstances, from political condemnation and difficult diplomatic missions to a catastrophic episode of climate change. Navigating ever-changing pressures, they invented creative ways of incorporating critical events and significant historical actors into fresh artistic works. Crow discusses, among many topics, David’s art and influence during exile, Géricault’s odyssey through outcast Rome, Ingres’s drive to reconcile religious art with contemporary mentalities, the titled victors over Napoleon all sitting for portraits by Lawrence, and the campaign to restore art objects expropriated by the French from Italy, prefiguring the restitution controversies of our own time. Restoration explores how cataclysmic social and political transformations in nineteenth-century Europe reshaped artists’ lives and careers with far-reaching consequences. Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC Please note: All images in this ebook are presented in black and white and have been reduced in size.
Moliére's anticlerical comedy Tartuffe is the unique prism through which Sheryl Kroen views postrevolutionary France in the years of the Restoration. Following the lead of the French men and women who turned to this play in the 1820s to make sense of their world, Kroen exposes the crisis of legitimacy defining the regime in these years and demonstrates how the people of the time made steps toward a democratic resolution to this crisis. Moving from the town squares, where state and ecclesiastical officials orchestrated their public spectacles in favor of the monarchy, to the theaters, where the French used Tartuffe to mock the restored monarch and the church, this cultural history of the Restoration offers a rich and colorful portrait of a period in which critical legacies of the revolutionary period were played out and cemented. While most historians have characterized the Restoration as a period of reaction and reversal, Kroen offers convincing evidence that the Restoration was a critical bridge between the emerging practices of the Old Regime, the Revolution, and the post-1830 politics of protest. She re-creates the atmosphere of Restoration France and at the same time brings major nineteenth-century themes into focus: memory and commemoration, public and private spheres, politics and religion, anticlericalism, and the formation of democratic ideologies and practices.
This book examines public discussions around France's four most prominent royal women during the first and second Restoration and July Monarchy: the duchesse d’Angoulême, the duchesse de Berry, Queen of the French Marie-Amélie, and Adélaïde d’Orléans. These were the most powerful women of the last decades of the French monarchy, but the new roles women were assigned in post-revolutionary France did not permit them to openly exercise political influence. This book explores continuities and variations in narratives of royal legitimacy, and how historians, authors, and politicians used national history - particularly medieval and early modern history - to either legitimize or undermine the French monarchy, and to define women's social and political roles.
The decades following the 1973 publication of Alessandro Conti’s Storia del Restauro have seen considerable scholarly interest in the development of restoration in France in the second half of the eighteenth century. A number of technical treatises and biographies of restorers have offered insight into restoration practice. The Restoration of Paintings in Paris, 1750–1815, however, is the first book to situate this work within the broader historical and philosophical contexts of the time. Drawing on previously unpublished primary material from archives in Paris, Berlin, Rome, and Venice, Noémie Étienne combines art history with anthropology and sociology to survey the waning decades of the Ancien Régime and early post– Revolution France. Initial chapters present the diversity of restoration practice, encompassing not only royal institutions and the Louvre museum but also private art dealers, artists, and craftsmen, and examine questions of trade secrecy and the changing role of the restorer. Following chapters address the influence of restoration and exhibition on the aesthetic understanding of paintings as material objects. The book closes with a discussion of the institutional and political uses of restoration, along with an art historical consideration of such key concepts as authenticity, originality, and stability of artworks, emphasizing the multilayered dimension of paintings by such important artists as Titian and Raphael. There is also a useful dictionary of the main restorers active in France between 1750 and 1815.
In this first volume we present all the images realized for the volume: "Histoire del la Maison Militaire du Roi de 1814 a 1830". A great work realized in 1890 by Eugène Titeux. The work is in two volumes with a total of 84 color plates. Our edition is based almost entirely on the Viskuezzen collection, which belongs to the NYPL, to whom we are particularly grateful. We left all the captions of the plates in the original French text. All the plates have been extensively restored and, in some parts, reconstructed, since the originals preserved at the NYPL are mostly not in good condition, often assembled in rough cut-outs etc.When Louis XVIII returns to France in 1814, he intends to give back brightness to his house. The order of May 25, 1814 endorses the creation of several units, some of which had already disappeared before the revolution. In 1814, the Maison militaires du Roi consists as follows: Gardes du corps du Roi (five companies); Cent-Suisses (one company); Gardes de la Porte (one company); Gardes de la Prévôté (one company); Gardes du corps du Monsieur (two companies); Mousquetaires du Roi (two companies); Gendarmes de la Garde (one company); Chevau-légers de la Garde (one company); Grenadier at cheval de la Garde (one company).
This volume goes behind the scenes to reveal the history and metamorphosis of the Hôtel de la Marine, a treasure of Parisian heritage. The Hôtel de la Marine, an exemplary monument on Paris’s Place de la Concorde, is a superb architectural achievement constructed in the eighteenth century by Ange-Jacques Gabriel, the official architect of King Louis XV. The institution it housed was charged with choosing, purchasing, and maintaining all of the king’s furniture—from beds to the simplest chair—and the crown’s treasures were stored here until 1789, after which it became the site of the Ministry of the Navy for more than two hundred years. An extensive four-year restoration was completed in 2021; the building reopened to the public and features a museum, conserved apartments that highlight the tastes of the eighteenth and nineteenth centuries, an exhibition hall, a bookshop, and three restaurants. Previously unpublished photography captures the splendor and majesty of the monument.
Sam and Bud intended to move to France and create a simple life with their children. However they bought a 17th century chateau with over thirty rooms. With modest savings, they restored the building and started a bed and breakfast against resistance from the locals. This is a glimpse into what it takes to leave everything behind to pursue a dream.
Here is an incomparably rich portrait of France in the years when the disparate elements that made up the fragmented kingdom of the ancien regime were forged into the modern nation. The survey begins with an exploration of national obsessions and attitudes. It considers the tendency to revolution and war, the preoccupation with the idea of a New Order and the deep strain of national paranoia that was to be intensified by the dramatic debacle of the Franco-Prussian War. Robert Tombs then investigates the structures of power and in Part Three he turns his attention to social identities, from the individual and family to the nation at large. When every aspect of the period has been put under the microscope, Robert Tombs draws them all into the broad political narrative that brings the book to its rousing conclusion. Bursting with life as well as learning, this is, quite simply, a tour de force.