The Power of Art /anglais

Campbell, Caroline

Little, Brown, US

The Power of Art (paperback) /anglais

In the inter war era, the rise of the largest political movement in modern French history, the powerful Croix de Feu (1927–1936), and its successor, the Parti Social Français, or PSF (1936–1945), led to a sharp rightward turn in France’s political culture. Political Belief in France, 1927–1945 traces the central role of women in this shift, arguing that they transformed the Croix de Feu/PSF from a paramilitary league for veterans into a social reform movement that sought to remake the politics, society, and culture of the French Republic.
Following the creation of a Women’s Section in 1934, the women of the Croix de Feu/PSF developed a wide array of social programs, including welfare services, youth development, and health-care initiatives. At a time of economic depression and high unemployment, these popular programs tempered the organization’s fearsome reputation as a violent paramilitary group. While the efforts of the Women’s Section had the veneer of moderation, they accentuated the long-standing conservative image of France as a deeply Christian society and sought to assimilate people of different ethnoreligious backgrounds into the dominant national community. Croix de Feu/PSF women promoted their socialagenda as a religious and patriotic duty, a reflection of the individual’s responsibility to make personal sacrifices on behalf of their vision for France’s Christian civilization.
The Croix de Feu/PSF’s ethnoreligious nationalism circulated throughout the French imperial nation-state, making the movement the premier defender of an empire at the height of its power. But women in North African branches faced substantial marginalization, and the movement remained dangerously sectarian in the Maghreb, driving indigenous activists from reformism to anticolonialism.
The Croix de Feu/PSF thus set the stage for both the authoritarian, anti-Semitic Vichy regime and the decolonization that followed the war. The first book on women of the French far right in the age of fascism, Political Belief in France, 1927–1945 contributes to the fields of French history, gender studies, the history of fascism, and the history of empire.

Political Belief in France, 1927-1945: Gender, Empire, and Fascism in the Croix de Feu and Parti Social Francais

History

Europe

LSU Press

The Power of Art: A Human History of Art: From Babylon to New York City

Arts & Photography

History & Criticism

Pegasus Books

Bellini And the East (National Gallery London Publications)

Howard, Deborah

Chong, Alan

Yale Univ Pr

Situated between Western Europe and the civilizations of Byzantium and the Islamic world, Renaissance Venice was uniquely positioned at the crossroads of East and West. In the beautiful Adriatic city, ideas and aesthetics were exchanged and developed in a remarkable age of cultural fusion. Venice’s distinctive architecture is already well known for integrating divergent cultural influences, but the impact of this synthesis on Venetian painting has not been fully explored. This gorgeous book focuses on the work of the remarkable Bellini family of paintersJacopo and his sons Gentile and Giovanniwho transformed Venetian painting in the fifteenth and early sixteenth centuries.The authors examine the influence of Venetian trade with the East on Bellini paintings; the Byzantine influence on Venetian art; the impact of a visit to Mehmed II’s court in 1479 on Gentile Bellini, as well as his effect on Eastern-trained artists there; and much more. The book is abundantly illustrated with the Bellini family’s paintings and examples of the Eastern objects that inspired them.

Bellini and the East (National Gallery London Publications)

Chong, Dr. Alan

Rogers, J. Michael

Yale University Press

Siena: The Rise of Painting, 1300–1350

Cannon, Joanna

Wolohojian, Stephan

National Gallery London

Titian (National Gallery London Publications)

In this gorgeously illustrated book, renowned Titian scholars examine some of the celebrated artist’s masterpieces and discuss his life and times, portraits, replicas, and technique. The reproductions and text provide new evidence of Titian’s genius as a stylistic innovator. A gem of a catalog. Interestingly written, well-documented and beautifully illustrated essays update the scholarship on particular aspects of the life and work of Titian. . . . Highly recommended.”Choice

Jaffé, David

Dunkerton, Jill

Fletcher, Jennifer

Penny, Nicholas

Hope, Charles

Falomir, Miguel

Bradley, Amanda

Accompanying an exhibition at The Courtauld Gallery, this catalogue explores one of the most important and historically neglected art forms of Renaissance Florence: cassoni – pairs of chests that were lavishly decorated with precious metals and elaborate paintings and were often the most expensive of a whole suite of decorative objects commissioned to celebrate marriage alliances between powerful families.

Love and Marriage in Renaissance Florence: The Courtauld Wedding Chests (The Courtauld Gallery)

Paul Holberton Publishing

Sir Peter Lely (1618-1680) was Charles II’s Principal Painter and the outstanding artistic figure of Restoration England. When Lely arrived in England in the early 1640s his ambition was to be a painter of narrative scenes and not to work as a portraitist. However, the ‘subject pictures’ did not find favor with many English patrons and he produced less than thirty. As Lely’s friend Richard Lovelace explained, all they wanted was “their own dull counterfeits” or portraits of their mistresses. Thus, Lely was obliged to turn to portraiture to make a living. Yet, his poetic pictures of figures in idyllic landscapes are among the most beautiful paintings made in 17th-century England and this catalog will be the first in-depth look at this important chapter of this major painter’s career. Lely was born in Westphalia and received his artistic training in Haarlem with Frans Pietersz. De Grebber. He came to England around 1643. Few painters had stayed in London following the move of the Royal Court to Oxford, and Lely was therefore free to establish his reputation in the city. By 1650 he had settled at a house on Covent Garden Plaza (a five-minute walk from Somerset House) where he remained for the rest of his life. His major patrons were the ‘Puritan Earls’, a group of cultivated noblemen including the Duke of Northumberland and the Earls of Pembroke and Salisbury, as well as the circle surrounding the Countess of Dysart at Ham House. Lely never met Van Dyck (who had died in London in 1641), but he had the opportunity to study his paintings and those of the great Venetian 16th-century artists Giorgione and Titian in the houses of these wealthy aristocratic patrons. He began to buy these works himself and by the end of his life had amassed one of Europe’s richest collections of 16th- and 17th-century Italian paintings and drawings. It was probably in response to the pictures of Van Dyck and the Venetian Renaissance that he made his most ambitious works, including The Concert (The Courtauld Gallery) and Nymphs by a Fountain (Dulwich Picture Gallery, London). This group of enigmatic paintings are massive in scale and united by strong lighting, idealized landscape settings and a sense of theatricality and sensuality. Unlike many painters, Lely did not rely on classical mythology, but was able to create his own, highly personal dramas. For instance, it is likely that the man playing the viola da gamba in the center of The Concert is the painter himself. The exhibition Peter Lely: A Lyrical Vision at The Courtauld Gallery, London, is on view from 11 October 2012 to 13 January 2013.

Peter Lely: A Lyrical Vision (The Courtauld Gallery)

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