Exotic and yet familiar, rife with passion, immorality, hunger, and freedom, Bohemia was an object of both worry and fascination to workaday Parisians in the nineteenth century. No mere revolt against middle-class society, the Bohemia Seigel discovers was richer and more complex, the stage on which modern bourgeois acted out the conflicts of their social identities, testing the liberation promised by post-revolutionary society against the barriers set up to contain it. Turning life into art, Bohemia became a space where many innovative and original figures—some famous, some obscure—found a home.

“[An] epic account of life and loves among artists and writers in Paris from belle époque to world slump.” —William Feaver, The Spectator A legendary capital of the arts, Paris hosted some of the most legendary developments in world culture—particularly at the beginning of the twentieth century, with the flowering of fauvism, cubism, dadaism, and surrealism. In Bohemian Paris, Dan Franck leads us on a vivid and magical tour of the Paris of 1900–1930, a hotbed of artistic creation where we encounter Apollinaire, Modigliani, Cocteau, Matisse, Picasso, Hemingway, and Fitzgerald, working, loving, and struggling to stay afloat. Sixteen pages of black-and-white illustrations are featured. “Franck spins lavish historical, biographical, artistic, and even scandalous details into a narrative that will captivate both serious and casual readers . . . Marvelous and informative.” —Carol J. Binkowski, Library Journal

They ate garlic and didn't always bathe; they listened to Wagner and worshiped Diaghilev; they sent their children to coeducational schools, explored homosexuality and free love, vegetarianism and Post-impressionism. They were often drunk and broke, sometimes hungry, but they were of a rebellious spirit. Inhabiting the same England with Philistines and Puritans, this parallel minority of moral pioneers lived in a world of faulty fireplaces, bounced checks, blocked drains, whooping cough, and incontinent cats. They were the bohemians. Virginia Nicholson -- the granddaughter of painter Vanessa Bell and the great-niece of Virginia Woolf -- explores the subversive, eccentric, and flamboyant artistic community of the early twentieth century in this "wonderfully researched and colorful composite portrait of an enigmatic world whose members, because they lived by no rules, are difficult to characterize" (San Francisco Chronicle).

A radical reconceptualization of modernism, this book traces the appearance of the modern artist to the Paris of the 1830s and links the emergence of an enduring modernist aesthetic to the fleeting forms of popular culture. Contrary to conventional views of a private self retreating from history and modernity, Popular Bohemia shows us the modernist as a public persona parodying the stereotypes of commercial mass culture. Here we see how the modern artist—alternately assuming the roles of the melodramatic hero, the urban flâneur, the female hysteric, the tribal primitive—created his own version of an expressive, public modernity in opposition to an increasingly repressive and conformist bourgeois culture. And here we see how a specifically modern aesthetic culture in nineteenth-century Paris came about, not in opposition to commercial popular culture, but in close alliance with it. Popular Bohemia revises dominant historical narratives about modernism from the perspective of a theoretically informed cultural history that spans the period between 1830 and 1914. In doing so, it reconnects the intellectual history of avant-garde art with the cultural history of bohemia and the social history of the urban experience to reveal the circumstances in which a truly modernist culture emerged.

"This volume is written to show the life of the students in the Paris of to-day. It has an additional interest in opening to inspection certain phases of Bohemian life in Paris that are shared both by the students and the public, but that are generally unfamiliar to visitors to that wonderful city, and even to a very large part of the city's population itself. It depicts the under-side of such life as the students find--the loose, unconventional life of the humbler strugglers in literature and art, with no attempt to spare its salient features, its poverty and picturesqueness, and its lack of adherence to generally accepted standards of morals and conduct"--Introduction.

ÊFor two weeks we had been lodging temporarily in the top of a comfortable little hotel, called the Grand something (most of the Parisian hotels are Grand), the window of which commanded a superb view of the great city, the vaudeville playhouse of the world. Pour la premi�re fois the dazzle and glitter had burst upon us, confusing first, but now assuming form and coherence. If we and incomprehensible at could have had each a dozen eyes instead of two, or less greed to see and more patience to learn! Day by day we had put off the inevitable evil of finding a studio. Every night found us in the cheapest seats of some theatre, and often we lolled on the terraces of the CafŽ de la Paix, watching the pretty girls as they passed, their silken skirts saucily pulled up, revealing dainty laces and ankles. From the slippery floor of the Louvre galleries we had studied the masterpieces of David, Rubens, Rembrandt, and the rest; had visited the PanthŽon, the MusŽe Cluny; had climbed the Eiffel Tower, and traversed the Bois de Boulogne and the Champs-ElysŽes. Then came the search for a studio and the settling to work. It would be famous to have a little home of our very own, where we could have little dinners of our very own cooking! It is with a shudder that I recall those eleven days of ceaseless studio-hunting. We dragged ourselves through miles of Quartier Latin streets, and up hundreds of flights of polished waxed stairs, behind puffing concierges in carpet slippers, the puffing changing to grumbling, as, dissatisfied, the concierges followed us down the stairs. The Quartier abounds with placards reading, "Atelier d'Artiste ˆ Louer!" The rentals ranged from two hundred to two thousand francs a year, and the sizes from cigar-boxes to barns. But there was always something lacking. On the eleventh day we found a suitable place on the sixth (top) floor of a quaint old house in a passage off the Rue St.- AndrŽ-des-Arts. There were overhead and side lights, and from the window a noble view of Paris over the house-tops.

"A vivid investigation into the seamy underside of nineteenth and twentieth century Paris"--

Featuring a broad selection of paintings, sculptures and photographs coming mainly from the Centre Pompidou collections, Louvre Abu Dhabi’s exhibition catalogue “Rendezvous in Paris: Picasso, Chagall, Modigliani & Co.” focuses on this highly distinctive period in French art when young painters, sculptors and photographers flocked to early-20th-century Paris from all over the world to make a decisive contribution to the city’s art scene. Most notably from Germany, Spain, Italy, the Netherlands, Russia and even Japan, these formally inventive artists – Constantin Brancusi, Marc Chagall, Kees van Dongen, Tsuguharu Foujita, Amedeo Modigliani and Pablo Picasso among them – who would later become known as the “School of Paris”, rivalled the greatest French artists of the time.

From roaring nightlife to peaceful yoga retreats, Ibiza’s hippie-chic atmosphere is its hallmark. This quintessential Mediterranean hot spot has served as an escape for artists, creatives, and musicians alike for decades. It is a place to reinvent oneself, to walk the fine line between civilization and wilderness, and to discover bliss. Ibiza Bohemia explores the island’s scenic Balearic cliffs, its legendary cast of characters, and the archetypal interiors that define its signature style.