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The radical break with the past heralded by the French Revolution in 1789 has become one of the mythic narratives of our time. Yet in the drawn-out afterlife of the Revolution, and through subsequent periods of Empire, Restoration, and Republic, the question of what such a temporal transformation might involve found complex, often unresolved expression in visual and material culture. This diverse collection of essays draws attention to the eclectic objects and forms of visuality that emerged in France from the beginning of the French Revolution through to the end of the July Monarchy in…mehr
The radical break with the past heralded by the French Revolution in 1789 has become one of the mythic narratives of our time. Yet in the drawn-out afterlife of the Revolution, and through subsequent periods of Empire, Restoration, and Republic, the question of what such a temporal transformation might involve found complex, often unresolved expression in visual and material culture.
This diverse collection of essays draws attention to the eclectic objects and forms of visuality that emerged in France from the beginning of the French Revolution through to the end of the July Monarchy in 1848. It offers a new account of the story of French art's modernity by exploring the work of genre painters and miniaturists, sign-painters and animal artists, landscapists, architects, and printmakers, as they worked out what it meant to be "post-revolutionary."
Iris Moon is Assistant Curator in the Department of European Sculpture and Decorative Arts at the Metropolitan Museum of Art, New York, USA. She is author of The Architecture of Percier and Fontaine and the Struggle for Sovereignty in Revolutionary France (2016). Richard Taws is Reader in the History of Art at University College London. He is author of The Politics of the Provisional: Art and Ephemera in Revolutionary France (2013), and co-editor, with Genevieve Warwick, of Art and Technology in Early Modern Europe (2016). With a collective of scholars in various disciplines, he co-authored Interacting with Print: Elements of Reading in the Era of Print Saturation, 1700-1900 (2018).
Inhaltsangabe
List of Plates List of Figures Notes on Contributors Acknowledgments Introduction Iris Moon (MET Museum of Art USA) and Richard Taws (UCL UK) 1 Miniature Style 1789-1815 Jann Matlock (UCL UK) 2 Rupture Interrupted: Rococo Recursions and Political Futures in Percier and Fontaine's Napoleon Fan Iris Moon (MET Museum of Art USA) 3 A Draughtsman's Contract: Court and Country in the work of Louis Lafitte Stephen Bann (University of Bristol UK) 4 Jean-Baptiste Huet's Lions and the Look of the Captive in Post-Revolutionary France Katie Hornstein (Dartmouth University USA) 5 First as Farce then as Tragedy: Art Vaudeville and Modern Painting after the French Revolution Steven Adams (University of Hertfordshire UK) 6 Monsieur Crouton The Shop Sign Painter: The Unexceptional Artist in Early Nineteenth-Century Satirical Print Kathryn Desplanque (University of North Carolina at Chapel Hill USA) 7 Medium as Museum: Marie-Victoire Jacquotot's Porcelain Painting and Post-Revolutionary Fantasies of Preservation Daniel Harkett (Colby College USA) 8 The Cultural Politics of Fashion and the French Revolution of 1830 Susan L. Siegfried (University of Michigan USA) 9 A Storm is Coming: Georges Michel in the Wind Richard Taws (UCL UK) Index
List of Plates List of Figures Notes on Contributors Acknowledgments Introduction Iris Moon (MET Museum of Art USA) and Richard Taws (UCL UK) 1 Miniature Style 1789-1815 Jann Matlock (UCL UK) 2 Rupture Interrupted: Rococo Recursions and Political Futures in Percier and Fontaine's Napoleon Fan Iris Moon (MET Museum of Art USA) 3 A Draughtsman's Contract: Court and Country in the work of Louis Lafitte Stephen Bann (University of Bristol UK) 4 Jean-Baptiste Huet's Lions and the Look of the Captive in Post-Revolutionary France Katie Hornstein (Dartmouth University USA) 5 First as Farce then as Tragedy: Art Vaudeville and Modern Painting after the French Revolution Steven Adams (University of Hertfordshire UK) 6 Monsieur Crouton The Shop Sign Painter: The Unexceptional Artist in Early Nineteenth-Century Satirical Print Kathryn Desplanque (University of North Carolina at Chapel Hill USA) 7 Medium as Museum: Marie-Victoire Jacquotot's Porcelain Painting and Post-Revolutionary Fantasies of Preservation Daniel Harkett (Colby College USA) 8 The Cultural Politics of Fashion and the French Revolution of 1830 Susan L. Siegfried (University of Michigan USA) 9 A Storm is Coming: Georges Michel in the Wind Richard Taws (UCL UK) Index
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