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| 001 | 305180 | ||
| 003 | IT-RoAPU | ||
| 005 | 20250106150403.0 | ||
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| 008 | 240826t20242007nju fo d z eng d | ||
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_a9780691268200 _qPDF |
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| 024 | 7 |
_a10.1515/9780691268200 _2doi |
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| 035 | _a(DE-B1597)9780691268200 | ||
| 035 | _a(DE-B1597)694808 | ||
| 040 |
_aDE-B1597 _beng _cDE-B1597 _erda |
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| 050 | 4 | _aDS19 | |
| 072 | 7 |
_aART016000 _2bisacsh |
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| 082 | 0 | 4 |
_a950.2 _223 |
| 084 | _aonline - DeGruyter | ||
| 100 | 1 |
_aChu, Petra ten-Doesschate _eautore |
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| 245 | 1 | 4 |
_aThe Most Arrogant Man in France : _bGustave Courbet and the Nineteenth-Century Media Culture / _cPetra ten-Doesschate Chu. |
| 264 | 1 |
_aPrinceton, NJ : _bPrinceton University Press, _c[2024] |
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| 264 | 4 | _c2007 | |
| 300 |
_a1 online resource (248 p.) : _b49 color plates. 88 halftones. |
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| 336 |
_atext _btxt _2rdacontent |
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| 337 |
_acomputer _bc _2rdamedia |
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| 338 |
_aonline resource _bcr _2rdacarrier |
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| 347 |
_atext file _bPDF _2rda |
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| 505 | 0 | 0 |
_tFrontmatter -- _tContents -- _tAcknowledgments -- _tIntroduction -- _tChapter 1 Courbet and the Press -- _tChapter 2 Posing -- _tChapter 3 Courbet’s Pantheon -- _tChapter 4 Salon Rhetoric -- _tChapter 5 Bisextuality -- _tChapter 6 Packaging and Marketing Nature -- _tEpilogue -- _tNotes -- _tBibliography -- _tPhotography Credits -- _tIndex |
| 506 | 0 |
_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star |
|
| 520 | _aA 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. | ||
| 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 26. Aug 2024) | |
| 650 | 0 |
_aArt and society _zFrance _xHistory _y19th century. |
|
| 650 | 0 |
_aMongols _xHistory. |
|
| 650 | 7 |
_aART / Individual Artists / General. _2bisacsh |
|
| 653 | _aAlfred Bruyas. | ||
| 653 | _aAlfred de Musset. | ||
| 653 | _aAnthropomorphism. | ||
| 653 | _aCaricature. | ||
| 653 | _aCensorship. | ||
| 653 | _aChampfleury. | ||
| 653 | _aCharles Baudelaire. | ||
| 653 | _aCharles Nodier. | ||
| 653 | _aCharles Philipon. | ||
| 653 | _aCounterculture. | ||
| 653 | _aCynicism (philosophy). | ||
| 653 | _aDavid d'Angers. | ||
| 653 | _aDelacroix. | ||
| 653 | _aDisgust. | ||
| 653 | _aDominique Papety. | ||
| 653 | _aEdmond de Goncourt. | ||
| 653 | _aEmperor of the French. | ||
| 653 | _aFat Girl. | ||
| 653 | _aFeuilleton. | ||
| 653 | _aFine art. | ||
| 653 | _aFranco-Prussian War. | ||
| 653 | _aGaudy. | ||
| 653 | _aGeorge Sand. | ||
| 653 | _aGreat power. | ||
| 653 | _aGustave Courbet. | ||
| 653 | _aGustave Flaubert. | ||
| 653 | _aHector Berlioz. | ||
| 653 | _aHenri Fantin-Latour. | ||
| 653 | _aHenri Murger. | ||
| 653 | _aHenry Thomas Alken. | ||
| 653 | _aHistory painting. | ||
| 653 | _aHonoré Daumier. | ||
| 653 | _aHorace Vernet. | ||
| 653 | _aImmorality. | ||
| 653 | _aJacques Derrida. | ||
| 653 | _aJean-Auguste-Dominique Ingres. | ||
| 653 | _aJean-Jacques Rousseau. | ||
| 653 | _aJules Michelet. | ||
| 653 | _aL'Artiste. | ||
| 653 | _aLe Figaro. | ||
| 653 | _aLooting. | ||
| 653 | _aLouis Veuillot. | ||
| 653 | _aMadame Bovary. | ||
| 653 | _aMonsieur. | ||
| 653 | _aNadar (photographer). | ||
| 653 | _aNapoleon III. | ||
| 653 | _aNapoleon. | ||
| 653 | _aNewspaper. | ||
| 653 | _aNude (art). | ||
| 653 | _aObscenity. | ||
| 653 | _aPessimism. | ||
| 653 | _aPierre Leroux. | ||
| 653 | _aPierre-Joseph Proudhon. | ||
| 653 | _aPornography. | ||
| 653 | _aProstitution. | ||
| 653 | _aPseudonym. | ||
| 653 | _aRambouillet. | ||
| 653 | _aResentment. | ||
| 653 | _aRevue des deux Mondes. | ||
| 653 | _aRoland Barthes. | ||
| 653 | _aRomanticism. | ||
| 653 | _aSatire. | ||
| 653 | _aSelf-portrait. | ||
| 653 | _aThe Painter's Studio. | ||
| 653 | _aThomas Carlyle. | ||
| 653 | _aTintoretto. | ||
| 653 | _aValet. | ||
| 653 | _aVictor Hugo. | ||
| 653 | _aVictor Noir. | ||
| 653 | _aVulgarity. | ||
| 850 | _aIT-RoAPU | ||
| 856 | 4 | 0 | _uhttps://doi.org/10.1515/9780691268200?locatt=mode:legacy |
| 856 | 4 | 0 | _uhttps://www.degruyter.com/isbn/9780691268200 |
| 856 | 4 | 2 |
_3Cover _uhttps://www.degruyter.com/document/cover/isbn/9780691268200/original |
| 942 | _cEB | ||
| 999 |
_c305180 _d305180 |
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