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Extremities : painting empire in post-revolutionary France

著者: Darcy Grimaldo Grigsby
出版商: London : Yale University Press, ©2002.
版本/格式:   图书 : 传记 : 英语查看所有的版本和格式
数据库:WorldCat
提要:
"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  再读一些...
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详细书目

类型/形式: Art
Criticism, interpretation, etc
提及的人: Anne-Louis Girodet-Trioson; Antoine-Jean Gros, baron; Théodore Géricault; Eugène Delacroix; Eugène Delacroix; Théodore Géricault; Anne-Louis Girodet-Trioson; Antoine-Jean Gros, baron
材料类型: 传记
文件类型:
所有的著者/提供者: Darcy Grimaldo Grigsby
ISBN: 0300088876 9780300088878
OCLC号码: 49848708
描述: xi, 391 p. : ill. ; 29 cm.
内容: 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.
责任: Darcy Grimaldo Grigsby.

摘要:

"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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