40,178 research outputs found
“Proven patriots”: the French diplomatic corps, 1789-1799
No full textThis study analyzes a hitherto unexamined group, the French diplomatic corps during the Revolution (1789 to 1799), and focuses on the question of loyalty and conscience. For some diplomats choice was an illusion as their status often determined their fate. Some supported the king and continued to do so in spite of the high cost, often creatively sabotaging the Revolution. Others put nation, as they defined it, above king. Because the definition of loyalty constantly shifted the corps, like the army and the bureaucracy, was periodically purged. Those who had worked for or been sympathetic to the old regime or those who had allied with a certain political faction came under scrutiny. The turmoil in the diplomatic corps not only had international repercussions but also reflects larger societal trends, such as the attack on the aristocracy and the displacement of one elite by another. The French diplomatic corps was thus emblematic of many issues surrounding the revolutionary struggle of this decade.Publisher PD
Simon Hantaï: Round table discussion
No full textEdited transcript of the round table discussion about the work of Simon Hantaï held at the French Institute, 3 June 2014 François Rouan, Isabelle Monod-Fontaine, Mick Finch, Philip Armstrong, Stuart Elliot, Andy Harper, Laura Lisbon and Daniel Sturgis.
The round table discussed the work of the Hungarian painter Simon Hantaï (1922-2008) has gained increasing recognition in the last few years, particularly in terms of major retrospectives at the Centre Pompidou in Paris and the Villa Medici in Rome as well as an important exhibition at the Paul Kasmin Gallery in New York. After Hantaï moved to France in 1949, the series of paintings he made from the 1960s on – where processes of folding were materially at the heart of his practice – became a major and continuing influence on successive generations of French artists
Simon Hantaï: round table discussions
No full textThe work of the Hungarian painter Simon Hantaï (1922-2008) has gained increasing recognition in the last few years, particularly in terms of major retrospectives at the Centre Pompidou in Paris and the Villa Medici in Rome as well as an important exhibition at the Paul Kasmin Gallery in New York. After Hantaï moved to France in 1949, the series of paintings he made from the 1960s on – where processes of folding were materially at the heart of his practice – became a major and continuing influence on successive generations of French artists. The evening’s event will comprise two round table discussions. The first will look at the recent reception of Simon Hantaï and concentrate on a discussion with the artist François Rouan and Isabelle Monod-Fontaine who was one of the curators of the recent retrospective at the Centre Pompidou. The second will look at Simon Hantaï’s ongoing influence for subsequent artists and thinkers.
Speakers: François Rouan, Isabelle Monod-Fontaine, Mick Finch, Philip Armstrong, Stuart Elliot, Andy Harper, Laura Lisbon and Daniel Sturgi
DHMS: Simon Burrows on the French Book Trade in Enlightenment Europe
No full textSimon Burrows (Professor of History, Western Sydney University) explains the sources, data processing, and digital methods and platforms used in the French Book Trade in Enlightenment Europe Project. http://fbtee.uws.edu.au/main/ He also assesses how far digital analysis revises our understandings of the ‘literary field’, including the efficacy of the French book police, the reception of enlightenment texts, popular religiosity, or even how the French paper industry helped shape literary production on the eve of the revolution of 1789
Hold still, Madame: wartime gender and the photography of women in France during the Great War
No full textThis study investigates French images of women during the First World War, the feminine postures and roles captured by photographers, how female images were used in the wartime media and by the state, and how captions and other textual modes strengthened an overarching message of total consent. By analysing the three most prominent genres of female imagery during the period – women in distress, feminine devotion, and women toiling for the war effort – this book seeks to demonstrate how photography assisted in the gender work of the war. Photographers and publishers showed how traditional feminine traits could contribute to a male-designed and directed war effort, while also concealing instances of female dissent, which included feminist, socialist, popular and pacifist objections to the war. Yet, although the archives contain few wartime images created by French women themselves, this work also introduces a small group of period photographs, lithographs, articles and literary works that disrupted the visual narrative of subordination.Publisher PD
French Royal Palace
No full textMedium: etchingMedium: engravingsigned and dated."French Royal Palace" [1959.4668.000.000], Thomassin, Henri Simon, Coypel, AntoineArtist and Role: Thomassin, Henri Simon,Artist and Role: Coypel, Antoine, ArtistExtent: sheet (irregular
Simon Girty illustration
No full textIllustration of Simon Girty, Ohio Country frontiersman, printed in Volume 6 of the Ohio Archaeological and Historical Publications by the Ohio State Archaeological and Historical Society. Girty was born in Chambers Mill, Pennsylvania, in 1741. During the French and Indian War, his family sought refuge in Fort Granville, which was captured in 1755 by an army of French soldiers and native Indians. Girty eventually found himself in the hands of the Seneca Indians who took him to the Ohio Country and adopted him. His knowledge of Indian culture and language was highly sought after during the American Revolutionary War as both the British and Americans hoped to secure alliances with various local tribes. Girty first aligned himself with the Americans. However, he was discharged from the American military in 1777 and afterwards offered his help to the British. After the war, Girty continued to aid the Indians of the Ohio Country in resisting further settlement of the Ohio Country, participating in the Battle of Fallen Timbers in 1794. He eventually moved to Canada, where he died in 1818
Simon Girty on horseback illustration
No full textIllustration of Simon Girty, Ohio Country frontiersman, from "History of Ohio in Words of One Syllable" by Anne Cole Cady, printed in "An Ohio Portrait" by George W. Knepper. Girty was born in Chambers Mill, Pennsylvania, in 1741. During the French and Indian War, his family sought refuge in Fort Granville, which was captured in 1755 by an army of French soldiers and native Indians. Girty eventually found himself in the hands of the Seneca Indians who took him to the Ohio Country and adopted him. His knowledge of Indian culture and language was highly sought after during the American Revolutionary War as both the British and Americans hoped to secure alliances with various local tribes. Girty first aligned himself with the Americans. However, he was discharged from the American military in 1777 and afterwards offered his help to the British. After the war, Girty continued to aid the Indians of the Ohio Country in resisting further settlement of the Ohio Country, participating in the B
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