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.

(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.

A fresh take on the classics, from Sazerac to the humble Highball: the adventurous recipes invented when America was dry and Paris was a refuge from Prohibition. Following Prohibition, Paris, much like London, became known for serving up original and innovative mixed drinks. Although cocktails were present in the late nineteenth century, it was the interwar period, and particularly les années folles that transformed the culture of the cocktail consumption. This fertile time, both intellectually and artistically, was nourished by a growing influx of expatriates from across the Atlantic who made way for an age of experimentation and creation. The new ambassadors of cocktails made alcohols and aperitifs that were specifically French stars of the show. Alongside classic French Vermouth, locally produced spirits including Byrrh, Dubonnet, Suze, and Picon were mixed into distinctly unique cocktails. With beautiful archival photographs, illustrations, and advertisements, as well as new photography, Franck Audoux, partner at Le Dauphin and Le Chateaubriand in Paris, brings life back to these forgotten French spirits and aperitifs, by giving them a modern twist. He provides recipes for more than forty classic French cocktails, from the Sazerac to the Highball, and provides contemporary tips and tricks that make them easy to re-create at home. Perfect for lovers of history and French culture, this book captures the spirit and culture of one of the richest periods in the City of Light and is a must-have for the aspiring and experienced home mixologist alike.

This Festschrift brings together a range of scholars who congratulate Reinhard Schulze on the occasion of his 65th birthday, by shedding light and reflecting on the relation between Islam and modernity. Scholars from the fields of Islamic studies, religious studies, sociology and Arabic literature connect in various ways to Reinhard Schulze’s work to constructively criticize a Eurocentric understanding of modernity. The more specific aspects dealt with under the overarching topic of Islam and modernity make for the four thematic sections of this volume: the study of religion, Islam, and Islamic studies; Islamic knowledge cultures and normativity; language and literature as media of modernity; Islam and Islamic studies in the public sphere. Die Beitragenden zu dieser Festschrift gratulieren Reinhard Schulze zu seinem 65. Geburtstag, indem sie mit der Beziehung zwischen Islam und Moderne ein Lebensthema des Jubilars beleuchten. Vertretende der Islamwissenschaft, Religionswissenschaft, Soziologie und der arabischen Literaturwissenschaft beziehen sich in verschiedener Hinsicht auf Reinhard Schulzes Werk, um ein eurozentrisches Verständnis von Moderne konstruktiv zu kritisieren. Die unter dem Oberthema Islam und Moderne näher behandelten Aspekte sind aus den vier thematischen Sektionen des Bandes ersichtlich: Islam(wissenschaft), Religion und der Eigensinn der Moderne; islamische Wissenskulturen und Normativität; Sprache und Literatur als Medien der Moderne; Islam(wissenschaft) in der Öffentlichkeit. Contributors are: Mona Abaza, Hüseyin Ağuiçenoğlu, Aziz al-Azmeh, Katajun Amirpur, Monica Corrado, Ahmad Dallal, Peter Dové, Susanne Enderwitz, Anne Grüne, Stephan Guth, Kai Hafez, Albrecht Hofheinz, Michael Kemper, Hans G. Kippenberg, Karénina Kollmar-Paulenz, Felix Konrad, Gudrun Krämer, Volkhard Krech, Anke von Kügelgen, Jamal Malik, Jürgen Paul, Frank Peter, Stefan Reichmuth, Armando Salvatore, Johannes Stephan, Anna Trechsel, Yves Wegelin, Florian Zemmin.

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.

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

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.