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Papers by Garry Apgar
Times Literary Supplement, 2019
Times Literary Supplement, 2016
Le Monde, 1978
Commentary on the commemoration in France of the 200th anniversary of Voltaire's death in May 1778.
The Weekly Standard, 2003
The Paris Metro 40th Anniversary Issue: The Book About Paris Yesterday (2016), 2016
Brief memoir of my four years in Paris, 1976-1980, and my association as a writer and cartoonist ... more Brief memoir of my four years in Paris, 1976-1980, and my association as a writer and cartoonist with the English-language city magazine, "The Paris Metro," co-founded by my friend Harry Stein. Published in the "Metro," June 21, 1978.
Paris Metro, 1978
Caricatures of -- among others -- Jacques Chirac, Raymond Barre, François Mitterrand, Georges Mar... more Caricatures of -- among others -- Jacques Chirac, Raymond Barre, François Mitterrand, Georges Marchais, and Jean-Jacques Servan-Schreiber
Connecticut Magazine, 2016
Hyperion Historical Alliance Annual, 2019
The Newspaper in Art, 1996
Master Drawings, 1985
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, a... more JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact
Art in America, 1993
Public art projets in Barcelona, Spain in the 1990s.
Paris Metro, 1978
Unlike his almost exact contemporary Jean-Jacques Rousseau, the archetype of the troubled intelle... more Unlike his almost exact contemporary Jean-Jacques Rousseau, the archetype of the troubled intellectual, Voltaire was, in the words of Roland Barthes, "the last of the happy writers." Which is to say that he was (in Barthes' opinion) perhaps the last literary giant to be supremely confident in his own talent, accomplishments, and ability to change the world for the better. No feelings of guilt, no sense of existential despair, no angst-à la Rousseau and, it seems, 99% of modern-day scriveners. Especially in France, among Barthes' countrymen. Of course, in France there are as many ways to say one has the blues as there are types of cheese (avoir le cafard, avoir la phlegme, avoir marre,. .. être déprimé, angoissé, stressé, etc.). But America is another story. John Updike once said that "America is a conspiracy to make you happy." And there was quite a bit of the "happy writer" in Updike, in Mark Twain, who's been likened to Voltaire, and, perhaps above all, that most Voltairian of 20th-century American writers, William F. Buckley, whose wit, way with ways, and almost palpable lust for a fight with a fellow writers, plus a literary output that rivaled in quantity, if not quality, that of Voltaire. Indeed, we could easily picture Voltaire editing a Gallic variant of National Review from his roost in Ferney or hosting-or least appearing frequently on-something like Buckley's long-running chat show, Firing Line. Voltaire has long been appreciated in England and the U. S., It was an eccentric Brit, Theodore Besterman, who devoted his life to publishing not once, but twice, the most complete and scientific modern editions of Voltaire's voluminous correspondence. Leonard Bernstein and Lillian Hellman who in the late 1950s gave us the delightful musical comedy based on Candide. But this makes sense; Voltaire with his lack of self-doubt, his often naïve, optimistic faith in progress, really does seem more Anglo-Saxon, indeed more American, than French. We love Voltaire if only for his smile, that Smile of Reason. A hundred years ago, on the occasion of the Voltaire centennial, Victor Hugo said, "That smile, that's wisdom. .. that's Voltaire." Voltaire had good reason to smile. He was fortunate in that he was born into a bourgeois family with money and connections, and he attended what is still regarded as the best school in France, Louis-le-Grand, where he made lifelong friends of a slew of young dukes, counts, and future ministers. Then, too, he was, as Kenneth Clark, the one-time director of the National Gallery in London, has observed, "one of the most intelligent men that ever lived." And perhaps the wittiest; a typical line, about a rival poet's Ode to Posterity: "I do not think this ode will reach its destination."
Histoire de l'Art, 2002
et les philosophes. C'est au cours des années 1780 que l'on peut dire que le père du néoclassicis... more et les philosophes. C'est au cours des années 1780 que l'on peut dire que le père du néoclassicisme en France, le peintre David, est devenu David. Pendant cette période, il s'est créé un style propre, en s'inspirant de l'art gréco-romain et en puisant chez des maîtres anciens, tels que Raphaël, Poussin, Le Caravage et des contemporains, Greuze, Gravelot, Peyron et Vincent. Les chefsd'oeuvre davidiens de cette époque, Bélisaire demandant l'aumône, Le Serment des Horaces, La Mort de Socrate et Brutus et les licteurs, ont été tous inspirés de 1'exemplum antique vu à travers les idées et les idéaux des philosophes modernes dont, notamment, Diderot et, avant tout-chose un peu surprenante-, Voltaire. Directement ou indirectement, Voltaire et les artistes illustrant ses pièces de théâtre ont joué un rôle capital dans l'épanouissement artistique de David.
Books by Garry Apgar
Quotes by and about Voltaire during his lifetime and into the 21st century.
Published by the Walt Disney Family Foundation and its co-founder, Diane Disney Miller.
Compiled and edited by Garry Apgar, with drawings and other artwork by Garry Apgar, 1968-1969, ma... more Compiled and edited by Garry Apgar, with drawings and other artwork by Garry Apgar, 1968-1969, mainly combat art from Vietnam.
topics: Vietnam War, the U.S. Marine Corps, Marine Corps officers' Basic School School graduating class, January 1968.
Copy available at the Washington and Lee University Leyburn Library.
A Mickey Mouse Reader, 2014
Articles and essays about Mickey Mouse from 1928 to the 21st century.
Teaching Documents by Garry Apgar
Undergraduate course syllabus, Trinity College, 2022
Introduction to the course • Discussion of terms like "public art," "art in public places," "civi... more Introduction to the course • Discussion of terms like "public art," "art in public places," "civic art," "statue," "monument," "memorial," "patronage," and "iconoclasm." • Concepts and issues: site-specificity, artists rights, the role of the federal government in promoting art, and questions like who decides what goes where, why, and how it's decided … and on what basis public art installations should or may be removed or destroyed. • Introduction to examples of public art we will pay particular attention to in class:
Times Literary Supplement, 2019
Times Literary Supplement, 2016
Le Monde, 1978
Commentary on the commemoration in France of the 200th anniversary of Voltaire's death in May 1778.
The Weekly Standard, 2003
The Paris Metro 40th Anniversary Issue: The Book About Paris Yesterday (2016), 2016
Brief memoir of my four years in Paris, 1976-1980, and my association as a writer and cartoonist ... more Brief memoir of my four years in Paris, 1976-1980, and my association as a writer and cartoonist with the English-language city magazine, "The Paris Metro," co-founded by my friend Harry Stein. Published in the "Metro," June 21, 1978.
Paris Metro, 1978
Caricatures of -- among others -- Jacques Chirac, Raymond Barre, François Mitterrand, Georges Mar... more Caricatures of -- among others -- Jacques Chirac, Raymond Barre, François Mitterrand, Georges Marchais, and Jean-Jacques Servan-Schreiber
Connecticut Magazine, 2016
Hyperion Historical Alliance Annual, 2019
The Newspaper in Art, 1996
Master Drawings, 1985
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, a... more JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact
Art in America, 1993
Public art projets in Barcelona, Spain in the 1990s.
Paris Metro, 1978
Unlike his almost exact contemporary Jean-Jacques Rousseau, the archetype of the troubled intelle... more Unlike his almost exact contemporary Jean-Jacques Rousseau, the archetype of the troubled intellectual, Voltaire was, in the words of Roland Barthes, "the last of the happy writers." Which is to say that he was (in Barthes' opinion) perhaps the last literary giant to be supremely confident in his own talent, accomplishments, and ability to change the world for the better. No feelings of guilt, no sense of existential despair, no angst-à la Rousseau and, it seems, 99% of modern-day scriveners. Especially in France, among Barthes' countrymen. Of course, in France there are as many ways to say one has the blues as there are types of cheese (avoir le cafard, avoir la phlegme, avoir marre,. .. être déprimé, angoissé, stressé, etc.). But America is another story. John Updike once said that "America is a conspiracy to make you happy." And there was quite a bit of the "happy writer" in Updike, in Mark Twain, who's been likened to Voltaire, and, perhaps above all, that most Voltairian of 20th-century American writers, William F. Buckley, whose wit, way with ways, and almost palpable lust for a fight with a fellow writers, plus a literary output that rivaled in quantity, if not quality, that of Voltaire. Indeed, we could easily picture Voltaire editing a Gallic variant of National Review from his roost in Ferney or hosting-or least appearing frequently on-something like Buckley's long-running chat show, Firing Line. Voltaire has long been appreciated in England and the U. S., It was an eccentric Brit, Theodore Besterman, who devoted his life to publishing not once, but twice, the most complete and scientific modern editions of Voltaire's voluminous correspondence. Leonard Bernstein and Lillian Hellman who in the late 1950s gave us the delightful musical comedy based on Candide. But this makes sense; Voltaire with his lack of self-doubt, his often naïve, optimistic faith in progress, really does seem more Anglo-Saxon, indeed more American, than French. We love Voltaire if only for his smile, that Smile of Reason. A hundred years ago, on the occasion of the Voltaire centennial, Victor Hugo said, "That smile, that's wisdom. .. that's Voltaire." Voltaire had good reason to smile. He was fortunate in that he was born into a bourgeois family with money and connections, and he attended what is still regarded as the best school in France, Louis-le-Grand, where he made lifelong friends of a slew of young dukes, counts, and future ministers. Then, too, he was, as Kenneth Clark, the one-time director of the National Gallery in London, has observed, "one of the most intelligent men that ever lived." And perhaps the wittiest; a typical line, about a rival poet's Ode to Posterity: "I do not think this ode will reach its destination."
Histoire de l'Art, 2002
et les philosophes. C'est au cours des années 1780 que l'on peut dire que le père du néoclassicis... more et les philosophes. C'est au cours des années 1780 que l'on peut dire que le père du néoclassicisme en France, le peintre David, est devenu David. Pendant cette période, il s'est créé un style propre, en s'inspirant de l'art gréco-romain et en puisant chez des maîtres anciens, tels que Raphaël, Poussin, Le Caravage et des contemporains, Greuze, Gravelot, Peyron et Vincent. Les chefsd'oeuvre davidiens de cette époque, Bélisaire demandant l'aumône, Le Serment des Horaces, La Mort de Socrate et Brutus et les licteurs, ont été tous inspirés de 1'exemplum antique vu à travers les idées et les idéaux des philosophes modernes dont, notamment, Diderot et, avant tout-chose un peu surprenante-, Voltaire. Directement ou indirectement, Voltaire et les artistes illustrant ses pièces de théâtre ont joué un rôle capital dans l'épanouissement artistique de David.
Quotes by and about Voltaire during his lifetime and into the 21st century.
Published by the Walt Disney Family Foundation and its co-founder, Diane Disney Miller.
Compiled and edited by Garry Apgar, with drawings and other artwork by Garry Apgar, 1968-1969, ma... more Compiled and edited by Garry Apgar, with drawings and other artwork by Garry Apgar, 1968-1969, mainly combat art from Vietnam.
topics: Vietnam War, the U.S. Marine Corps, Marine Corps officers' Basic School School graduating class, January 1968.
Copy available at the Washington and Lee University Leyburn Library.
A Mickey Mouse Reader, 2014
Articles and essays about Mickey Mouse from 1928 to the 21st century.
Undergraduate course syllabus, Trinity College, 2022
Introduction to the course • Discussion of terms like "public art," "art in public places," "civi... more Introduction to the course • Discussion of terms like "public art," "art in public places," "civic art," "statue," "monument," "memorial," "patronage," and "iconoclasm." • Concepts and issues: site-specificity, artists rights, the role of the federal government in promoting art, and questions like who decides what goes where, why, and how it's decided … and on what basis public art installations should or may be removed or destroyed. • Introduction to examples of public art we will pay particular attention to in class:
Undergraduate course syllabus, Trinity College, 2021-2022
Two of the most remarkable and enduring individuals to emerge from the Age of Reason were a Frenc... more Two of the most remarkable and enduring individuals to emerge from the Age of Reason were a Frenchman and an American. They lived thousands of miles apart and never met, but they had in common remarkably similar moral and political principles, which still speak to us in the cadences of freedom. And who are these two men, so different and yet so alike, whose ideals remain so relevant to our dreams and aspirations? One was François-Marie Arouet-known forever to the world as Voltaire, and the other-Thomas Jefferson.
Burlington Magazine, 1996
Review of my book on the 18th-century Genevan artist and friend of Voltaire, Jean Huber (1721-1786).
This is a draft bibliography of major sources, both books and articles, relating to black motion ... more This is a draft bibliography of major sources, both books and articles, relating to black motion picture directors, actors, and the image of African-Americans in American movies, focused chiefly on the first three-quarters of the 20th century.