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Fellow Men : Fantin-Latour and the Problem of the Group in Nineteenth-Century French Painting / Bridget Alsdorf.

By: Material type: TextTextPublisher: Princeton, NJ : Princeton University Press, [2022]Copyright date: ©2013Description: 1 online resource (352 p.) : 42 color illus. 122 halftonesContent type:
Media type:
Carrier type:
ISBN:
  • 9781400845125
Subject(s): DDC classification:
  • 759.4 23
LOC classification:
  • ND553.F32 A85 2013eb
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- Acknowledgments -- Introduction -- 1. The Self in Group Portraiture -- 2. A Crisis of Pride -- 3. Studio of the Self -- 4. Deviance and Disappearance -- 5. The Irregularists -- Conclusion -- Notes -- Selected Bibliography -- Index
Summary: Focusing on the art of Henri Fantin-Latour (1836-1904) and his colleagues Gustave Courbet, Edgar Degas, Edouard Manet, Frédéric Bazille, and Pierre-Auguste Renoir, Fellow Men argues for the importance of the group as a defining subject of nineteenth-century French painting. Through close readings of some of the most ambitious paintings of the realist and impressionist generation, Bridget Alsdorf offers new insights into how French painters understood the shifting boundaries of their social world, and reveals the fragile masculine bonds that made up the avant-garde.A dedicated realist who veered between extremes of sociability and hermetic isolation, Fantin-Latour painted group dynamics over the course of two decades, from 1864 to 1885. This was a period of dramatic change in French history and art--events like the Paris Commune and the rise and fall of impressionism raised serious doubts about the power of collectivism in art and life. Fantin-Latour's monumental group portraits, and related works by his friends and colleagues from the 1850s through the 1880s, represent varied visions of collective identity and test the limits of association as both a social and an artistic pursuit. By examining the bonds and frictions that animated their social circles, Fantin-Latour and his cohorts developed a new pictorial language for the modern group: one of fragmentation, exclusion, and willful withdrawal into interior space that nonetheless presented individuality as radically relational.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9781400845125

Frontmatter -- Contents -- Acknowledgments -- Introduction -- 1. The Self in Group Portraiture -- 2. A Crisis of Pride -- 3. Studio of the Self -- 4. Deviance and Disappearance -- 5. The Irregularists -- Conclusion -- Notes -- Selected Bibliography -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

Focusing on the art of Henri Fantin-Latour (1836-1904) and his colleagues Gustave Courbet, Edgar Degas, Edouard Manet, Frédéric Bazille, and Pierre-Auguste Renoir, Fellow Men argues for the importance of the group as a defining subject of nineteenth-century French painting. Through close readings of some of the most ambitious paintings of the realist and impressionist generation, Bridget Alsdorf offers new insights into how French painters understood the shifting boundaries of their social world, and reveals the fragile masculine bonds that made up the avant-garde.A dedicated realist who veered between extremes of sociability and hermetic isolation, Fantin-Latour painted group dynamics over the course of two decades, from 1864 to 1885. This was a period of dramatic change in French history and art--events like the Paris Commune and the rise and fall of impressionism raised serious doubts about the power of collectivism in art and life. Fantin-Latour's monumental group portraits, and related works by his friends and colleagues from the 1850s through the 1880s, represent varied visions of collective identity and test the limits of association as both a social and an artistic pursuit. By examining the bonds and frictions that animated their social circles, Fantin-Latour and his cohorts developed a new pictorial language for the modern group: one of fragmentation, exclusion, and willful withdrawal into interior space that nonetheless presented individuality as radically relational.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 29. Jul 2022)