itself is visibly engaged with the methods and effects of postwar American abstraction: Witness the work's dimensions (roughly eight by twenty feet, unusually large for an abstract work in Paris at that time), as well as Mathieu's professed commitment both to "direct means" (the application of paint directly from the tube or projected at the paint surface by various implements) and to notion-ally improvisatory execution.
He closes with a valuable and very detailed account of the Battle of Bouvines
While historians now prefer discussing events rather than recounting them (a trend exemplified in such classics of the Annales as Georges Duby's The Legend of Bouvines
and Emmanuel Le Roy Ladurie's Carnival in Romans), several works in my corpus show that the tradition of the straight, linear narrative has not completely disappeared from scholarly historiography.
In the early 1990s Roubaix town council initiated the demolition of several housing terraces in the rue de Bouvines
, the clearance of slums on the backland behind them and the reuse of the site for a small sports ground with changing rooms, premises for a neighbourhood club and a centre providing a range of facilities for very young children.
Claiming he had an ancestor who had fought in the Battle of Bouvines
in 1214, Mathieu assumed his predecessor's role and reenacted each stage of the battle (the capturing of standards, the siege of hills) with thrusts and parries of his long brushes.
The special place that Philip Augustus holds in French history is due chiefly to his spectacular victory over France's mortal enemies at the Battle of Bouvines
in 1214, a triumph that secured the Capetian dynasty on the throne and laid the foundations of the modem French state.
Significantly, the chapter closes with a discussion of the historiography of memory in studies such as Georges Duby's Le dimanche de Bouvines
which trace the fortunes of the historians' event (as distinct from the historical event) in collective consciousness.