Letter From Charles Garnier To An Unknown Recipient Ca 1875

Arranges to meet recipient at the Opera the next Monday.

Did not have the new plan from Monsieur Violet [sic] as soon as he would have liked ' Violet could not undertake the drawing up of the design as he was afraid of making a mistake, but (Garnier) thinks the he does not want the extra work. Will send new drawing to Violet this morning and he promises a reply in four or five days'Is leaving town before then but will give M. le Deschault, clerk of works, instructions. Will send the total cost of the design then you should spend a day at the Opera If you agree cost he will direct the work himself and no time will be lost M. le Deschault replaces me in my absence : I am putting him in the picture regarding 'our little business' and you can deal with him as you would with me.

The first letter is a transcript of item S-MR/1/12/3. The second letter is a transcript of item S-MR/1/12/1 and the accompanying notes give short biographical detail for Garnier and suggests that 'Violet' might be Eugene Viollet-le-Duc (1814-1879).

Acknowledges his election as an Honorary & Corresponding Member of the Institute.

In this engrossing book, Hollis Clayson provides the first description and analysis of French artistic interest in women prostitutes, examining how the subject was treated in the art of the 1870s and 1880s by such avant-garde painters as Cézanne, Degas, Manet, and Renoir, as well as by the academic and low-brow painters who were their contemporaries. Clayson not only illuminates the imagery of prostitution-with its contradictory connotations of disgust and fascination-but also tackles the issues and problems relevant to women and men in a patriarchal society. She discusses the conspicuous sexual commerce during this era and the resulting public panic about the deterioration of social life and civilized mores. She describes the system that evolved out of regulating prostitutes and the subsequent rise of clandestine prostitutes who escaped police regulation and who were condemned both for blurring social boundaries and for spreading sexual licentiousness among their moral and social superiors. Clayson argues that the subject of covert prostitution was especially attractive to vanguard painters because it exemplified the commercialization and the ambiguity of modern life.

Series title also at head of t.p.

Published to accompany the 1994 exhibition at The Museum of Modern Art, New York, this book constitutes the most extensive survey of modern illustrated books to be offered in many years. Work by artists from Pierre Bonnard to Barbara Kruger and writers from Guillaume Apollinarie to Susan Sontag. An importnt reference for collectors and connoisseurs. Includes notable works by Marc Chagall, Henri Matisse, and Pablo Picasso.

With Building in France, Building in Iron, Building in Ferroconcretre (1928)—published now for the first time in English—Sigfried Giedion positioned himself as an eloquent advocate of modern architecture. This was the first book to exalt Le Corbusier as the artistic champion of the new movement. It also spelled out many of the tenets of Modernism that are now regarded as myths, among them the impoverishment of nineteenth-century architectural thinking and practice, the contrasting vigor of engineering innovations, and the notion of Modernism as technologically preordained.

Catalogue published in conjunction with the exhibition "Extravagant Inventions: the Princely Furniture of the Roentgens" on view at The Metropolitan Museum of Art, New York, from October 30, 2102, through January 27, 2013.