so despite taking french in high school and it being my minor the brief time i was in college the first time, i’ve never been able to become fully fluent in french.
learning it comes easy to me (thankfully) but i almost instantly lose it because i don’t practice it nearly enough in real life because no one around me speaks french.
so i’ve decided that while i use various apps, listen to music, and watch french videos, that i would also utilize journal prompts.
so enjoy journal prompt 1 of ??? !!!
also if y’all know of any good resources or people that want to speak french with me, my asks are always open :3
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écrire en français #2
la porte de la maison de ma famille est noire et grande. j’ai une nouvelle télévision. le fenêtre est ouverte. le chien de ma soeur est sur le canapé. ma mère a un grande plante. notre une table longue. ma petit cousine a une chaise haute. la cuisine de dakota johnson est verte. les éviers dans les hôtels sont beaux. il y a des moustiques dans la douche et la salle de bain de l’appartement de mon frère. mon oreiller est gris. les toilettes de la supermarché est grande. il y a des savons, des couvertures, des masques, de la nourritures, de l’eau, et des médicaments dans le sac. j’ai nouvelle horloge. ma mère a une grande volets. un bol bleu. chaque maison asiatique a un balai. oh, le poêle est chaud.
vocabulary
takeaways:
very apparent that i have to study more on prepositions
but i think i did better now than my first writing
most of my mistakes are of words i didn't know have an other gender word
careless use of singular/plural determiners
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Restonica valley - Calvi - Calanques de Piana
-> last one from my Corsica notes/impressions, finished at home. I’ve never saw a place which strongly reminded me some artwork. Yes, we sometimes feeling deja vu, or we look at something and saying:”Oh, this reminds me this and that… “… but have you ever felt that you actually “see this thing” before? But somewhere else!
When I saw these jagged cliffs of Piana I told myself, that my favourite Max Ernst definitely get inspiration from it. Because one of his best pieces(for me), Europe after the rain, is one of the many views from Calanques de Piana.
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Fashion Friday
It's been awhile since we've done a Fashion Friday post, but we're back at it with the French magazine La Mode! La Mode began in 1896 in Paris and was printed by Le Gérant : E. Durand. I was unable to find out much else about it, partially because its title was part of the titles of other French fashion magazines from the period—but we do know that the printers also printed Le Petit Journal, a popular daily newspaper.
This issue is no. 38 from September 21, 1923 and features a very fashionably dressed woman on the cover. The text at the bottom is an ad for the fabric dye brand Twink and says (translated from French): "Twink allows you to inexpensively dye your babies' pretty dresses." The issue also includes features on hats, coats, and one on the use of embroidered fabrics in interior design. There is also a supplement included with a design pattern (shown in the last image).
Most of the fashions included in this issue are in preparation for chilly fall weather, so let's let it inspire us to enjoy the warm sunny days of summer while we have them!
View more Fashion Friday posts.
-- Alice, Special Collections Department Manager
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écrire en français #1
j’ai trois livres. je dors dans mon lit. j’ai un téléphone et un ordinateur portable. ma université est à Manille. j’etudie la microbiologie. ma école est grande. le bibliothéque de ma école est grand aussi. je suis allé au musée avec ma soeur. la gare est petit. je mange des nouilles instantanées, du pain, et des céréales beaucoup. j’aime le café du lait. les nuages sont blancs. j’adore écouter la pluie. j’écris avec ma plume. mon argent et ma clé sont dans mon portefeuille. j’ai deux billets.
vocabulary
takeaways:
i have to study more time/location prepositions
be mindful of plural prepositions! case in point: des
es and sont are two different things (i keep forgetting)
i have...a limited vocabulary
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Women artists in Napoleonic France
(Young women copying: ‘Love begging Venus to forgive Psyche’ which was displayed at the 1808 Salon. Sketch by Georges Rouget)
Quotes from an article about women’s participation in the art world during the Napoleonic era.
Article:
Heather Belnap Jensen, “The Journal des Dames et des Modes: Fashioning Women in the Arts, c. 1800-1815,” Nineteenth-Century Art Worldwide 5, no. 1 (Spring 2006) (source)
“More and more women artists began exhibiting their work in public venues and receiving recognition for their contributions at this time. While only three women artists had participated in the 1789 biennial Salon, fifty participated in the Salon of 1806–an increase in women’s participation of over 1600 percent in seventeen years.”
(Woman artist giving a drawing lesson — Self-portrait, 1810, by Louise-Adéone Drölling)
“We see a move away from the emphasis on the public sphere to the private space as motifs, intimating a valorization of a woman’s world. While history painting, which played such a crucial role in Revolutionary visual culture, remained the privileged genre at the turn of the century, the rise in portraiture, landscape, and genre painting in Napoleonic France indicates this shift in values.”
(Young Woman Drawing—Portrait of Charlotte du Val d'Ognes, 1801, by Marie-Denise Villers)
“Women’s journals, which often published art-related materials, have been largely overlooked in discussions of developments in late eighteenth-and early nineteenth-century French visual culture. This is surprising, given that bibliographies on art criticism of this period frequently cite items from these publications.”
One of the most influential women’s journal of the period was Journal des Dames et des Modes. It was created by Jean-Baptiste Sellèque and Pierre de La Mésangère in 1797 and continued until 1839.
“La Mésangère’s key collaborator during the Napoleonic period was a woman, Albertine Clément, née Hémery, a well-known figure in both journalistic and cultural circles in post-Revolutionary France, and that several women were regular contributors to this journal during this era.”
Annemarie Kleinert did a study on the journal:
“She determined that the journal targeted bourgeois women between the ages of 18 and 40 years old who could afford the annual subscription rate of 10 livres, and that the majority of subscribers during the period from 1800 to 1815 were from the provinces.”
(Portrait of a Young Woman Drawing Herself, early 1800s, by Louis-Léopold Boilly)
Interest from women in creating their own designs:
“Fashion plates that accompanied each issue of this journal gave visual testimony to this heightened interest in women’s artistic engagement. Indeed, women in fashion plates were sometimes presented in the act of sketching and drawing, as shown in a plate that appeared as an insert in an 1802 issue of the Journal des Dames et des Modes.”
The act of women creating art was compared to motherhood. In that way, women were encouraged to make art, but in terms which enforced traditional and patriarchal ideas:
“Furthermore, the vocabulary used by the author stresses the ways in which artistic creativity mirrors childbirth and elicits feelings of exaltation over one’s art that are similar to those evoked by motherhood when he writes that ‘she smiles at the objects which are born of her colors’ and calls the site of her production a ‘creative space.’”
There were opportunities for women to paint nude subjects for classical style art:
“Recent scholarship suggests that there were opportunities for such study in the Napoleonic era. By 1800, female students could attend anatomy classes given by the surgeon Sue and also by the École du Modèle Vivant at Versailles, and artist Adele Romilly reported that David, Régnault, and Guérin all provided mixed studios that offered courses on life drawing from the nude.”
One of the claims made against the women’s journals is that they were sexist. The author points out that it’s more complicated and not entirely true. The journals included laudatory reviews of paintings by female artists at the salons, biographies of women artists, such as Angelica Kauffmann, and published excerpts of pamphlets written by women, such as Angélique Mongez.
(Portrait of an Artist Drawing after the Antique, c. 1800s, Jean François Sablet)
However, the author also says there was a lot of anxiety about the increase in female participation in the art world, both as creators and as spectators. There were articles describing women at museums in derogatory terms. One in particular described a young girl being overcome by emotion at the sight of the statue of Apollo Belvedere and creating such a large scene that she had to be dragged away in tears.
These articles imply that women spectators had become dominant enough that it could inspire critics.
Women had become so important in the art world that a really unique phenomenon happened:
“Roger Bellet has demonstrated that there are known instances in late eighteenth-and early nineteenth-century France when men published under a female pseudonym.”
Many of the top artists who were admired in the era were women such as Élisabeth Louise Vigée-Lebrun, Marguerite Gérard, Constance Mayer, Adèle Romany, Adélaïde Labille-Guiard, Pauline Auzou, Jeanne-Elisabeth Chaudet, Marie-Guillemine Benoist, Constance Marie Charpentier and many others.
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