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001			187647
003			IT-RoAPU
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008			221201t20212021pau fo d z eng d
020			_a9780271089959 _qPDF
024	7		_a10.1515/9780271089959 _2doi
035			_a(DE-B1597)9780271089959
035			_a(DE-B1597)590049
035			_a(OCoLC)1259328732
040			_aDE-B1597 _beng _cDE-B1597 _erda
072		7	_aART015100 _2bisacsh
082	0	4	_a759.409/034 _223
084			_aonline - DeGruyter
100	1		_aDeutsch, Allison _eautore
245	1	0	_aConsuming Painting : _bFood and the Feminine in Impressionist Paris / _cAllison Deutsch.
264		1	_aUniversity Park, PA : _bPenn State University Press, _c[2021]
264		4	_c©2021
300			_a1 online resource (216 p.) : _b25 color/33 b&w illustrations
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_atext file _bPDF _2rda
505	0	0	_tFrontmatter -- _tContents -- _tIllustrations -- _tAcknowledgments -- _tIntroduction -- _tChapter one Metaphor and Materiality in Nineteenth-Century Art Criticism -- _tChapter Two The Flesh of Painting -- _tChapter three The Confected Canvas -- _tChapter four Impressionist Market Gardener -- _tConclusion -- _tNotes -- _tBibliography -- _tIndex
506	0		_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star
520			_aIn Consuming Painting, Allison Deutsch challenges the pervasive view that Impressionism was above all about visual experience. Focusing on the language of food and consumption as they were used by such prominent critics as Baudelaire and Zola, she writes new histories for familiar works by Manet, Monet, Caillebotte, and Pissarro and creates fresh possibilities for experiencing and interpreting them. Examining the culinary metaphors that the most influential critics used to express their attraction or disgust toward painting, Deutsch rethinks French modern-life painting in relation to the visceral reactions that these works evoked in their earliest publics. Writers posed viewing as analogous to ingestion and used comparisons to food to describe the appearance of paint and the painter’s process. The food metaphors they chose were aligned with specific female types, such as red meat for sexualized female flesh, confections for fashionably made-up women, and hearty vegetables for agricultural laborers. These culinary figures of speech, Deutsch argues, provide important insights into both the fabrication of the feminine and the construction of masculinity in nineteenth-century France. Consuming Painting exposes the social politics at stake in the deeply gendered metaphors of sense and sensation.Original and convincing, Consuming Painting upends traditional narratives of the sensory reception of modern painting. This trailblazing book is essential reading for specialists in nineteenth-century art and criticism, gender studies, and modernism.
538			_aMode of access: Internet via World Wide Web.
546			_aIn English.
588	0		_aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 01. Dez 2022)
650		0	_aArt criticism _zFrance _zParis _xHistory _y19th century.
650		0	_aImpressionism (Art) _zFrance _zParis.
650		0	_aMetaphor in art criticism _xHistory _y19th century.
650		0	_aPainting, French _zFrance _zParis _y19th century.
650		7	_aART / History / Modern (late 19th Century to 1945). _2bisacsh
850			_aIT-RoAPU
856	4	0	_uhttps://doi.org/10.1515/9780271089959
856	4	0	_uhttps://www.degruyter.com/isbn/9780271089959
856	4	2	_3Cover _uhttps://www.degruyter.com/document/cover/isbn/9780271089959/original
942			_cEB
999			_c187647 _d187647