Diablerie  

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 +[[Image:Michael Pacher detail.jpg|thumb|right|This page '''''{{PAGENAME}}''''' is part of the [[devil in popular culture]] series. Illustration: detail from [[Michael Pacher]]'s panel painting ''[[The Devil Presenting St Augustine With The Book Of Vices]]'']]
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-[[Diablerie]] is a genre of [[French satire]], often by extreme [[exaggeration]]. The term ''diablerie'' stems from [[diable]], which is French for [[devil]]. +[[Diablerie]] (English: devilries) is a genre of [[French satire]], featuring imagery of the devil in combination with humans. The term ''diablerie'' stems from [[diable]], which is French for devil.
 +==In graphic art and literature==
 +:''[[Les Diableries érotiques]]''
 +Paris in the 1830s was under the spell of imagery and literature on the devil. One of the first prints of what was to become known as 'diableries' was "[[La procession du diable]]"[http://www.culture.gouv.fr/Wave/image/joconde/0415/m110200_34351-15_p.jpg], a design by [[Paul Gavarni]], first published in [[La Caricature]] of March 24, 1831. The fashion lasted at least until the publication of ''[[Physiologie du diable]]'' (1842) and ''[[Le Diable à Paris]]''(1845-46).
-[[Eugène le Poitevin]] is famous for his ''[[Les Diableries Erotiques]]''.+[[Eugène le Poitevin]] is famous for eroticizing the genre by publishing his ''[[Les Diableries érotiques]]'' (1832) series, a similar publication was ''[[Diabolico-foutro-manie]]'' (1835).
- +==Dioramas==
-[[Gavarni]] also produced 'Diableries' for ''[[La Caricature]].+:''[[Les Diableries]]''
- +'''''Les Diableries''''' is the title of a series of [[stereoscopy|stereoscopic]] [[photograph]]s published in [[Paris, France|Paris]] during the 1860s. The photographs, commonly known as stereoviews, portray [[sculpture|sculpted]] [[clay]] [[Vignette (model)|vignettes]] which depict scenes of daily life in [[Hell]]. Much of the subject matter was [[satire|satirical]] and mirrored the corruption and excess of Paris during the [[Second Empire (France)|Second Empire]]. [[Napoleon III]]’s [[authoritarian]] rule was repeatedly the subject of criticism, as was the [[decadent]] lifestyle of the [[bourgeoisie]].
-The 1978 book ''[[Diableries : La Vie Quotidienne Chez Satan a la Fin du 19e Siecle]]'' documents certain [[diorama]]s within the genre. +
== See also == == See also ==
-*''[[Diableries : La Vie Quotidienne Chez Satan a la Fin du 19e Siecle]]'', a book by Jac Remise published by André Balland in 1978. +*''[[Les Diableries érotiques]]'' by [[Eugène le Poitevin]]
-*''[[Les Diableries Erotiques]]'' by [[Eugène le Poitevin]] +
*''[[Diabolico foutro manie]]'' is a series of lithographs by [[Achille Devéria]] *''[[Diabolico foutro manie]]'' is a series of lithographs by [[Achille Devéria]]
*[[Singerie]] *[[Singerie]]
- +*''[[Le livre de la deablerie]]''
- +*[[The devil in popular culture]]
{{GFDL}} {{GFDL}}

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Image:Michael Pacher detail.jpg
This page Diablerie is part of the devil in popular culture series. Illustration: detail from Michael Pacher's panel painting The Devil Presenting St Augustine With The Book Of Vices

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Diablerie (English: devilries) is a genre of French satire, featuring imagery of the devil in combination with humans. The term diablerie stems from diable, which is French for devil.

In graphic art and literature

Les Diableries érotiques

Paris in the 1830s was under the spell of imagery and literature on the devil. One of the first prints of what was to become known as 'diableries' was "La procession du diable"[1], a design by Paul Gavarni, first published in La Caricature of March 24, 1831. The fashion lasted at least until the publication of Physiologie du diable (1842) and Le Diable à Paris(1845-46).

Eugène le Poitevin is famous for eroticizing the genre by publishing his Les Diableries érotiques (1832) series, a similar publication was Diabolico-foutro-manie (1835).

Dioramas

Les Diableries

Les Diableries is the title of a series of stereoscopic photographs published in Paris during the 1860s. The photographs, commonly known as stereoviews, portray sculpted clay vignettes which depict scenes of daily life in Hell. Much of the subject matter was satirical and mirrored the corruption and excess of Paris during the Second Empire. Napoleon III’s authoritarian rule was repeatedly the subject of criticism, as was the decadent lifestyle of the bourgeoisie.

See also




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