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Showing 121 to 130 of 146 (0.028 seconds)Spelling suggestions: "subject:"napoleon"" "subject:"napoleons""
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Diadem och identitet : En studie kring identiteter i kejsarinnan Josephines pärl- och kamédiadem / Diadem and Identity : A Study on Identities in Empress Josephine's Pearl and Cameo Diademaf Klinteberg, Kristina January 2020 (has links)
This paper, on the identities shown in one of the cameos in Empress Josephine’s pearl and cameo diadem, has first of all focused on the mythological characters, and thereafter raised the question if these are to be seen as an allegory for people from the time. The process of identi-fication has followed the three levels in Panofsky’s method for analysing art, where the first and second levels consist of already known material from the Bernadotte Library, Royal Palace in Stockholm and the jeweller house of Chaumet (former Nitot et Fils) in Paris. To decipher both the mythological individuals and the possible allegories, that is the third level, the iconology itself, the thoughts and methods of Göran Hermerén on the rise and fall of allegories along with Leora Auslander’s solutions using visuals comparisons, when no written material is available, have provided the academic framework for the study. When comparing the cameo with pieces of art from the time, the subject fits the description of the Roman mythology’s love goddess Venus and her son Cupid, the lovechild fathered by Mars. Moving on to allegories, well-known material shows that Emperor Napoleon was keen to be portrayed as the god of war Mars and Empress Josephine as Venus. A portrait of special interest to the study, a rather private painting by Parent from 1807, which is probably still unknown to most people, shows how Josephine is depicted with a recently deceased grandchild, a young boy how was also the nephew of Napoleon’s, a close relative to them both, and in the line of succession to the throne, while Napoleon still was Emperor. This picture has an expression which is close to the one of Venus and Cupid, and it is also made to look like a cameo. These portraits were known at the time when Napoleon gave the diadem to Josephine in 1809. Among portraits from the Napoleonic era, there has earlier only been one known painting, even if in two examples, where the diadem is shown. It is a miniature of Empress Josephine, a work from her final period at Malmaison, 1814. However, another miniature picturing the daughter Hortense in the very same piece of jewellery, from 1812, has now become known. In both these examples, the depicted cameo has a hight measuring only millimetres, why a discussion on the execution and the rendering has to be done with restraint. But in the daughter´s portrait there is a certain attempt to show the outlines of the central cameo that differs from the later painting of the Empress. This may be an indication of how much more important it was for the daughter to relay the picture of her mother and the memory of her son, in 1812, than it was for Josephine in 1814, after the divorce, probably after the fall of Napoleon too, when she was no longer his Venus, and there was no longer a throne for any of her grandsons to inherit. Therefore, in short, the chosen methods give the answer that the mythology depicted is a scene of Venus and her son Cupid, and the allegorical interpretation of Venus is the Empress herself. The child in shape of Cupid here, may well be read as one of her daughter’s sons, at the time a much longed-for heir to the throne of Napoleon I.
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The United States and Liberal Democracy in El SalvadorMarsh, Richard Charles January 2021 (has links)
No description available.
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Quadriga bei der Retourkutsche in Cochstedt: Welch ein Ereignis für die Stadt CochstedtBarth, Edgar, Bartzack, Harald, Müller, Kurt 25 October 2023 (has links)
No description available.
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L’art et la bataille : représenter les campagnes d’Italie : (1800 ; 1859) / The art and the battle : a study on the way of representing the French Italian campaigns : (1800 ; 1859)Nicolas, Aude 14 December 2015 (has links)
Cette étude a pour but d’analyser les représentations peintes – mais aussi, à chaque fois que cela était pertinent pour le propos, les dessins, les photographies et les sculptures – des campagnes d’Italie de 1800 et de 1859. L’approche comparative de ces deux événements met en parallèle les héritages et les innovations artistiques d’« un Napoléon à l’autre », en posant à chaque fois la question de la volonté de précision et des connaissances des artistes chargés d’immortaliser les grandes phases de ces conflits, de manière à apporter un regard principalement centré sur les aspects militaires de ces représentations, en recourant notamment à l’étude iconographique. S’il s’agit avant tout d’un travail d’histoire de l’art, s’appuyant sur l’analyse stylistique et sur la réception critique des œuvres, l’approche méthodologique proposée croise d’autres disciplines afin de détailler la conception et l’organisation des œuvres : topographie, stratégie, tactique et, plus largement, d’autres domaines plus spécifiquement liés au patrimoine militaire (uniformologie, emblématique, armement…). Les œuvres sont également confrontées aux objets conservés et à l’histoire militaire qu’elles représentent, afin de comprendre comment les artistes ont conçu leurs productions et sont parvenus à rendre les faits. L’organisation du propos est divisée en trois parties, étudiant successivement la représentation topographique (les artistes se sont-ils rendus sur les lieux, ont-ils cherché à être précis en rendant les paysages et les particularités géographiques ?), le rendu de la bataille (comment la traite-t-on au début et au milieu du siècle, trouve-t-on un véritable souci de faire figurer les bonnes unités aux bons endroits et de tenter de comprendre et / ou de recomposer les manœuvres tactiques ?) et la perception héroïque (comment met-on en valeur le héros d’une époque à l’autre et comment différencier une œuvre au rendu réaliste d’une autre vouée à la glorification ou à l’édification ?). / This work deals with a comparative analysis of military paintings representing the French Italian Campaigns (1800 and 1859), including drawings, photographs and sculptures when it is relevant. The parallel is established between artistic heritages and innovations from “a Napoleon to the other”, asking the artists’ willing of precision and military knowledge when they represented these events, so these works of art are studied in a different way focused on a military approach using iconography. Although the main work is in history of art, based on the analysis of formal handling and critical reception, the methodology resorts other sciences in order to examine the artworks composition and organisation in details: in that way, artworks are confronted to topography, strategy, tactic and also military heritage testimonies (uniforms, emblems, weapons…) and history they aimed to show. The work is divided in three parts, successively studying topographical representation (did the artists travelled to see the places and did they represented precise and recognizable geographical details?), the way of painting battles (how fights were figured at the beginning and in the middle of the 19th century, can regiments and tactical manoeuvres be identified correctly?) and heroic perception (how heroes were showed in 1800 and in 1859 and how artworks can be ranked, between glorification and realistic representations?).
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Impact de l'art de la guerre napoléonien dans la seconde moitié du XIXe siècleChalvardjian, Eugène 09 1900 (has links)
Le 18 juin 1815, Napoléon fut renversé à Waterloo, mais son art de la guerre survécut. Il s'agit de cet art militaire qu'il avait révolutionné et dont d'autres firent de nombreuses applications longtemps après sa disparition. S'inspirant des méthodes des théoriciens du XVIIIe siècle, il avait privilégié la stratégie d'anéantissement dans la conduite d'opérations militaires et se classait ainsi dans la catégorie des stratèges recherchant avant tout la bataille décisive en vue de détruire les forces ennemies. À la lumière des tactiques et stratégies que Bonaparte utilisa dans ses plus célèbres campagnes, cette thèse tentera de dégager les méthodes napoléoniennes qui furent le plus souvent utilisées au cours de la seconde moitié du XIXe siècle. Les conflits étudiés durant cette période seront la guerre de Crimée (1853-1856), la campagne d'Italie (1859), la guerre de Sécession américaine (1861-1865), la guerre austro-prussienne (1866) et la guerre franco-prussienne (1870-1871). Cette recherche tiendra compte non seulement de l'influence des progrès de l'armement et des moyens de transport et de communication sur l'art de la guerre en général, mais aussi du contexte économique, financier, politique et militaire des États bélligérants de cette époque. Parmi les nombreux exégètes de Bonaparte du XIXe siècle, deux théoriciens militaires en particulier, Clausewitz et Jomini, se distinguèrent dans l'interprétation savante de la guerre napoléonienne. Tout en analysant l'impact des méthodes de l'Empereur dans les guerres selectionnées, nous allons déterminer dans quelle mesure la vision jominienne des campagnes de Bonaparte divergeait de celle de Clausewitz en ce qui concerne les conflits traités. Nous aborderons ensuite l'influence napoléonienne sur l'administration, l'organisation et les marches des armées impliquées dans les guerres en question et nous porterons une attention particulière à l'impact du système militaire de Bonaparte sur certains aspects du déroulement même des combats. Nous terminerons cette étude par un bref aperçu sur les enseignements que les militaires au XIXe siècle purent dégager des campagnes napoléoniennes pour la conduite des guerres de l'avenir. / On June 18, 1815, Napoleon was defeated at the battle of Waterloo, but his revolutionary warfare survived long after he was gone, and it was put into application in many instances. Inspired by some of the most famous theoreticians of the XVIIIth century, he had favored the strategy of annihilation in the conduct of his military operations, and thus ranked among those strategists who were seeking decisive battles in order to destroy all enemy forces. Based on the strategy and tactics that the Emperor used in his most famous campaigns, this thesis will attempt to highlight the extent to which they were applied during the second half of the XIXth century. The conflicts analysed during this period of time will be the Crimean War (1853-1856), the Italian Campaign (1859), the american Civil War (1861-1865), the Austro-prussian War (1866) and the Franco-prussian War (1870-1871). This study will consider the impact of the advances of technology in the fields of weaponry, and means of transportation and communication, as well as the economic, financial, political and military contexts of the warring nations at that time. In the XIXth century, two military thinkers, Clausewitz and Jomini, emerged as the most notorious interpreters of napoleonic warfare. In the course of our analysis of Napoleon's methods in the above-mentionned conflicts, we will also try to determine the extent to which Jomini's vision of Bonaparte's campaigns differed from that of Clausewitz. We will then analyse Napoleon's infleunce in the administration, organisation and marches of the armies involved in the selected wars, and will pay particular attention to the impact of his warfare on specific aspects of the battles themselves. The final analysis will outline the lessons that the military in the long run drew from Napoleon's campaigns.
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Napoleão Bonaparte entre russos e luso-brasileiros: um estudo comparado de sua representação em Guerra e Paz e Gazeta do Rio de Janeiro / Napoleon Bonaparte between Russians and Portuguese-Brazilians: the comparative study of its representation in War and Peace and Gazeta do Rio de JaneiroSouza, Carolina Ramos de 22 August 2016 (has links)
O presente trabalho tem como objetivo desenvolver uma análise comparada da representação de Napoleão Bonaparte por meio do estudo da obra de Lev Tolstói, Guerra e paz, e dos exemplares da Gazeta do Rio de Janeiro. Para tanto, foi realizado o mapeamento de tais escritos com a finalidade de identificar as referências à figura de Napoleão e o contexto em que estão inseridas. Desta maneira, foi possível identificar as aproximações e os afastamentos entre os dois tipos de representações de Napoleão e a dimensão do mito napoleônico no imaginário de russos e luso-brasileiros. / This work aims to develop a comparative analysis of Napoleon Bonaparte representation through the study of Lev Tolstoys work, War and Peace, and Gazeta do Rio de Janeiros issues. Therefore, the mapping of such writings was done in order to find references to Napoleons figure and the context in which they are inserted. Thus, it was possible to identify the approaches and departures between two types of Napoleons representations and the size of Napoleonic myth in the minds of Russians and Portuguese-Brazilians.
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O circuito das artes pelas letras de Vivant Denon: um nobre patrono para uma nova França (1778-1815) / The path of the arts by the writings of Vivant Denon: a noble patron for a new France (1778-1815)Morales, Maria Angélica Beghini 24 August 2015 (has links)
O objetivo deste trabalho é analisar os elementos contraditórios - ou seja, tanto as características aristocráticas quanto as modernizantes - próprios do período de transição em que a sociedade francesa se encontrava na virada do século XVIII para o XIX, presentes nos escritos de Dominique-Vivant Denon (1747-1825), Directeur Général des Musées durante o Consulado e o Império. Buscaremos compreender como uma figura oriunda da nobreza provinciana francesa conseguiu se equilibrar no jogo de forças políticas que se desenrolou na França com o advento da Revolução e como se tornou uma personagem fundamental na constituição de um dos grandes projetos políticos e culturais do período: a reformulação do Museu do Louvre. Em uma perspectiva mais ampla, pretenderemos investigar, através da produção de Vivant Denon, o fenômeno de reapropriação e ressignificação de uma tradição cultural associada ao Antigo Regime na construção do Império Napoleônico. / The object of this research is to study the contradictory elements - both aristocratic features as the modernizing ones - in the transition period from the eighteenth century to the nineteenth, present in the writings of Dominique-Vivant Denon (1747-1825), Directeur Général des Musées during the Consulate and the Empire. We seek to understand how a figure derived from the French provincial nobility managed to balance the game of political forces that unfolded in France with the Revolution and how he became a fundamental character in the consolidation of a major cultural and political projects of the period: the reformulation of Louvre Museum. In a broader perspective, the present study seeks to understand and investigate, through the writings of Vivant Denon, the phenomenon of reinterpretation of a cultural tradition associated with the Old Regime in the construction of the Napoleonic Empire.
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La fondation des musées sous Napoléon : culture et politique dans les territoires frontaliers annexés : Bruxelles, Genève et Mayence / The creation of museums under Napoleon : culture and policies in the annexed territories : Brussels, Geneva and MainzThate, Heidrun 05 January 2017 (has links)
Cette recherche retrace l’histoire des envois de tableaux de l’État englobant les périodes du Directoire, du Consulat et de l’Empire. Grâce au dépouillement des archives publiques, la correspondance entre les acteurs locaux (maire et préfet, d’un côté) et les pouvoirs centraux(administration muséale et ministère de l’Intérieur, d’un autre côté) a pu être en grande partie reconstituée ; elle retrace la genèse de la naissance des musées de province. La suite chronologique de ces envois d’État de 1798 à 1814 prouve qu’il y a différents moments et différents types d’envois de tableaux. Seuls les envois issus de l’arrêté du 14 fructidor an IX (1er septembre 1801) et ceux issus de l’arrêté complémentaire du 16 fructidor an X (3 septembre 1802) se transformeront en création de musées lors de leur achèvement. Le récit et les aléas de l’histoire des envois donnent aussi un aperçu des convictions du ministre de l’Intérieur Jean-Antoine Chaptal (1756-1832) et de sa politique culturelle. Dès 1803, cette politique ministérielle sera parasitée par la gestion du Directeur général du Musée Napoléon, Dominique-Vivant Denon (1747-1825), qui, pour le moins, ne partage pas les positions du ministre. Parallèlement, germent les premiers bourgeons d’une politique culturelle préfectorale.L’intégration des trois villes de Bruxelles, Genève et Mayence dans la répartition artistique du14 fructidor an IX (1er septembre 1801) ne participe pas d’une politique d’assimilation ; elle relève clairement d’une volonté d’apaisement général de la Nation et d’un effort de réalisation de l’unité nationale chers surtout à Napoléon Bonaparte. / This study explores the distribution of paintings by the French government during the periods of the Directory, Consulate, and the Napoleonic Empire. An examination of public archives resulted in the reconstitution of correspondences between local officials (such as themayor and the prefect) and central powers (administrators at the Louvre Museum and the Minister of the Interior). This research highlights the particular policies of the Minister of the Interior Jean-Antoine Chaptal (1756-1832), and sheds light upon the birth of provincial museums (musées de province). The chronology of these national shipments of paintings from1798 to 1814 demonstrates that there are different moments and different kinds of cultural transfers. Only shipments issued under the decree of Fructidor 14 year IX (1 September 1801)and those of the additional order of Fructidor 16 year X (3 September 1802) resulted in the creation of museums upon completion. The history and vagaries of these shipments also reflect the ideology and political beliefs of Chaptal, author and initiator of these two decrees.From 1803 on, this ministerial policy was challenged by the Director of the NapoleonMuseum (Directeur général du Musée Napoléon), Dominique-Vivant Denon (1747-1825),who did not share the Minister’s point of view. At the same time, the first signs of prefectural cultural policy began to appear. The integration of the three towns, Brussels, Geneva and Mainz, under the artistic redistribution of Fructidor 14, was not so much a sign of political assimilation but rather a general desire to appease the nation and achieve national unity -especially important to Napoleon Bonaparte.
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O circuito das artes pelas letras de Vivant Denon: um nobre patrono para uma nova França (1778-1815) / The path of the arts by the writings of Vivant Denon: a noble patron for a new France (1778-1815)Maria Angélica Beghini Morales 24 August 2015 (has links)
O objetivo deste trabalho é analisar os elementos contraditórios - ou seja, tanto as características aristocráticas quanto as modernizantes - próprios do período de transição em que a sociedade francesa se encontrava na virada do século XVIII para o XIX, presentes nos escritos de Dominique-Vivant Denon (1747-1825), Directeur Général des Musées durante o Consulado e o Império. Buscaremos compreender como uma figura oriunda da nobreza provinciana francesa conseguiu se equilibrar no jogo de forças políticas que se desenrolou na França com o advento da Revolução e como se tornou uma personagem fundamental na constituição de um dos grandes projetos políticos e culturais do período: a reformulação do Museu do Louvre. Em uma perspectiva mais ampla, pretenderemos investigar, através da produção de Vivant Denon, o fenômeno de reapropriação e ressignificação de uma tradição cultural associada ao Antigo Regime na construção do Império Napoleônico. / The object of this research is to study the contradictory elements - both aristocratic features as the modernizing ones - in the transition period from the eighteenth century to the nineteenth, present in the writings of Dominique-Vivant Denon (1747-1825), Directeur Général des Musées during the Consulate and the Empire. We seek to understand how a figure derived from the French provincial nobility managed to balance the game of political forces that unfolded in France with the Revolution and how he became a fundamental character in the consolidation of a major cultural and political projects of the period: the reformulation of Louvre Museum. In a broader perspective, the present study seeks to understand and investigate, through the writings of Vivant Denon, the phenomenon of reinterpretation of a cultural tradition associated with the Old Regime in the construction of the Napoleonic Empire.
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Wordsworth's Gothic politics : a study of the poetry and prose, 1794-1814Duggett, Thomas J. E. January 2007 (has links)
This thesis argues for the deep implication of William Wordsworth’s writings over the period 1794 to 1814 in contemporary discourses of the Gothic. My investigation pivots upon the analogy offered in the preface to The Excursion (1814) between the incomplete epic poem The Recluse and a ‘gothic Church’, and aims, through a reconstruction of its literary and historical contexts, to establish the interpretative value of this figure in reading Wordsworth. I begin with a survey of previous critical approaches to, and a new close reading of, Wordsworth’s Gothic figure for his œuvre. I then trace the history of Gothic as a term in British public discourse since the English Revolution, showing how its contested status in the Revolution controversy of the 1790s inflects such texts as the preface to Lyrical Ballads (1800), the ‘Liberty’ sonnets of Poems, in Two Volumes (1807), and the Preamble to The Prelude. I then move to a series of detailed historical readings of Wordsworth’s key Gothic texts, starting with Salisbury Plain (1794). Recovering the network of associations that made Salisbury Plain legible to Wordsworth in 1793-4 as a map of British history, I show how the poem first subverts and then restores the English Gothic narrative of ‘Celtic night’ giving way to ‘present grandeur’. I then turn to Wordsworth’s Burkean prose tract on the Napoleonic Wars in Spain, The Convention of Cintra (1809), reading it in the context of the Gothic imagery of the conflict, and then arguing on this basis that it forms a vital part of the ‘gothic Church’ of The Recluse. Building upon this reading, I then argue that The Excursion’s advocacy of Andrew Bell’s ‘Madras’ system of ‘tuition by the scholars themselves’ shows Wordsworth’s progressive Gothic politics in action. In concluding, I turn to reconsider, in the light of the preceding chapters, in what sense Wordsworth can be called a Gothic poet.
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