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Ingres and his critics

Author: Andrew Carrington Shelton
Publisher: Cambridge ; New York : Cambridge University Press, 2005.
Edition/Format:   Print book : EnglishView all editions and formats
Database:WorldCat
Summary:
"This book examines the critical writing and journalistic reportage on Jean-Auguste-Dominique Ingres, from the time of his renunciation of the Salon in 1834 until his large retrospective at the 1855 Universal Exposition. This massive body of writing demonstrates how the artist negotiated the contradictory forces dominating the rapidly evolving art world of mid-nineteenth-century Paris. While continuing to enjoy the  Read more...
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Details

Genre/Form: Criticism, interpretation, etc
History
Named Person: Jean-Auguste-Dominique Ingres; Jean-Auguste-Dominique Ingres; Jean-Auguste-Dominique Ingres; Jean-Auguste-Dominique Ingres
Material Type: Internet resource
Document Type: Book, Internet Resource
All Authors / Contributors: Andrew Carrington Shelton
ISBN: 9780521842433 0521842433
OCLC Number: 59817965
Description: xiii, 320 p. : ill. ; 27 cm.
Contents: Introduction : the critics and the Ingres (1834-1855) --
Le Martyre de Saint Symphorien at the 1834 Salon --
La Stratonice --
La gloire à̀ Domicile : the studio exhibitions of 1841-42 --
The painter behind the canvas --
L̓ Oeuvre de Monsieur Ingres.
Responsibility: Andrew Carrington Shelton.
More information:

Abstract:

"This book examines the critical writing and journalistic reportage on Jean-Auguste-Dominique Ingres, from the time of his renunciation of the Salon in 1834 until his large retrospective at the 1855 Universal Exposition. This massive body of writing demonstrates how the artist negotiated the contradictory forces dominating the rapidly evolving art world of mid-nineteenth-century Paris. While continuing to enjoy the benefits of his affiliation with the Academy, Ingres employed certain modes of presentation - most notably the single-artist exhibition and illustrated monograph - that effectively distanced his work and public persona from the increasingly embattled world of artistic officialdom, implicating them instead in the burgeoning modernist ideal of self-generating creative genius. The resulting fluctuation in Ingres's critical profile - between imperious chef d'ecole and persecuted artiste maudit - provides a new context in which to consider the formal qualities of his work, which likewise vacillate between academic banality and modernist bizzarerie."--Jacket.

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