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This essay examines Horace Vernet’s painting and lithograph of The Crossing of the Arcole Bridge (1826) in terms of its representation of the dynamic and potentially disappointing process of producing consensus within a larger social body; this issue was of crucial importance after 1815, when France faced entrenched social divisions produced by revolution, toppled regimes and decades of unending warfare. The painting began as a lithograph commissioned for a multi-volume history of the life of Napoleon and quickly became a touchstone across different realms of official and popular visual culture; in its focus on the deliberations of a motley collective of individuals who must decide whether or not to follow their leader, Vernet’s Arcole marks an important ideological shift during the middle decades of the nineteenth century, a period when rulers such as King Louis-Philippe justified their legitimacy through the rhetoric of popular consent. [ABSTRACT FROM AUTHOR]

As a response to Susan Sontag’s classic writing on the poster, this essay analyses the phenomenon of the French ‘pictorial’ publicity poster, which developed in concert with a specific type of spectatorship delineated in contemporary poster criticism as linked to the city of Paris at the end of the nineteenth century. By comparing the collective reading of political placards and announcements in the early modern period to the hurried viewing of illustrated publicity posters at the dawn of the consumer economy, this essay contextualizes the poster’s spectatorship as dependent upon its conditions of public display in Paris after the city’s renovation and rationalization under Haussmannization. [ABSTRACT FROM PUBLISHER]

Popular lithographs produced by French and Greek artists during the Greek War of Independence (1821-1827) and the Greek-Italian War (1940-1941) quite often overstated elements of Greek national identity with a focus on classical antiquity and Byzantine Orthodoxy. This is a comparative study of how Greeks and Greece have been represented through the following two collections of the National Historical Museum in Athens: popular lithographs produced, printed, and distributed by French artists in France at the peak of the Philhellenic movement; and those produced by Greek artists in Greece during the Second World War (1940-1941). Although produced more than one hundred years apart and under very different circumstances, popular imagery created by Philhellenes in France during the 1820s and Greek artists under the Metaxas regime in 1940-1941 remains a valuable historical record that helps us explore how popular representations of Greek national identity and the notion of Greece can be adopted and appropriated in a variety of ways based on who is using them and for what purpose. [ABSTRACT FROM AUTHOR]

An essay is presented on the literary lithographs of French Romantic painter Eugéne Delacroix from 1829 to 1830. It offers the historical success of Delacroix and his colleagues in their pursuit of a better way to read great works in a visual format. The author analyzes how two lithographs of Delacroix demonstrate his visual and textual citation, reference and attrition in reading the great works of Scottish poet Walter Scott.

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La figure de l'hypotypose, omniprésente dans Les chants de Maldoror, procure à la narration une visualité prépondérante. Des monstres en tous les genres se succèdent. La découpe en chant, ainsi que la division en strophes au cœur de chaque chant, participent à la création de tableaux. Si les Chants restent à ce jour peu étudiés, la violence des scènes présentées en constitue sans doute l'une des raisons majeures. Par ailleurs, les Chants de Maldoror sont en noir et blanc, renforçant l'angoisse. Les images décrites se relayent, taches blanches sur fond noir, ou empreintes noires sur fond éblouissant. Une narration amphibolique accompagnant des images déroutantes et dégoûtantes rapprochent les Chants de la peinture symboliste de la fin de siècle, en particulier celles d'Odilon Redon. Cet essai dévoilera un lien entre les Chants de Maldoror (1869) et certains tableaux symbolistes de la fin du siècle, en particulier les Noirs d'Odilon Redon pour placer ce dernier, grâce à l’étude de certains motifs choisis, comme héritier des images visuelles dérangeantes que l'on trouve à foison dans les Chants. [ABSTRACT FROM AUTHOR]

The article explores the anthology "Florilège des Amours de Ronsard," a collection of poems by Pierre de Ronsard accompanied by lithographs created by artist Henri Matisse. It notes that the work was created as a book and intended to be read, however, it is generally experienced as art work viewed as separate museum pieces. Recurrent motifs are discussed and include flowers and portraits of women. The author discusses Matisse's interpretation of the Ronsard poems to present his own view of love, beauty, life, and death.

The article focuses on lithographs created by the artist Odilon Redon, especially the prints titled "Parsifal" and "Druidess." The similarities between the lithographs are discussed, and it is suggested that Redon manufactured one print by using the image of the other on the same lithograph plate. The characters in the art are discussed and Redon's artistic process is explored as a representation that making art is a process involving multiple steps and attempts.

Provides information on the origins of lithography in Brussels, Belgium. Information on how and when lithography became popular in Europe; Discussion of the lithography activities and the attempt of French painter Innocent-Louis Goubaud to introduce lithography; Role of Jean Baptiste Ambroise Marcellin Jobard in the commercial start of lithography in Brussels.

Discusses the influence of color lithographic posters on the social landscape at the time of the Third Republic in France. Goal of novelist Emile Zola in shifting political leverage away from industrialists; Mitigation of the harsh character of the industrial panorama; Arguments for censorship; Hastening of the rise of liberal democracy.

The article presents notes on keeping lithographic theme in the 200th anniversary in 1998. According to the author, although the celebration produces a crop of exhibitions to mark the bicentenary, it brings to its success compared to the previous celebrations that were damaged by Franco-German rivalry. Since the inventor was a German, the French pointed to the equally undeniable domination of the artistic use of the medium in France through the 19th century. Meanwhile, the British and the Americans played very little part in the development of the medium. Moreover, Americans have shown far more interest in French than in German lithography.

Defends the use of theory in evaluating the cultural-historical niche of French color lithography in the late 19th century. Role of prints and posters in social communication; Interaction of the imaginations of producers and consumers.

The article discusses the lithographs of French artist Ethel Gabain. It states that her subjects represent the predominant mood sadness, anxiety and loneliness of women. Her manuscript "The Lithographs of Ethel Gabain" published 57 exhibited prints executed between 1924-1940. Her prints commissioned by the Ministry of Information in 1940 symbolize the problems in dealing with the bureaucratic authorities and changes in working with women's group. The author believes that women have a role in the society beyond domestic confines.

The article discusses the turnover of the "Image of France," a database of French prints, to Binghamton University by the Andrew W. Mellow Foundation in New York. It states that the database contains the record and publication date of almost half a million prints displayed at the Département de l'Estampe of the Bibliothéque Nationale. The university will continue the publication of prints, lithographs, engravings and photographs with the assistance of ARTFL Project and Régine Bigorne, an affiliate of the Museé Goupil.

The article reports that organizers of the forthcoming exhibition of "Der Blaue Reiter" which will be held from March 24 to June 18, 2000 are looking for an illustration that Mac and Kandinsky published in 1912 at the "Almanach Der Blaue Reiter." According to the author, the Almanach is the publicity organ of the new art which is hoped to contribute by drawing comparisons with earlier non-European art and European folk art. He added that the lithograph is presumably French, early 19th century and said to be printed by the lithograph publisher of the Offizin J. Scholz, Mainz.

The article discusses the prints of French artist Jacques Callot. According to the author, several of Callot's copies are made after his three popular series of Gobbi, Balli di Sfessania and Beggars. It notes that Callot's copies range from crude imitations to excellent recreations by prominent artists like Wenceslaus Hollar, who produces 4 plates with Callot's Beggars. Furthermore, several copies of Callot's works including a group of 6 etchings plus a frontispiece, 6 pairs of Zanni, and Scaramucia are reversed and rearranged to form into another figures.

The article offers information on the print catalogs of the Musée de l'Hospice Saint-Roch, a museum in Paris, France. The first catalog was made by Pierre Marie Brisson in 2004 have strange, monotype-like objects that seem to echo classical frescoes. The second one has a selection of masterpieces of reproductive printmaking imparted by the Bibliothèque Nationale de France and some selection of engravings by Cécile Reims, a modern engraver who still uses the old tradition of Hans Bellmer her plates.

The article discusses the evolution and degeneration in French painter/printmaker Odilon Redon's graphic work of the last quarter of the nineteenth century. His work includes many examples of mutating or hybrid forms, while his lithographic series "Origins" deals with evolutionary theory. According to the article, Redon's interest in evolution in evolution and degeneration developed against the early Third Republic, which promoted progressive science in France. It is noted that Redon's anatomical monstrosities may have been influenced by scientist Etienne Geoffroy Saint-Hilaire, who was seen as a precursor to evolutionary theorists.