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Empress Eug?e and the Arts


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Reconstructing Empress Eug?e's position as a private collector and a public patron of a broad range of media, this study is the first to examine Eug?e (1826-1920), whose patronage of the arts has been overlooked even by her many biographers. The empress's patronage and collecting is considered within the context of her political roles in the development of France's institutions and international relations. Empress Eug?e and the Arts: Politics and Visual Culture in the Nineteenth Century also examines representations of the empress, and the artistic transformation of a Hispanic woman into a leading figure in French politics. Based on extensive research at architectural sites and in archives, museums, and libraries throughout Europe, and in Britain and the United States, this book offers in-depth analysis of many works that have never before received scholarly attention - including reconstruction and analysis of Eug?e's apartment at the Tuileries. From her self-definition as empress through her collections, to her later days in exile in England, art was integral to Eug?e's social and political position.




Mémoires du général de Caulaincourt, duc de Vicence, grand écuyer de l’Empereur


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« Caulaincourt n’avait cessé sous l’Empire de prendre des notes chaque jour au bivouac ou dans le cabinet de Tuileries. Il se serait décidé à les mettre en forme entre 1822 et 1825. L’énorme documentation réunie quotiennement explique la valeur du témoignage du duc de Vicence... le récit ne commence qu’à l’entrevue d’Erfurt. Il se poursuit avec la campagne de Russie et la retraite. C’est dans les chapitres VII-VIII et XI [ « En traîneau avec l’Empereur » ] souvent réédites que l’on dispose d’un document de premier ordre sur l’état d’esprit de Napoléon après le désastre de 1812. Quittant la Grande Armée, l’Empereur voyage en la seule compagnie de Caulaincourt de Smorgoni à Paris. Pendant ce long voyage, Napoléon se confie au Grand Ecuyer avec d’autant plus de franchise qu’il ignore que Caulaincourt prend des notes. « Puis Caulaincourt narre les péripéties de Congrès de Châtillon et y justifie son attitude. On notera d’importants développements sur l’entrée des Alliés à Paris, l’attitude de Napoléon, la défection de Marmont, l’abdication et la tentative de suicide de l’Empereur. Les mémoires s’arrêtent aux « Adieux de Fontainebleau » p 33 - Professeur Jean Tulard, Bibliographie Critique Des Mémoires Sur Le Consulat Et L'Empire, Droz, Genève, 1971 Tome III – Le Congres de Châtillon, et L’Agonie de Fontainebleu.










British and Foreign State Papers


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Citizen Emperor


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In this second volume of Philip Dwyer’s authoritative biography on one of history’s most enthralling leaders, Napoleon, now 30, takes his position as head of the French state after the 1799 coup. Dwyer explores the young leader’s reign, complete with mistakes, wrong turns, and pitfalls, and reveals the great lengths to which Napoleon goes in the effort to fashion his image as legitimate and patriarchal ruler of the new nation. Concealing his defeats, exaggerating his victories, never hesitating to blame others for his own failings, Napoleon is ruthless in his ambition for power. Following Napoleon from Paris to his successful campaigns in Italy and Austria, to the disastrous invasion of Russia, and finally to the war against the Sixth Coalition that would end his reign in Europe, the book looks not only at these events but at the character of the man behind them. Dwyer reveals Napoleon’s darker sides—his brooding obsessions and propensity for violence—as well as his passionate nature: his loves, his ability to inspire, and his capacity for realizing his visionary ideas. In an insightful analysis of Napoleon as one of the first truly modern politicians, the author discusses how the persuasive and forward-thinking leader skillfully fashioned the image of himself that persists in legends that surround him to this day.




Reports


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