"The Cambridge Companion to Delacroix serves as an introduction to one of the most important and most complex artists of the nineteenth century. Providing an overview of his life and career, this volume offers essays by leading authorities on the artist's pictorial practice, the stylistic range over Classicism and Romanticism, his writings, both private diary notations and published articles, and his impact on modern aesthetics, among other topics. Designed to serve as an essential resource for students of French nineteenth-century art history, cultural history, and literature, The Cambridge Companion to Delacroix also provides a chronology of the artist's life, set into its political and cultural contexts, as well as a list of suggested further readings in the topic areas."--Jacket.
"The siege of Paris by Prussians in the fall and winter of 1870 and 1871 turned the city upside down, radically altering its appearance, social structure, and mood. As Hollis Clayson demonstrates in Paris in Despair, the siege took a heavy toll on the city's artists, forcing them out of the spaces and routines of their insular prewar lives, and literally thrusting onto the ramparts the many among them who became soldiers.". "But the crisis did not halt artistic production, as some have suggested. In fact, Clayson argues that the siege actually encouraged innovation, fostering changed attitudes and new approaches to representation among a wide variety of artists as they made art out of their individual experiences of adversity and change - art that has not previously been considered within the context of the siege. Clayson focuses especially on Rosa Bonheur, Edgar Degas, Jean-Alexandre-Joseph Falguiere, Edouard Manet, and Henri Regnault, but she also covers a host of other artists, including Louis-Ernest Barrias, Gustave Courbet, Edouard Detaille, Pierre Puvis de Chavannes, Albert Robida, and James Tissot. Paris in Despair includes more than two hundred color and black-and-white images of works by these artists and others, many never before published.". "Using the visual arts as an interpretive lens, Clayson illuminates the wide range of issues at play during the siege and thereafter, including questions of political and cultural identity, artistic masculinity and femininity, public versus private space, everyday life and modernity, and gender and class roles in military and civilian society. For anyone concerned with these issues, or with nineteenth-century French art in general, Paris in Despair will be a landmark work."--BOOK JACKET.
The End of the Salon: Art and the State in the Early Third Republic examines the cultural forces that contributed to the demise of the most important series of art exhibitions in nineteenth-century Europe and America. Tracing the history of the Salon from the French Revolution, when it was taken away from the Academy and opened to all artists, to its abandonment by the state in the 1880s, Patricia Mainardi shows that its contradictory purposes, as both didactic exhibition venue and art marketplace, resulted in its collapse. She situates the Salon within the shifting currents of art movements, from modern to traditional, and the evolving politics of the Third Republic, when France chose a republican over a monarchic form of government. This book provides a rich overview of art production during the final decades of the nineteenth century, government attitudes toward the arts in the early Third Republic, and the institution of exhibitions as they were redefined by free-market economics. The End of the Salon demonstrates how all artists were forced to function within the framework of the major social, economic, and cultural changes taking place in France during the nineteenth century and, as a result, how art history and social history are inextricably intertwined.
"This volume presents Diego Giacometti's oeuvre almost in its entirety and offers many heretofore unpublished insights into his life and work. From his childhood in a small village in Switzerland, through his adolescent wanderings, his collaborative efforts with his brother in Paris, and his coming-of-age as a furniture-maker and sculptor, all the way up to the pinnacle of his career - his last and greatest commission, the furniture and lighting fixtures for the Musée Picasso in Paris - Diego's intellectual and technical developments are probed in this book. Daniel Marchesseau examines the work that made Diego famous: his bronze-cast tables, chairs, and accessories, and the tiny bestiary that decorated them; his bronze and plaster sculpture; and the work he completed with his brother Alberto."--book jacket.
De chair et de marbre. Imiter et exprimer le nu en France (1745-1815) by Martial Guédron | Literally Just Books
