De chair et de marbre. Imiter et exprimer le nu en France (1745-1815)
Martial Guédron
This book presents an imaginative and knowing reading of artistic education and practice in France during the 18th century.

by Hollis Clayson (2002)
"The siege of Paris by Prussians in the fall and winter of 1870 and 1871 turned the city upside down, radically altering its appearance, social structure, and mood. As Hollis Clayson demonstrates in Paris in Despair, the siege took a heavy toll on the city's artists, forcing them out of the spaces and routines of their insular prewar lives, and literally thrusting onto the ramparts the many among them who became soldiers.". "But the crisis did not halt artistic production, as some have suggested. In fact, Clayson argues that the siege actually encouraged innovation, fostering changed attitudes and new approaches to representation among a wide variety of artists as they made art out of their individual experiences of adversity and change - art that has not previously been considered within the context of the siege. Clayson focuses especially on Rosa Bonheur, Edgar Degas, Jean-Alexandre-Joseph Falguiere, Edouard Manet, and Henri Regnault, but she also covers a host of other artists, including Louis-Ernest Barrias, Gustave Courbet, Edouard Detaille, Pierre Puvis de Chavannes, Albert Robida, and James Tissot. Paris in Despair includes more than two hundred color and black-and-white images of works by these artists and others, many never before published.". "Using the visual arts as an interpretive lens, Clayson illuminates the wide range of issues at play during the siege and thereafter, including questions of political and cultural identity, artistic masculinity and femininity, public versus private space, everyday life and modernity, and gender and class roles in military and civilian society. For anyone concerned with these issues, or with nineteenth-century French art in general, Paris in Despair will be a landmark work."--BOOK JACKET.
Martial Guédron
This book presents an imaginative and knowing reading of artistic education and practice in France during the 18th century.
Bruce Altshuler
The avant-garde is a twentieth-century phenomenon. By the turn of the nineteenth century, artists were beginning to address a far larger audience than ever before, and it was one on whose understanding they could no longer depend. Aesthetic concerns, too, had shifted from representing visual phenomena to reconfiguring the visible world in new and complicated ways. The public was rarely amused. Indeed, as these newer forms of art were presented in now famous exhibitions, derision and anger were the customary responses of the public and the critics. Artists formed more or less cohesive groups of like-thinking individuals who styled themselves the "avant-garde," really a military term for those pathfinders who first venture into unknown or enemy territory. Through photographs of personalities, installations, and works of art, and in a lively text that recounts the artistic thinking and the gossip that surrounded each new movement, The Avant-Garde in Exhibition: New Art in the 20th Century traces this phenomenon from its beginnings in the Fauvist Salon d'Automne in Paris in 1905 through such notorious events as the exhibitions of the Section d'Or (Paris) and the Blue Rider (Munich), the Armory Show (New York), the Futurist 0-10 exhibition (Petrograd), the Dada Fair (Berlin), the Nazi's Degenerate Art Exhibition (Munich), the First Papers of Surrealism (New York), Peggy Guggenheim's Art of This Century (New York), the Ninth Street Show (New York), the Gutai Art Association (Japan), Le Vide (Paris), Full-Up (Paris), the New Realists (New York), Primary Structures (New York), and When Attitudes Become Form (Bern).
Sandy Isenstadt
"In The Modern American House, Sandy Isenstadt examines how architects, interior designers, and landscape designers worked to visually enhance spatial perception in middle-class houses. The desire for spaciousness reached its highest pitch where it was most lacking, in the small, single-family houses that came to be the cornerstone of middle-class life in the nineteenth century. In direct conflict with actual dimensions, spaciousness was linked to a tension unique to the middle-class: between spatial aspirations and financial limitations. Although rarely addressed in a sustained fashion by theorists and practitioners: Isenstadt argues that spaciousness was central to the development of modern American domestic architecture, with explicit strategies for perceiving space being pivotal to modern house design. Through professional endorsement, concern for visual space found its way into discussion on the course of a century of real estate taste and law. This book documents how visual space came to be internalized as a cultural value."--Jacket.
Daniel Marchesseau
"This volume presents Diego Giacometti's oeuvre almost in its entirety and offers many heretofore unpublished insights into his life and work. From his childhood in a small village in Switzerland, through his adolescent wanderings, his collaborative efforts with his brother in Paris, and his coming-of-age as a furniture-maker and sculptor, all the way up to the pinnacle of his career - his last and greatest commission, the furniture and lighting fixtures for the Musée Picasso in Paris - Diego's intellectual and technical developments are probed in this book. Daniel Marchesseau examines the work that made Diego famous: his bronze-cast tables, chairs, and accessories, and the tiny bestiary that decorated them; his bronze and plaster sculpture; and the work he completed with his brother Alberto."--book jacket.