"ARE THERE ANY READERS of ARTnews who wish to join me in sending a pair of sterling silver roller skates, suitably engraved, to Georges Mathieu so that he may redo his I WAS THERE dance routine of the Battle of Bouvines
into a big Blitzkrieg production?" (1) So begins a sarcastic letter Barnett Newman wrote to the editor of Art News in February 1955.
Las Navas, Muret y Bouvines
son campanas de indudable relevancia, no solo por su magnitud belica, sino porque cada una de ellas se ubica de un modo u otro en el punto de partida de una construccion politica renovada, reajustada o reorientada.
It's not that difficult, actually: Adrianople (378), Arsuf (1191), and Bouvines
(1214) come to mind at once.
This painting was made in much the same way as his other works of the 1950s, which are also often titled with reference to twelfth- or thirteenth-century events (and which, in turn, are often battles: La Bataille de Bouvines
, 1954, Battle of Hastings, 1956, La Bataille des Eperons d'or, 1957, and so on).
Nevertheless, a momentous encounter took place on July 27th, 1214, at Bouvines
in Flanders, where Philip squared up to Otto and John's northern allies.
Esta nueva realidad era una aventura estacional, una empresa de depredacion, una suerte de costumbre regular, tal como lo ha expresado Georges Duby en su obra El domingo de Bouvines
, (6) en la que narra lo que ocurrio el 27 de julio de 1214 en una planicie cercana al poblado de Bouvines
, donde el rey de Francia, Felipe Augusto, enfrento, a pesar de si mismo, a la coalicion dirigida por el emperador Otton y compuesta por los condes de Flandes, Fernando, y de Boulogne, Reynaldo.
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.
Although a narratively innovative member of the Annales school, George Duby still compares battles to chess games in Le Dimanche de Bouvines
(The Sunday of Bouvines
).(14) In an interview, Peter Englund explained that the writing of his popular and controversial book, Poltava (1988), was inspired by a reaction against the chess metaphor of history: "The battle was described, as most wars are described, like a sort of chess game between generals.