Friedrich (Glenn Gould, The Grave of Alice B. Toklas—both 1989; City of Nets, 1986, etc.) now brings his rare historical imagination and narrative gifts to the art and politics, frivolity, eccentricity, and scandal of the Second Empire (1865-85) in Paris during the reign of Napoleon III. êdouard Manet's life is the frame, his art a recurrent motif. As artistic inspiration, artifact, and social symbol, women dominate Friedrich's text. Empress EugÇnie, Berthe Morisot, and ``Olympia''—Manet's model and painting, whose mystery inspired this book—all have one or two chapters devoted to them, with the author building up other histories from them. Along with his perceptive analysis of Manet's paintings, Friedrich relates the story of impressionism and the community of artists Manet inspired: Monet, Gauguin, Renoir, Degas, CÇzanne, and Morisot, who married Manet's brother. The world they painted, Friedrich explains, was set to music by Offenbach, his comic operas reflecting the decadence, pomposity, and materialism of the court and of the ambitious Empress and the reprobate Napoleon, whom she bullied into an ill-fated war against the Prussians. Defeated in that war, the besieged citizens of Paris were reduced to eating zoo animals and rats, from recipes published by Hugo. Such fatally ambitious women as the Empress, Friedrich tells us, were also depicted by Flaubert in the provincial decadence of Emma Bovary and by Zola in the urban depravity of Nana, who represented a city in which everything, especially love, is for sale. Memorable vignettes here include the exiled Wagner producing TannhÑuser for the frivolous Parisians; the massacre of citizens in Napoleon's coup and again after his defeat; the Exposition of 1867, with its 52,000 exhibits; and a history of syphilis, the disease that probably took Manet's life. Rich, vivid, imaginatively organized—a 19th-century Bonfire of the Vanities, a true one, ready for the big screen. (Four pages of color photos, 12 pages of b&w—not seen.)
Pub Date: March 25, 1992
ISBN: 0-06-016318-6
Page Count: 336
Publisher: HarperCollins
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: Jan. 1, 1992
BOOK REVIEW
BOOK REVIEW
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...
Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").Pub Date: May 15, 1972
ISBN: 0205632645
Page Count: 105
Publisher: Macmillan
Review Posted Online: Oct. 28, 2011
Kirkus Reviews Issue: May 1, 1972
This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)
Pub Date: Oct. 28, 1996
ISBN: 0-15-100227-4
Page Count: 136
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1996
BOOK REVIEW
BOOK REVIEW
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