Pheidias and 'l'esprit moderne' : The Study of Human Anatomy in Nineteenth-Century English and French Art Education

2000 ◽  
Vol 7 (2) ◽  
pp. 167-188
Author(s):  
Athena S. Leoussi
Costume ◽  
2008 ◽  
Vol 42 (1) ◽  
pp. 111-129 ◽  
Author(s):  
Anna Marie Kirk

Artworks of the second half of the nineteenth century offer substantial evidence of the differing ways in which the 'Japanese craze' of this period was disseminated in dress. A discussion of the availability of garments in Paris and London, and the evidence for ownership of garments, takes place in this article. This study shows that Whistler was reflecting and informing the usage of Japanese attire by aesthetic women such as Ellen Terry. These garments offered a freer, looser, artistic style. The immense popularity of Japanese accessories is explored, as is the kimono's adaptation as a dressing gown. Alfred Stevens' artworks reflect this usage in France during the 1870s and 1880s. An examination of fancy dress books provides evidence of a growing familiarity with Japanese dress towards the end of the nineteenth century. This article is informed by nineteenth-century writings on Japan, fancy dress books, Liberty's catalogues, photographs and surviving garments.


Author(s):  
Felicity Chaplin

La Parisienne is frequently associated with prostitution, whether in the narrow sense of the streetwalker or courtesan or the general sense of the object and subject of consumption. Tracing her development in nineteenth-century art and literature, this chapter examines the way the Parisienne as courtesan is re-presented in cinema in Charles Chaplin’s A Woman of Paris (1923), Alain Cavalier’s La Chamade (1968), and Baz Luhrmann’s Moulin Rouge! (2001). Cinematic courtesans have their prefigurations in both real life courtesans of the Second Empire, as well as in representations in French art, literature, and visual culture (Manet, Degas, Toulouse-Lautrec, Balzac, Zola, Dumas fils). Motifs associated with the Parisienne courtesan include the familiar tropes associated with Paris as a demimonde: desire, pleasure, and consumption. Alongside these tropes are the visual and narrative motifs on which the iconography of the Parisienne courtesan is based: fashion or style (often conceived to denote luxury and leisure), transformation (usually from provincial to high class), ambiguity (insofar as her class origins, motivations, and emotional allegiances are generally obscure), and the ménage à trois (films featuring Parisienne courtesans often involve the choice between an earnest but poor lover and a rich benefactor).


1946 ◽  
Vol 8 (03) ◽  
pp. 166-178 ◽  
Author(s):  
Henry Dale

I have been asked to speak about the history of the experimental method in medicine, with particular reference to the nineteenth century. This indication, though I do not propose to regard it as setting a limit, seems to have a special fitness, since it is to the nineteenth century, and especially to its latter half, that we must look for the effective beginning and astonishingly rapid development, the veritable outburst, indeed, of activity in the application of the experimental method to medicine, which opened the new era of medical progress in which we are living today. It is curious, perhaps, that this should have come so late in the history of science. For medicine had figured early in man's attempts to understand nature and his relation to it, and many departments of science which have long ago achieved recognition as independent bodies of knowledge originated as aspects of the physician's equipment—botany, for example, zoology and chemistry, as well as human anatomy and physiology, which still retain their attachment to the medical group of the scientific disciplines. From this point of view, then, it is not surprising to find two physicians, William Gilbert and William Harvey, as the leaders in this country of the scientific revolution which had begun in Europe in 1543 with the publication, within a few weeks of one another, of two books—one by Copernicus of Cracow,De Revolutionibus Orbium Coelestium, and the other by Vesalius of Padua,De Humani Corporis Fabrica. Both Gilbert and Harvey, we may be proud to remember, studied and first graduated in Medicine here, in Cambridge.


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