#louise albertine

[anotherhumaninthisworld]

I decided to try this but for the girlies instead.

Are you sure want to click on ”keep reading”?

For Pauline Léon marrying Claire Lacombe’s host, see Liberty: the lives of six women in Revolutionary France (2006) by Lucy Moore, page 230

For Pauline Léon throwing a bust of Lafayette through Fréron’s window and being friends with Constance Evrard, see Pauline Léon, une républicaine révolutionnaire (2006) by Claude Guillon.

For Françoise Duplay’s sister visiting Catherine Théot, see Points de vue sur l’affaire Catherine Théot (1969) by Michel Eude, page 627.

For Anne Félicité Colombe publishing the papers of Marat and Fréron, see The women of Paris and their French Revolution (1998) by Dominique Godineau, page 382-383.

For the relationship between Simonne Evrard and Albertine Marat, see this post.

For Albertine Marat dissing Charlotte Robespierre, see F.V Raspail chez Albertine Marat (1911) by Albert Mathiez, page 663.

For Lucile Desmoulins predicting Marie-Antoinette would mount the scaffold, see the former’s diary from 1789.

For Lucile being friends with madame Boyer, Brune, Dubois-Crancé, Robert and Danton, calling madame Ricord’s husband ”brusque, coarse, truly mad, giddy, insane,” visiting ”an old madwoman” with madame Duplay’s son and being hit on by Danton as well as Louise Robert saying she would stab Danton, see Lucile’s diary 1792-1793.

For the relationship between Lucile Desmoulins and Marie Hébert, see this post.

For the relationship between Lucile Desmoulins and Thérèse Jeanne Fréron de la Poype, and the one between Annette Duplessis and Marguerite Philippeaux, see letters cited in Camille Desmoulins and his wife: passages from the history of the dantonists (1876) page 463-464 and 464-469.

For Adèle Duplessis having been engaged to Robespierre, see this letter from Annette Duplessis to Robespierre, seemingly written April 13 1794.

For Claire Panis helping look after Horace Desmoulins, see Panis précepteur d’Horace Desmoulins (1912) by Charles Valley.

For Élisabeth Lebas being slandered by Guffroy, molested by Danton, treated like a daughter by Claire Panis, accusing Ricord of seducing her sister-in-law and being helped out in prison by Éléonore, see Le conventionnel Le Bas : d'après des documents inédits et les mémoires de sa veuve, page 108, 125-126, 139 and 140-142.

For Élisabeth Lebas being given an obscene book by Desmoulins, see this post.

For Charlotte Robespierre dissing Joséphine, Éléonore Duplay, madame Genlis, Roland and Ricord, see Mémoires de Charlotte Robespierre sur ses deux frères (1834), page  76-77,  90-91, 96-97, 109-116 and 128-129.

For Charlotte Robespierre arriving two hours early to Rosalie Jullien’s dinner, see Journal d’une Bourgeoise pendant la Révolution 1791–1793, page 345.

For Charlotte Robespierre physically restraining Couthon, see this post.

For Charlotte Robespierre and Françoise Duplay’s relationship, see Mémoires de Charlotte Robespierre sur ses deux frères (1834) page 85-92 and Le conventional Le Bas: d’après des documents inédits et les mémoires de sa veuve (1902) page 104-105

For the relationship between Charlotte Robespierre and Victoire and Élisabeth Lebas, see this post.

For Charlotte Robespierre visiting madame Guffroy, moving in with madame Laporte and Victoire Duplay being arrested by one of Charlotte’s friends, see Charlotte Robespierre et ses amis (1961)

For Louise de Kéralio calling Etta Palm a spy, see Appel aux Françoises sur la régénération des mœurs et nécessité de l’influence des femmes dans un gouvernement libre (1791) by the latter.

For the relationship between Manon Roland and Louise de Kéralio Robert, see Mémoires de Madame Roland, volume 2, page 198-207 

For the relationship between Madame Pétion and Manon Roland, see Mémoires de Madame Roland, volume 2, page 158 and 244-245 as well as Lettres de Madame Roland, volume 2, page 510.

For the relationship between Madame Roland and Madame Buzot, see Mémoires de Madame Roland (1793), volume 1, page 372, volume 2, page 167 as well as this letter from Manon to her husband dated September 9 1791. For the affair between Manon and Buzot, see this post.

For Manon Roland praising Condorcet, see Mémoires de Madame Roland, volume 2, page 14-15.

For the relationship between Manon Roland and Félicité Brissot, see Mémoires de Madame Roland, volume 1, page 360.

For the relationship between Helen Maria Williams and Manon Roland, see Memoirs of the Reign of Robespierre (1795), written by the former.

For the relationship between Mary Wollstonecraft and Helena Maria Williams, see Collected letters of Mary Wollstonecraft (1979), page 226.

For Constance Charpentier painting a portrait of Louise Sébastienne Danton, see Constance Charpentier: Peintre (1767-1849), page 74.

For Olympe de Gouges writing a play with fictional versions of the Fernig sisters, see L’Entrée de Dumourier à Bruxelles ou les Vivandiers (1793) page 94-97 and 105-110.

For Olympe de Gouges calling Charlotte Corday ”a monster who has shown an unusual courage,” see a letter from the former dated July 20 1793, cited on page 204 of Marie-Olympe de Gouges: une humaniste à la fin du XVIIIe siècle (2003) by Oliver Blanc.

For Olympe de Gouges adressing her declaration to Marie-Antoinette, see Les droits de la femme: à la reine (1791) written by the former.

For Germaine de Staël defending Marie-Antoinette, see Réflexions sur le procès de la Reine par une femme (1793) by the former.

For the friendship between Madame Royale and Pauline Tourzel, see Souvernirs de quarante ans: 1789-1830: récit d’une dame de Madame la Dauphine (1861) by the latter.

For Félicité Brissot possibly translating Mary Wollstonecraft, see Who translated into French and annotated Mary Wollstonecraft’s Vindication of the Rights of Woman? (2022) by Isabelle Bour.

For Félicité Brissot working as a maid for Louise Marie Adélaïde de Bourbon, see Mémoires inédites de Madame la comptesse de Genlis: sur le dix-huitième siècle et sur la révolution française, volume 4, page 106.

For Reine Audu, Claire Lacombe and Théroigne de Méricourt being given civic crowns together, see Gazette nationale ou le Moniteur universel, September 3, 1792.

For Reine Audu taking part in the women’s march on Versailles, see Reine Audu: les légendes des journées d’octobre (1917) by Marc de Villiers.

For Marie-Antoinette calling Lamballe ”my dear heart,” see Correspondance inédite de Marie Antoinette, page 197, 209 and 252.

For Marie-Antoinette disliking Madame du Barry, see https://plume-dhistoire.fr/marie-antoinette-contre-la-du-barry/

For Marie-Antoinette disliking Anne de Noailles, see Correspondance inédite de Marie Antoinette, page 30.

For Louise-Élisabeth Tourzel and Lamballe being friends, see Memoirs of the Duchess de Tourzel: Governess to the Children of France during the years 1789, 1790, 1791, 1792, 1793 and 1795 volume 2, page 257-258

For Félicité de Genlis being the mistress of Louise Marie Adélaïde de Bourbon’s husband, see La duchesse d’Orléans et Madame de Genlis (1913).

For Pétion escorting Madame Genlis out of France, see Mémoires inédites de Madame la comptesse de Genlis…, volume 4, page 99.

For the relationship between Félicité de Genlis and Louise de Kéralio Robert, see Mémoires de Madame de Genlis: en un volume, page 352-354

For the relationship between Félicité de Genlis and Germaine de Staël, see Mémoires inédits de Madame la comptesse de Genlis, volume 2, page 316-317

For the relationship between Félicité de Genlis and Théophile Fernig, see Mémoires inédits de Madame la comptesse de Genlis, volume 4, page 300-304

For the relationship between Félicité de Genlis and Félicité Brissot, see Mémoires inédites de Madame la comptesse de Genlis, volume 4, page 106-110, as well as this letter dated June 1783 from Félicité Brissot to Félicité Genlis.

For the relationship between Félicité de Genlis and Théresa Cabarrus, see Mémoires de Madame de Genlis: en un volume (1857) page 391.

For Félicité de Genlis inviting Lucile to dinner, see this letter from Sillery to Desmoulins dated March 3 1791.

For Marinette Bouquey hiding the husbands of madame Buzot, Pétion and Guadet, see Romances of the French Revolution (1909) by G. Lenotre, volume 2, page 304-323

Hey, don’t say I didn’t warn you!

[tiny-librarian]

Photograph of Princess Albertine of Montenuovo. She was the eldest daughter of William Albert, 1st Prince of Montenuovo, who himself was the son of Marie Louise of Austria.

[selidren]

Automne 1921 - Champs-les-Sims

1/10

Cher Eugénie,

Je vous remercie pour votre recette, nous l'avons donnée à Madame Armadet qui nous a par la suite régalé. Constantin en particulier a énormément apprécie. Je vous adresse aussi mes condoléances pour la soeur de Jules, il ne semble pas que mon mari y ait pensé dans sa lettre. C'est bien triste, et je pense que si la famille avait été au courant de ses difficultés, nous aurions été ravis de l'aider. Je pense également tous les jours à votre Louise et je prie pour elle chaque dimanche à la messe.

Pour en revenir à votre question, je n'ai pas eu une enfance où la bienveillance féminine prédominait. Je suis assez casanière à parler de ma jeunesse, chose pour laquelle je ne juge pas Constantin quand il se refuse à évoquer sa mère. Je me suis retrouvée orpheline très jeune et ait été menée chez ma tante paternelle qui résidait à Savigny-sur-Orge, au sud de Paris. Elle n'avait pas vraiment envie de m'élever, aussi m'a t-elle envoyée en pension chez les religieuses grâce à l'argent laissé par mon père. Contrairement à Constantin, mon éducation chez les soeurs s'est passée sans encombre, et j'appréciais même d'y être, parce que ma tante et mes cousines me traitaient comme une pestiférée. Il me revient certaines mesquineries abominables, comme le jour où mon oncle est passé donner des sucreries aux enfants de la maison (lui-même ne s'est jamais marié et n'a jamais eu d'enfants) qu'il a confiées à ma tante. Au moment de la distribution, quand est venu mon tour, elle m'a regardé d'un regard méchant et m'a dit que je n'en aurait pas, car j'avais déjà pour moi tout l'héritage des grands-parents et que cela devrait me suffire. Elle ne cessait de prendre à parti mes cousines, et étant elles-mêmes de petites filles, elles ont adopté à mon égard la même attitude de rejet et de méchanceté. Voyez-vous, mon père, à la mort de mes grands-parents a capté une grande partie de l'héritage, car ma tante et mon oncle étaient en froid avec leur père. Je ne dis pas que cela est juste, mais cela a nourrit la rancoeur. Etant fille unique, cet argent m'est revenu à la mort de mon père, en attendant ma majorité, et a attisé l'aigreur de ma tante. L'argent est un poison, d'autant plus que la somme qui me revenait n'était pas si élevée que cela. Si je vous avait été apparentée, nulle doute qu'on aurait parlé de moi comme de la cousine pauvre.

J'ai heureusement pu recevoir une éducation correcte, qui m'a permis de devenir gouvernante pour enfants de bonne famille. D'ailleurs, je suis arrivée à Champs-les-Sims car mes précédents employeurs m'avaient recommandé à Jeanne, votre belle-soeur, dont j'ai débuté l'instruction des plus jeunes enfants. C'est en arrivant dans cette famille que j'ai découvert la connivence et l'amour que peuvent se porter les femmes. Je vous joins d'ailleurs une photographie dont je suis très fière : mes trois aînées qui se sont préparées elles-mêmes pour la cérémonie en l'honneur de Madame Eugénie. Je pense que vous n'aurez aucun mal à les reconnaître.

[xabiramone]

And a Happy birthday to Viviane Katrina Louise Albertine (born 1 December 1954) is an Australian-born British musician, singer, songwriter and writer. She is best known as the guitarist for the punk band the Slits from 1977 until 1982, with whom she recorded two studio albums. Prior to joining the Slits, Albertine was a member of the Flowers of Romance.🎂

[punkrockhistory]

70 years young 😍

Happy Birthday to Viviane Katrina Louise "Viv" Albertine, Australian-born British singer and songwriter, guitarist for the English punk group the Slits and member of the Flowers of Romance, born on this day in 1954, Sydney

[empirearchives]

Women artists in Napoleonic France

(Young women copying: ‘Love begging Venus to forgive Psyche’ which was displayed at the 1808 Salon. Sketch by Georges Rouget)

Quotes from an article about women’s participation in the art world during the Napoleonic era.

Article:

Heather Belnap Jensen, “The Journal des Dames et des Modes: Fashioning Women in the Arts, c. 1800-1815,” Nineteenth-Century Art Worldwide 5, no. 1 (Spring 2006) (source)

“More and more women artists began exhibiting their work in public venues and receiving recognition for their contributions at this time. While only three women artists had participated in the 1789 biennial Salon, fifty participated in the Salon of 1806–an increase in women’s participation of over 1600 percent in seventeen years.”

(Woman artist giving a drawing lesson — Self-portrait, 1810, by Louise-Adéone Drölling)

“We see a move away from the emphasis on the public sphere to the private space as motifs, intimating a valorization of a woman’s world. While history painting, which played such a crucial role in Revolutionary visual culture, remained the privileged genre at the turn of the century, the rise in portraiture, landscape, and genre painting in Napoleonic France indicates this shift in values.”

(Young Woman Drawing—Portrait of Charlotte du Val d'Ognes, 1801, by Marie-Denise Villers)

“Women’s journals, which often published art-related materials, have been largely overlooked in discussions of developments in late eighteenth-and early nineteenth-century French visual culture. This is surprising, given that bibliographies on art criticism of this period frequently cite items from these publications.”

One of the most influential women’s journal of the period was Journal des Dames et des Modes. It was created by Jean-Baptiste Sellèque and Pierre de La Mésangère in 1797 and continued until 1839.

“La Mésangère’s key collaborator during the Napoleonic period was a woman, Albertine Clément, née Hémery, a well-known figure in both journalistic and cultural circles in post-Revolutionary France, and that several women were regular contributors to this journal during this era.”

Annemarie Kleinert did a study on the journal:

“She determined that the journal targeted bourgeois women between the ages of 18 and 40 years old who could afford the annual subscription rate of 10 livres, and that the majority of subscribers during the period from 1800 to 1815 were from the provinces.”

(Portrait of a Young Woman Drawing Herself, early 1800s, by Louis-Léopold Boilly)

Interest from women in creating their own designs:

“Fashion plates that accompanied each issue of this journal gave visual testimony to this heightened interest in women’s artistic engagement. Indeed, women in fashion plates were sometimes presented in the act of sketching and drawing, as shown in a plate that appeared as an insert in an 1802 issue of the Journal des Dames et des Modes.”

The act of women creating art was compared to motherhood. In that way, women were encouraged to make art, but in terms which enforced traditional and patriarchal ideas:

“Furthermore, the vocabulary used by the author stresses the ways in which artistic creativity mirrors childbirth and elicits feelings of exaltation over one’s art that are similar to those evoked by motherhood when he writes that ‘she smiles at the objects which are born of her colors’ and calls the site of her production a ‘creative space.’”

There were opportunities for women to paint nude subjects for classical style art:

“Recent scholarship suggests that there were opportunities for such study in the Napoleonic era. By 1800, female students could attend anatomy classes given by the surgeon Sue and also by the École du Modèle Vivant at Versailles, and artist Adele Romilly reported that David, Régnault, and Guérin all provided mixed studios that offered courses on life drawing from the nude.”

One of the claims made against the women’s journals is that they were sexist. The author points out that it’s more complicated and not entirely true. The journals included laudatory reviews of paintings by female artists at the salons, biographies of women artists, such as Angelica Kauffmann, and published excerpts of pamphlets written by women, such as Angélique Mongez.

(Portrait of an Artist Drawing after the Antique, c. 1800s, Jean François Sablet)

However, the author also says there was a lot of anxiety about the increase in female participation in the art world, both as creators and as spectators. There were articles describing women at museums in derogatory terms. One in particular described a young girl being overcome by emotion at the sight of the statue of Apollo Belvedere and creating such a large scene that she had to be dragged away in tears.

These articles imply that women spectators had become dominant enough that it could inspire critics.

Women had become so important in the art world that a really unique phenomenon happened:

“Roger Bellet has demonstrated that there are known instances in late eighteenth-and early nineteenth-century France when men published under a female pseudonym.”

Many of the top artists who were admired in the era were women such as Élisabeth Louise Vigée-Lebrun, Marguerite Gérard, Constance Mayer, Adèle Romany, Adélaïde Labille-Guiard, Pauline Auzou, Jeanne-Elisabeth Chaudet, Marie-Guillemine Benoist, Constance Marie Charpentier and many others.

[nesiacha]

Very mediocre (and horrible) quote from Buzot about Pache , his family and especially some reflections of Pache's friendships and family

Here is what I found on a website in Buzot's memoirs that, for his honor, I hope he did not actually say. Warning: misogynistic language ahead that may make your eyes bleed:

"Pache's children, his daughters, ran like madmen to the places where murder and pillage were preached with the most impudence, and they were often seen in so-called fraternal embraces, warming themselves up for the disgusting orgies."

Anyway, let's move on from this point. Pache only had one daughter, Sylvie, but perhaps Buzot mentioned a stepdaughter. In any case, Sylvie was only 16 at the time of these events, so the insult is all the more serious (according to Mathilde Larrère, Sylvie Audouin was a fervent young Hébertist, born a year after Louise Gely, and we can say that she was an ultra-revolutionary, a sort of reverse Louise Gely which Danton had to marry her through a refractory priest) . Treating an adult this way is insulting even more so when it's a teenager who will have an even harder time taking this insult. We also know that she married François Xavier Audouin, an important Jacobin and Hébertist (with Santerre and Hébert as witnesses, it seems) who worked at the Ministry of War. She was only 16 when she married. It seems Sylvie may have suffered from xenophobia, like her father, because he was Swiss, and he often took his children there before 1792 (or was it 1789? I can't remember). Louis de Launay, in Monge's biography, mentions that she argued violently about the execution of the Hébertists with Carnot and Prieur Claude-Antoine in Monge's salon, but honestly, there is no proof of this. It’s more likely that the arrest of Pache and François Xavier Audouin was entirely political (Frankly, settling scores over a dispute by having people arrested was not in the style of the Committee of Public Safety or the Convention). One day, I should tell the story of Pache and his childrens. It would also be interesting to explore the Pache-Monge-Carnot friendship triangle that I’ve read about in some biographies. Or Audouin-Monge-Bonaparte (maybe that's why François Xavier Audouin, one of the "star" opponents of the Directory and Sieyès, was able to escape the deportation of the Jacobins, or why Bonaparte wanted Pache’s cooperation in vain because Audouin was initially on the deportation list ). I wonder if Sylvie was arrested by Bonaparte's police, like Marie-Anne Babeuf temporarily, Simone Evrard, or Albertine Marat, or if she was “only” monitored like the other wives of the Jacobins (for example Mrs. Dufour) . In any case, this would mark the end of Audouin's political career. He became a royalist in 1816, probably due to the oppressive laws, even though he did not renounce his revolutionary friendships like Pache did. I wonder if Sylvie's death four years later was linked to this disillusionment. The hardships she endured, the execution of the Hébertists, then the arrest of her father and her husband, the fact that her father was apparently persecuted by muscadins, the fights that her husband (and surely she was since Mathilde Larrère said that she was a fervent Hébertist) against the Directory, the fact that her husband narrowly escaped deportation (and possibly death) under Bonaparte, possibly having seen Jacobin friends deported or executed, having retired from political life, seeing her brother rally to Bonaparte, the restoration of the Bourbons and finally that her fervent Hébertist and Jacobin husband converted to royalism (due to the pressure of the laws of 1816) did not precipitate her into her grave by disappointments (it is possible that she simply died of illness or she approved the choice of her husband). For the moment I have difficulty getting more information on the Audouin couple. Too bad because historian Bernard Gainot claims that just like Victor Bach, Antonelle, Felix Le Peletier, René Vatar, the Babeuf couple, Jorry (maybe even Rossignol), Buonarotti, Topino-Lebrun, ,Bernard Metge they were the best known in the period of the neo-Jacobins against the Directory , Sieyes and until 1802, the date of the end of the political career of Xavier-François Audouin (plus historians like Mathilde Larrère concerning at least Sylvie Audouin despite her young age at the time and Bloche say that they were also well known during the French Revolution).

To summarize, I’d like to explore the Pache-Monge-Carnot friendship triangle, considering that Pache and Carnot did not get along at all from what I understand (and this doesn't surprise me; Pache was somewhat close to the Hébertists even if he did not take part in the insurrection, called for calm and did not testify in favor of Momoro, Hébert, Vincet, Ronsin and Chaumette , while Carnot was not at all close to the hébertists ,was opposed to them and vice versa ). And one day, I should write a post about Pache.

[exhibit-of-the-century]

Lecture Notes MON 16th OCT

Masterlist

BUY ME A COFFEE

Doing Art History: Drawing/Works on paper.

Oeuvre: the artworld of that time. The body of work by a painter, composer, or author.

Drawing was and has always been the first step into becoming an artist, it is the most fundamental and important aspect of any artistic study or development. To know your fundamentals, the figure, perspective, and weight/shading. Historically this is the first step any artist took, before developing into their preferred medium.

Observe these drawings/sketches and paintings; consider the materials, their effect and product.

Jean-Auguste-Dominique Ingres, Vicomtesse Othenin d'Haussonville, nee Louise Albertine de Broglie, study, ca. 1845, graphite, with white heightening, on paper, France, Musée de Carpentras.

Colourism – (not to be confused with the discrimination based on skin colour) Specifically in painting, it is a style of painting characterised by the use of intense colour, which becomes the dominant feature of the resultant work of art, mostly influential in the French impressionism movement of the 19th century.

Also: a person who uses colour in s particular way, draws attention to the colour use.

HILAIRE-GERMAIN-EDGAR DEGAS, WOMAN STANDING IN A BATHTUB C. 1890–92, charcoal with stumping on beige wove paper, 43.2 x 29.5 cm, Sterling and Francine Clark Institute

Edgar Degas After the Bath, Woman Drying Herself, c. 1890-95 Pastel on wove paper laid on millboard. 103.5 x 98.5 cm. The National Gallery, London. Bought, 1959. Photo: © The National Gallery, London

Théodore Géricault, Study for the Raft of Medusa, 1818, charcoal on paper, Paris, Musée du Louvre.

Observe the contour line (the darker outline line), surrounding the body. Note the twist and strain of the muscles and exaggeration of line and pose to create drama on the paper. Also note the materials used. Charcoal: a material that possesses a short life on paper without additives to preserve it. Something that smudges easily. Perhaps to quickly capture the body and idea and shading.

The Male nude – which surprisingly are the most common nude that exists in the western world. And this is because the basic fundaments were learnt from drawing casts, from the ancient world, or drawing from other works of art. Sketching development and a skill development, meant drawing bodies and getting to access to more complex forms to keep learning.

The RA is doing an exhibition on Impressionist on paper, which from the photos of artworks in this post, I recommend going to and seeing and judging for yourself, the use of materials and their effects.

On Degas and pastels: you can over saturate paper with pastels, muddying the colour. Critics of Degas spoke out, how his portrayal of bodies appear bruised. Degas was less interested in accuracy, more into the exploration of light on the body, the illumination, and the space it inhabits.

Genres of painting: Landscape, Portrait, Still life, Genre, Historical, Allegorical:

Allegorical paintings covered mythos. These were most prominent and popular when the state collected paintings, rather than when commissions came into prominence, and private ownership of painting rose.

Impasto: when paint stands off from the canvas. An Italian word for “mixture,” used to describe a painting technique wherein paint is thickly laid on a surface, so that brushstrokes or palette knife marks are visible. A pastose surface is one that is thickly painted.

19th century: paints in tubes begin to make an appearance.

Plain air: painting outside, open air painting. A common impressionist's expression.

Claude Monet Cliffs at Etretat: The Needle Rock and Porte d’Aval, Pastel on wove paper, c. 1885. 39 x 23 cm. National Galleries of Scotland. Accepted in lieu of Inheritance Tax by H M Government from the estate of Miss Valerie Middleton and allocated to the Scottish National Gallery, 2016

Drawings always have a subjective idea of being ‘finished’ surrounding them. A rising problem surrounding the impressionist artists was critics perceptions of the artworks seeming unfinished, which could decrease a value of an artwork.

Berthe Morisot, At the Beach in Nice, 1882, pencil and watercolour, Stockholm, Nationalmuseum.

Note the signing of this particular artwork, in the bottom left corner. A tendency that arose after an artist died and their work became more famous or popular, their families would sign the work in their name.

Moreover, looking at this artwork it may surprise some to know that watercolour is considered a less prestigious material to use. As opposed to oil painting, which carries a greater prestige due to its difficulty to use and master. Leaving less room for imperfections. As a snide response to the impressionist movement, critics suggested that these artist under this movement, stick to and use watercolour.

Consider critics opinions of materials and how that translates to accessibility and intension.

Watercolour is actual a far more accessible material than oil painting and can give you a great finish, especially for artists that were painting on open air and their surroundings live.

[halfabird]

Antoine Pesne (1683-1757), Portrait d'Eleonore Louise Albertine, comtesse von Schlieben-Sanditten, épouse de Dietrich Cesarion, 1745

[translationday]

In the 18th century.

Biography of the translators of the 18th century.

Giuseppa Barbapiccola (1702-1740), an Italian philosopher, translated French philosopher Descartes’ “Principles of Philosophy”. She demonstrated that Descartes created a philosophy praising the female intellect, and defended the right for women to learn. Her goal was to inspire women to educate and empower themselves. Her translation included a history of women’s learning and a history of philosophy.

Ignacy Krasicki (1735-1801), a Polish poet known as Poland’s La Fontaine (a wellknown French fabulist), translated many works by classical poets (Plutarch, Anacreon, Hesiod, Theocritus) and modern poets (Boileau, Dante, James Macpherson). His translations contributed to the Enlightenment, a cultural, philosophical and literary movement throughout Europe.

Claudine Picardet (1735-1820), a French chemist, translated the scientific literature of her time in chemistry and mineralogy. A female chemist working alongside men was highly unusual at the time. She was proficient in five foreign languages (English, German, Italian, Latin, Swedish), which was highly unusual too. Her translations contributed to the scientific knowledge gathered during the Chemical Revolution, a movement led by French chemist Antoine Lavoisier.

Johann Heinrich Voss (1751-1826), a German poet, produced a 9-volume translation of Shakespeare’s plays with the help of his sons Heinrich and Abraham. Another German translation by August Schlegel (1767-1845), a leader of Jena Romanticism (the first phase of Romanticism in German literature), turned Shakespeare’s plays into German classics. Shakespeare’s plays were then translated into Swedish by the linguist Carl August Hagberg (1810-1864), who was a strong advocate of English and French literature at a time when Swedish universities were dominated by German influences.

Sarah Austin (1793-1867), an English writer, Louise Swanton Belloc (1796-1881), a French writer, Therese Albertine Luise Robinson (1797-1870), a German writer, and Mary Howitt (1799-1888), an English poet, translated a number of contemporary literary works for them to reach a wider audience. Mary Howitt translated into English some novels by Swedish feminist writer Fredrika Bremer while Louise Swanton Belloc translated into French “Uncle Tom’s Cabin” by American writer Harriet Beecher Stowe, a novel that described the harsh living conditions of enslaved African-Americans.

[widvile-blog]

Louise de Broglie, Countess d’Haussonville (25 May 1818 - 21 April 1882)

[tiny-librarian]

Albertine von Montenuovo, eldest child and only surviving daughter of Marie Louise of Austria and Adam Albert von Neipperg.

[selidren]

Printemps 1921 - Champs-les-Sims

8/10

Je suis d'autant plus navrée d'apprendre que vous n'avez toujours pas de nouvelles de votre Louise. J'espère qu'un jour, elle vous donnera signe de vie, ou mieux, qu'elle franchira à nouveau le perron de votre maison. Je reste coite à l'idée qu'il soit si famille pour une jeune femme de disparaître ainsi et que c'est une angoisse qui m'a étreinte parfois. Je me demande parfois si j'écoute assez mes filles, si je prend suffisamment en considération leur avis. Je m'y efforce, mais comment savoir si vous en faites bien trop, ou au contraire, bien peu.

[xabiramone]

And a Happy birthday to Viviane Katrina Louise Albertine (born 1 December 1954) is an Australian-born British musician, singer, songwriter and writer. She is best known as the guitarist for the punk band the Slits from 1977 until 1982, with whom she recorded two studio albums. Prior to joining the Slits, Albertine was a member of the Flowers of Romance.🎂

[punkrockhistory]

Happy Birthday to Viviane Katrina Louise "Viv" Albertine, Australian-born British singer and songwriter, guitarist for the English punk group the Slits and member of the Flowers of Romance, born on this day in 1954, Sydney

#punkrock #womenofpunk #vivalbertine #theslits #otd

[venicepearl]

Louise Albertine, Princess of Anhalt-Bernburg (21 July 1748 – 2 March 1769) was a member of the Danish royal family and the consort of Frederick Albert, Prince of Anhalt-Bernburg.