MARC Record from marc_columbia

LEADER: 03588cam a2200481Ii 4500
001 13305618
005 20180716132103.0
008 170524t20172017enkaf b 001 0deng d
020 $a1786940671$q(hardback)
020 $a9781786940674$q(hardback)
024 $a40028213575
035 $a(OCoLC)ocn987742497
035 $a(OCoLC)987742497
035 $a(NNC)13305618
040 $aYDX$beng$erda$cYDX$dERASA$dCHVBK$dCDX$dOCLCO$dNLE$dOCLCF$dNLGGC$dQGJ$dNNC
050 4 $aND553.G5$bC35 2017
082 04 $a759.409/034$223
100 1 $aÇakmak, Gülru,$eauthor.
245 10 $aJean-Léon Gérôme and the crisis of history painting in the 1850s /$cGülru Çakmak.
264 1 $aLiverpool :$bLiverpool University Press,$c2017.
264 4 $c©2017
300 $axiv, 229 pages, 8 unnumbered pages of plates :$billustrations (some color) ;$c25 cm
336 $atext$btxt$2rdacontent
336 $astill image$bsti$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
504 $aIncludes bibliographical references (pages 209-223) and index.
505 00 $g1.$tThe Paris Universal Exhibition of 1855 and the crisis of grand history painting --$g2.$tHeroism in modern times: Duel after the masquerade --$g3.$tArt as science: from l'idéal grec to the great family of humankind --$g4.$tThe César paintings: project for a new tragic art --$g5.$tCoda: layers of the past: from painting to polychrome sculpture.
520 8 $a"A crisis in historical representation unfolded in French visual culture in the first half of the nineteenth century, reaching its climax at the Paris Universal Exhibition of 1855, when artists and critics alike came to a troubling realization: depictions of past heroes that had once held exceptional influence over their viewers now left the public indifferent. This book shows that underneath this crisis was a mounting demand for empirical observation in art, and an emergent modern epistemology that posited the past as foundational and yet inaccessible to the physically and historically specific individual. Since neither the painter nor the viewer could have actually experienced a bygone historical incident as it unfolded, was history painting even feasible in modern times? When historical representation seemed all but impossible to critics and artists of various hues, Gerome came up with a momentous solution. A small group of paintings constitute the focus of this provocative study on the artist's early work, whose pivotal role in Gerome's oeuvre as well as in the broader history of modernization of art have been so far unrecognized in art historical scholarship. In these, the artist charted a new roadmap for the art of painting in response to the modern sensibility of history."--Cover page 4.
600 10 $aGérôme, Jean Léon,$d1824-1904$xCriticism and interpretation.
600 14 $aGérôme, Jean-Léon,$d1824-1904.
600 17 $aGérôme, Jean Léon,$d1824-1904.$2fast$0(OCoLC)fst00005173
600 17 $aGérôme, Jean Léon$d1824-1904$2gnd
650 0 $aPainting, French$y19th century.
650 0 $aPainting, French$y19th century$xPublic opinion.
650 7 $aPainting, French.$2fast$0(OCoLC)fst01050830
650 7 $aPainting, French$xPublic opinion.$2fast$0(OCoLC)fst01050844
650 7 $aHistorienmalerei$2gnd
651 7 $aFrankreich$2gnd
648 7 $a1800-1899$2fast
655 7 $aCriticism, interpretation, etc.$2fast$0(OCoLC)fst01411635
700 12 $aGérôme, Jean Léon,$d1824-1904.$tWorks.$kSelections.
852 00 $bfaxlcn$hND553.G5$iC35 2017g