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Zusatztext A scintillating and powerful corrective to familiar narratives of French art of the period, Time, Media, and Visuality in Post-Revolutionary France brings to the fore an impressive diversity of artistic agents, materials, and forms. Centering on accounts of such habitually marginalized forms as miniature painting and reproductive painting on porcelain, animal painting, wallpaper, and fan design, the volume offers fascinating insights into the ways such representational practices were shaped by a new sense of time's recursivity. Informationen zum Autor Iris Moon is Assistant Curator in the Department of European Sculpture and Decorative Arts at the Metropolitan Museum of Art, New York. She was awarded her PhD in 2013 from the Massachusetts Institute of Technology, and was previously Pre-Doctoral Fellow at the Getty Research Institute, Mellon Postdoctoral Fellow and Assistant Director for Mellon Initiatives at the Sterling and Francine Clark Art Institute, Jane and Morgan Whitney Fellow in the Department of European Sculpture and Decorative Arts at the Metropolitan Museum of Art, and Visiting Assistant Professor at the Pratt Institute, New York. She is author of The Architecture of Percier and Fontaine and the Struggle for Sovereignty in Revolutionary France (2016). Richard Taws is Reader in the History of Art at University College London. He has been the recipient of fellowships from the Getty Foundation, Institute for Advanced Study, Princeton, and the Bard Graduate Center, New York, and he was awarded a Philip Leverhulme Prize in 2012. He is author of The Politics of the Provisional: Art and Ephemera in Revolutionary France (2013), and co-editor, with Genevieve Warwick, of Art and Technology in Early Modern Europe (2016). With a collective of scholars in various disciplines, he co-authored Interacting with Print: Elements of Reading in the Era of Print Saturation, 1700-1900 (2018). Klappentext The radical break with the past heralded by the French Revolution in 1789 has become one of the mythic narratives of our time. Yet in the drawn-out afterlife of the Revolution, and through subsequent periods of Empire, Restoration, and Republic, the question of what such a temporal transformation might involve found complex, often unresolved expression in visual and material culture. This diverse collection of essays draws attention to the eclectic objects and forms of visuality that emerged in France from the beginning of the French Revolution through to the end of the July Monarchy in 1848. It offers a new account of the story of French art's modernity by exploring the work of genre painters and miniaturists, sign-painters and animal artists, landscapists, architects, and printmakers, as they worked out what it meant to be "post-revolutionary."This collection of essays by leading and emerging scholars of late eighteenth- and nineteenth-century French art history offers a new account of the story of French art’s modernity. Zusammenfassung The radical break with the past heralded by the French Revolution in 1789 has become one of the mythic narratives of our time. Yet in the drawn-out afterlife of the Revolution, and through subsequent periods of Empire, Restoration, and Republic, the question of what such a temporal transformation might involve found complex, often unresolved expression in visual and material culture. This diverse collection of essays draws attention to the eclectic objects and forms of visuality that emerged in France from the beginning of the French Revolution through to the end of the July Monarchy in 1848. It offers a new account of the story of French art’s modernity by exploring the work of genre painters and miniaturists, sign-painters and animal artists, landscapists, architects, and printmakers, as they worked out what it meant to be “post-revolutionary.” Inhaltsverzeichnis List of Plates...
