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Extremities : painting empire in post-revolutionary France

Auteur : Darcy Grimaldo Grigsby
Éditeur : London : Yale University Press, ©2002.
Édition/format :   Livre : Biographie : AnglaisVoir toutes les éditions et les formats
Base de données :WorldCat
Résumé :
"In the decades following the French Revolution, four artists - Girodet, Gros, Gericault, and Delacroix - painted works in their Parisian studios that vividly expressed violent events in faraway, colonial lands. This book examines six of these paintings and argues that their disturbing, erotic depictions of slavery, revolt, plague, decapitation, cannibalism, massacre, and abduction chart the history of France's  Lire la suite...
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Détails

Genre/forme : Art
Personne nommée : Anne-Louis Girodet-Trioson; Antoine-Jean Gros, baron; Théodore Géricault; Eugène Delacroix
Type d’ouvrage : Biographie
Format : Livre
Tous les auteurs / collaborateurs : Darcy Grimaldo Grigsby
ISBN : 0300088876 9780300088878
Numéro OCLC : 49848708
Description : xi, 391 p. : ill. ; 29 cm.
Contenu : Black revolution: Saint-Domingue: Girodet's Portrait of citizen Belley, ex-representative of the colonies, 1797 --
Plague: Egypt-Syria: Gros's Bonaparte visiting the plague victims of Jaffa, 1804 --
Revolt: Egypt: Girodet's Revolt of Cairo, 1810 --
Cannibalism: Senegal: Géricault's Raft of the medusa, 1819 --
Blood-mixing: Ottoman Greece: Delacroix's Massacres of Chios, 1824 --
White slavery: Ottoman Africa: Delacroix's Greece and the ruins of Missolonghi, 1826.
Responsabilité : Darcy Grimaldo Grigsby.

Résumé :

"In the decades following the French Revolution, four artists - Girodet, Gros, Gericault, and Delacroix - painted works in their Parisian studios that vividly expressed violent events in faraway, colonial lands. This book examines six of these paintings and argues that their disturbing, erotic depictions of slavery, revolt, plague, decapitation, cannibalism, massacre, and abduction chart the history of France's empire and colonial politics." "Darcy Grimaldo Grigsby shows that these paintings about occurrences in the West Indies, Syria, Egypt, Senegal, and Ottoman Empire Greece are preoccupied not with mastery and control but with loss, degradation, and failure, and she explains how such representations of crises in the colonies were able to answer the artists' longings as well as the needs of the government and the opposition parties at home. Empire made painters devoted to the representation of liberty and the new French nation confront liberty's antithesis: slavery. It also forced them to contend with cultural and racial difference. Young male artists responded, says Grigsby, by translating distant crises into images of challenges to the self, making history painting the site where geographic extremities and bodily extremities articulated one another."--BOOK JACKET.

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Données liées


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