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The Most Arrogant Man in France : Gustave Courbet and the Nineteenth-Century Media Culture / Petra ten-Doesschate Chu.

By: Material type: TextTextPublisher: Princeton, NJ : Princeton University Press, [2024]Copyright date: 2007Description: 1 online resource (248 p.) : 49 color plates. 88 halftonesContent type:
Media type:
Carrier type:
ISBN:
  • 9780691268200
Subject(s): DDC classification:
  • 950.2 23
LOC classification:
  • DS19
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- Acknowledgments -- Introduction -- Chapter 1 Courbet and the Press -- Chapter 2 Posing -- Chapter 3 Courbet’s Pantheon -- Chapter 4 Salon Rhetoric -- Chapter 5 Bisextuality -- Chapter 6 Packaging and Marketing Nature -- Epilogue -- Notes -- Bibliography -- Photography Credits -- Index
Summary: A comprehensive reinterpretation of the pioneering and media-savvy artistThe modern artist strives to be independent of the public's taste—and yet depends on the public for a living. Petra Chu argues that the French Realist Gustave Courbet (1819-1877) understood this dilemma perhaps better than any painter before him. In The Most Arrogant Man in France, Chu tells the fascinating story of how, in the initial age of mass media and popular high art, this important artist managed to achieve an unprecedented measure of artistic and financial independence by promoting his work and himself through the popular press.The Courbet who emerges in Chu's account is a sophisticated artist and entrepreneur who understood that the modern artist must sell—and not only make—his art. Responding to this reality, Courbet found new ways to ";package,"; exhibit, and publicize his work and himself. Chu shows that Courbet was one of the first artists to recognize and take advantage of the publicity potential of newspapers, using them to create acceptance of his work and to spread an image of himself as a radical outsider. Courbet introduced the independent show by displaying his art in popular venues outside the Salon, and he courted new audiences, including women.And for a time Courbet succeeded, achieving a rare freedom for a nineteenth-century French artist. If his strategy eventually backfired and he was forced into exile, his pioneering vision of the artist's career in the modern world nevertheless makes him an intriguing forerunner to all later media-savvy artists.
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)9780691268200

Frontmatter -- Contents -- Acknowledgments -- Introduction -- Chapter 1 Courbet and the Press -- Chapter 2 Posing -- Chapter 3 Courbet’s Pantheon -- Chapter 4 Salon Rhetoric -- Chapter 5 Bisextuality -- Chapter 6 Packaging and Marketing Nature -- Epilogue -- Notes -- Bibliography -- Photography Credits -- Index

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A comprehensive reinterpretation of the pioneering and media-savvy artistThe modern artist strives to be independent of the public's taste—and yet depends on the public for a living. Petra Chu argues that the French Realist Gustave Courbet (1819-1877) understood this dilemma perhaps better than any painter before him. In The Most Arrogant Man in France, Chu tells the fascinating story of how, in the initial age of mass media and popular high art, this important artist managed to achieve an unprecedented measure of artistic and financial independence by promoting his work and himself through the popular press.The Courbet who emerges in Chu's account is a sophisticated artist and entrepreneur who understood that the modern artist must sell—and not only make—his art. Responding to this reality, Courbet found new ways to ";package,"; exhibit, and publicize his work and himself. Chu shows that Courbet was one of the first artists to recognize and take advantage of the publicity potential of newspapers, using them to create acceptance of his work and to spread an image of himself as a radical outsider. Courbet introduced the independent show by displaying his art in popular venues outside the Salon, and he courted new audiences, including women.And for a time Courbet succeeded, achieving a rare freedom for a nineteenth-century French artist. If his strategy eventually backfired and he was forced into exile, his pioneering vision of the artist's career in the modern world nevertheless makes him an intriguing forerunner to all later media-savvy artists.

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 26. Aug 2024)