La maison d'un artiste. - 2 volumes.

Une anthologie de textes des deux écrivains sur les arts d'Occident et du Japon. On y trouve des extraits du Journal, de L'art japonais au dix-huitième siècle, et de L'art moderne.

Art et artistes

Lorsqu'ils rédigent les premières monographies qui formeront, en 1857 et 1858, les deux volumes de leurs Portraits intimes du XVIIIe siècle, Jules et Edmond de Goncourt ont déjà consacré plusieurs ouvrages à leur siècle de prédilection. La Révolution dans les moeurs, paru en 1854, fait le constat de tout ce que le présent a perdu avec la disparition de l'Ancien Régime ; l'Histoire de la société française pendant la Révolution (1854) puis l'Histoire de la société française pendant le Directoire (1855) offrent les tableaux d'une époque retracée à partir de menus événements puisés dans les journaux, les nouvelles à la main, les pamphlets, livres et brochures du passé. Mais c'est à la fin de l'année 1856 que les deux frères abandonnent les vastes tableaux pour reconstruire le XVIIIe siècle " figure à figure s, à partir de documents inédits ; les mémoires, les recueils de souvenirs, et surtout les lettres autographes, deviennent les éléments essentiels de leurs études. L'archive passe au premier plan et l'écriture de l'histoire peut apparaître comme un travail de mise en valeur des voix du passé. L'ouvrage offre ainsi un important témoignage sur la méthode historique des Goncourt et plus généralement sur l'avènement de l'histoire intime au XIXe siècle.

Oeuvres complètes - Oeuvres d'histoire Tome 4, Portraits intimes du XVIIIe siècle

Katsushika Hokusai est sans doute l'artiste japonais le plus connu en Occident, et ce, depuis le milieu du XIXe siècle. Reflet de l'expression artistique d'une civilisation isolée, les ouvres de Hokusai, qui furent parmi les premières en provenance du Japon à émerger en Europe, influencèrent particulièrement les peintres impressionnistes et post-impressionnistes, tels que Vincent van Gogh. Considéré de son vivant comme un maître de l'estampe Ukiyo-e, Hokusai fascine par la variété et l'étendue de son Ouvre. Son travail, de près de quatre-vingt-dix ans, est présenté ici dans toute son importance et sa diversité.

Hokusai

The partnership of Edmond and Jules de Goncourt is probably the most curious and perfect example of collaboration recorded in literary history. The brothers worked together for twenty-two years, and the amalgam of their diverse talents was so complete that, were it not for the information given by the survivor, it would be difficult to guess what each brought to the work which bears their names. Even in the light of these confidences, it is no easy matter to attempt to separate or disengage their literary personalities. The two are practically one. Jamais âme pareille n'a été mise en deux corps. This testimony is their own, and their testimony is true. The result is the more perplexing when we remember that these two brothers were, so to say, men of different races. The elder was a German from Lorraine, the younger was an inveterate Latin Parisian: "the most absolute difference of temperaments, tastes, and characters?and absolutely the same ideas, the same personal likes and dislikes, the same intellectual vision." There may be, as there probably always will be, two opinions as to the value of their writings; there can be no difference of view concerning their intense devotion to literature, their unhesitating rejection of all that might distract them from their vocation. They spent a small fortune in collecting materials for works that were not to find two hundred readers; they passed months, and more months, in tedious researches the results of which were condensed into a single page; they resigned most of life's pleasures and all its joys to dedicate themselves totally to the office of their election. So they lived?toiling, endeavouring, undismayed, confident in their integrity and genius, unrewarded by one accepted triumph, uncheered by a single frank success or even by any considerable recognition. The younger Goncourt died of his failure before he was forty; the elder underwent almost the same monotony of defeat during nearly thirty years of life that remained to him. But both continued undaunted, and, if we consider what manner of men they were and how dear fame was to them, the constancy of their ambition becomes all the more admirable.  Edmond de Goncourt  Despising, or affecting to despise, the general verdict of their contemporaries, they loved to declare that they wrote for their own personal pleasure, for an audience of a dozen friends, or for the delight of a distant posterity; and, when the absence of all appreciation momentarily weighed them down, they vainly imagined that the acquisition of a new bibelot consoled them. No doubt the passion of the collector was strong in them: so strong that Edmond half forgot his grief for his brother and his terror of the Commune in the pursuit of first editions: so strong that the chances of a Prussian bomb shattering his storehouse of treasures?the Maison d'un artiste?at Auteuil saddened him more than the dismemberment of France. But, even so, the idea that the Goncourts could in any circumstances subordinate literature to any other interest was the merest illusion. Nothing in the world pleased them half so well as the sight of their own words in print. The arrival of a set of proof-sheets on the 1st of January was to them the best possible augury for the new year; the sight of their names on the placards outside the theatres and the booksellers' shops enraptured them; and Edmond, then well on in years, confesses that he thrice stole downstairs, half-clad, in the March dawn, to make sure that the opening chapters of Ch?rie were really inserted in the Gaulois. These were their few rewards, their only victories. They were fain to be content with such small things?la petite monnaie de la gloire.

Renée Mauperin

Les récits brefs réunis dans ce deuxième volume des oeuvres narratives des Goncourt furent publiés dans des revues et des petits journaux entre 1852 et 1857. Ils illustrent un culte du document intime, du biographique, mais aussi de la fantaisie.

Oeuvres narratives complètes - Tome 2, Une voiture de masques et autres récits brefs, La Lorette

Katsushika Hokusai ist ohne Zweifel der seit der Mitte des 19. Jahrhunderts im Westen berühmteste Künstler Japans. 

 Die Werke Hokusais spiegeln die künstlerischen Ausdrucksformen einer isolierten Kultur wider. Gleichzeitig war er einer der ersten japanischen Künstler, der in Europa Bekanntheit erlangte und großen Einfluss auf impressionistische und postimpressionistische Maler wie etwa Vincent van Gogh ausübte.

 Hokusai galt schon zu seinen Lebzeiten als ein Meister der Kunst des Ukiyo-e. Er fasziniert uns noch heute mit der Vielfalt und Bedeutung seines in diesem Buch in seiner gesamten abwechslungsreichen Breite präsentierten, fast neunzig Jahre umfassenden Werkes.

Katsushika Hokusai und Kunstwerke

Au-delà de l'esthétique naturaliste, Germinie Lacerteux inaugure un nouveau régime de roman psychologique, où le personnage est à la fois l'incarnation d'un discours médicale et le support de la compassion du lecteur. L'édition du texte est accompagnée de nombreux inédits et d'un important dossier de réception.

Oeuvres narratives complètes - Tome 4, Germinie Lacerteux

L’esperienza quotidiana femminile nel XVIII secolo; le passioni, le idee, le mode attraverso documenti e testimonianze dell’epoca, libri e opuscoli, lettere, atti delle cancellerie, processi e memorie giudiziarie. Un pezzo di storia sociologica e insieme un racconto letterario secondo i severi canoni del realismo narrativo.Archivisti e collezionisti instancabili, teorici del realismo, i Goncourt dedicarono ai diversi aspetti della vita del Settecento un numero cospicuo di opere. Ambivano a restituire ai lettori il ritratto completo della società dell’epoca, nel suo spirito vero, da loro considerata quale codice genetico di tutti i caratteri propri del tempo moderno. Di questo preciso affresco ricostruttivo, il volume sulla donna è probabilmente il più espressivo, proprio perché nel secolo dei lumi la donna delle classi privilegiate si affaccia a un nuovo protagonismo, se non addirittura a una inedita egemonia. A darne concreta esperienza, nel loro stile affermativo e in crescendo, teso a realizzare quasi la nozione sensibile di ciò che descrivono, i due fratelli guidano in tutti gli angoli e i ripostigli, oltre che nelle sale più vaste pubbliche e ariose, dell’esperienza quotidiana femminile. «Con l’analisi psicologica, con l’osservazione della vita individuale e collettiva, delle abitudini, delle passioni, delle idee, delle mode, vogliamo ricostruire tutto un mondo scomparso, da cima a fondo, anima e corpo. Abbiamo fatto ricorso, per questa ricostruzione, a tutti i documenti dell’epoca, a tutte le testimonianze, alle più piccole tracce. Abbiamo interrogato sia i libri che gli opuscoli, i manoscritti come le lettere. Abbiamo cercato il passato ovunque il passato respira. L’abbiamo evocato dai monumenti dipinti e incisi, da quelle mille raffigurazioni che ridanno vita allo sguardo e al pensiero di ciò che è ormai solo polvere e ricordo. L’abbiamo cercato negli atti delle cancellerie, nei processi, nelle memorie giudiziarie, che sono i veri e propri archivi delle passioni umane, dei segreti dell’intimità domestica». I diversi capitoli si aprono in successione, come quinte colorate entro cui la protagonista, la dama settecentesca, recita il suo mosso copione, offrendo insieme un pezzo di storia sociologica e un racconto letterario secondo i severi canoni del realismo narrativo.

La maison d'un artiste. - 2 volumes.

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