Au nom de l'art : 1933 - 1945 ; exils, solidarités et engagements / Limore Yagil
Even before the First World War, Paris attracted artists from throughout Europe: Russian, Polish, Hungarian, Czech, or German artists, who came to stu...
Ausführliche Beschreibung
Gespeichert in:
| PPN (Katalog-ID): |
1615593047 |
|---|
| Personen: |
Yagil, Limor - 1961- [VerfasserIn] |
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| Körperschaften: |
Université Paris-Sorbonne [Grad-Verleihende Institution] |
| Hochschulschrift: |
Habilitationsschrift ; Universität Paris ; 2010 |
| Medienart: |
Buch |
|---|---|
| Formangabe: |
Hochschulschrift |
| Umfang: |
590 Seiten ; 24 cm |
| Sprache: |
Französisch |
| Erschienen: |
[Paris]: Fayard ; [2015] © 2015 |
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| Basisklassifikation: | |
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| RVK: |
LM 52185 / (Kulturgeschichte, Kirchengeschichte) [Kunstgeschichte, Kunst nach Ländern bzw. Kontinenten, Frankreich, Kunsttopografie Frankreichs, Alphabetische Liste der französischen Orte, Orte P, Paris, (Kulturgeschichte, Kirchengeschichte)] |
| Schlagwörter: |
Paris / Künstler / Nationalsozialismus / Exil / Solidarität / Geschichte 1933-1945 Paris / Künstler / Exil / Nationalsozialismus / Solidarität / Geschichte 1933-1945 |
| weitere Schlagwörter: |
Paris (France), History, 1940-1944 Paris (France), Intellectual life, 20th century Expatriate artists / Social conditions / 20th century / France / Paris |
| Allgemeiner Hinweis: |
Literaturverzeichnis: Seite 535-560 |
|---|---|
| Anmerkung: |
Archivierung/Langzeitarchivierung gewährleistet ; SSG |
| Links: | |
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| ISBN: |
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| 520 | |a Even before the First World War, Paris attracted artists from throughout Europe: Russian, Polish, Hungarian, Czech, or German artists, who came to study at the Academies of painting or of music. Several waves of migration brought Jewish artists who were fleeing persecution, and these artists formed networks of friendship with French artists in Paris: channels that operated during the Occupation and the Vichy regime to protect the victims of that regime. The intervention by Sacha Guitry and Arletty on behalf of Tristan Bernard is well known, but Limore Yagil reveals many others as well. At the intersection of cultural and political history, Yagil traces these networks of solidarity from their origins, reconstructing a geography of mutual cooperation, and investigating the significance that should be given to these acts of civil disobedience | ||
| 520 | |a Paris, capitale artistique, 1918-1939 -- Le contrôle du champ artistique sous l'Occupation -- Les peintres dans le Paris occupé -- Peintres et sculpteurs en zone libre, 1940-1944 -- Le théâtre sous l'Occupation -- Le cinéma sous l'Occupation -- Musiciens et musique en France, 1918-1945 -- L'Opéra de Paris sous l'Occupation -- Les music halls, les cabarets, la chanson et le jazz sous l'Occupation -- Le refuge americain -- D'autres lieux d'exil: l'exemple de la Suisse et de la Palestine | ||
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