Bøger af Maxime Du Camp

Ce livre est un témoignage de Maxime Du Camp, qui a participé à l'expédition des Deux-Siciles en 1860. L'auteur y décrit les événements de cette campagne militaire, ainsi que les personnalités qui y ont participé. Les souvenirs de Du Camp offrent un aperçu fascinant de la vie des soldats et des officiers pendant la guerre. Un livre indispensable pour tous ceux qui s'intéressent à l'histoire de l'Italie.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Dans ce livre, Maxime Du Camp nous fait découvrir la Hollande du XIXe siècle à travers une série de lettres et de descriptions détaillées des musées de Rotterdam, La Haye et Amsterdam. Une oeuvre inoubliable pour les amateurs d'art, d'histoire et de voyage.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Ce livre raconte l'histoire d'une unité de l'armée française qui part pour l'Algérie en 1837. Avec des descriptions détaillées de la vie militaire et des combats, ainsi que des personnages complexes et nuancés, Les Forces Perdues est un classique de la littérature de guerre.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Découvrez les souvenirs littéraires de Maxime du Camp, un écrivain, historien et photographe français du XIXe siècle. Ce livre propose une plongée dans l'univers littéraire de l'époque, avec des anecdotes sur les écrivains célèbres de l'époque, tels que Victor Hugo, Gustave Flaubert et Théophile Gautier. Un livre passionnant pour tous les amoureux de littérature française.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Maxime Du Camp, célèbre écrivain et photographe français, a visité le salon de 1859 et nous en livre un compte-rendu passionnant. Il décrit les oeuvres exposées, les artistes qui les ont réalisées, et livre ses impressions personnelles sur les tendances de l'art contemporain. Un livre d'une grande richesse pour les amateurs d'histoire de l'art.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

A firsthand account of the 1861 Paris Salon, one of the most important art exhibitions of the 19th century. Written by a French writer and photographer, this book offers a fascinating look at the state of the art world in the mid-1800s, including detailed descriptions of the works on display and commentary on the controversies surrounding the exhibition.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Maxime du Camp décrit la vie tumultueuse des Parisiens pendant la Commune de Paris de 1871. Le livre se concentre particulièrement sur les efforts des citoyens ordinaires pour sauver les oeuvres d'art et les monuments de la ville en proie aux flammes.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Le Salon de 1861 est un livre �����crit par Maxime Du Camp. Il s'agit d'un compte rendu d�����taill����� de l'exposition d'art de Paris en 1861, connue sous le nom de Salon. Le livre contient des descriptions des �����uvres d'art expos�����es, ainsi que des critiques et des commentaires sur les artistes et les tendances artistiques de l'�����poque. Du Camp utilise un style d'�����criture clair et pr�����cis pour d�����crire les �����uvres d'art et pour exprimer son opinion sur leur qualit�����. Le livre est consid�����r����� comme une source importante pour l'�����tude de l'histoire de l'art du XIXe si�����cle en France.This Book Is In French.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Paris, Ses Organes, Ses Fonctions Et Sa Vie Dans La Seconde Moitié Du XIXe Siècle, Volume 1; Paris, Ses Organes, Ses Fonctions Et Sa Vie Dans La Seconde Moitié Du XIXe Siècle; Maxime Du Camp Maxime Du Camp Hachette, 1869

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Paris, Ses Organes, Ses Fonctions Et Sa Vie Dans La Seconde Moitié Du XIXe Siècle, Volume 6; Paris, Ses Organes, Ses Fonctions Et Sa Vie Dans La Seconde Moitié Du XIXe Siècle; Maxime Du Camp Maxime Du Camp Hachette et cie, 1875 Paris (France)

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

Les Convulsions de Paris - Tome III by Maxime Du Camp. This book is a reproduction of the original book published in 1881 and may have some imperfections such as marks or hand-written notes.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Literary Recollections, Volume 1; Literary Recollections; Maxime Du Camp Maxime Du Camp Remington & Co., 1893

" L'exposition des beaux-arts a été ouverte au public le 1er mai dernier, selon l'usage récemment consacré. Elle est un sujet de chagrin et de tristes appréhensions pour les hommes qui aiment l'art et ne s'occupent point des questions secondaires relatives aux artistes, à leur bien-être et à leur réputation d'un jour. Au-dessus de ces considérations, qui, par cela même qu'elles sont personnelles, restent soumise à des lois inférieures, il y a le souci abstrait de l'art, qui seul peut et doit relever de la critique, préoccupée de l'oeuvre et volontairement oublieuse des auteurs. La décadence n'est que trop manifeste, et chaque exposition en constate les progrès. A première vue, rien ne choque, rien n'attire; une médiocrité implacable semble avoir passé son niveau sur les oeuvres exposées et les avoir réduites à un à peu près général. Les exceptions sont rares, et elles appartiennent à un petit nombre de vieux lutteurs que les fortes influences libérales d'une autre époque ont conservés jeunes au milieu d'une génération sans vigueur. On chercherait en vain une oeuvre qui fût un point de départ pour une voie nouvelle; les meilleurs tableaux ne sont encore que des souvenirs. En était-il ainsi autrefois ? Je ne le crois pas..."

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Orient Et Italie: Souvenirs De Voyages Et De Lectures Maxime Du Camp

Le Salon de 1857 est un livre �����crit par Maxime Du Camp, publi����� en 1857. Le livre est une critique du Salon de Paris de la m������me ann�����e, qui pr�����sentait les �����uvres d'artistes contemporains. Dans le livre, Du Camp examine les �����uvres expos�����es et les artistes qui les ont cr����������es. Il donne �����galement son avis sur les tendances artistiques de l'�����poque et sur la qualit����� g�����n�����rale de l'exposition. Le livre est consid�����r����� comme une source importante pour comprendre l'art et la culture de la France au XIXe si�����cle.This Book Is In French.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Les Buveurs De Cendres; Bibl. Contemp Maxime Du Camp

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

" Sur la façade des prisons que les Génois avaient fait construire, on lisait le mot libertà. Ce n'était point-là, comme on pourrait le croire, une inscription ironique. Cela signifiait simplement que l'emprisonnement des malfaiteurs assure la liberté des honnêtes gens. Les prisons d'aujourd'hui ne ressemblent pas plus aux prisons d'autrefois que la justice des temps passés ne ressemble à celle de notre temps, et, quoiqu'il reste encore bien des progrès à faire, ceux qui lentement et trop parcimonieusement ont été accomplis sont déjà considérables. La liberté individuelle, garantie par une série de lois intelligentes, n'est plus à la merci du bon plaisir; les lettres de cachet ont disparu dans les premiers jours de la révolution, pas sitôt qu'on le croit cependant, car la dernière dont on ait gardé le souvenir fut lancée par le roi en 1790 contre un nommé Fontalard, qui fut enfermé au grand hôpital. Ce n'était point seulement pour causes politiques que des détentions arbitraires étaient indéfiniment prolongées, les causes criminelles n'étaient point mieux traitées, et les prisonniers qui aspiraient au jour de la délivrance fixé par le jugement même dont ils avaient été frappés comptaient souvent plusieurs années avant de voir s'ouvrir devant eux la porte des geôles où ils croupissaient..."

" Le Parisien qui traverse les ponts et passe sur les quais est depuis son enfance tellement accoutumé au spectacle qui se déroule sous ses yeux qu'il ne pense guère à s'en rendre compte. Il sait vaguement qu'il y a des navires au port Saint-Nicolas, que pendant l'été on peut prendre des bains de rivière; parfois il lit dans son journal qu'un train de bois s'est brisé contre une des piles du Pont-au-Change; par curiosité il entre à la Morgue, et souvent il regarde les pêcheurs à la ligne assis dans les bachots amarrés à la berge. La Seine ne lui offre rien de particulier; elle a pourtant une importance majeure, car elle est une des grandes voies d'approvisionnement de la capitale, et de plus elle a une existence spéciale, représentée par les industries qui vivent sur elle et par elle. L'écrivain qui raconterait l'histoire de la Seine pendant les seize premiers siècles de la monarchie française serait bien près d'avoir fait une histoire complète de Paris. Grâce aux routes d'abord et ensuite aux chemins de fer, elle, n'a plus cette utilité redoutable qui en rendait la libre possession si précieuse; elle n'est plus la clé de la famine ou de l'abondance..."

Il est une heure de la journée que je trouve douce entre toutes. Le ciel répand assez de clarté pour que l'on hésite à faire allumer les lampes, et cependant le soleil, disparu à l'horizon, l'ombre qui déjà se fait pressentir, invitent à cesser le travail. Le moment du repas n'est point venu, et il n'est pas temps de reprendre les occupations du soir. On se repose en cette heure indécise qui n'est plus le jour et qui n'est pas la nuit. Elle est propice aux rêveries sur soi-même, aux évocations des faits que l'on a vécus, des pensées qui ont agité l'âme, des aspirations qui ont gonflé le coeur, des amis qui nous ont précédés sur le chemin des existences futures. On se revoit tel que l'on était, on se voit tel que l'on est, et l'on a grand'peine à se reconnaître. - Qui vive ? - Celui qui fut et qui n'est plus, celui qui est et qui s'étonne d'avoir été...

" Ce n'est pas sans raison que l'on a reproché à notre temps de trop se hâter, de courir vers le but avec une fébrile activité, de chercher avant tout le bénéfice facile, de négliger le salutaire précepte: festina lente, qui servait de règle à nos pères, de sacrifier en un mot la perfection à l'abondance de la production. Ce reproche si souvent et si justement adressé à l'art et à l'industrie, dont les moyens d'action multipliés semblent enlever aujourd'hui toute initiative originale à la main de l'homme, n'a pas été épargné à la librairie, qui plus d'une fois l'a mérité. A comparer l'oeuvre des Alde, des Estienne, des Jean de Tournes, des Patisson, des Elzevier et les éditions modernes, on reste douloureusement surpris, et l'on est tenté de croire que le grand art de l'imprimerie, - que des papes ont appelé la découverte divine, - est tombé dans une irrémédiable décadence. La beauté du papier, la pureté des types, la correction du texte, la vivacité des encres, tout ce qui fait l'élégance et le prix réel d'un livre a été subordonné à la loi dominante des sociétés démocratiques, - à la loi du bon marché. Éditions à tous les prix, format populaire, format de poche, que n'a-t-on pas essayé pour tenter un public qui trouve dans son journal la nourriture quotidienne dont se contentent ses besoins intellectuels ? De là, de cette nécessité entretenue par la concurrence, est née cette quantité prodigieuse de volumes parmi lesquels on ne trouverait pas ce que les bibliophiles appellent un livre..."