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008 220629t20221995nju fo d z eng d
020 _a9780691239705
_qPDF
024 7 _a10.1515/9780691239705
_2doi
035 _a(DE-B1597)9780691239705
035 _a(DE-B1597)619170
035 _a(OCoLC)1322125741
040 _aDE-B1597
_beng
_cDE-B1597
_erda
072 7 _aART015000
_2bisacsh
082 0 4 _a701/.03
084 _aonline - DeGruyter
100 1 _aBoime, Albert
_eautore
245 1 0 _aArt and the French Commune :
_bImagining Paris after War and Revolution /
_cAlbert Boime.
264 1 _aPrinceton, NJ :
_bPrinceton University Press,
_c[2022]
264 4 _c©1995
300 _a1 online resource (256 p.) :
_b162 halftones
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
490 0 _aPrinceton Series in 19th Century Art, Culture, and Society ;
_v2
505 0 0 _tFrontmatter --
_tCONTENTS --
_tLIST OF ILLUSTRATIONS --
_tACKNOWLEDGMENTS --
_t1. INTRODUCTION --
_t2. THE CRITICAL RECEPTION --
_t3. THE DISLOCATING IMPACT OF THE COMMUNE ON THE IMPRESSIONISTS --
_t4. THE IMPRESSIONIST AGENDA --
_t5. MAPPING THE TERRAIN --
_tEPILOGUE: GEORGES SEURAT'S Un Dimanche a la Grande Jatte AND POST-COMMUNE UTOPIANISM --
_tAPPENDIX: ON OLIN LEVI WARNER'S DRAFT OF A SPEECH IN DEFENSE OF THE FRENCH COMMUNE --
_tNOTES --
_tINDEX
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aIn this bold exploration of the political forces that shaped Impressionism, Albert Boime proposes that at the heart of the modern is a "guilty secret"--the need of the dominant, mainly bourgeois, classes in Paris to expunge from historical memory the haunting nightmare of the Commune and its socialist ideology. The Commune of 1871 emerged after the Prussian war when the Paris militia chased the central government to Versailles, enabling the working class and its allies to seize control of the capital. Eventually violence engulfed the city as traditional liberals and moderates joined forces with reactionaries to restore Paris to "order"--the bourgeois order. Here Boime examines the rise of Impressionism in relation to the efforts of the reinstated conservative government to "rebuild" Paris, to return it to its Haussmannian appearance and erase all reminders of socialist threat. Boime contends that an organized Impressionist movement owed its initiating impulse to its complicity with the state's program. The exuberant street scenes, spaces of leisure and entertainment, sunlit parks and gardens, the entire concourse of movement as filtered through an atmosphere of scintillating light and color all constitute an effort to reclaim Paris visually and symbolically for the bourgeoisie. Amply documented, richly illustrated, and compellingly argued, Boime's thesis serves as a challenge to all cultural historians interested in the rise of 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 29. Jun 2022)
650 7 _aART / History / General.
_2bisacsh
653 _aArc de Triomphe.
653 _aArnold Hauser (art historian).
653 _aArt Journal (College Art Association journal).
653 _aArt critic.
653 _aArt world.
653 _aAu Bonheur des Dames.
653 _aAuguste Comte.
653 _aBattle of France.
653 _aBerthe Morisot.
653 _aBonapartiste.
653 _aBoulevard des Capucines.
653 _aBourgeoisie.
653 _aCamille Pissarro.
653 _aCharles Bonnet.
653 _aCharles Fourier.
653 _aClass analysis.
653 _aClaude Bernard.
653 _aCommunards.
653 _aComparative sociology.
653 _aContemporary art.
653 _aCouncil of Paris.
653 _aCourbevoie.
653 _aCulture of France.
653 _aEdgar Degas.
653 _aFranco-Prussian War.
653 _aFrench Algeria.
653 _aFrench Army.
653 _aFrench Parliament.
653 _aFrench art.
653 _aFrench intervention in Mexico.
653 _aFrench people.
653 _aGare Montparnasse (The Melancholy of Departure).
653 _aGazette des Beaux-Arts.
653 _aGeorges Clemenceau.
653 _aGeorges Seurat.
653 _aGustave Caillebotte.
653 _aGustave Courbet.
653 _aGustave Le Bon.
653 _aHaussmann's renovation of Paris.
653 _aHistory painting.
653 _aHouse of Orléans.
653 _aIllustration.
653 _aImpressionism.
653 _aJames Tissot.
653 _aJardins.
653 _aJean Grave.
653 _aKunsthalle.
653 _aLa Commune (Paris, 1871).
653 _aLa Revue Blanche.
653 _aLe Figaro.
653 _aLe Gaulois.
653 _aLe Monde.
653 _aLe Moniteur Universel.
653 _aLes Femmes.
653 _aLes Halles.
653 _aLes Temps modernes.
653 _aLiterature.
653 _aLouis Althusser.
653 _aLouis Blanc.
653 _aLouis Philippe I.
653 _aLouise Michel.
653 _aMeyer Schapiro.
653 _aModernism.
653 _aModernity.
653 _aMolecule.
653 _aNadar (photographer).
653 _aNapoleon III.
653 _aNapoleon.
653 _aNew France.
653 _aObservation.
653 _aOrganic chemistry.
653 _aParis Commune.
653 _aPaul Durand-Ruel.
653 _aPaul Gauguin.
653 _aPierre Puvis de Chavannes.
653 _aPierre-Auguste Renoir.
653 _aPierre-Joseph Proudhon.
653 _aPontoise.
653 _aPositivism.
653 _aPost-structuralism.
653 _aPrussia.
653 _aRadical History Review.
653 _aRadicalism (historical).
653 _aReform movement.
653 _aRevanchism.
653 _aRevue des deux Mondes.
653 _aRue Saint-Denis (Paris).
653 _aRue de Rivoli.
653 _aSatire.
653 _aSiege of Paris (1870–71).
653 _aSouthern France.
653 _aT. J. Clark (art historian).
653 _aThe Civil War in France.
653 _aThe Impressionists (BBC drama).
653 _aThe Realist.
653 _aTuileries Palace.
653 _aWood engraving.
653 _aWork of art.
653 _aÉcole Normale Supérieure.
653 _aÉdouard Manet.
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.1515/9780691239705
856 4 0 _uhttps://www.degruyter.com/isbn/9780691239705
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9780691239705/original
942 _cEB
999 _c195856
_d195856