Théophile Gautier

The Salon that opened at the Palais National in Paris at the end of 1850 represented French art at its mid-century zenith. There were few critics of the Salon whose reviews were more eagerly awaited than Th ophile Gautier, acclaimed author of Mademoiselle de Maupin, major poet, and brilliant critic. Peter Scacco's English translation of the complete series of Gautier's original twenty-three articles from La Presse sheds important light on the art and artists of France as it entered the second half of the nineteenth century. Mr. Scacco's Introduction gives the reader useful historical context, and a valuable Appendix, listing all works by Salon artists covered by Gautier, accompanied by their Salon catalogue numbers, follows the text. With Notes and Index of Artists.

Une tr s belle histoire d'amour se d roulant dans la fascinante Egypte ancienne.

La Pr face, oeuvre part enti re, fait date dans l'histoire litt raire. Sur un ton enlev , perfide et caustique, l'auteur attaque les bien-pensants, repr sentants de la tartufferie et de la censure, et ceux qui voudraient voir un c t utile dans une oeuvre litt raire, alors que l'art, par d finition non assujetti la morale ou l'utilit , chappe la notion de progr s pour ne s'allier qu' celle du plaisir.

Un r cit de voyage qui se transforme en tableau rotique de l'Italie du XIXe si cle. POUR UN PUBLIC AVERTI. Lors d'un voyage Rome, Th ophile Gautier crit une longue lettre destin e moustiller son amie Apollonie Sabatier, une jeune artiste peintre mondaine qui tient un salon parisien et se fait conna tre sous le nom de la Pr sidente . La correspondance au ton grivois brosse un tat des lieux des moeurs sexuelles en Italie et l'auteur n'h site pas d crire ses rencontres galantes. Lettres la Pr sidente, voyage en Italie est suivi des Po sies libertines. Un texte grivois agr ment de po mes coquins par l'un des plus grands romanciers fran ais. EXTRAIT Pr sidente de mon coeur, Cette lettre orduri re, destin e remplacer les saloperies dominicales, s'est bien fait attendre; mais c'est la faute de l'ordure et non celle de l'auteur. La pudicit r gne en ces lieux solennels mais antiques, et j'ai le grand regret de ne pouvoir vous envoyer que des cochonneries breneuses et peu spermatiques. Je vais proc der par ordre de route: Gen ve, le gouvernement vous recommande, la porte de la ville, devoir ci-derri re; ce qui est beaucoup, dans une ville protestante, o , pour humilier les catholiques, et leur montrer qu'ils ne sont que des payens sensuels, les femmes se rabotent le cul et les t tons avec la varlope de la modestie, selon la m thode am ricaine. PROPOS DE L'AUTEUR Th ophile Gautier (1811-1872) est un po te, romancier et critique d'art fran ais. Il rencontre Victor Hugo en 1829 et celui-ci lui donne le go t de la litt rature. Gautier tait un esth te, privil giant d'une mani re provocatrice l'esth tique au d triment des autres fonctions de l'oeuvre. Cet esth tisme est le principal point commun entre ses po mes, maux et Cam es (1852) et ses grands romans, Mademoiselle de Maupin (1835), Le Roman de la momie(1858), Le Capitaine Fracasse (1

"... J'ai racont de quelle mani re j'avais rencontr Marilhat pour la premi re fois. C' tait propos d'un bal. La derni re fois que je le vis ce fut propos d'un ballet; j'avais crit pour Carlotta le livret de la P ri, et, dans cette oeuvre muette, je voulais apporter toute l'exactitude mat rielle possible. J'allai donc chez Marilhat faire provision de couleur locale; une sinc re admiration chaleureusement exprim e de ma part, une bienveillance reconnaissante de la sienne, avaient tabli entre nous des rapports qui, pour n' tre pas fr quents, n'en taient pas moins cordiaux. Il m'ouvrit tous ses cartons avec une in puisable complaisance, me dessina ou me permit de calquer les costumes dont j'avais besoin, et me pr ta m me une petite guitare arabe trois cordes, au ventre en calebasse et au long manche d' b ne et d'ivoire, qui servit la p ri dans sa sc ne de s duction musicale; il est vrai de dire qu'aucune danseuse, l'exception de Mlle Delphine Marquet, ne voulut se conformer aux indications de Marilhat, et que toutes, mon grand d sespoir, pr f r rent s'habiller en sultanes du jardin Turc, ce qui me d montra la vanit de la couleur locale en mati re chor graphique..."

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Albertus, ou L' me et le p ch l gende th ologique / par Th ophile GautierDate de l' dition originale: 1833Le pr sent ouvrage s'inscrit dans une politique de conservation patrimoniale des ouvrages de la litt rature Fran aise mise en place avec la BNF. HACHETTE LIVRE et la BNF proposent ainsi un catalogue de titres indisponibles, la BNF ayant num ris ces oeuvres et HACHETTE LIVRE les imprimant la demande. Certains de ces ouvrages refl tent des courants de pens e caract ristiques de leur poque, mais qui seraient aujourd'hui jug s condamnables. Ils n'en appartiennent pas moins l'histoire des id es en France et sont susceptibles de pr senter un int r t scientifique ou historique. Le sens de notre d marche ditoriale consiste ainsi permettre l'acc s ces oeuvres sans pour autant que nous en cautionnions en aucune fa on le contenu. Pour plus d'informations, rendez-vous sur www.hachettebnf.fr

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This is a reproduction of the original artefact. Generally these books are created from careful scans of the original. This allows us to preserve the book accurately and present it in the way the author intended. Since the original versions are generally quite old, there may occasionally be certain imperfections within these reproductions. We're happy to make these classics available again for future generations to enjoy

This is a reproduction of the original artefact. Generally these books are created from careful scans of the original. This allows us to preserve the book accurately and present it in the way the author intended. Since the original versions are generally quite old, there may occasionally be certain imperfections within these reproductions. We're happy to make these classics available again for future generations to enjoy

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Il parle de lui, il se confesse avec une charmante na vet , il fait des retours sur lui-m me, il se compla t dans les souvenirs de sa jeunesse et de son bon temps; il disserte sur la mort, sur la vertu, sur tout; car le pauvre colier a trouv , sous Louis XI, la forme digressive du Don Juan de Byron. Comme le po me du noble lord, le testament du voleur roturier est en octaves; l'entrelacement des rimes est presque pareil; c'est le m me m lange de sensibilit et de raillerie, d'enthousiasme et de prosa sme; c t d'une page toute moite de pleurs vous trouvez un chapelet de coq- l' ne et de r bus aussi d testables que les calembours du pair anglais. L'effet d'une peinture suave est d truit par une esquisse grotesque la mani re de Callot; une digression m ne une autre, les legs ironiques se succ dent sans interruption; celui-ci une ballade, celui-l un rondeau, cet autre une savate ou un plat barbe; tout ce que la fantaisie la plus flottante peut avoir de caprices, vous le trouverez dans les deux testaments de Villon; car il y en a deux, un petit et un grand.

"Partie Carree" de Theophile Gautier. Theophile Gautier, poete, romancier, peintre et critique d'art francais (1811-1872).