Summary
The book focuses on Paris, which throughout history has been the stage and experimental ground for artists and intellectuals from all over the world, making it the crucible of Western thought and consummate material for an interdisciplinary study. Each chapter presents a cultural movement such as the Gothic, classical, romantic, and modern that are predominant in the Parisian landscape. The interdisciplinary approach promotes critical thinking, inspiring students to identify and translate esthetic concepts from one discipline to another, and explore, for instance, what impressionist literature or cubist architecture might be.
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Excerpt
Table Of Contents
- Cover
- Title
- Copyright
- About the author(s)/editor(s)
- About the book
- This eBook can be cited
- Contents
- Illustrations
- 1. Walls of Paris
- 1.1 Rive Droite and Rive Gauche: Anthony Sutcliffe, The Autumn of Central Paris, 1970
- 1.2 Gallo-Roman Lutetia, 52 BC–4C
- 1.2.1 River and Marsh of Lutetia: Gaius Julius Caesar, The Conquest of Gaul, 59–44 BC
- 1.2.2 Cardo Maximus in Orthogonal Lutetia, 2–4C
- 1.2.3 Roman and Gallic Cohabitation: Lutetia in Astérix, 1962–1972
- 1.3 Christianity in Paris: Figuring the Invisible
- 1.3.1 Saint Denis the Cephalophore: Jacobus de Voragine, The Golden Legend or Lives of the Saints, 1275
- 1.3.2 Literal and Figural Walls: Moine Yves, Life of Saint Denis, 1317
- 1.4 Barbarian Invasions: Geneviève, Clotilde and Clovis, c.500
- 1.4.1 Geneviève, Guardian of the Walls: Life of Sainte Geneviève, 520
- 1.4.2 Clovis, First Catholic King of France
- 1.5 Medieval Paris: Philippe Auguste and Charles V Walls, 1213 and 1383
- 1.5.1 The New King Enters the City
- 1.5.2 Allegories of the Garden Wall: Guillaume de Lorris, The Romance of the Rose, 1237–75
- 1.6 Classical and Modern Paris: From Walls to Boulevards and Périphérique
- 1.6.1 Expanding to the West: Louis XIII Wall of the Fossés Jaunes, 1634; Mathieu Merian, Le Plan de la Ville, 1615
- 1.6.2 Unpopular 18C Farmers-General Wall, 1784–91: Maurice-Antoine Moithey, Plan des enceintes de Paris, 1787
- 1.6.3 Haussmann’s 19C Restructuration of Paris: Edouard Dumas Vorzet, Paris and Its Surroundings, 1878
- 1.6.4 Modern Paris and Beyond
- 2. Gothic Paris: Notre-Dame and the Île de la Cité
- 2.1 The Gothic Experience of Light
- 2.1.1 What Is an Esthetic Experience?
- 2.1.2 The Anagogical Path to Light: Abbot Suger, On What Was Done During His Administration, 1144–48
- 2.1.3 Flexible Gothic Arch: Sir Banister Fletcher, A History of Architecture on the Comparative Method, 1896
- 2.2 Île de la Cité, East Side: Religious Power
- 2.2.1 Gothic Notre-Dame (1163–1245)
- 2.2.2 Comparison of Romanesque Saint-Germain-des-Prés, 990–1014, and Gothic Notre-Dame, 1163–1245
- 2.2.3 Notre-Dame’s Portal of the Last Judgment: Hoffbauer, Paris à travers les âges, 1998
- 2.2.4 Rose Windows at Notre-Dame
- 2.3 Abélard and Héloïse: To Teach and Punish
- 2.4 Île de la Cité, West Side: Political Power
- 2.5 Pissing the Parisians Off: François Rabelais, Gargantua, 1534
- 3. Renaissance Paris: Wars of Religion and the Louvre
- 3.1 Learning from Antiquity
- 3.1.1 Perfected Beauty: Leone Battista Alberti, Ten Books on Architecture, 1452
- 3.1.2 The Human Body, Model of Proportion: Leonardo da Vinci, The Vitruvian Man, 1487
- 3.2 Renaissance Architecture: The Louvre, 13–20C
- 3.2.1 Medieval Louvre: From Fortress to Castle, 13–14C
- 3.2.2 From Medieval Castle to Renaissance Palace
- 3.2.3 Henri IV and His Grand Dessein for the Louvre
- 3.2.4 Louvre Outline, 13–20C
- 3.3 Renaissance Literature: The Pléiade Poets
- 3.3.1 Pierre de Ronsard, “Ode to Cassandre,” 1552
- 3.3.2 Portrait of Ronsard and Cassandre, 1552
- 3.3.3 Pierre de Ronsard, “On the Death of Marie,” 1578
- 3.4 Wars of Religion: The Saint-Bartholomew Massacre, August 24, 1572
- 3.4.1 Margot’s Dissolution: Patrice Chéreau, Queen Margot, 1994
- 3.4.2 Architectural, Political and Anatomical Fragmentation: François Dubois, The Saint-Bartholomew Massacre, 1575–84
- 3.4.3 Protestant and Catholic Reversible Bodies: Agrippa d’Aubigné, Les Tragiques, 1577–1616
- 3.5 Henri IV and the Freedom of Conscience
- 3.5.1 Le Bon Roi Henri
- 3.5.2 Henri IV’s Program for a Renaissance Paris
- 4. Classical Paris: Louis XIV and Versailles
- 4.1 The Cogito in Perspective
- 4.1.1 Clouds in Brunelleschi’s Experiment: Antonio Manetti, The Life of Brunelleschi, 1480
- 4.1.2 Rationalism and Subjectivity: René Descartes, Discourse on Method, 1637
- 4.2 Louis XIV and Absolutism
- 4.2.1 Constructing the Image of a King: Roberto Rossellini, The Taking of Power by Louis XIV, 1966
- 4.2.2 Louis XIV as the Sun King: Louis XIV, Memoirs for the Instruction of the Dauphin, 1662
- 4.2.3 The King’s Two Bodies: Hyacinthe Rigaud, Louis XIV in Coronation Dress, 1701
- 4.3 Louis XIV in Paris
- 4.3.1 Perrault’s Colonnade, Model of French Classicism
- 4.3.2 Unstable Center: Jules Hardouin-Mansart, Place Vendôme, 1699
- 4.3.3 For His Veteran Soldiers: Libéral Bruant, Les Invalides, 1671–91, and Jules Hardouin Mansart, Dôme, 1708
- 4.3.4 Gossiping as a Form of Knowledge: Madame de Sévigné, Letters, July 17, 1676
- 4.4 Perspective on Versailles
- 4.4.1 Enveloping a Hunting Castle: Louis Le Vau, Versailles, 1661–78
- 4.4.2 Rationalist Baroque Lanscaping: André Le Nôtre, Versailles Gardens, 1661–70
- 4.4.3 Lavish Baroque Palace within: Jules Hardouin-Mansart, Expansion of Versailles, 1678–1715
- 4.4.4 The Disastrous Addition of Prestigious Hall of Mirrors
- 4.4.5 The Crumbling Image of an Aging King: Jean de La Bruyère, The Characters, 1688–96
- 5. Romantic Paris: Napoléon and the Arc de Triomphe
- 5.1 The Empire of Napoléon I
- 5.1.1 Napoléon and Joséphine: Abel Gance, Napoléon, 1927
- 5.1.2 Napoléon and His Siblings
- 5.1.3 Legitimizing a French Emperor: Jacques-Louis David, The Coronation of Napoléon, 1805–08
- 5.1.4 Napoléon’s Cruciform Perspective: Anthony Sutcliffe, Paris, an Architectural History, 1993
- 5.2 The Exalted and Melancholy Romantic Soul: Madame de Staël, Of Literature, 1800
- 5.3 Romantic Art: The Call to Freedom. Eugène Delacroix, Liberty Leading the People, 1830
- 5.4 Romantic Architecture: Ambition of Glory
- 5.4.1 For the Grande Armée: Jean-Arnaud Raymond and Jean-François Chalgrin, Arc de Triomphe, 1806–36
- 5.4.2 Aux Armes: François Rude, The Marseillaise, 1836
- 5.4.3 The Anti-Hero: Eric Rohmer, “Place de l’Étoile,” in Six à Paris, 1965
- 5.5 Romantic Literature: Gavroche Jumping Over Walls. Victor Hugo, Les Misérables, 1862
- 6. Realism in Haussmann’s Paris
- 6.1 The Second Empire
- 6.1.1 Napoléon III and Efficacious Baron Haussmann
- 6.1.2 Implementing an Emperor’s Vision; Baron Haussmann, Mémoires, 1890
- 6.2 Realism in Literature: A Misery without Poetry. Honoré de Balzac, Old Goriot, 1834
- 6.3 Realism in Art: Turning One’s Back on a Nude. Gustave Courbet, The Painter’s Studio, 1855
- 6.4 Eclectic and Rationalist Architecture during the Second Empire
- 6.4.1 For a Truthful Architecture: Eugène-Emmanuel Viollet-le-Duc, Dictionnaire raisonné, 1854
- 6.4.2 A Frankly Revealed Structure: Henri Labrouste, the Bibliothèque Nationale, 1862–68
- 6.4.3 Eclectic Architecture: Charles Garnier, the Opéra Garnier, 1861–74
- 6.5 Paris under Construction
- 6.5.1 Haussmann’s Ruthless Restructuration of Paris
- 6.5.2 The Naturalist School: Paris Under Attack. Emile Zola, The Kill, 1872
- 6.5.3 Paris as a Recumbent Bourgeoise: Edmond Morin, The City of Paris Invaded by Demolition Workers, 19C
- 6.5.4 Artificial, yet Charming, Bois de Boulogne
- 7. Impressionism and the Tour Eiffel
- 7.1 Impressionism in Art: Modern Life in the Plein Air
- 7.1.1 The Dismissed Message: Edouard Manet, The Luncheon on the Grass, 1863
- 7.1.2 Incognito Flâneur at the Gare Saint-Lazare: Gustave Caillebotte, On the Pont de l’Europe, 1880
- 7.1.3 Shapeless Strokes and Extreme Perspective: Claude Monet, Impression, Sunrise, 1874
- 7.1.4 In the Deluge of the Plein Air: Stéphane Mallarmé, “The Impressionists and Edouard Manet,” 1876
- 7.2 Impressionist Literature: The Beholder’s Individual Impression
- 7.2.1 Literary Tableaux: Emile Zola, The Human Beast, 1890
- 7.2.2 Machine-Produced Clouds: Jean Renoir, La Bête humaine, 1938
- 7.3 Universal Expositions
- 7.3.1 The Committee of the Three Hundred: Norma Evenson, Paris: A Century of Change 1878–1978, 1979
- 7.3.2 Promenade along the Seine: Universal Expositions
- 7.3.3 Art Nouveau’s Dragonflies and Lilies: Hector Guimard, Metro Stations Entrances, 1900
- 7.4 Impressionist Architecture: The Ultimate Plein Air Building
- 7.4.1 Elusive and Scandalous Tour Eiffel: Roland Barthes, The Eiffel Tower and other Mythologies, 1957
- 7.4.2 A Bridge to the Sky: Georges Seurat, The Eiffel Tower, 1889
- 8. Cubism and Modern Architecture in Paris
- 8.1 Cubism in Art: Incorporating Time
- 8.1.1 An Art of Conception: Guillaume Apollinaire, “Modern Painting,” 1913
- 8.1.2 Unfolding Geometric Surfaces and Shifting Perspectives: Pablo Picasso, Portrait of Ambroise Vollard, 1910, and Violin, 1914
- 8.1.3 Clouds Descending on the City: Robert Delaunay, The City of Paris, 1912
- 8.2 Cubism in Literature: Disregarding Boundaries
- 8.2.1 Guillaume Apollinaire, Windows, 1912
- 8.2.2 Guillaume Apollinaire, Calligram of the Tour Eiffel, 1918
- 8.3 Modern Architecture: From Masonry Wall to Reinforced Concrete Frame
- 8.3.1 Exposing Concrete: Auguste Perret, Apartments at 25b, Rue Franklin, 1904
- 8.3.2 The Power to Move: Le Corbusier, Towards a New Architecture, 1927
- 8.3.3 Free Plan and Free Facade: Le Corbusier, “The Five Points of a New Architecture,” 1926
- 8.3.4 Cubist Man in Movement: Le Corbusier, The Modulor, 1938–48
- 8.3.5 Architectural Promenade: Le Corbusier, Villas La Roche-Jeanneret, 1923–25
- 8.4 Cubist Architecture: Le Corbusier, The Villa Savoye, 1928–31
- 9. Beaubourg and Postmodern Paris
- 9.1 What Is Postmodernism? Jean-François Lyotard, The Postmodern Condition, 1979
- 9.2 Sixties and Seventies: Disillusion with Modernism
- 9.2.1 Reaffirming France’s Prestige: Charles de Gaulle, Complete War Memoirs 1940–1946 (1954)
- 9.2.2 Against a Manhattanization of Paris: Louis Chevalier, The Assassination of Paris, 1977
- 9.2.3 The Tired Hero of Modern Life: Jean Rouch, “Gare du Nord,” in Six à Paris, 1965
- 9.2.4 Surrealist Siren of the Seine: André Breton, “Pont Neuf,” 1950
- 9.2.5 Nostalgia for a Pre-modern Paris: Woody Allen, Midnight in Paris, 2011
- 9.3 Postmodern Paris: The Beaubourg Provocation
- 9.3.1 Architecture as a Language: Charles Jencks, The Language of Post-Modern Architecture, 1977
- 9.3.2 Postmodernism in Beaubourg: Renzo Piano and Richard Rogers, Beaubourg/Pompidou Center, 1977
- 9.3.3 Beaubourg the Cyborg: Sergio Birga, Main Basse sur la ville, 1976
- 9.3.4 Beaubourg the Extra-terrestrial: Georges Pérec, “Tout autour de Beaubourg,” 1981
- 10. Grands Travaux and Beyond
- 10.1 The Mitterrand Years: Reviving the Monarch-Builder Tradition
- 10.2 Grands Travaux on the Axe historique: Neomodern Monumentality
- 10.2.1 Cube and Clouds: Johan Otto von Spreckelsen, Grande Arche de la Défense, 1989
- 10.2.2 The Grande Arche Paradigm: Seloua Luste Boulbina, Grands Travaux à Paris: 1981–1995, 2007
- 10.2.3 From Palace to Museum: The Grand Louvre, 1989
- 10.2.4 A Sovereign Act: Jack Lang, Dictionnaire amoureux de François Mitterrand, 2015
- 10.2.5 An Archaic Novelty: Ieoh Ming Pei, Pyramide du Louvre, 1989
- 10.3 Grands Travaux at the East: Spreading Culture
- 10.3.1 A Monument for Paris Rive Gauche: Dominique Perrault, Bibliothèque Nationale de France, 1997
- 10.3.2 Transparency in Question: Anthony Vidler, The Architectural Uncanny, 1999
- 10.3.3 Promenade: The Bercy Quarter
- 10.4 On the Margin
- 10.4.1 Underprivileged Banlieue
- 10.4.2 Inhospitable Périphérique: Parc de la Villette, 1986–2015
- 10.4.3 Angry with No Job and a Gun: Mathieu Kassovitz, Hate, 1995
- 10.4.4 For a Beurette Literature: Faïza Guène, Kiffe Kiffe Tomorrow, 2004
- Illustration Credits
Chapter 1: Walls of Paris
Fig. 1.1. Gallo-Roman Lutetia, 2–4C
Fig. 1.2. Goscinny and Uderzo, Lutetia in La Serpe d’or, 1962
Fig. 1.3. Goscinny and Uderzo, Lutetia in Les Lauriers de César, 1972
Fig. 1.4. Moine Yves, The Conversion of Lisbius, in Life of Saint-Denis, 1317
Fig. 1.5. Baptism of Clovis, in Grandes Chroniques de France, 1380
Fig. 1.6. De la Mare, Lutèce conquise par les François, 1705
Fig. 1.7. Braun, View of Paris in 1530, 1572
Fig. 1.8. Fouquet, John the Good Entering the Capital in 1350, 1460
Fig. 1.9. Fouquet, Charles V Entering the Capital in 1364, 1460
Fig. 1.10. Merian, Le Plan de la ville, 1615
Fig. 1.11. Moithey, Plan des enceintes de Paris, 1787
Fig. 1.12. APUR, Enquête sur les tissus urbains, 2001
Fig. 1.13. Concentric Boulevards on the former city walls
Fig. 1.14. New Loops bypassing Paris: Super-Périphérique and Francilienne ← xiii | xiv →
Chapter 2: Gothic Paris: Notre-Dame and the Île de la Cité
Fig. 2.1. Saint-Julien-le-Pauvre, 1170
Fig. 2.2. Hôtel de Cluny, 1485–98
Fig. 2.3. Thermes de Cluny, 3C, and Hôtel de Cluny, 1485–98: plan
Fig. 2.4. Tour Saint-Jacques, 1523
Fig. 2.5. Suger’s partial transformation of the Carolingian Saint-Denis Basilica, 1135–44
Fig. 2.6. Suger, Saint-Denis Basilica: doors at the west
Fig. 2.7. Suger, Saint-Denis Basilica: ribbed vaults in double ambulatory
Fig. 2.8. Suger, Saint-Denis Basilica: nave and stained-glass windows
Fig. 2.9. Suger, Saint-Denis Basilica: Paul unveils Moses’ law
Fig. 2.10. Notre-Dame: section through the nave
Fig. 2.11. Romanesque and Gothic vaulting systems
Fig. 2.12. Île de la Cité, 14C
Fig. 2.13. Fouquet, Right Hand of God Driving Out Demons, in Hours of Étienne Chevalier, 1452–60
Fig. 2.14. Notre-Dame, west facade, 1200–50
Fig. 2.15. Saint-Germain-des-Prés, 990–1014, and Notre-Dame, 1163–1245
Fig. 2.16. Notre-Dame: central portal of the Last Judgment, west facade, 1225
Fig. 2.17. Notre-Dame central portal, embrasure: vices and virtues
Fig. 2.18. Notre-Dame central portal, trumeau: teaching Jesus
Fig. 2.19. Notre-Dame central portal, archivolt to the left: Heaven with the three patriarchs
Fig. 2.20. Notre-Dame central portal, archivolt to the right: Hell
Fig. 2.21. Notre-Dame central portal, apex of tympanum: Christ in glory
Fig. 2.22. Notre-Dame central portal, middle lintel of tympanum: the trial
Fig. 2.23. Notre-Dame central portal, lower lintel of tympanum: call to judgment
Fig. 2.24. Detail of the trial: Notre-Dame Woman in the scale
Fig. 2.25. Saint-Michel, Lacroix, Voillat, The Golden Moments of Notre-Dame de Paris, 2006
Fig. 2.26. Notre-Dame west rose window, outside view
Fig. 2.27. Notre-Dame west rose window, inside view ← xiv | xv →
Fig. 2.28. Abélard and Héloïse, illumination from a 14C manuscript of Le Roman de la Rose
Fig. 2.29. Sainte-Chapelle, 1248: lower and upper chapel plans
Fig. 2.30. Sainte-Chapelle: outside view
Fig. 2.31. Sainte Chapelle: inside view
Fig. 2.32. Philippe le Bel, plan of Palais de la Cité, 1313
Fig. 2.33. Conciergerie today
Fig. 2.34. Limbourg Brothers, Month of June, in The Very Rich Hours of the Duke of Berry, ca. 1440
Chapter 3: Renaissance Paris: Wars of Religion and the Louvre
Fig. 3.1. Boccador, Hôtel de Ville, 1533, additions 1835, rebuilt 1892
Fig. 3.2. Saint-Eustache Church, 1540
Fig. 3.3. Du Cerceau, Hôtel de Sully, 1625–29
Fig. 3.4. De Brosse, Palais du Luxembourg, 1615–30
Fig. 3.5. Lemercier, Palais-Royal, 1639
Fig. 3.6. The Three Orders of Architecture
Fig. 3.7. Da Vinci, The Vitruvian Man, ca. 1490
Fig. 3.8. Louvre Fortress of Philippe Auguste, 1190–1202
Fig. 3.9. Louvre Castle of Charles V, 1380
Fig. 3.10. Lescot, southwest wing of the Cour Carrée, 1546–51
Fig. 3.11. Lescot, southwest wing of the Cour Carrée, 1546–51
Fig. 3.12. Lescot and Goujon, Fontaine des Innocents, 1550
Fig. 3.13. Lescot and Goujon, detail of the Fontaine des Innocents
Fig. 3.14. The Louvre under Henri IV
Fig. 3.15. Plan of 21C Louvre
Fig. 3.16. Mellan, Ronsard and Cassandra Salviati, 1552
Fig. 3.17. Dubois, The Saint-Bartholomew Massacre, 1575–84
Fig. 3.18. Place des Vosges, 1612: King Pavilion
Fig. 3.19. Place des Vosges, 1612: houses of four bays each
Fig. 3.20. Place des Vosges, 1612: steep roof with black slates
Fig. 3.21. Pont Neuf and round refuges, 1607
Fig. 3.22. Place Dauphine: careless renovation of original 1607 houses ← xv | xvi →
Chapter 4: Classical Paris: Louis XIV and Versailles
Fig. 4.1. Blondel, Porte Saint-Denis, 1674
Fig. 4.2. Hardouin-Mansart, Place des Victoires, 1685
Fig. 4.3. Soufflot, Panthéon, 1757–90
Fig. 4.4. Ledoux, Parc Monceau Tollhouse, 1785–91
Fig. 4.5. Brunelleschi’s perspective experiment, 1415
Fig. 4.6. Adaptation of Da Vinci’s The Last Supper, 1498: one-point perspective
Fig. 4.7. Rigaud, Louis XIV in Coronation Dress, 1701
Fig. 4.8. Perrault, Colonnade du Louvre, east facade, 1670
Fig. 4.9. Hardouin-Mansart, octagonal Place Vendôme, 1699
Fig. 4.10. Hardouin-Mansart, tripartite facade on the Place Vendôme, 1699
Fig. 4.11. Axonometric view of the Invalides by Bruant, 1671–91, with Hardouin-Mansart’s dome behind, 1708
Fig. 4.12. Le Vau, Versailles addition of 1662
Fig. 4.13. Le Vau, Versailles envelope, 1669
Fig. 4.14. Palais de Versailles: Marble courtyard
Fig. 4.15. Palais de Versailles: Apollo Fountain
Fig. 4.16. Palais de Versailles: Le Nôtre classical garden
Fig. 4.17. Le Nôtre, Versailles Gardens, 1705: plan
Fig. 4.18. Hardouin-Mansart, Versailles, addition of the Hall of Mirrors, 1680
Fig. 4.19. Palais de Versailles: balustrade in the king’s bedroom
Fig. 4.20. Palais de Versailles: Queen Staircase trompe-l’œil panel
Fig. 4.21. Palais de Versailles: Salon of Plenty
Fig. 4.22. Palais de Versailles: Hall of Mirrors
Fig. 4.23. Hardouin-Mansart, addition of the Hall of Mirrors, 1687
Chapter 5: Romantic Paris: Napoleon and the Arc de Triomphe
Fig. 5.1. David, The Coronation of Napoleon, 1805–08
Fig. 5.2. Map of Paris: Napoléon’s Cruciform Perspective
Fig. 5.3. Place de la Concorde: Hôtel de la Marine, 1775, and Obélisque
Fig. 5.4. Percier and Fontaine, Arc du Carrousel, 1806 ← xvi | xvii →
Fig. 5.5. Raymond and Chalgrin, Arc de Triomphe, 1806–36
Fig. 5.6. Vignon, La Madeleine, 1806–42
Fig. 5.7. Poyet, Assemblée Nationale, 1807
Fig. 5.8. Delacroix, Liberty Leading the People, 1830
Fig. 5.9. Rude, La Marseillaise, 1836
Chapter 6: Realism in Haussmann’s Paris
Fig. 6.1. Courbet, The Painter’s Studio, 1855
Fig. 6.2. Labrouste, Bibliothèque Nationale, 1868, plan of the reading room
Fig. 6.3. Labrouste, Bibliothèque Nationale, inside view of the reading room
Fig. 6.4. Baltard, Les Halles, 1852–66
Fig. 6.5. Garnier, Opéra, 1861–74: plan
Fig. 6.6. Garnier, Opéra, 1861–74: facade
Fig. 6.7. Diagram of Haussmann’s networks of roads and plazas
Fig. 6.8. Hittorff, Place de l’Étoile in the shape of a star
Fig. 6.9. Map of the administrative limits of Paris after 1859, with Haussmann’s division into twenty arrondissements
Fig. 6.10. Morin, The City of Paris Invaded by Demolition Workers, 19C
Fig. 6.11. Alphand, Bois de Boulogne, 1852–58
Chapter 7: Impressionism and the Tour Eiffel
Fig. 7.1 Abadie, Sacré-Cœur, 1875–1919: facade
Fig. 7.2 Abadie, Sacré-Cœur: plan
Fig. 7.3. Eiffel, Tour Eiffel, 1889
Fig. 7.4. Résal and Alby, Pont Alexandre III, 1900
Fig. 7.5. Deglane, Louvet and Thomas, Grand Palais, and Girault, Petit Palais, 1900
Fig. 7.6. Manet, The Luncheon on the Grass, 1863
Details
- Pages
- XX, 410
- Publication Year
- 2018
- ISBN (PDF)
- 9781433139598
- ISBN (ePUB)
- 9781433139604
- ISBN (MOBI)
- 9781433139611
- ISBN (Hardcover)
- 9781433139581
- ISBN (Softcover)
- 9781433135354
- DOI
- 10.3726/978-1-4331-3959-8
- Language
- English
- Publication date
- 2018 (June)
- Published
- New York, Bern, Berlin, Bruxelles, Vienna, Oxford, Wien, 2018. XX, 410 pp., 101 b/w ill., 95 col. ill.
- Product Safety
- Peter Lang Group AG