Description
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.
About the Author
Iris Moon is Assistant Curator in the Department of European Sculpture and Decorative Arts at the Metropolitan Museum of Art, 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 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 recently co-authored Interacting with Print: Elements of Reading in the Era of Print Saturation, 1700-1900 (2018).
Reviews
What did it mean to be post-Revolutionary? The question catalyzed an efflorescent and experimental media landscape. Reimagining the significance of artists and genres conventionally classified as "minor", this superb volume is every bit as trailblazing as the eclectic objects it brings to life. * Nina L. Dubin, Associate Professor of Art History, University of Illinois at Chicago, USA *
This is truly a collection where the whole is greater than the sum of the parts, but what parts! Fans, miniatures, fashion, vaudeville, and paintings of shop-signs, porcelains, clouds, and lions add up in surprising ways: their crosspollination reveals a preoccupation with time in a post-revolutionary moment unlike any other. Read this as an exemplar of what media studies can be, or read it just for the sheer pleasure of each scintillating essay. * Lynn Hunt, Distinguished Research Professor, UCLA, USA *
A fascinating dive into the period between the French Revolution and Second Empire, going to the heart of a visual and material culture split between the seductions of modernity and nostalgia for the past. It offers original reflections on notions of hierarchy, innovation, and mediation, examining the most varied and unusual artistic expressions in genre painting, the "minor" arts, fashion, and popular print. * Anne Perrin Khelissa, Maitre de conferences, Universite Toulouse - Jean Jaures, France *
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. * Sarah Betzer, Associate Professor of Art History, University of Virginia, USA *
Time, Media and Visuality is brilliantly composed and written, with great essays on a wide range of topics that put forward new objects and well as new ideas. It is also excellently illustrated, with a gallery of color plates that represent a kind of alternative art history. And it encourages us to rethink the relationships between art, technology, and politics in other periods of historical turmoil and subsequent (partial and not always successful) restoration. * Jan Baetens, Leonardo Reviews *
Book Information
ISBN 9781501348396
Author Iris Moon
Format Hardback
Page Count 280
Imprint Bloomsbury Visual Arts
Publisher Bloomsbury Publishing PLC
Weight(grams) 680g
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.
About the Author
Iris Moon is Assistant Curator in the Department of European Sculpture and Decorative Arts at the Metropolitan Museum of Art, 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 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 recently co-authored Interacting with Print: Elements of Reading in the Era of Print Saturation, 1700-1900 (2018).
Reviews
What did it mean to be post-Revolutionary? The question catalyzed an efflorescent and experimental media landscape. Reimagining the significance of artists and genres conventionally classified as "minor", this superb volume is every bit as trailblazing as the eclectic objects it brings to life. * Nina L. Dubin, Associate Professor of Art History, University of Illinois at Chicago, USA *
This is truly a collection where the whole is greater than the sum of the parts, but what parts! Fans, miniatures, fashion, vaudeville, and paintings of shop-signs, porcelains, clouds, and lions add up in surprising ways: their crosspollination reveals a preoccupation with time in a post-revolutionary moment unlike any other. Read this as an exemplar of what media studies can be, or read it just for the sheer pleasure of each scintillating essay. * Lynn Hunt, Distinguished Research Professor, UCLA, USA *
A fascinating dive into the period between the French Revolution and Second Empire, going to the heart of a visual and material culture split between the seductions of modernity and nostalgia for the past. It offers original reflections on notions of hierarchy, innovation, and mediation, examining the most varied and unusual artistic expressions in genre painting, the "minor" arts, fashion, and popular print. * Anne Perrin Khelissa, Maitre de conferences, Universite Toulouse - Jean Jaures, France *
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. * Sarah Betzer, Associate Professor of Art History, University of Virginia, USA *
Time, Media and Visuality is brilliantly composed and written, with great essays on a wide range of topics that put forward new objects and well as new ideas. It is also excellently illustrated, with a gallery of color plates that represent a kind of alternative art history. And it encourages us to rethink the relationships between art, technology, and politics in other periods of historical turmoil and subsequent (partial and not always successful) restoration. * Jan Baetens, Leonardo Reviews *
Book Information
ISBN 9781501348396
Author Iris Moon
Format Hardback
Page Count 280
Imprint Bloomsbury Visual Arts
Publisher Bloomsbury Publishing PLC
Weight(grams) 680g
