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Art of the actual : naturalism and style in early Third Republic France, 1880-1900

著者: Richard Thomson
出版商: New Haven : Yale University Press, [2012]
版本/格式:   book_printbook : 英语查看所有的版本和格式
数据库:WorldCat
提要:
"The French Republic--with its rallying cry for liberty, equality, and fraternity--emerged in 1870, and by 1880 had developed a coherent republican ideology. The regime pursued secular policies and emphasized its commitment to science and technology. Naturalism was an ideal aesthetic match for the republican ideology; it emphasized that art should be drawn from the everyday world, that all subjects were worthy of
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文件类型:
所有的著者/提供者: Richard Thomson
ISBN: 9780300179880 030017988X
OCLC号码: 830029959
描述: xiii, 362 pages : illustrations ; 29 cm
内容: 'La République sera naturaliste' --
Naturalism at the service of the Republic --
Reading naturalist pictures --
Naturalism: the problem of style, the evidence of sustainability --
'Mingled with veiled satire' : the critical edge of the caricatural --
Finding form for the Populaire: class, imagery and identity --
Organicism: national energy and natural flux --
Repudiating naturalism: the avant-garde seeking style --
Naturalism entrenched: tradition, consensus, rupture --
Conclusion. 'La République sera naturaliste' --
Naturalism at the service of the Republic --
Reading naturalist pictures --
Naturalism: the problem of style, the evidence of sustainability --
"Mingled with veiled satire' : the critical edge of the caricatural --
Finding form for the populaire: class, imagery and identity --
Organicism: national energy and natural flux --
Repudiating naturalism: the avant-garede seeking style --
Naturalism entrenched: tradition, consensus, rupture.
责任: Richard Thomson.

摘要:

The French Republic - with its rallying cry for liberty, equality, and fraternity - emerged in 1870, and by 1880 had developed a coherent republican ideology. This book examines the use of naturalism  再读一些...

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    schema:description ""The French Republic--with its rallying cry for liberty, equality, and fraternity--emerged in 1870, and by 1880 had developed a coherent republican ideology. The regime pursued secular policies and emphasized its commitment to science and technology. Naturalism was an ideal aesthetic match for the republican ideology; it emphasized that art should be drawn from the everyday world, that all subjects were worthy of treatment, and that there should be flexibility in representation to allow for different voices. Art of the Actual examines the use of naturalism in the 19th-century. It explores how pictures by artists such as Roll, Lhermitte, and Friant could be read as egalitarian and republican, assesses how well-known painters including Degas, Monet, and Toulouse-Lautrec situated their painting vis-à-vis the dominant naturalism, and opens up new arguments about caricatural and popular style. By illuminating the role of naturalism in a broad range of imagery in late-19th-century France, Richard Thomson provides a new interpretation of the art of the period"--"@en ;
    schema:description ""The book explores the representation between the political culture of early Third Republic France and the visual arts, primarily painting. The Republic had come into being in 1870, but it was only about 1880 that its politics became coherently republican. The regime, with its rhetoric of liberty, equality and fraternity, pursued policies which were secular and anti-clerical, also emphasizing its commitment to science and technology. By this time naturalism was becoming the dominant mode in contemporary intellectual life and literature. With its understanding that art of all kinds should be drawn from the everyday world, that no subject was unworthy to be treated, and a degree of flexibility in representation, naturalism was an ideal aesthetic match for republican ideology. This consensual alliance was the dominant cultural mode in early Third Republic France, found in public decorations, Salon paintings and throughout visual culture. The book also considers how some artists, aided by the liberalization of censorship in 1881, stretched the frontiers of the descriptive and added a critical edge to their work by introducing elements of caricatural style into their work. It asks whether under an ostensibly egalitarian Republic there was genuinely art produced by and for the people, not necessarily in hock to naturalist paradigms, or whether art was essentially filtered down from the upper echelons. The various ways artists stretched naturalist expectation, particularly by engaging with scientific concepts, is also assessed"--"@en ;
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