08669cam a2200793 4500 69697357X DE-627 20220712103510.0 tu 120418s2012 xxu||||| 00| ||eng c 2012014389 016161776 UK 9780300179880 (hbk.) £50.00 978-0-300-17988-0 030017988X (hbk.) £50.00 0-300-17988-X 9780300179880 (DE-627)69697357X (DE-576)375473300 (DE-599)GBV69697357X (OCoLC)815895148 (OCoLC)815895148 DE-627 ger DE-627 rakwb eng XD-US XA-GB ND547 709.44/09034 LOC 23 709.4409034 ART015100 ART009000 bisacsh 9,10 ssgn LM 83393 BVB rvk (DE-625)rvk/101487:12029 21.02 bkl Thomson, Richard 1953- (DE-588)133340295 (DE-627)543377598 (DE-576)163308136 aut Art of the actual naturalism and style in early Third Republic France, 1880 - 1900 Richard Thomson New Haven, Conn. [u.a.] Yale University Press 2012 XIII, 362 S. zahlr. Ill. 26 cm Text txt rdacontent ohne Hilfsmittel zu benutzen n rdamedia Band nc rdacarrier Includes bibliographical references and index "The book explores the representation between the political culture of early Third Republic France and the visual arts, primarily painting. The Republic had come into being in 1870, but it was only about 1880 that its politics became coherently republican. The regime, with its rhetoric of liberty, equality and fraternity, pursued policies which were secular and anti-clerical, also emphasizing its commitment to science and technology. By this time naturalism was becoming the dominant mode in contemporary intellectual life and literature. With its understanding that art of all kinds should be drawn from the everyday world, that no subject was unworthy to be treated, and a degree of flexibility in representation , naturalism was an ideal aesthetic match for republican ideology. This consensual alliance was the dominant cultural mode in early Third Republic France, found in public decorations, Salon paintings and throughout visual culture. The book also considers how some artists, aided by the liberalization of censorship in 1881, stretched the frontiers of the descriptive and added a critical edge to their work by introducing elements of caricatural style into their work. It asks whether under an ostensibly egalitarian Republic there was genuinely art produced by and for the people, not necessarily in hock to naturalist paradigms, or whether art was essentially filtered down from the upper echelons. The various ways artists stretched naturalist expectation, particularly by engaging with scientific concepts, is also assessed"-- "The French Republic--with its rallying cry for liberty, equality, and fraternity--emerged in 1870, and by 1880 had developed a coherent republican ideology. The regime pursued secular policies and emphasized its commitment to science and technology. Naturalism was an ideal aesthetic match for the republican ideology; it emphasized that art should be drawn from the everyday world, that all subjects were worthy of treatment, and that there should be flexibility in representation to allow for different voices.Art of the Actual examines the use of naturalism in the 19th-century. It explores how pictures by artists such as Roll, Lhermitte, and Friant could be read as egalitarian and republican, assesses how well-known painters including Degas, Monet, and Toulouse-Lautrec situated their painting vis-à-vis the dominant naturalism, and opens up new arguments about caricatural and popular style. By illuminating the role of naturalism in a broad range of imagery in late-19th-century France, Richard Thomson provides a new interpretation of the art of the period"-- "The book explores the representation between the political culture of early Third Republic France and the visual arts, primarily painting. The Republic had come into being in 1870, but it was only about 1880 that its politics became coherently republican. The regime, with its rhetoric of liberty, equality and fraternity, pursued policies which were secular and anti-clerical, also emphasizing its commitment to science and technology. By this time naturalism was becoming the dominant mode in contemporary intellectual life and literature. With its understanding that art of all kinds should be drawn from the everyday world, that no subject was unworthy to be treated, and a degree of flexibility in representation , naturalism was an ideal aesthetic match for republican ideology. This consensual alliance was the dominant cultural mode in early Third Republic France, found in public decorations, Salon paintings and throughout visual culture. The book also considers how some artists, aided by the liberalization of censorship in 1881, stretched the frontiers of the descriptive and added a critical edge to their work by introducing elements of caricatural style into their work. It asks whether under an ostensibly egalitarian Republic there was genuinely art produced by and for the people, not necessarily in hock to naturalist paradigms, or whether art was essentially filtered down from the upper echelons. The various ways artists stretched naturalist expectation, particularly by engaging with scientific concepts, is also assessed"-- "The French Republic--with its rallying cry for liberty, equality, and fraternity--emerged in 1870, and by 1880 had developed a coherent republican ideology. The regime pursued secular policies and emphasized its commitment to science and technology. Naturalism was an ideal aesthetic match for the republican ideology; it emphasized that art should be drawn from the everyday world, that all subjects were worthy of treatment, and that there should be flexibility in representation to allow for different voices.Art of the Actual examines the use of naturalism in the 19th-century. It explores how pictures by artists such as Roll, Lhermitte, and Friant could be read as egalitarian and republican, assesses how well-known painters including Degas, Monet, and Toulouse-Lautrec situated their painting vis-à-vis the dominant naturalism, and opens up new arguments about caricatural and popular style. By illuminating the role of naturalism in a broad range of imagery in late-19th-century France, Richard Thomson provides a new interpretation of the art of the period"-- Naturalism in art Painting, French 19th century Themes, motives Art and society France History 19th century Ideology in art Naturalism in art France Painting, French 19th century Themes, motives Art and society France History 19th century Ideology in art g (DE-588)4018145-5 (DE-627)106327232 (DE-576)208922857 Frankreich gnd s (DE-588)4041365-2 (DE-627)104598654 (DE-576)209044616 Naturalismus gnd s (DE-588)4037220-0 (DE-627)10623871X (DE-576)209022892 Malerei gnd z gnd Geschichte 1880-1900 (DE-627) Rezensiert in Wechsler, Judith [Rezension von: Richard Thomson, Art of the actual. Naturalism and style in early Third Republic France, 1880-1900] 2013 (DE-627)1800995393 https://swbplus.bsz-bw.de/bsz375473300inh.htm B:DE-576;DE-16 application/pdf 20121130112133 Verlag Inhaltsverzeichnis https://swbplus.bsz-bw.de/bsz375473300rez.htm B:DE-576;DE-16 application/pdf 20131017140844 Verlag Rezension http://www.sehepunkte.de/2013/10/22723.html V:DE-576;X:Sehepunkte text/html 20180417093439 Rezension Blocktest LM 83393 naturalistisch-realistisch Kunst nach Ländern bzw. Kontinenten Frankreich Französische Kunstgeschichte nach Gattungen Malerei Einzelne Epochen 19. und 20. Jahrhundert 19. Jahrhundert naturalistisch-realistisch (DE-627)1271559676 (DE-625)rvk/101487:12029 (DE-576)201559676 21.02 Geschichte der Malerei (DE-627)106406698 BO Frankreich Naturalismus Malerei Geschichte 1880-1900 Rezensiertes Werk KXP-PPN69697357X 4179806401