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"Gives a cultural/social history of this loaded fashion symbol ... from 1926 up to the present."--Jacket.

Fashion --- History --- CDL --- 391

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During the Second Empire (1852-1870), Baron Haussmann and Emperor Napoleon III reconstructed Paris into the "City of Light" we know today. The government and other public institutions commissioned many photographers - among them Charles Marville, Henri Le Secq, Edouard-Denis Baldus, and Gustave Le Gray - to record the old Parisian architecture and to document the demolition and reconstruction. In Parisian Views, Shelley Rice explores not only the literal connections between photography and the transformation of Paris but also the metaphorical ones. Each of the book's essays is in itself a "Parisian view." The fragmented, layered quality of the text allows the author to avoid making a linear narrative out of a subject that is enriched by multiple perspectives. Yet all of the essays revolve around a central theme: the creation of modern urban space, in both two and three dimensions, and the impact of this space on the lives of those who walked the streets of Paris of the nineteenth century.

Photography --- History --- CDL --- 77.046 --- Haussmann, Georges Eugène, --- Haussmann, --- Paris (France)

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This work chronicles the life and work of Jacques Bellange, an inventive figure in the art of 17th century. Enormously successful in his own lifetime, Bellange was then forgotten and it is only in the 20th century that he has been rediscovered. His paintings have almost all been lost, and so the only surviving testimony to his talent are his drawings and his 48 prints. This catalogue, published to accompany an exhibition touring London, Pittsburgh, Copenhagen and Amsterdam, reproduces and discusses all of the 48 prints in detail. The introduction describes Bellange's career at the ducal court at Nancy, Lorraine and his place in European printmaking.

Bellange, Jacques --- 76.071 BELLANGE --- CDL --- Bellange, Jacques, --- Artists --- Printmakers --- prints [visual works] --- Painting, French --- Drawing, French --- Prints --- British Museum

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In Seurat and The Bathers the authors discuss the various choices Seurat made with regard to subject, format and technique in preparing this monumental painting. They relate Seurat's working methods - the preparatory oil sketches and drawings - and the painting's physical nature - colour, brushwork and surface - to his academic training, his study of optical theory, the development of his distinctive drawing style, and his early interest in plein-air oil sketching and impressionism. Stylistically, Seurat responded to the French tradition of monumental figure painting and also to contemporary artists, both Salon painters and Impressionists, arriving at a paradoxical but subtle new synthesis. Finally the authors consider the subject matter of the Bathers in relation to other nineteenth-century representations of middle- and working-class life and leisure activities in the Parisian suburbs, particularly at Asnieres.

Seurat, Georges --- -Exhibitions --- Seurat, Georges, --- Sera, Zhorzh, --- Seurat, Georges Pierre, --- Hsiu-la, --- סרא, ז׳ורז׳, --- Exhibitions. --- CDL --- 75.071 SEURAT

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Neoclassicism, which flourished between 1750 and 1850, was the most pervasive style in the history of European art. Irwin looks at all its manifestations, its scope and its appeal, from the fine to the utilitarian.

Art styles --- anno 1700-1799 --- anno 1800-1899 --- Europe --- Neoclassicism (Art) --- CDL --- 7.034/035 --- Art, Modern --- Classicism in art --- Revival movements (Art)