Jacques-mile Ruhlmann, Pierre Chareau, Robert Mallet-Stevens, Charlotte Perriand, Eileen Gray: together these designers and their contemporaries pioneered the look of the modern French interior during the 1920s. Their use of sumptuous materials, rich jewel tones, intricate geometric patterns, and complex and varied textures has made this work a lasting favorite among interior designers, architects, and their clients. When it first appeared, the got moderne, or modern taste, was marketed through limited-edition portfolios containing unbound drawings, printed in full color using a traditional process called pochoir. Created in an era before color photography, the vivid gouache and watercolor depictions of interior spaces—complete with coordinated furniture, carpets, fabrics, and decorative accessories—announced the dawn of a new era of French design and set the standards of luxury and taste that still guide us today. Moderne presents the finest examples of this work in more than two hundred plates, selected by Sarah Schleuning, a curator of the Wolfsonian Museum, and faithfully reproduced to preserve their original color palettes. This sumptuous volume is comprehensive in scope, beginning with the early art moderne of Ruhlmann and concluding with the avant-garde work of Gray and Perriand. These and other high-water marks of the period are discussed in an essay by historian Jeremy Aynsley. Designers' biographies and a brief bibliography are also included, making this an inspirational resource for interior designers and architects, and an indispensable reference for historians of the modern era.

(Reis)gids voor moderne Nederlandse architectuur waarin ruim 700 objecten worden afgebeeld en beknopt beschreven.

Histoire d'une Grecque moderne is a masterpiece of ambiguity. Through the narrator's own bias and hypocrisy and through his "doubles" in the story who mirror or contrast with his character, Abbe Prevost deflates the patriarchal figures of eighteenth-century European society. The Oriental heroine's quest for intellectual and physical autonomy challenges such traditional authority figures as the aristocratic hero/narrator, the European imperialist, the "philosophe," and the writer who reflect Western sexual and cultural prejudices. Like the other novels of Prevost's 1740 trilogy (and even to a greater extent than in "Manon Lescaut"), "La Greque moderne" conveys a disturbing moral pessimism and indeterminancy that, in the end, the heroine's courage and determination cannot overcome. In an age of skepticism and increasing individualism, "La Greque moderne" seems to question the existence of any trustworthy model of moral authority.

"Cathrin Klingsohr-Leroy gives an appraisal of the key aspects of this period of art history, drawing on the wealth of examples the Pinakothek der Moderne has to offer. The introduction to each section discusses the successive stylistic developments and trends, followed by an explanation of the technique, history and significance of each selected work of art."--BOOK JACKET.

(Guitar). The Moderne is an electric guitar designed by Gibson in 1957 alongside the Flying V and Explorer as part of a stylistically advanced line. Sources claim that Gibson made a handful of prototypes, but an original has yet to surface. The Moderne was eventually put into production in 1982. Because of their very limited production and forward design, Modernes are highly sought by collectors. Here is the story, explained in interviews and photos, of this curious development associated with the golden era of guitar making.

This Festschrift for Reinhard Schulze focusses on a life-long concern of his, namely the relationship between Islam and modernity. The contributors reflect upon the academic study of Islam, Islamic cultures of knowledge, media and literature, and current societal processes. Diese Festschrift für Reinhard Schulze widmet sich einem Lebensthema des Jubilars, nämlich der Beziehung von Islam und Moderne. Die Beiträge reflektieren akademische Forschung zu Islam, islamische Wissenskulturen, Medien und Literatur, sowie gegenwärtige Prozesse in nahöstlichen Gesellschaften.

This book explores fictional responses to the changing transport and urban infrastructure of nineteenth-century France, arguing that networks of movement (and an accompanying ‘culture of networks’) which had become firmly established by the time of the Second Empire constitute a privileged subject for representation, and that naturalist fiction in particular is that representation’s privileged form. Contextualizing the study’s critical focus by way of a brief historical outline of the development of infrastructural networks in nineteenth-century France and a delineation of the problematical parameters of French naturalism, Duffy examines literary representations of new forms and conceptualisations of movement, principally in works by Flaubert, Zola, and Maupassant. Other authors discussed include the Goncourt brothers, Huysmans, Baudelaire and Claretie. Literary texts are examined alongside a range of related scientific, sociological and medical texts. What emerges strikingly from consideration of these works and the discourses they – often subversively – incorporate, is that movement, central to nineteenth-century industrial society’s view of itself, is frequently perceived and presented self-deludingly in the idealised metaphorical terms of smoothly-functioning systems of perpetual motion, and that naturalist fiction, by exploiting to their full potential the same metaphors in its narratives, challenges this ‘anti-entropic’ vision.