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All art treasures are prone to fabled accounts, none more pertinent to Anglo-French artistic relations of the 1820s than Constable's The Hay Wain. It is a familiar axiom, repeated incessantly, that after its prominent exhibition in Paris in the Salon of 1824, the so-called 'Salon anglais', the work became entrenched in art-historical lore as a singular icon that transformed French artistic sensibilities in landscape depiction, much to the regret of Ruskin. The influence that Constable's works in the exhibition had on French painters was noted for decades and was most emphatically expressed by the anglophile critic Ernest Chesneau, who paid homage specifically to The Hay Wain when he affirmed that the painting 'firent en France un effet extraordinaire' and that 'notre grande ecole de paysage modern se rattache directement a lui [Constable]'.

This study aims to examine the appraisal of romanticism in autobiographical text from the perspective of translation study. The data were purposely taken from the autobiography of the first president of Indonesia, Sukarno, titled Sukarno, An Autobiography as told to Cindy Adams (1965) and its Indonesian translation (2014). The appraisal resources of romanticisms were evaluated by using Martin and White framework (2005) particularly in terms of attitude and graduation while the translation quality was assessed in terms of accuracy, acceptability, and readability (Nababan et al., 2012). This study reveals that appraisal devices contribute significantly to explaining romanticism through linguistic evidence of the attitude and graduation sub-systems. Appraisal theory, which has a great attention in investigating human emotions and feelings, is very appropriate to describe the characteristics of Sukarno's romanticism and its translated version. It serves a primary indicator to assess the translation quality in terms of accuracy, acceptability, and readability.

Herman details said criteria as follows: (i) A representation that is situated in-must be interpreted in light of-a specific discourse context or occasion for telling. (ii) The representation, furthermore, cues interpreters to draw inferences about a structured time-course of particularized events. (iii) In turn, these events are such that they introduce some sort of disruption or disequilibrium into a storyworld involving human or human-like agents. . . . (iv) The representation also conveys the experience of living through this storyworld-in-flux, highlighting the pressure of events on real or imagined consciousnesses affected by the occurrences at issue. According to Aron Kibédi Varga (1990: 363-4), the only option monochronic pictures have is to \"illustrate\" or \"evoke a story\" MarieLaure Ryan (2004) seems to share this belief: \"Since pictures, left by themselves, lack the ability to articulate specific propositions and to explicate causal relations, their principal narrative option is what I call . . . the illustrative mode ' (139, emphasis mine). [...]I believe that any theory of pictorial narrative should respect what I call the compatibility constraint: it should be compatible with all sensibly plausible theories of pictures. [...]I would like to insist that my true aim is discussing pictures rather than artistic paintings, drawings, or photographs only: in fact, anything I say should be applicable to all kinds of single pictures.

Théodore Géricault's The Head of a Lioness resists art historical conventions of picturing lions by encouraging up-close engagement with a wild animal who can paradoxically be construed as both sensually alluring and patently dangerous. The sentience of Géricault's leonine subject would have been impossible to achieve without direct encounters with live lions during the work's elaboration. The act of seeing and depicting this animal in the menagerie of the Jardin des Plantes, a public, state-controlled space, emerged from a carefully orchestrated set of relationships and transactions involving international diplomacy, public policy, and scientific inquiry.

Pullins reviews the exhibitions Posing Modernity: The Black Model from Manet and Matisse to Today at the Wallach Art Gallery in New York City NY and The Black Model from Gericault to Matisse at the Musee d'Orsay in Paris France.

This paper analyzes the contributions of Théodore Géricault to the second volume of Baron Isidore Taylor, Charles Nodier, and Alphonse de Cailleux’s Voyages pittoresques: Normandie (1820; 1825) within the context of French Restoration historiography. It argues that Géricault’s prints are allegorical commentaries on the production of visual history during this period as much as they are examples of it.

Artists who undertake the commemoration of a disaster are faced with a dizzying array of aesthetic choices that affect how a calamitous tragedy will be tacked to the fabric of collective memory. This essay considers the strikingly similar implications of compositional and formal choices in two visual representations of disaster which, at first glance, bear no resemblance: Théodore Géricault’s 1819 tableau, The Raft of the Medusa [Le Radeau de la Méduse], and Michael Arad’s Reflecting Absence, a memorial to the terrorist attacks on the World Trade Center at the National September 11 Memorial and Museum in Lower Manhattan.

ObjectiveThe purpose of this paper is to trace the origins and decline of the diagnostic entity monomania, which became prevalent in the early 19th century and to investigate its use in Irish psychiatry.MethodThe French psychiatric scientific writings of the early 19th century have been surveyed to identify and describe the clinical entity of monomania. The clinical description of monomania has been investigated and its cultural diffusion through literature and the arts has been reviewed. The increase in its use as a diagnosis and its ultimate decline has been documented in France, Britain and Ireland. The clinical characteristics leading to the diagnosis in Ireland have been investigated through the clinical symptoms recorded in patients accorded this diagnosis in the 19th century case books and committal documentation of the Richmond District Asylum and case books of the Central Mental Hospital.FindingsThe diagnostic entity of monomania first emerged in France in the 1820s and had disappeared from use in the hospitals of Paris by 1870. It first appeared in Ireland in the patients’ admission register of the Richmond District Asylum in 1833 and increased substantially before decreasing just as markedly with the last patient, given the diagnosis on admission being in 1878. However, the diagnosis of monomania was applied to admissions to the Central Mental Hospital as late as 1891. The Irish asylum case books have been of limited value in elucidating the clinical and symptomatological presentations leading to its use by 19th century Irish psychiatrists.ConclusionsMonomania, although enjoying a scientific and cultural success in France, both within and without psychiatric circles, was a tenuous clinical entity with an ill-defined and uncertain core and fragile boundaries, both in France and more particularly in Ireland. In pure form, rarely described, its closest modern equivalent would have been delusional disorder, but case descriptions only occasionally correspond to this concept as it is understood today. Its popularity dating from around 1830 declined and by the 1870s it was in terminal decline. The factors delineating its rise and fall are unclear.