Revolutionary Paris and the Market for Netherlandish Art


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Seventeenth-century Dutch and Flemish paintings were aesthetic, intellectual, and economic touchstones in the Parisian art world of the Revolutionary era, but their importance within this framework, while frequently acknowledged, never attracted much subsequent attention. Darius A. Spieth’s inquiry into Revolutionary Paris and the Market for Netherlandish Art reveals the dominance of “Golden Age” pictures in the artistic discourse and sales transactions before, during, and after the French Revolution. A broadly based statistical investigation, undertaken as part of this study, shows that the upheaval reduced prices for Netherlandish paintings by about 55% compared to the Old Regime, and that it took until after the July Revolution of 1830 for art prices to return where they stood before 1789.







Salvator Rosa in French Literature


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" Salvator Rosa (1615–1673) was a colorful and controversial Italian painter, talented musician, a notable comic actor, a prolific correspondent, and a successful satirist and poet. His paintings, especially his rugged landscapes and their evocation of the sublime, appealed to Romantic writers, and his work was highly influential on several generations of European writers. James S. Patty analyzes Rosa’s tremendous influence on French writers, chiefly those of the nineteenth century, such as Stendhal, Honoré de Balzac, Victor Hugo, George Sand, and Théophile Gautier. Arranged in chronological order, with numerous quotations from French fiction, poetry, drama, art criticism, art history, literary history, and reference works, Salvator Rosa in French Literature forms a narrative account of the reception of Rosa’s life and work in the world of French letters. James S. Patty, professor emeritus of French at Vanderbilt University, is the author of Dürer in French Letters . He lives in Nashville, Tennessee.




A Small But Choice Collection


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Catena Librorum Tacendorum


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Les Tragiques...


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Uranie


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I WAS seventeen. She was called Uranie. Was Uranie, then, a young girl, fair, with blue eyes, innocent, but eager for knowledge? No, she was simply what she has always been, one of the nine muses; she who presided over astronomy, and whose celestial glance animated and directed the spheral choir; she was the heavenly idea hovering above earthly dullness; she had neither the palpitating flesh, nor the heart whose pulsations can be transmitted through space, nor the soft warmth of humanity; but she existed, nevertheless, in a sort of ideal world, superior to humanity, and always pure; and yet she was human enough in name and form to produce in the soul of a youth a vivid and profound impression; to awaken in that soul an undefined and undefinable sentiment of admiration: almost of love.