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Demand Patterns in France, Germany, and Belgium
The need to revive Euro area growth highlights the importance of the evolution of domestic and external demand in the core. This paper puts recent demand patterns in France, Germany, and Belgium into historical perspective. We find that, first, dynamics for private consumption, non-residential business investment, and exports since 2008 is dominated by conventional determinants, with no discernible structural break as a result of the crisis. Second, although country-specific factors matter in some cases, demand patterns in these countries are largely driven by common determinants. Third, developments in common fundamentals tend to dominate demand dynamics, coupled, in a few cases, with structurally different elasticities across countries. Fourth, short-term analysis suggests a role for confidence and uncertainty factors in explaining temporary deviations of these variables from long-term fundamentals.
Real Unit Labor Costs Differentials in EMU+L4700
Real unit labor costs (RULC) growth differentials between euro area members have persisted since EMU began and even widened out in the run-up to the crisis. This paper focuses on the causes underlying such dispersion. According to our empirical findings, persistent RULC growth differentials can be attributed to divergent evolutions in capital-output ratios, nominal effective exchange rates and country-specific institutional features, coupled with an increased sensitivity of RULC to fundamentals following the shift in the monetary regime. Because these RULC growth discrepancies in EMU partly result from heterogeneous structural characteristics, policy action seeking more homogenous regulation across the euro area can make a significant contribution to reduce them.
Conflicts Between Generalization, Rigor, and Intuition
This volume is, as may be readily apparent, the fruit of many years’ labor in archives and libraries, unearthing rare books, researching Nachlässe, and above all, systematic comparative analysis of fecund sources. The work not only demanded much time in preparation, but was also interrupted by other duties, such as time spent as a guest professor at universities abroad, which of course provided welcome opportunities to present and discuss the work, and in particular, the organizing of the 1994 International Graßmann Conference and the subsequent editing of its proceedings. If it is not possible to be precise about the amount of time spent on this work, it is possible to be precise about the date of its inception. In 1984, during research in the archive of the École polytechnique, my attention was drawn to the way in which the massive rupture that took place in 1811—precipitating the change back to the synthetic method and replacing the limit method by the method of the quantités infiniment petites—significantly altered the teaching of analysis at this first modern institution of higher education, an institution originally founded as a citadel of the analytic method.
Vigée Le Brun
Elisabeth Louise Vigée Le Brun (1755–1842) was one of the finest eighteenth-century french painters and among the most important women artists of all time. Celebrated for her expressive portraits of French royalty and aristocracy, and especially of her patron Marie Antoinette, Vigée Le Brun exemplified success and resourcefulness in an age when women were rarely allowed either. Because of her close association with the queen Vigée Le Brun was forced to flee France during the French Revolution. For twelve years she traveled throughout Europe, painting noble sitters in the courts of Naples, Russia, Austria, and Prussia. She returned to France in 1802, under the reign of Emperor Napoleon I...
The Exceptional Woman
Elisabeth Vigee-Lebrun (1755-1842) was an enormously successful painter, a favorite portraitist of Marie-Antoinette, and one of the few women accepted into the Royal Academy of Painting and Sculpture. In her role as an artist, she was simultaneously flattered as a charming woman and vilified as monstrously unfeminine. In the Exceptional Woman, Mary D. Sheriff uses Vigee-Lebrun's career to explore the contradictory position of "woman-artist" in the moral, philosophical, professional, and medical debates about women in eighteenth-century France. Central to Sheriff's analysis is one key question: given the cultural norms and social attitudes that regulated a woman's activities, how could Vigee-...
Revolutionary Paris and the Market for Netherlandish Art
Revolutionary Paris and the Market for Netherlandish Art restores attention to the aesthetic, intellectual, and economic link between two key periods in the history of art: the “Golden Age” of Dutch and Flemish painting and that of the French Revolution.
Art Theory
Indispensable reading for both art lovers and students, Art Theory, 2nd Edition explores Western thought about art from ancient times to the post-modern period. Wide-ranging and exceptionally balanced in its analysis, Art History relates theory to the practice as well as to the intellectual and cultural-historical currents of each period. This new edition expands the original to include more indepth coverage of contemporary art. Newly updated bibliography and suggestions for further reading Six chapters covering the major periods of Western art history: Antiquity and the Middle Ages, the early modern period (Renaissance and Baroque), the Enlightenment, the nineteenth century, early twentieth-century modernism, and postmodernism. Geared to the needs of the general reader and beginning students
Theodore Rousseau
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A Kingdom of Images
Once considered the golden age of French printmaking, Louis XIV’s reign saw Paris become a powerhouse of print production. During this time, the king aimed to make fine and decorative arts into signs of French taste and skill and, by extension, into markers of his imperialist glory. Prints were ideal for achieving these goals; reproducible and transportable, they fueled the sophisticated propaganda machine circulating images of Louis as both a man of war and a man of culture. This richly illustrated catalogue features more than one hundred prints from the Getty Research Institute and the Bibliothèque nationale de France in Paris, whose print collection Louis XIV established in 1667. An es...
