Books with author Castaigne

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At daybreak, Phil Longwill, the young American painter, entered his studio, threw away his cigar, gulped down the contents of his water-jug—and then slipped into an arm-chair and dozed.What a night!In his half-sleep he thought he was still at the Quat’z-Arts Ball, from which he had just come; he still heard the murmuring noise of the multitude, like the prolonged “moo-o-o” of oxen in the stable; and there still moved before his eyes the restless throng, masked in the skins of beasts or trailing gilt-embroidered mantles.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Excerpt from Fata Morgana: A Romance of Art Student Life in ParisIn his half-sleep he thought he was still at the Quat'z Arts Ball, from which he had just come; he still heard the murmuring noise of the multitude, like the prolonged moo-o-o of oxen in the stable; and there still moved before his eyes the restless throng, masked in the skins of beasts or trailing gilt - embroidered mantles.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

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 was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.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.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. 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.

The author’s transatlantic experiences primed him for insightful commentary about the prevalent American art practice of study in Paris. The French painter was familiar with the American artist community in Paris by teaching at the Académie Colarossi in the 1890s, and he participated in an American Art Association of Paris exhibition in 1898. After his own academic training in Paris with Jean-Léon Gérôme (1824–1904) and Alexandre Cabanel (1823–1889), Castaigne taught painting in Baltimore in the 1890s. He forged a career in the American art world by submitting paintings to the National Academy of Design and the Pennsylvania Academy of the Fine Arts. He also produced illustrations for American journal articles and books. These interactions inspired Castaigne to write his novel, which is both a celebratory and a mocking account of American art practice in France at the fin de siècle with its simultaneously endearing and troubling protagonist. In the novel, Castaigne’s illustrations depict Phil “playing Indian” three times, and these images reveal the conflicted perceptions of American culture in the foreign capital. In addition to the frontispiece, where Phil appears twice and to which I will return, at the beginning of the novel, the reader is introduced to the character as he returns from the Bal des Quat’z’Arts in the morning, puttering around his studio in the feathered war bonnet and leather skin clothing of his costume (fig. 3). Significantly, Castaigne establishes his main character by pandering to international expectations of Americanness by means of the figure of the American Indian. Castaigne’s painting and the illustration made from it are truly transnational objects. In a French public collection, but reproduced and printed in an English-language volume and published in New York, its iconography imagines Franco-American cultural and artistic exchange within the impossible dream of an American art student in Paris. Castaigne’s mocking portrayal of his non-Native American artist as an American Indian and debasing of his protagonist reveals a fictional version of what was a common practice of white American artists “playing Indian” in Paris. These performances paralleled frequent jokes and insults from French artists and critics in the ateliers who linked non-Native American artists with Native Americans to belittle their work as they increasingly competed for French and American art markets. This analysis is part of a chapter in my book project on the American West in France in the late nineteenth and early twentieth centuries, entitled “­­­Transnational Frontiers: The Visual Culture of the American West in the French Imagination, 1867–1914,” that considers the vicissitudes of “playing Indian” in late nineteenth-century France, and how different images of this act resonated within specific French and Franco-American contexts.

Excerpt from Fata Morgana: A Romance of Art Student Life in ParisIn his half-sleep he thought he was still at the Quat'z Arts Ball, from which he had just come; he still heard the murmuring noise of the multitude, like the prolonged moo-o-o of oxen in the stable; and there still moved before his eyes the restless throng, masked in the skins of beasts or trailing gilt - embroidered mantles.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

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 was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.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.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. 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.

This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. 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 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 was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.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.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. 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.

This book was digitized and reprinted from the collections of the University of California Libraries. It was produced from digital images created through the libraries’ mass digitization efforts. The digital images were cleaned and prepared for printing through automated processes. Despite the cleaning process, occasional flaws may still be present that were part of the original work itself, or introduced during digitization. This book and hundreds of thousands of others can be found online in the HathiTrust Digital Library at www.hathitrust.org.