Gateway to the Twentieth Century: Art and Culture in a Changing World

By Jean Cassou; Emil Langui et al. | Go to book overview

NOTES ON THE PLATES

I DELAUNAY, ROBERT - Paris 1885 - Montpellier 1941 - Delaunay made a start in an atelier for decoration, but in 1904 he came into contact with the Pont-Aven school, and decided to devote himself henceforth to painting. After a Neo-Impressionist period he became a pioneer of Cubism. In 1911 he was invited to exhibit with the Blaue Reiter group in Munich. This period saw his first abstract works, to which Apollinaire gave the name of 'Orphism'. In 1913 he exhibited with the Sturm group in Berlin. This was the beginning of the circular form period. Delaunay had a great influence on Klee and Kandinsky, and he greatly contributed to the development of abstract art. -- See 156.

THE CARDIFF TEAM ( 1912-1913) - Figurative themes still persist in this work, but soon afterwards they disappeared completely from Delaunay's work in favour of pure abstraction. This picture was shown at the Rétrospective des Indépendants in 1906. Canvas 196,5 x 130 cm.

Eindhoven, Stedelijk van Abbe Museum

1 FLYING MEN - Front cover of L'Illustration of November 2nd 1907. Henri Farman ( 1874-1958) aviator and aeroplane builder. In the following year he was to win the prize for flying a kilometre in a closed circle with the Voisin machine. Robert Esnault-Pelterie ( 1881-1957), launched the theory of inter-planetary navigation by means of the jet-driven rocket. Elected member of the Académie des Sciences in 1936.

Paris, Bibliothèque Nationale

2 BLÉRIOT'S AIRCRAFT ( 1908) - Louis Bleériot, aviator and aeroplane builder ( 1872-1936). Blériot was the first man to fly the Channel in an aeroplane ( July 25th 1909).

Paris, Musée des Arts et Métiers

3 ' LA FUSÉE' - Electric locomotive. Heilmann system ( 1894).

Paris, Musée des Arts et Métiers

4 A RENAULT AUTOMOBILE ( 1908).

Paris, Union centrale des Arts décoratifs, 'Maciet' Collection

5 A FORD MODEL 'T' ( 1908) - The model 'T' was a great success, and eighteen million were sold. Manufacture stopped only just after the 1914-18 war.

Paris, Musée des Arts et Métiers

6 A DION-BOUTON AUTOMOBILE ( 1898).

Paris, Union centrale des Arts décoratifs, 'Maciet' Collection

7 FIRST SERIES OF 34 DÉCAUVILLE RAILWAY POSTERS Exhibited at the Universal Exhibition in 1889. The posters appeal to the general public to take care -- in all languages. Paul Décauville ( 1846-1922) designed the equipment for the narrow guage railways with which his name has remained connected.

Paris, Union centrale des Arts décoratfis, 'Maciet' Collection

8 PARIS UNIVERSAL EXHIBITION 1889 - The central dome and the Coutan fountain.

Paris, Union centrale des Arts décoratifs, 'Maciet' Collection

9 PARIS UNIVERSAL EXHIBITION 1900 - Foreign pavilions on the Quai des Nations.

Paris, Union centrale des Arts décoratifs, 'Maciet' Collection

10 PARIS UNIVERSAL EXHIBITION 1900 - The watertower on the Champ de Mars. Decoration of the top of the supporting towers and lower part of the roof. Sketch after the mock-up of the architect E. Paulin.

Paris, Musée des Arts décoratfis. Library. 'Maciet' Collection

11 TITLE-PAGE OF THE 'ENCYCLOPÉDIE DU SIÉCLE' for the number devoted to the Paris Universal Exhibition 1900. Designed by the painter Luigi Loir ( 1845-1916).

Paris, Bibliothèque Nationale

12 CHICAGO UNIVERSAL EXHIBITION 1893 - The Golden Gate, designed by Louis Sullivan ( 1850 1924).

New York, Museum of Modern Art

13 PARIS UNIVERSAL EXHIBITION 1900 - The entrance - Cover of the 'Encyclopédie du Siècle'. The entrance was designed by the architect R. Binet ( 1866-1911).

Paris, Bibliothèque Nationale

14 CARPEZAT, M. DÉCOR FOR 'SALAMMBÔ' by Reyer - Act IV. Scene I. Hall in the Palace of Omphale. One of the best works of the composer Ernest Reyer (1823 1909). Taken from Flaubert's book of the same title (libretto by Camille de Locle) and presented for the first time at the Paris Opera House in 1890.

Paris, Bibliothèque de l'Arsenal

15 ROLLER, ALFRED - Brünn 1864 - Vienna 1935 Painter and draughtsman. Studied at the Vienna Academy. Teacher at the School of Applied Arts. DÉCOR FOR 'DER ROSENKAVALIER' by Richard Strauss ( 1911) - Light opera, libretto by Hugo von Hofmannsthal. This décor was used for the first night in Dresden in January 1911, and for the Vienna performance in April of the same year.

Vienna, Institut für Theaterwissenschaft

16 'LE POINT' - Page from No. 37, dated April 1949 devoted to official art. In this number Francis Jourdain published a violent diatribe against Academism.

17 GÉRÔME, JEAN-LÉON - Vesoul 1824 - Paris 1904 - Genre and historical painter, sculptor and engraver, GÉrÔme worked in Paris in the atelier of Delaroche. He taught at the École des BeauxArts and was a member of both the Académie des Beaux-Arts ( 1865) and of the Institut. -- See 26. SARAH BERNHARDT.

18 ROCHEGROSSE, GEORGES - Versailles 1859 1938- Historical painter, his complex art combines the talent of an archaeologist with the ability of a Flaubert to re-create the past.

THE FALL OF BABYLON - This picture illustrates in particular the artist's pictorial and archaeological sense.

-335-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
Gateway to the Twentieth Century: Art and Culture in a Changing World
Table of contents

Table of contents

  • Title Page 1
  • Contents 3
  • Epochs of European Art 4
  • The Climate of Thought 5
  • The Visual Arts from 1884 to 1914 125
  • Architecture and the Applied Arts 229
  • SOURCES OF ILLUSTRATIONS 333
  • NOTES ON THE PLATES 335
  • Index 359
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen
/ 362

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Author Advanced search

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.