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East Asian Aesthetics and the Space of Painting in Eighteenth-Century Europe
An insightful look at how East Asian notions of space transformed Western painting. This volume offers the first critical account of how European imports of East Asian textiles, porcelain, and lacquers, along with newly published descriptions of the Chinese garden, inspired a revolution in the role of painting in early modern Europe. With particular focus on French interiors, Isabelle Tillerot reveals how a European enthusiasm for East Asian culture and a demand for novelty transformed the dynamic between painting and decor. Models of space, landscape, and horizon, as shown in Chinese and Japanese objects and their ornamentation, disrupted prevailing design concepts in Europe. With paintings no longer functioning as pictorial windows, they began to be viewed as discrete images displayed on a wall—and with that, their status changed from decorative device to autonomous work of art. This study presents a detailed history of this transformation, revealing how an aesthetic free from the constraints of symmetry and geometrized order upended paradigms of display, enabling European painting to come into its own.
New Essays on Diderot
The great eighteenth-century French thinker Denis Diderot (1713–84) once compared himself to a weathervane, by which he meant that his mind was in constant motion. In an extraordinarily diverse career he produced novels, plays, art criticism, works of philosophy and poetics, and also reflected on music and opera. Perhaps most famously, he ensured the publication of the Encyclopédie, which has often been credited with hastening the onset of the French Revolution. Known as one of the three greatest philosophes of the Enlightenment, Diderot rejected the Christian ideas in which he had been raised. Instead, he became an atheist and a determinist. His radical questioning of received ideas and established religion led to a brief imprisonment, and for that reason, no doubt, some of his subsequent works were written for posterity. This collection of essays celebrates the life and work of this extraordinary figure as we approach the tercentenary of his birth.
Modes of Play in Eighteenth-Century France
Collecting diverse critical perspectives on the topic of play—from dolls, bilboquets, and lotteries, to writing itself—this volume offers new insights into how play was used to represent and reimagine the world in eighteenth-century France. In documenting various modes of play, contributors theorize its relation to law, religion, politics, and economics. Equally important was the role of “play” in plays, and the function of theatrical performance in mirroring, and often contesting, our place in the universe. These essays remind us that the spirit of play was very much alive during the “Age of Reason,” providing ways for its practitioners to consider more “serious” themes such as free will and determinism, illusions and equivocations, or chance and inequality. Standing at the intersection of multiple intellectual avenues, this is the first comprehensive study in English devoted to the different guises of play in Enlightenment France, certain to interest curious readers across disciplinary backgrounds.
A Natural History of Revolution
How did the French Revolutionaries explain, justify, and understand the extraordinary violence of their revolution? In debating this question, historians have looked to a variety of eighteenth-century sources, from Rousseau’s writings to Old Regime protest tactics. A Natural History of Revolution suggests that it is perhaps on a different shelf of the Enlightenment library that we might find the best clues for understanding the French Revolution: namely, in studies of the natural world. In their attempts to portray and explain the events of the Revolution, political figures, playwrights, and journalists often turned to the book of nature: phenomena such as hailstorms and thunderbolts found...
Amphion Orator
This new approach to Malherbe's odes interweaves political, cultural, rhetorical, and literary history to show how they constitute a unified sequence whose ambition is to forge a new national community in the aftermath of the Wars of Religion, dislodging Malherbe from his moribund critical reception as a grammarian and technician and recovering the brilliance of a poetic genius whose political mythmaking stems from an impassioned patriotism.
Diderot Studies
Sommaire: I. Forewords II. The First Salons Presentation: T. Belleguic, "La matiere de l'art: Diderot et l'experience esthetique dans les premiers Salons"; S. Agin, "The Development of Diderot's Salons and the Shifting Boundary of Representational Language"; M. Delon, "Les Essais sur la peinture ou la place de la theorie"; S. Lojkine, "Le probleme de la description dans les Salons de Diderot"; M. Rioux-Beaulne, "Note sur la communication des passions en peinture: le Salon de 1763"; F. Boulerie, "Diderot et le vocabulaire technique de l'art: des premiers Salons aux Essais sur la peinture"; M. Hobson, "Le temps de la couleur: le Salon de 1763 de Diderot"; K. Kovacs, "La couleur et le sentiment...
S'exprimer autrement : poétique et enjeux de l'allégorie à l'Âge classique
Le recueil à paraitre compte une vingtaine de contributions présentées lors du colloque du CIR 17 tenu à Toronto en mai 2014 sur le thème de l'allégorie. Le XVIIe siècle est sans aucun doute l'age d'or de l'allégorie, au point où Francois Hédelin, dit l'abbé d'Aubignac, songe à fonder une Académie des Allégories pour rivaliser avec l'Académie francaise. Les intervenants au colloque du CIR 17 sont invités à examiner la pratique de l'allégorie sous l'une de ses multiples formes (emblèmes, apologues, héraldique, oeuvres à clefs, iconographie, topographie sentimentale ou morale, paraboles, exégèse biblique, polémiques littéraires ou religieuses), mais aussi les écrits qui théorisent sur les codes artistiques ou littéraires et leurs interprétations.
Claude Boyer: Le Comte d'Essex. Tragédie
Figurant parmi les écrivains dramatiques maintenant sous-estimés, Claude Boyer (1618-1698) fit représenter à Paris, au cours d'une longue carrière, vingt-quatre pièces de théâtre, alors qu'une poignée d'autres a connu un sort moins certain. Soumis aux attaques constantes d'une cabale menée par Furetière, Boileau et Racine, il rédigea en 1678 un Comte d'Essex qui concurrença une tragédie du même nom de Thomas Corneille, représentée le mois précédent. Reçu à l'Académie Française en 1666, Boyer est un auteur talentueux : la critique moderne souligne ses qualités de technicien du théâtre, sa précision et son souci du détail, ses intrigues complexes et mouvementées. Georges Forestier le considère comme « probablement le meilleur des auteurs de second rang ».
