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Om portrætter af den franske maler Jean Auguste Dominique Ingres (1780-1867)
"Sir Thomas Lawrence (1769-1830) was the most gifted and successful British portrait painter in the generation following Gainsborough and Reynolds, and his pre-eminence was publicly confirmed when he was elected President of the Royal Academy of Arts in 1820 ... This book is the first sustained study of the work of Lawrence to be published for many years ..."--Inside front cover jacket.
Vols. for 1867/68- include section with special t.p.: Civil government of Rhode Island.
The meaning of a painted portrait and even its subject may be far more complex than expected, Tamar Garb reveals in this book. She charts for the first time the history of French female portraiture from its heyday in the early nineteenth century to its demise in the early twentieth century, showing how these paintings illuminate evolving social attitudes and aesthetic concerns in France over the course of the century. The author builds the discussion around six canonic works by Ingres, Manet, Cassatt, Cézanne, Picasso, and Matisse, beginning with Ingres’s idealized portrait of Mme de Sennones and ending with Matisse’s elegiac last portrait of his wife. During the hundred years that separate these works, the female portrait went from being the ideal genre for the expression of painting’s capacity to describe and embellish “nature,” to the prime locus of its refusal to do so. Picasso’s Cubism, and specifically Ma Jolie, provides the fulcrum of this shift.
Charles Davies (b.ca. 1706) emigrated from England to Philadelphia, and married Hannah Matson in 1732/1733. Descendants (chiefly spelling the surname Davis) and relatives lived in Pennsylvania, North Carolina, Ohio, Indiana, Iowa, Nebraska, Kansas, Oklahoma, California and elsewhere.
Together with a list of auxiliary and cooperating societies, their officers, and other data.