Impact Soccer

juju l'international a écrit :Pour ce qui est de l' hibernation on parle de la ligue intérieur universitaire je crois.

juju l'international a écrit :Je ne suis pas certain mais je crois que le plan est d'inclure l'attack dans le championnat universitaire.

juju l'international a écrit :Je ne suis pas certain mais je crois que le plan est d'inclure l'attack dans le championnat universitaire.

Emerging in this context as one of the leading art historians of the mid-nineteenth century in France, Léon Lagrange (1828–1868) published substantial monographs on Joseph Vernet (1714–1789), the painter of the ports of France for Louis XV, and Pierre Puget (1620–1694), France's major Baroque sculptor, as well as contributing regularly to such leading periodicals as the Gazette des Beaux-Arts and L'Artiste. Yet this contemporary of Taine, whose college classmate he was, is largely unknown today; if he is remembered at all, it is for the monograph on Puget, which was recently reprinted.10 That work was published posthumously in 1868; Lagrange died young, at the age of forty, after a very productive career. He worked in close contact with such figures as de Chennevières and de Montaiglon at the Archives de l'art français. Influenced by the writings of Ludovic Vitet (1802–1873), historian of art and first inspector of historical monuments, Lagrange applied the standards of the new historical sciences to the study of past art and helped establish art history in France as a modern discipline based on archival research. Like Taine's, his art history paid heed to society as well as the individaul artist.

Lagrange's publications have a particular interest because of their regional focus and liberal politics: he devoted all his research to documenting Provençal artists and integrating them into a progressive history of art motivated by the triumph of bourgeois values. Heeding the call issued by de Chennevières in 1847 for new research on provincial schools of art,11 Lagrange produced two substantial monographs in his short career, on Marseille's Puget in 1868, and on Avignon's Joseph Vernet in 1864, as noted above. In both texts, he used southern temperament and Mediterranean climate to help explain the characteristics of the works. Lagrange's focus on Provence, where he was born and grew up, has its context in the national debate on decentralisation, which became increasingly important to the regions at mid-century. He chose to contribute to French art history by researching and writing the lives of Provençal artists. Like Étienne Parrocel (1817–1899), a contemporary art historian from Marseille, he argued for the existence of a Provençal school in the past, although he did not claim a competing, independent history for it as his compatriot did.12 In the light of post-nationalist critiques of history presented by cultural studies today, Lagrange's contribution is of particular interest to art historians for its reworking and negotiation of the nationalist paradigm.13 He did this by giving a leading role to provincial artists and regional sensibilities in a national art history constructed as the progressive triumph of bourgeois values, including naturalism, rather than an aristocratic and court taste based on decadent Italian models. Narrating the professional lives of two key Provençal artists, Puget and Vernet, he showed that they operated successfully with local patronage but in uneasy tension with the demands of the French royal government.

Lagrange began his career writing reviews of contemporary art exhibitions in the papers of his native Marseille in the 1850s. Son of a well-to-do family, he was destined for their wholesale grocery business in that city. He studied for his baccalauréat at the Lycée Charlemagne in Paris, graduating in the same brilliant class as Taine, Edmond About and Prevost-Paradol. After obtaining a law degree to satisfy his family's expectations, he studied painting briefly and then travelled extensively. To avoid the political turmoil in France when he was called up to serve in the Garde nationale after the February 1848 Revolution, Lagrange went abroad, visiting the museums and sites of Italy, Egypt and Palestine and the art collections of London and Belgium during 1848–1850. After his return, he followed his interests and began to work as an art critic in Marseille, publishing in the business daily Le Sémaphore, which took his first review (1851), the literary journal Le Plutarque provençal and the royalist daily Gazette du Midi, writing reviews of the Salon in Paris and the annual exhibitions organised by the Société artistique des Bouches-du-Rhône in Marseille. He settled near Paris, in Sens, after his marriage, but continued to visit Marseille and Provence regularly, spending the winters at Nice with his young family because of his wife's frail health.14

Lagrange continued to report on contemporary art throughout his career, writing long pieces for the Parisian periodicals La Gazette des Beaux-Arts, Le Correspondent and La Revue des Provinces. He was no aesthetic modernist, nor was he politically radical, although as a liberal and a Provençal he was increasingly opposed to the authoritarian, centralising Second Empire. Lagrange's taste was conventional, in the bourgeois sense, in its emphasis on ideas, sentiment and technical skill rather than artistic innovation, self-expression and technical experiment. He criticised both Eugène Delacroix and Pierre Puvis de Chavannes for shortcomings in this regard, while admiring Jean-Léon Gérôme and Hippolyte Flandrin.15 He preferred Jules Breton's ‘poetry’ to the engaged realism of Jean-François Millet, Gustave Courbet and Édouard Manet, and the landscapes of Léon Benouville, Antoine Chintreuil, Jean-Baptiste-Camille Corot and François-Louis Français to those of Charles Daubigny and the ‘école de l'impression’,16 which he found too impersonal. Lagrange's view of art was patriarchally gendered; he restricted women artists to a lower ‘rank’ by medium and genre (e.g. working in pastel and depicting flowers).17 As a committed Catholic, Lagrange also had a strong interest in modern religious painting. He published extensive articles on the German Nazarene Friedrich Overbeck, whose studio in Rome he had visited, and on Flandrin, whose work he hailed as the most complete form of nineteenth-century Christian art.18 In a review of recent Rembrandt literature, Lagrange even criticised Charles Blanc's humanitarian interpretation of the Dutch seventeenth-century artist, asserting a religious reading of the artist's works and stressing his Italian sources over his realism.19