Esquisses project and pre text in 19 centurey french cultural

Free ebooks ==> www.Ebook777.com www.Ebook777.com Free ebooks ==> www.Ebook777.com ESQUISSES/ÉBAUCHES www.Ebook777.com PETER LANG New York y Washington, D.C./Baltimore y Bern Frankfurt am Main y Berlin y Brussels y Vienna y Oxford ESQUISSES/ÉBAUCHES Projects and Pre-Texts in Nineteenth-Century French Culture SONYA STEPHENS, EDITOR PETER LANG New York y Washington, D.C./Baltimore y Bern Frankfurt am Main y Berlin y Brussels y Vienna y Oxford Free ebooks ==> www.Ebook777.com Library of Congress Cataloging-in-Publication Data Esquisses/ébauches: projects and pre-texts in nineteenth-century French culture / edited by Sonya Stephens p cm Includes bibliographical references French literature—19th century—History and criticism Art, French— 19th century France—Intellectual life—19th century Unfinished works of art Unfinished books I Stephens, Sonya PQ283.E87 840.9’357—dc22 2005020649 ISBN 978-0-8204-7896-8 Bibliographic information published by Die Deutsche Bibliothek Die Deutsche Bibliothek lists this publication in the “Deutsche Nationalbibliografie”; detailed bibliographic data is available on the Internet at http://dnb.ddb.de/ Cover design by Joshua Hanson Cover art: Paris, a Rainy Day, 1877 (oil on canvas) by Caillebotte, Gustave (1848–94) ©Musee Marmottan, Paris, France/ Giraudon/ The Bridgeman Art Library Nationality/ copyright status: French/ out of copyright The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council of Library Resources © 2007 Peter Lang Publishing, Inc., New York 29 Broadway, 18th floor, New York, NY 10006 www.peterlang.com All rights reserved Reprint or reproduction, even partially, in all forms such as microfilm, xerography, microfiche, microcard, and offset strictly prohibited Printed in Germany www.Ebook777.com For Robert Lethbridge CONTENTS List of Tables xi Foreword xiii Acknowledgments xvii SONYA STEPHENS Introduction MARIANE BURY Le statut de l’ébauche dans le discours critique au 19e siècle : le cas des Pensées de Pascal 11 WENDELIN GUENTNER The “Démon de la vitesse”: Technology, Subjectivity and the Sketch 23 ISABELLE DAUNAIS L’œuvre et son avenir : abstraction et révélation de l’image au XIXe siècle 32 SONYA STEPHENS Painting (in) the Studio: Artful Unfinishedness? 42 viii Esquisses/Ebauches CATHERINE NESCI Le feuilleton de Delphine de Girardin : poétique et politique du chiffon 56 MICHAEL TILBY « Ainsi l’ébauche vécut…» : du croquis au récit romanesque au seuil de la Comédie humaine 67 JOHN WEST-SOOBY Débauches en ébauche : la vie marginale de Lamiel 81 ANNE GREEN Sous Napoléon III de Flaubert : ébauches abandonées? 90 P M WETHERILL Ebauches multiples et contradictoires 102 JACQUES NEEFS Couper, copier, coller : les dossiers de Bouvard et Pécuchet 113 TIMOTHY UNWIN Jules Verne and the History of the Universe 122 ROSEMARY LLOYD Notes sur quelques carnets de Jules Laforgue 133 RACHAEL LANGFORD The Political Sketch? Jules Vallès’s Use of the Pictorial in the Jacques Vingtras Trilogy 143 Free ebooks ==> www.Ebook777.com Contents ix MARY DONALDSON-EVANS From Ebauche to Débauche: Fleshing out a Baudelairean Sketch in Maupassant’s Fiction 156 DAVID BAGULEY (D)ébauches zoliennes : les « rogatons » des Rougon-Macquart 168 KATE TUNSTALL « Une sorte d’idylle dans la Halle » : From ébauche to débauche in Le Ventre de Paris 177 JEAN-PIERRE LEDUC-ADINE Zola, Le Sémaphore de Marseille (17 février 1871–24 mai 1877), ou un « dossier préparatoire » aux Rougon-Macquart ? 185 NICHOLAS WHITE Narrative Closure and the Question of Divorce in Late-Nineteenth-Century Fiction 200 ROGER PEARSON « Une inaptitude délicieuse finir » : Mallarmé and the orthography of incompletion 211 JOHN HOUSE Impressionist Painting: esquisse or ébauche? 222 List of Contributors 231 www.Ebook777.com Impressionist Painting: esquisse or ébauche? 223 practice, its actual paint layers were wholly concealed by subsequent reworking.5 However, there were two significantly different schools of thought about the form that the ébauche should take Academic theorists insisted that it should be tonal, delineating the composition of the picture in terms of its masses and forms, arguing that colour should be ancillary to form.6 However, by the midcentury, an alternative view was widespread, advocating an ébauche that mapped out, in simplified form, the colour-composition of the final picture.7 Among the landscapists of the mid-century, Théodore Rousseau maintained a strictly tonal ébauche, in which the trees in his favoured forest subjects were precisely delineated, whereas Daubigny was the pioneer of a broadly handled, coloured initial layer The debates make it clear that this was not simply a matter of pictorial convention; this decision really mattered, in terms of fundamental values and beliefs, not just painting technique Dessin represented abstract knowledge, ideal form, whereas colour represented only the sensual surface An art-form grounded in colour alone represented a secular world view, one that rejected the whole edifice of neo-Platonist thinking that underpinned popular French Catholic theology Charles Blanc expressed the issues at stake most vividly in his Grammaire des arts du dessin in 1867: Le dessin est le sexe masculin de l’art; la couleur en est le sexe féminin… En peinture… la couleur… est essentielle, bien qu’elle occupe le second rang L’union du dessin et de la couleur est nécessaire pour engendrer la peinture, comme l’union de l’homme et de la femme pour engendrer l’humanité; mais il faut que le dessin conserve sa prépondérance sur la couleur S’il en est autrement, la peinture court sa ruine; elle sera perdue par la couleur comme l’humanité fut perdue par Eve.8 The Impressionist painters never used the term ébauche to describe a work that they considered in any sense complete and fit to be viewed They often exhibited very lightly worked canvases, especially in the 1870s; on occasions they subtitled them as esquisse or étude, but never as ébauche In his private notebooks, listing his sales, Monet also used the term pochade for his rapid sketches,9 but, again, never ébauche Close examination of the titles and subtitles used by the Impressionists makes it clear that the distinctions that they made concerning the status of their works were carefully calculated and integrally related to their painting practice.10 Two examples will show these distinctions in practice At the first group exhibition in 1874, Cézanne exhibited two landscapes, one with the title Etude, Paysage Auvers, the other titled La Maison du pendu; the latter painting (Musée d’Orsay, Paris) is far more densely worked and highly resolved than La Maison du père Lacroix (National Gallery of Art, Washington), the canvas that has recently been suggested to have been that exhibited as Etude, Paysage Auvers.11 In 224 John House the 1876 exhibition, Monet showed both Le Jardin des Tuileries and Les Tuileries; esquisse—both views of the same site, but the esquisse (Musée d’Orsay, Paris) a rapidly executed notation of an atmospheric effect, in contrast to the finesse and delicacy of the canvas without the subtitle (private collection).12 The term impression was used in a similar way, most notoriously by Monet in titling Impression, soleil levant (Musée Marmottan, Paris), the canvas of a foggy sunrise over the port of Le Havre whose title led to the group being named “Impressionists” Again, though, this was exhibited together with a larger and far more elaborately worked view of the same scene, viewed in the rain.13 It is mistaken to view rapidly worked canvases such as Impression, soleil levant as the paradigmatic Impressionist canvases None of the Impressionists ever exhibited their esquisses or impressions on their own; in their exhibitions, they were always accompanied by more highly finished tableaux However, by presenting them in their exhibitions as works of art that were complete in their own right, the artists were stressing their significance as one integral element in their oeuvre Indeed, on several occasions in his later life, Monet emphasised the special value that he placed on the esquisse heureuse.14 Monet’s initial lay-in layers were consistently coloured, following the broad outlines of the planned picture; these were ébauches in the Daubigny mode.15 However, Monet rarely used this term to describe them, but generally called them études; 16 in his surviving letters, he only once used the term ébauche to describe unfinished works, in London in 1900.17 These beginnings can readily be distinguished from the paintings that Monet exhibited and sold as esquisses and pochades at the time that he painted them The paintings that he left unfinished are flatter in execution and duller in colour, in contrast to the fluent shorthand and overall coherence of the completed esquisses Cézanne, too, left many paintings that were by conventional standards unfinished, and their status has been much debated.18 It is these pictures, with their extensive areas of unpainted canvas, that have led Cézanne’s art to be viewed as the paradigm for “modernist” notions of non-fini; however, all the surviving evidence about the ways in which Cézanne viewed his own art shows that he regarded them as failed attempts at what he described as réalisation, not as manifestos for a new conception of the complete work of art In contrast to the artists themselves, the press criticism of the Impressionist group exhibitions used the term ébauche frequently, and in a number of distinct ways.19 The standard usage was a way of saying that the pictures look unfinished—just as Gautier had in writing about Daubigny in 1861 Jules Castagnary”s comments about the first group exhibition in 1874 are a good example: Les plus forts, ceux qui ont de la race et du sang, auront reconnu que, s’il est des sujets qui s’accommodent de l’état d’impression, se contentent des dehors de l’ébauche, il en Impressionist Painting: esquisse or ébauche? 225 est d’autres et en bien plus grand nombre, qui réclament une expression nette, demandent une exécution précise; que la supériorité du peintre consiste précisément traiter chaque sujet suivant le mode qui lui convient… Ceux-là, qui chemin faisant auront perfectionné leur dessin, laisseront l’impressionnisme, devenu pour eux un art véritablement trop superficiel.20 However, in other reviews the term evoked more suggestive chains of association Reviewing Monet’s Le Boulevard des Capucines (Pushkin Museum , Moscow) in 1874, Ernest Chesneau saw the ébauche-like execution of the canvas— illegible when viewed from close to—as a means of expressing the quintessential experience of the modern city: Jamais l’animation prodigieuse de la voie publique, le fourmillement de la foule sur l’asphalte et des voitures sur la chaussée, l’agitation des arbres du boulevard dans la poussière et la lumière; jamais l’insaisissable, le fugitif, l’instantané du mouvement n’a été fixé dans sa prodigieuse fluidité, comme il l’est dans cette extraordinaire, dans cette merveilleuse ébauche que M Manet [sic—i.e Monet] a cataloguée sous le titre de Boulevard des Capucines A distance, dans ce ruissellement de vie, dans ce frémissement de grandes ombres et de grandes lumières pailletées d’ombres plus fortes et de lumières plus vives, on salue un chef-d’oeuvre Vous approchez, tout s’évanouit; il reste un chaos de râclures de palette indéchiffrable.21 In 1876, G d’Olby argued that Berthe Morisot’s ébauche-like technique was too personal to communicate adequately to the viewer, and compared it with the rough notes that might be made by a tourist—notes that would only make sense to the person who had made them: Mme Berthe Morisot ne fait que des ébauches, mais elles sont parfois marquées par une indication très fine de rapports de tons et de valeurs délicatement opposes C’est sommaire et touché par notes indépendantes, piquées par place comme des points de repère et de souvenir Ce mode d’indications est peut-être excellent pour lui rappeler ses impressions personnelles, mais l’oeil du visiteur ne peut se contenter d’un si mince régal; le morceau part vide, creux et médiocrement substantiel Si le hazard nous met entre les mains les notes fugitives qu’un touriste a prises au courant des fleuves ou des routes, si fines et si justes qu’elles soient, vous aurez de la peine reconstituer le voyage que vous n’avez pas fait et que le touriste pourrait vous raconter l’aide de ces notes, s’il voulait bien consenter les compléter par ces remplissements vulgaires, qui sont indispensables pour donner du corps aux choses.22 D’Olby, like Chesneau in 1874, presents the Impressionist ébauche in terms of a distinctively modern way of seeing, the vision of the rapidly moving tourist, but for him the notes that resulted from this touristic vision could not stand in their own right, but would need to be filled out, “finished,” for them to be able to communicate to other people 226 John House A number of critics make the point that appreciation of the Impressionists, summary technique belongs to an elite, insider viewership, of fellow artists and connoisseurs, and that is it meaningless to the wider public This picks up on the discussion of the ébauche in the Larousse Dictionnaire, and seems to be implicit in d’Olby’s comments on Morisot Duranty expressed this most vividly in his pamphlet La nouvelle peinture in 1876: Le public… ne comprend que la correction, il veut le fini avant tout L’artiste, charmé des délicatesses ou des éclats de la coloration, du caractère d’un geste, d’un groupement, s’inquiète beaucoup moins de ce fini, de cette correction, les seules qualités de ceux qui ne sont point artistes… D’ailleurs, il importe peu que le public ne comprenne pas; il importe davantage que les artistes comprennent, et devant eux on peut exposer des esquisses, des préparations, des dessous, où la pensé, le dessein et le dessin du peintre s’expriment souvent avec plus de rapidité, plus de concentration…23 A further association related the term impression to another meaning of the word, from house-painting: the undercoat; this is itself of course a form of ébauche Emile Bergerat played on this dual meaning in 1877 in his critique of the Impressionists’ ébauche-like execution: Dans les manuels du peintre en bâtiment, on appelle “peinture d’impression” la première couche plate posée par l’ouvrier sur la toile ou sur le panneau Là n’est point sans doute la justification de ce nom “d’impressionnistes” adopté par une vingtaine de jeunes artistes, aggressivement groupés en école… Il est présumable que pour eux le mot “impression” veut dire la sensation rapide et irraisonnée que tout objet produit d’abord sur le double organe de la vue et l’image qu’il réfléchit dans le chamber noir du cerveau… Etre impressionniste, c’est s’en tenir l’impression que procure le modèle, quel qu’il soit… C’est de parti pris rester sur l’ébauche et renoncer la perfection du rendu.24 The flatness of the ébauche invited another significant chain of associations: with the popular, with art-forms that were regarded as crude and naïve In 1876, Charles Bigot, while treating the esquisse and the ébauche as synonymous, pursued this line of argument: Ce sont des esquisses, des ébauches Il n’y aurait guère que des intransigeants au monde, s’il plaisait aux artistes d’exposer les esquisses Mais une esquisse pour un artiste n’est pas un tableau; c’est la première impression des choses, où les plans principaux sont indiqués par quelques touches vives, heurtées, brutales souvent… L’école nouvelle supprime le tableau, se dispense du travail et offre l’ébauche l’admiration publique… C’est revenir d’où l’humanité était partie… Le premier paysan qui a pris un pot de couleurs pour colorier une enseigne a inventé, sans y prétender, l’école intransigeante.25 Impressionist Painting: esquisse or ébauche? 227 The critics regularly reiterated the word-play between ébauche and débauche This was most interestingly expressed in 1877 by Léon de Lora: Ce que l’on appelle préparer une toile, ils l’appellent, eux, faire un tableau Leurs tableaux en restent toujours l’état d’ébauche ou peu s’en faut Je n’ai jamais vu (passez-moi ce jeu de mots qui rend ma pensée) pareille débauche d’ébauches Je n’ai qu’un moyen de caractériser le système artistique de ces messieurs: il vise au naïf, il tourne au grotesque.26 However, in general in the critical writing it was the esquisse and the pochade that were associated with unbridled creativity and viewed as inspirational, rather than disciplined Strictly speaking, the ébauche was not an inspirational, “debauched” mode A different sort of debauched ébauche was invoked by Marc de Montifaud (Marie-Amélie Chartroule de Montifaud) in 1874, comparing Cézanne’s Une moderne Olympia, esquisse (Musée d’Orsay, Paris) to Baudelaire, and his “bizarre ébauche de l’imagination” to drug-induced visions: Le public de dimanche a jugé propos de ricaner en face de la fantastique figure qui se présente dans un ciel opiacé, un fumeur d’opium Cette apparition d’un peu de chair rose et nue que pousse devant lui… une espèce de demon, où s’incube, comme une vision voluptueuse, ce coin de paradis artificial, a suffoqué les plus braves… et M Cézanne n’appart plus que comme une espèce de fou, agité en poignant du delirium tremens L’on a refuse de voir, dans cette création inspire de Beaudelaire [sic], un rêve, une impression causée par les vapeurs orientales et qu’il fallait rendre sous la bizarre ébauche de l’imagination L’incohérence n’est-elle pas la nature, le caractère du sommeil laudatif?27 A final group of texts, particularly relevant in the present context, drew direct parallels between the painting technique of the Impressionists and literature Bariolette’s argument in 1877 was about the relationship between form and subject-matter: “Après la Fille Elisa et l’Assommoir, voici les impressionnistes Après le roman, la peinture Le moment est aux curiosités malsaines Dans le roman au moins, la forme sauve le fond; dans la peinture, tout est provocation au mépris de l’art le plus élémentaire.”28 The other two explore the question of form in painting and literature further Jules Claretie in 1877 compared the Impressionist painting with the rough notes of the littérateur: L’impressionnisme…consiste en peinture, traduire en quatre coups de pinceau l’aspect général d’un paysage, d’une rue de Paris, d’une physionomie vivante Un littérateur qui publierait son carnet de notes écrites au hazard, sans ordre, sans méthode, avec des abréviations, sans une verbe, sans une virgule, serait un impressionniste, et on peut juger de quels beaux livres il accoucherait.29 John House 228 Paul Parfait in 1877 cloaked a similar criticism in particularly vivid form, imagining an Impressionist version of Victor Hugo’s Les Châtiments: Etre impressionniste, c’est se contenter des notes qu’on a pu prendre avec le crayon ou avec le pinceau sans se préoccuper de les completer par le travail de faỗon quil en rộsulte une oeuvre Supposez qu’au lieu d’écrire son admirable tableau de la retraite de Russie, l’auteur des Châtiments ait tout simplement livré la publicité des notes comme celles-ci: “Après hiver—plaine blanche—moins armée que troupeau—plis soulevent la neige—trompette gelé, etc.” Victor Hugo aurait, en ce cas, fait oeuvre d’impressionniste On peut juger par toute la distance qu’il y a de l’impressionnisme l’art En matière littéraire, l’impressionnisme, du reste, a déjà un nom On l’appelle la télégraphie.30 In all three of these commentaries that invoke literary analogies, it is the lack of form and orderly structure in the Impressionists’ paintings that is the target of the critics Their failings involved both the inadequate representation of individual elements and the absence of any coherent overall composition in their paintings For Bariolette, this had an explicitly moral dimension; the “naturalist” novel was saved by its form, which implicitly allowed some form of moral resolution, whereas the Impressionist painting was not The concerns of Claretie and Parfait were comparable to d’Olby’s comparison in 1874 between Morisot’s paintings and the private notes of a tourist: the paintings lacked the basic coherence and fullness of expression that would make them meaningful for the viewing public Within the Impressionist circle, the esquisse was one crucial mode of expression—a mode that expressed particularly vividly and immediately their sensations in front of the visual experience of the world; for them, an ébauche was an unfinished or failed painting Their critics, by contrast, faced with their vivid colour and informality of technique, particularly in these esquisses, could not accept their canvases as complete works of art; these coloured râclures de palette appeared as a rejection of all forms of transcendent belief in favour of a sense-based materialism For them, an Impressionist exhibition was merely a débauche d’ébauches NOTES For further discussion, see John House, Monet: Nature into Art, New Haven and London, 1986, pp 157–8; Wendelin Guentner, “The Sketch in Nineteenth-Century French Dictionaries, Encyclopedias and Treatises,” Contemporary French Civilisation, Volume XXIII, no 1, Winter / Spring 1999 (I am most grateful to Wendelin Guentner for bringing this to my attention) Impressionist Painting: esquisse or ébauche? 10 11 12 15 16 17 18 19 20 21 23 24 25 26 27 28 29 30 229 E.g Pierre Larousse, Grand dictionnaire universel du XIXe siècle, VII, Paris, 1870, p 36; an excellent example of such confusion is Artaud’s article on the ébauche in Encyclopédie moderne, XIII, Paris, 1848, pp 214–5, quoted in Guentner 1999, pp 101–2 Larousse, Grand dictionnaire, VII, Paris, 1870, p 36 Théophile Gautier, Abécédaire du Salon de 1861, Paris, 1861, p.119–20 This is stressed in Dictionnaire de l’Académie des Beaux-Arts, V, Paris, 1896, p 214, s.v ébauche See Albert Boime, The Academy and French Painting in the Nineteenth Century, London: Phaidon, 1971, pp 37ff See e.g Karl Robert, Traité pratique de la peinture l’huile (paysage), Paris, 1878, pp 53–4 Charles Blanc, Grammaire des arts du dessin, Paris, 1867 (1886 edition, pp 21–2) On the term pochade, see Paillot de Montabert, Traité complet de la peinture, Paris, 1829, I, p 201; Emile Littrộ, Dictionnaire de la langue franỗaise, Paris, 1863, II, part 1, p 1179 For detailed discussion, see John House, Impressionism: Paint and Politics, New Haven and London: Yale University Press, 2004, Chapter Reproduced together in House 2004, p 57 Reproduced together in House 1986, pp 160–1 13 Reproduced together in House 1986, pp 163 and House 2004, pp 54–5 14 See House 1986, pp 162–5 See House 1986, pp 65–9 ee House 1986, especially pp 158–9, 167–70 Letter from Monet to Alice Monet, 24 March 1900, in Daniel Wildenstein, Monet: biographie et catalogue raisonné, Lausanne and Paris, Bibliothèque des Arts, IV, 1985, p 346 See especially Cézanne Finished Unfinished, exhibition catalogue, Kunstforum Vienna / Kunsthaus Zürich, 2000 Ruth Berson (ed.), The New Painting: Impressionism 1874–1886, Documentation, San Francisco and Seattle: Fine Arts Museums of San Francisco and Washington University Press, 1996, is an invaluable compilation of all the traced critical writing about the Impressionist group exhibitions; the quotations that follow are all taken from this source Jules Castagnary, Le Siècle, 29 April 1874 (Berson 1996, I, p 17) Ernest Chesneau, Paris-Journal, May 1874 (Berson 1996, I, p 18) 22G d’Olby, Le Pays, 10 April 1876 (Berson 1996, I, p 100) Duranty, La nouvelle peinture, 1876 (Berson 1996, I, 79–80) Emile Bergerat, Journal officiel, 17 April 1877 (Berson 1996, I, p 127) Charles Bigot, Revue politique et littéraire, April 1876 (Berson 1996, I, p 61) Léon de Lora, Le Gaulois, 10 April 1877 (Berson 1996, I, p 162) Marc de Montifaud (Marie-Amélie Chartroule de Montifaud), L’Artiste, May 1874 (Berson 1996, I, p 29–30) Bariolette, Le Sportsman, April 1877 (Berson 1996, I, p 126) Jules Claretie, L’Indépendance belge, 15 April 1877 (Berson 1996, I, p 140) Paul Parfait, Le Charivari, 10 April 1877 (Berson 1996, I, p 174) Free ebooks ==> www.Ebook777.com CONTRIBUTORS DAVID BAGULEY David Baguley is Emeritus Professor of French at the University of Western Ontario and Durham University He is the author of several books and articles on Zola and literary naturalism, including Naturalist Fiction: The Entropic Vision (Cambridge, 1990 and 2005) and Le Naturalisme et ses genres (1995), as well as a recent study of Napoleon, (Napoleon and His Regime: An Extravaganza) (2000) He edited the volumes of the Cabeen bibliography for the nineteenth century (1994) and has published bibliographies of criticism on Zola and his works MARIANE BURY Mariane Bury is Professor of French Literature at the Sorbonne (Paris-4) She is author of Maupassant, (Nathan, 1992), La Poétique de Maupassant (SEDES, 1994) Une vie de Guy de Maupassant, (Gallimard, 1995), La Nostalgie du simple (Champion, 2004), and numerous articles on French nineteenth-century literature ISABELLE DAUNAIS Isabelle Daunais is Associate Professor of French Literature at McGill University She has published a number of studies and critical essays on nineteenthcentury novelists Her most recent book, Frontière du roman Le personage réaliste et ses fictions (Presses universitaires de Montréal & Presses universitaires de Vincennes, 2002) examines the relationship that characters entertain with narrative fiction She co-edited, with M.-A Beaudet et L Bonenfant, Les oubliés du romantisme (2004) MARY DONALDSON-EVANS Mary Donaldson-Evans is Elias Ahuja Professor of Foreign Languages and Literatures at the University of Delaware She has authored two books A Woman’s www.Ebook777.com 232 Esquisses/Ebauches Revenge: The Chronology of Dispossession in Maupassant’s Fiction (French Forum Monographs, 1986) and Medical Examinations: Dissecting the Doctor in French Narrative Prose (University of Nebraska Press, 2000), as well as articles on Flaubert, Maupassant, Huysmans and Zola She has, in addition, published: Modernity and Revolution in Late Nineteenth-Century France (co-edited with Barbara Cooper, University of Delaware Press, 1992); Autobiography, Historiography and Rhetoric: essays in honor of Frank Paul Bowman (co-edited with Lucienne Frappier-Mazur and Gerald Prince, Rodopi, 1994); Kaleidoscope: essays in Nineteenth-Century French Literature in honor of Thomas H Goetz (co-edited with Graham Falconer, Centre d’études romantiques J Sablé, University of Toronto, 1996); Moving Forward, Holding Fast: The Dynamics of Ninteenth-Century French Culture (co-edited with Barbara Cooper, Rodopi, 1997) She is currently at work on a book about film adaptations of Madame Bovary ANNE GREEN Anne Green is Senior Lecturer in French at King’s College, London She is author of Flaubert and the Historical Novel Salammbô reassessed (Cambridge University Press, 1982) and Privileged Anonymity The Writings of Madame de Lafayette (Legenda, 1996 Reprinted 1997) as well as numerous articles and essays on Flaubert Her current research project explores the responses in Second Empire Literature to social, political and technological change and includes chapters on exhibitions, photography, transport, food and costume of the period WENDELIN GUENTNER Wendelin Guentner is Professor of French at the University of Iowa She has written two books, Stendhal et son lecteur: Essai sur les "Promenades dans Rome" (Gunter Narr, 1989) and Esquisses littéraires: Rhétorique du spontané et récit de voyage au XIXe siècle (Nizet, 1997) She is also the author of numerous book chapters, articles and encyclopedia entries on the history and rhetoric of the travel narrative, interpretative stategies and reader reception, photography and book illustration, the discourse of the preface and of salon criticism, the literary fragment and the pictorial sketch in literary and aesthetic discourse Professor Guentner is currently completing a book, The Sketch in Nineteenth-Century Cultural Discourse in France and is editing a collection of essays by art historians and literary critics entitled Vanishing Acts: Women and the Art World in Nineteenth-Century France Contributors 233 JOHN HOUSE John House is Professor of Art History at the Courtauld Institute of Art He is author of Monet: Nature into Art (Yale University Press, 1986) and Impressionism: Paint and Politics (Yale University Press, 2004) He has been involved in the organisation of many exhibitions, including: Impressionism (Royal Academy, London and National Gallery, Washington, 1979-80); Renoir (Hayward Gallery, London, Grand Palais, Paris and Museum of Fine Arts, Boston, 1985-6); Renoir (Brisbane, Sydney, Melbourne, 1994); and Landscapes of France/Impressions of France (Hayward Gallery, London, and Museum of Fine Arts, Boston, 1995-6) He was Slade Professor at the University of Oxford in 1987 and has published many articles on French mid to later nineteenth-century painting RACHAEL LANGFORD Rachael Langford is Senior Lecturer in French Studies at Cardiff University where she has been since 1996 Her PhD (University of Cambridge, 1996) was on Jules Vallès on whom she has also published a monograph, Jules Vallès and the Narration of History: Contesting the French Third Republic in the ‘Jacques Vingtras’ Trilogy (Peter Lang, 1999) and a number of essays and articles She is also author of Souleymane Cissé (BFI, 2004) and co-editor (with Claire Gorrara) of France since the Revolution, texts and contexts (Edward Arnold, 2003) JEAN-PIERRE LEDUC-ADINE Jean-Pierre Leduc-Adine is Professor of French Literature at the University of Paris-3 (Sorbonne nouvelle) and Nonorary Director of the CNRS Institut des Textes et Manuscrits Modernes in Paris He has published extensively on Zola and nineteenth-century French literature Most recently he has publishedZola’s Ecrits sur l'art (Gallimard, 1991) et directed the publication of Zola, genèse de l'oeuvre (CNRS, 2002) He is also editor, with Henri Mitterand, of Lire/Délire Zola (Nouveau Monde, 2004) ROSEMARY LLOYD Rosemary Lloyd is Rudy Professor of French and Italian at Indiana University, Bloomington where she has taught since 1991 Her research interests include French 19th- and 20th- century poetry and fiction; interrelationships between 234 Esquisses/Ebauches literature and the visual arts; artists’ books; translation; and Australian literature She is author of Baudelaire et Hoffmann: affinités et influences (Cambridge University Press, 1979); Baudelaire’s Literary Criticism (Cambridge University Press, 1981); Mallarmé: Poésies (Grant & Cutler, 1984); Flaubert’s Madame Bovary (George Allen & Unwin, 1990); The Land of Lost Content: Childhood in Nineteenth-Century French Literature (Clarendon Press 1992); Closer & Closer Apart: Jealousy in Literature (Cornell University Press, 1995); Mallarmé: The Poet and his Circle (Cornell University Press, 1999) ; Baudelaire’s World (Cornell University Press, 2002); Shimmering in a Transformed Light: Writing the Still Life (Cornell University Press, 2005); and numerous articles She has edited a number of volumes of essays and has also published book-length translations with critical apparatus, including Selected Letters of Charles Baudelaire (Chicago University Press, and Weidenfeld and Nicolson, 1986); Selected Letters of Stéphane Mallarmé (Chicago University Press, 1988); Baudelaire: La Fanfarlo and Short Prose Poems (Oxford University Press, 1991 Second edition 2001); The Master Pipers, by George Sand (Oxford University Press, 1994); and Revolutions in Writing: Nineteenth-Century French Prose Selection, edition, and translation (Indiana University Press, 1996) JACQUES NEEFS Jacques Neefs is Professor of French Literature at the Université de Paris-8, Director of the Research Programme in Textual Genetics at the CNRS in Paris and Distinguished Visiting Professor of French Literature in the Department of Romance Languages at Johns Hopkins University, Baltimore He has published widely on a number of nineteenth- and twentieth-century French authors and, most recently, has authored Le temps des œuvres (Presses universitaires de Vincennes, 2001) He specializes in the history and theory of the novel and in textual genetics, especially in relation to Flaubert CATHERINE NESCI Catherine Nesci is Professor of French and Women’s Studies at the University of California, Santa Barbara She holds a PhD from the Université de Paris-7 (1987) and is author of Balzac, La Femme mode d’emploi (1992) and numerous articles on Balzac, Chateaubriand, Hugo, Nodier, Barbey d’Aurevilly, Dumas père, Olympe de Gouges and Flora Tristan She has also edited Corps/Décors: Femmes, Orgie, Parodie (with Gretchen van Slyke and Gerald Prince, 1999) and a special number of the journal Paragraphes, L’Œuvre d’identité : Essais sur le romantisme (with Didier Maleuvre, 1996) She has recently completed a book entitled: Le Contributors 235 flâneur et les flâneuses Des femmes dans Paris l’époque romantique, dealing with women, modernity and the city in nineteenth-century Paris ROGER PEARSON Roger Pearson is Professor of French at the University of Oxford and Fellow of The Queen’s College His publications include Stendhal’s Violin: The Novelist and his Reader (Clarendon Press, 1988); The Fables of Reason: A Study of Voltaire’s ‘contes philosophiques’ (Clarendon Press, 1993); Unfolding Mallarmé (Clarendon Press, 1996); and Mallarmé and Circumstance: The Translation of Silence (Clarendon Press, 2004) He has, in addition published numerous articles and translated Zola’s La Bête humaine (Oxford World Classics, 1996) SONYA STEPHENS Sonya Stephens is Professor of Modern French Literature and Culture at Royal Holloway, University of London and was a Visiting Fellow at the University of Connecticut Humanities Institute in 2003-4 She is author of Baudelaire’s Prose Poems: The Practice and Politics of Irony (Oxford University Press, 1999) and a number of articles on Baudelaire, including the relationship between his poetry and the visual arts She has also edited A History of Women’s Writing in France (Cambridge University Press, 2000) She is Editor of XIX: The Journal of the Society of Dix-Neuviémistes Her current research project is an investigation into the unfinished as a cultural phenomenon in nineteeth-century France MICHAEL TILBY Michael Tilby is Fellow in French at Selwyn College, University of Cambridge He has published widely on a number of nineteenth- and twentieth-century French authors, especially Balzac, as well as on the relationship between literature and the visual arts in the nineteenth century His publications on Balzac include regular contributions to L’Année balzacienne and a number of essays in other journals and volumes He is author of Gide: Les Faux Monnayeurs (Grant & Cutler, 1981) and has edited Beyond the Nouveau Roman Essays on the Contemporary French Novel (Berg, 1990) and Balzac (Longman, ‘Modern Literatures in Perspective’, 1995) He is currently completing a comprehensive study of Balzac’s early fiction 236 Esquisses/Ebauches KATE TUNSTALL Kate Tunstall is University Lecturer in French at the University of Oxford and Fellow of Worcester College Her main research interests are in the field of word and image relations in the eighteenth and nineteenth centuries She has published a number of articles and essays in this field in journals such as French Studies, French Cultural Studies and Word and Image TIMOTHY UNWIN Timothy Unwin is Professor of French Language and Literature at the University of Bristol He has published extensively on nineteenth-century literature and is author of Flaubert et Baudelaire : affinities spirituelles et esthétiques (Nizet, 1982); Constant, Adolphe (Grant & Cutler, 1986); Art et infini : l’œuvre de jeunesse de Gustave Flaubert (Rodopi, 1991); Jules Verne : Le tour du monde en quatre-vingt jours (Glasgow Guides to French Literature, 23, 1992), Textes réflechissants : réalisme et réflexivité au dix-neuvième siècle (Peter Lang, 2000), and Jules Verne Journeys in Writing (Liverpool University Press, 2005) He is editor of the Cambridge Companion to the French Novel from 1800 to the present (Cambridge University Press, 1997) and Visions/Revisions: Essays on Nineteenth-Century French Culture (with Nigel Harkness, Paul Rowe and Jennifer Yee, Peter Lang, 2004) He has also published critical editions of Flaubert, Trois contes de jeunesse (University of Exeter Press, 1981) and Louis Bouilhet, Cœur droite : pièce en trois actes et quatre tableaux (University of Exeter Press, 1993) JOHN WEST-SOOBY John West-Sooby is Senior Lecturer in French Studies at the University of Adelaide where he has taught since 1991 His main areas of research are chance, destiny and the picaresque novel and the nineteenth-century French novel, especially Stendhal, Maupassant and Barbey d’Aurevilly He has authored a number of articles in this area, as well as publishing, most recently, a study of Nicolas Baudin as a scientific navigator, Encountering Terra Australis Nicolas Baudin and Matthew Flinders (co-authored with Jean Fornasiero and Peter Monteath, Wakefield Press, 2003), which won the Frank Broeze Memorial Maritime History book prize in 2005 He has also edited a number of books, including Eating Culture: The Arts of the Table in French Literature and Civilisation (Monash Romance Studies, 2003); Images of the City in Nineteenth-Century France (Boombana, 1998); Free ebooks ==> www.Ebook777.com Contributors 237 and Traditions and Mutations in French Studies: The Australian Scene (with Philippe Lane, Boombana, 1997) P M WETHERILL Michael Wetherill is Professor Emeritus of French at the University of Manchester He has published widely on a number of nineteenth- and twentiethcentury French authors His is author of Charles Baudelaire et la poésie d’Edgar Allan Poe (Nizet, 1962); Flaubert et la création littéraire (Nizet, 1964) and of a critical edition of Flaubert’s Trois contes (Classiques Garnier, 1988) He has also edited Flaubert: la dimension du texte (Manchester University Press, 1982); Littérature et revolutions en France (with G.T Harris, Rodopi, 1990) and Sur la génétique textuelle: études (with D.G Bevan, Rodopi, 1990) NICHOLAS WHITE Nicholas White is Senior Lecturer in French at the University of Cambridge and Fellow in French at Emmanuel College He is author of Family in crisis in late nineteenth-century French fiction (Cambridge University Press, 1999) and a number of articles He is also editor of Scarlet Letters: fictions of adultery from antiquity to the 1990s (with Naomi Segal, 1997) He has, in addition, been responsible for an edition, with critical apparatus, of a translation of Zola’s L’Assommoir (Dent, 1995) and authored the introduction and edited with critical apparatus Margaret Mauldon’s translation of Huysmans’ A rebours, Against Nature (Oxford World Classics, 1998) He is co-Editor of XIX: The Journal of the Society of DixNeuviémistes He is currently researching the literature of divorce in nineteenthcentury France www.Ebook777.com ... and, through a wide-ranging corpus, proposes ways of thinking about projects and pre- texts in nineteenthcentury France It is organized according to two main principles (and, to some extent, in. .. of writing, the back -and- forth of the text in the process of creating itself, pre- texts, supporting texts, drafts, crossings-out.”3 Art historians have long expressed a (passing) interest in the... explores pre- texts and projects in nineteenth-century French cultural production in order to map the coordinates of process in a developing aesthetic of the incomplete It assembles a cast of international