Excerpt from The Modern Parisienne To write a good book on women a man must possess one quality over and above those indispensable to any serious literary work. Besides thorough documentation, literary skill, and justice, he must have a sense of humour. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This 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.

“Tramuta sweeps away the tired clichés of the Parisian woman with her vivid profiles of the dynamic and creative ‘femmes’ now powering the French capital.” —Eleanor Beardsley, NPR Paris correspondent The New Parisienne focuses on one of the city’s most prominent features, its women. Lifting the veil on the mythologized Parisian woman—white, lithe, ever fashionable—Lindsey Tramuta demystifies this oversimplified archetype and recasts the women of Paris as they truly are, in all their complexity. Featuring 50 activists, creators, educators, visionaries, and disruptors—like Leïla Slimani, Lauren Bastide, and Mayor Anne Hidalgo—the book reveals Paris as a blossoming cultural center of feminine power. Both the featured women and Tramuta herself offer up favorite destinations and women-owned businesses, including beloved shops, artistic venues, bistros, and more. The New Parisienne showcases “Parisianness” in all its multiplicity, highlighting those who are bucking tradition, making names for themselves, and transforming the city. “With stunning photographs and inspiring profiles, Lindsey Tramuta tramples the myths and takes us into the lives of real Parisiennes. Bravo!”—Pamela Druckerman, New York Times–bestselling author of Bringing Up Bébé “Like the subjects of her book, Lindsey Tramuta is a force. The New Parisienne is the go-to chronicle of the joyful, progressive, pioneering women of a city that Tramuta understands with deep intelligence.” —Lauren Collins, New York Times–bestselling author of When in French “Tramuta’s new book posits that Parisian women have been ahead of these radically changing times. But rather than being trendsetters in the stylish sense, they qualify as visionaries and agents of change across spheres of diversity, tech, culture, politics, and more.” —Vogue

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.

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1912 edition. Excerpt: ... CHAPTER VII THE WORKWOMEN OF PARIS The Jactory-worker: The journeywoman: The baker's assistant: Miscellaneous occupations: Laundresses: Florists: Needlewomen: Dressmakers: Errand-girls: Milliners The question of women's work and wages, in Paris and in all the large centres of France, is beginning to engage the serious attention of economists and sociologists. M. Jules Simon's book VOuvrihre is already out of date, and therefore inaccurate as regards work at the present time; yet it retains its interest and, though not profound, it shows conscientious study of facts. More recently, M. Paul Leroy-Beaulieu has published a book on Le Travail des femmes au XIX"" Steele, a methodical collection of facts rather than the original work of an observer of manners. Lastly, M. le Comte d'Haussonville, in his Mislres et Remides, has given us a series of social studies, and has drawn up a clear account of women's wages in Paris and the provinces--a profoundly sad revelation. In all these publications the authors generalise too freely on the subject of the workwoman. In the following pages on the workwomen of Paris, we will try not to deal with their arguments but to give a rapid sketch of the most obvious types, without attempting to exhaust a subject which must be reviewed again and again before the Government takes in hand the task of protecting these underpaid and overworked women in every possible way. There are in Paris about 135,000 workwomen of all professions, whose wages average 2.25 francs for about ten hours' work. The greater number are the ouvrieres du dehors. The ouvrieres du dehors are those who, not having the means of being their own mistresses, work away from their homes, either for the State or for companies or for private persons....

These 125 watercolor and ink renderings of designs for the 1916 and 1918 seasons include fabric swatches, price information, and notes. Introduction plus two substantial essays on the sketches' cultural and social significance.

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.

To the time-honored myth of the artist creating works of genius in isolation, with nothing but inspiration to guide him, art historians have added the mitigating influences of critics, dealers, and the public. Bodies of Art completes the picture by adding the model. This lively look at atelier politics through the lens of literature focuses in particular on the female model, with special attention to her race, ethnicity, and class. The result is a suggestive account of the rise and fall of the female model in nineteenth-century realism, with a final emphasis on the passage of the model into photography at the turn of the century. This history of the model begins in nineteenth-century Paris, where the artist?model dynamic was regularly debated by writers and where the most important categories of models appear to be Jewish, Italian, and Parisian women. Bodies of Art traces an evolution in the representation of this model in realist and naturalist literary works from her "birth" in Balzac to her "death" in Maupassant, in the process revealing how she played a key role in theories of representation advanced by writers. Throughout the book, Marie Lathers connects the artist's work to the social realities and actual bodies that surround and inhabit the atelier. Her work shows how much the status of the model can tell us about artistic practices during the century of the birth of modernity.