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Painted Love
In this engrossing book, Hollis Clayson provides the first description and analysis of French artistic interest in women prostitutes, examining how the subject was treated in the art of the 1870s and 1880s by such avant-garde painters as Cézanne, Degas, Manet, and Renoir, as well as by the academic and low-brow painters who were their contemporaries. Clayson not only illuminates the imagery of prostitution-with its contradictory connotations of disgust and fascination-but also tackles the issues and problems relevant to women and men in a patriarchal society. She discusses the conspicuous sexual commerce during this era and the resulting public panic about the deterioration of social life and civilized mores. She describes the system that evolved out of regulating prostitutes and the subsequent rise of clandestine prostitutes who escaped police regulation and who were condemned both for blurring social boundaries and for spreading sexual licentiousness among their moral and social superiors. Clayson argues that the subject of covert prostitution was especially attractive to vanguard painters because it exemplified the commercialization and the ambiguity of modern life.
Illuminated Paris
The City of Light. For many, these four words instantly conjure late nineteenth-century Paris and the garish colors of Toulouse-Lautrec’s iconic posters. More recently, the Eiffel Tower’s nightly show of sparkling electric lights has come to exemplify our fantasies of Parisian nightlife. Though we reflect longingly on such scenes, in Illuminated Paris, Hollis Clayson shows that there’s more to these clichés than meets the eye. In this richly illustrated book, she traces the dramatic evolution of lighting in Paris and how artists responded to the shifting visual and cultural scenes that resulted from these technologies. While older gas lighting produced a haze of orange, new electric l...
Organizing Independence
One need only remember the role of Jacques Louis David in the French Revolution of 1789 and the quasi-official status of art in French national history to understand the prominence of art and artists in the Fädäration des Artistes of the Paris Commune of 1871. Focusing on artists' political activities rather than their artistic efforts, Gonzalo J. S¾nchez Jr. examines the artists' assembly formed in the Commune, recounts the program and activities of the group and its members, and charts their fate after the fall of the Commune and during the ensuing repression of the Communards. ø Departing from the tradition established by Karl Marx, which views the Commune as a precursor of revolution...
The Darker Side of Light
For many today, the art of the late nineteenth century is dominated by Impressionism and Post-impressionism. By explicating a range of highly engaging, often mysterious and beautiful prints, drawings and small sculptures, The Darker Side of Light evokes the shadowed interiors and private introspections that compose a far less familiar history of late nineteenth century art.
Is Paris Still the Capital of the Nineteenth Century?
"Is Paris Still the Capital of the Nineteenth Century?" The question that guides this volume stems from Walter Benjamin's studies of nineteenth-century Parisian culture as the apex of capitalist aesthetics. Thirteen scholars test Benjamin's ideas about the centrality of Paris, formulated in the 1930s, from a variety of methodological perspectives. Many investigate the underpinnings of the French capital's reputation and mythic force, which was based largely upon the city's capacity to put itself on display. Some of the authors reassess the famed centrality of Paris from the vantage point of our globalized twenty-first century by acknowledging its entanglements with South Africa, Turkey, Japa...
Impressionists and Politics
Philip Nord presents an accessible introduction to the current debates about Impressionism. He reveals why the art was controversial in its day by explaining the movement's aesthetic, institutional and political militancy.Impressionists and Politics is an accessible introduction to the current debates about Impressionism. Was the artistic movement really radical and innovative? Is the term "Impressionism" itself an adequate characterization of the movement of painters and critics that took the mid-nineteenth century Paris art world by storm?By providing an historical background and context, the book places the Impressionists' roots in wider social and economic transformations and explains its militancy, both aesthetic and political.Impressionists and Politics is a concise history of the movement, from its youthful inception in the 1860s, through to its final years of recognition and then crisis.
Orientalism's Interlocutors
DIVA collection of essays that develop ways of doing postcolonial studies in art history./div
The Nineteenth-century Visual Culture Reader
The nineteenth century is central to contemporary discussions of visual culture. This reader brings together key writings on the period, exploring such topics as photographs, exhibitions and advertising.
Modern Women and Parisian Consumer Culture in Impressionist Painting
This book examines the encounter between Impressionist painting and Parisian consumer culture. Its analysis of Impressionist paintings depicting women as consumers, producers, or sellers in sites such as the millinery boutique, theater, opera, café-concert and market revises our understanding of the representation of women in Impressionist painting, from women¹s exclusion from modernity to their inclusion in its public spaces, and from the privileging of the male gaze to a plurality of gazes. Ruth E. Iskin demonstrates that Impressionist painting addresses and represents women in active roles, and not only as objects on display, and probes the complex relationship between the Parisienne, F...
Visualizing the Nineteenth-century Home
The nineteenth century - the Era of the Interior - witnessed the steady displacement of art from the ceilings, walls, and floors of aristocratic and religious interiors to the everyday spaces of bourgeois households, subject to their own enhanced ornamentation. Following the 1863 Salon des refuses, the French State began to channel mediocre painters into the decorative arts. England, too, launched an extensive reform of the decorative arts, resulting in more and more artists engaged in the production and design of complete interiors. America soon followed. Present art historical scholarship - still indebted to a modernist discourse that sees cultural progress to be synonymous with the remova...
