Anka Muhlstein was awarded the Prix Goncourt in 1996 for her biography of Astolphe de Custine, and has twice received the History Prize of the French Academy. Her new book, The Pen and the Brush: How Passion for Art Shaped Nineteenth-Century French Novels, will be published in France this fall; an English translation will be available in the US in January 2017. (May 2016)
an exhibition at the Museum of Modern Art, New York City, March 26–July 24, 2016
Degas was a loner. He had always felt alone. Alone because of his character, alone because of his unyielding principles, alone because of his severe judgments. He exhibited with the Impressionists but he didn’t consider himself a member of the group, if for no other reason than that he violently rejected the very idea of painting outdoors. “If I were the government I would have a special brigade of gendarmes to keep an eye on the people who paint landscapes from nature,” he told the art dealer Ambroise Vollard.
“Mundus Muliebris”: Élisabeth Louise Vigée Le Brun, peintre de l’Ancien régime féminin [“Mundus Muliebris”: Élisabeth Louise Vigée Le Brun, Female Painter of the Ancien Regime]
by Marc Fumaroli
It comes as something of a surprise that we have had to wait until 2015 for a comprehensive exhibition in France of the work of Madame Vigée Le Brun—perhaps the most gifted French portraitist of the late eighteenth and early nineteenth centuries, an artist who gave posterity the most enduring …
The Rival Queens: Catherine de’ Medici, Her Daughter Marguerite of Valois, and the Betrayal That Ignited a Kingdom
by Nancy Goldstone
There are figures in French history who tower like monuments. Saint Louis, the Capetian king, a symbol of justice, Joan of Arc, warrior and martyr, and Henry IV, the great peacemaker, are three unmistakable paragons who personified a certain idea of French greatness. Oddly enough, Henry IV’s first wife, Marguerite …
This fog that envelops people and places explains a lack of depth and individuality in Modiano’s characters. The author, and therefore the reader, are left on the outside, giving rise to the feeling that one is always rereading the same book. This is doubtless the reason why Modiano, in spite of his remarkable talent, and a success that has never flagged in the past forty years, has not acquired the indisputable stature of very great novelists.
Mademoiselle: Coco Chanel and the Pulse of History
by Rhonda K. Garelick
“I…am an odious person,” Coco Chanel declared. Not many would have begged to differ. Chanel’s tongue was quite as sharp as her shears and she treated everyone who worked for her harshly, playing one against the other. No one escaped her malice.
The Impossible Exile: Stefan Zweig at the End of the World
by George Prochnik
The Grand Budapest Hotel
a film directed by Wes Anderson
On February 23, 1942, Stefan Zweig and his young wife committed suicide together in Petrópolis, Brazil. The following day, the Brazilian government held a state funeral, attended by President Getulio Vargas. The news spread rapidly around the world, and the couple’s deaths were reported on the front page of The New York Times. Zweig had been one of the most renowned authors of his time, and his work had been translated into almost fifty languages. In the eyes of one of his friends, the novelist Irmgard Keun, “he belonged to those that suffered but who would not and could not hate.”
by Alexandre Dumas fils, translated from the French by Liesl Schillinger, with an introduction by Julie Kavanagh
The Girl Who Loved Camellias: The Life and Legend of Marie Duplessis
by Julie Kavanagh
In the pecking order of the demimonde of nineteenth-century Paris, the courtesans ranked highest. Merchants of love though they were, they stood apart from the prostitutes who walked the streets, from the grisettes who only took money from their lovers, if at all, to round out their salaries as seamstresses …
It comes as something of a surprise that we have had to wait until 2015 for a comprehensive exhibition in France of the work of Madame Vigée Le Brun—perhaps the most gifted French portraitist of the late eighteenth and early nineteenth centuries.