Gens de Lorraine et beaux quartiers (Essais et documents) (French Edition)

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Let us know how we can help. Several of the essays here focused specifically on architecture.

The introduction, by Henry, made a straightforward plea in favor of a contextualist cultural history that aimed to capture the entire dynamic of artistic production, from the intellectual sources and cultural assumptions of the artist to their reception by the public. Printed texts were studied by the authors in the collection primarily for their content, and in particular for what they reveal about how artists conceived of and presented themselves to the public.

These both examine the period from the Renaissance to the present. The essays adopt a wide variety of approaches in dealing with everything from the technical and economic aspects of book design to the social dimensions of book dissemination and content reception. The essays in the book thus tend to take a documentary approach, and of the seventeen essays within, fourteen consider the libraries of architects or architectural institutions.

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Most of this work has either focused on a particular theme or issue, or has sought to bring print culture concerns into monographic studies of particular architects and theorists. There have been a few monographic studies devoted specifically to print culture topics — specific titles, book genres, or periodicals — though not as many as one might perhaps expect. The immense body of new information made available by this extraordinary labor of love was warmly welcomed by reviewers, who nonetheless also tended to regret that the book had not yielded more comprehensive and perhaps also more comparative conclusions Massu, ; Fossier , ; Savage, Other studies have focused on specific books: There has also been one very important book-length study of a particular genre of publication: Reconstructing the publishing context of the era, looking at both well-known and obscure publications, comparing their choice of content and their graphic technique, and interpreting them as arguments by their authors in favor of any one of a number of theoretical positions, Garric uses the tools of book history in concert with other forms of analysis in a very successful effort to produce a kind of cultural history of the production of architectural theory and pedagogy — one that then authorizes convincing reassessments of some key figures.

It is among the most successful demonstrations we have of the potential of this kind of inquiry to produce important revisions in our received views of the period. There have been quantitative studies of tables of contents Thomine, , book reviews Leroy , , and advertising Bouvier , b. Even the architecture of nineteenth-century bookstores has been examined Bouvier, c ; Gaudard, Pierre Pinon has presented a detailed consideration of the publishing activities of Louis-Pierre Baltard in an article in the Construction Savante collection — a topic he had touched on previously in his monograph on Baltard and his more famous son, Victor Pinon , , Most work has focused on content in a traditional sense.

Not everyone who reads this detective story of a dissertation — which is remarkable also from the perspective of its graphic design — will be convinced that the author has solved the mystery, but few will ever look at that iconic image in the same way again. Architectural historians have increasingly tried to take on this challenge, and have done so in a variety of ways. Most work in this area has centered on libraries: Laurence Chevallier has also studied the library of the Bordelais architect Jean-Baptiste Dufart Chevallier , , while Annie Jacques has examined the place of Renaissance treatises in French libraries more generally Jacques , This work has focused mainly on periodicals and fiction.

In , Nathalie Sarrabezolles offered the first published survey of architectural coverage in the French press between and Sarrabezolles, Delamair Lemas, , the project of Jean Antoine Morand for Lyon Chuzeville, , and finally the mass of other projects for Paris that appeared in countless journals, pamphlets, and books during the eighteenth century Lemas, , ; Wittman, b , , , together constituted a sustained collective attempt to devise a new theoretical model for the city in which public benefit would constitute the ultimate goal.

One could say much the same about the even more plentiful proposals for the reform of Paris that appeared up to , by which time the debate had turned into a contest between different political definitions of the public good Backouche, ; Bourillon, ; Moret, ; Papayanis, , The one area where recent research seems to be lacking, surprisingly, is the second half of the nineteenth century, where surely more remains to be said about how, with the eclipse of easy generalizations about the collectivity, print functioned in increasingly refractory debates about power and the politics of urban space.

Before long, periodicals appeared that specifically offered themselves for such purposes, and were immediately made use of, especially by younger architects Wittman, b. As we have seen, several scholars have explored the crucial role played by print in helping consolidate the emergence of the modern architectural profession during the nineteenth century Lipstadt, Mendelsohn, ; Lipstadt, ; Saboya, ; Bouvier, Obviously it provided them with access to a vastly expanded, constantly evolving corpus of information.

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But how did the very existence of this public sphere of print affect their perceptions of society and, by extension, of the function of their art within it? Not with the same confidence we have in revealing the contents of a library or the editorial proclivities of a journal, but connections can be made.

Daniel Rabreau, as one of the longest-running and most persistent advocates of a more culturally oriented history of French architecture, has for decades been approaching his material with the awareness that architects from the later eighteenth century conceived of their relationship to society and the public in new ways, and therefore saw the role of their art differently than their forbears had done.

Ultimately, though, there are countless ways of using the culture of print to get at the rich and important question of what the translation of architecture into printed forms meant beyond the immediate world of the architectural profession. Some inspiration might perhaps be drawn from recent work on English architecture. Myers presents her project as an attempt to reclaim architecture from the discourses of architectural history; to reassert that, while architecture may have been a language for architects and connoisseurs, it formed narratives for everyone else.

That is a precedent worth thinking about.

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