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Offers a broad and vivid overview of the culture of collecting in France over the long nineteenth-century.
Champfleury (1821-1889), the prominent French nineteenth-century art critic, is renowned for his role in establishing a French realist school of art and as the champion of Gustave Courbet. Yet the extent to which his realism grows out of his deep and abiding interest in popular art has been neglected. At a time of radical disagreement about the historical, political and social role of popular culture, Champfleury creates a distinctive understanding of the art of the people. Investigating the interplay between the meaning or spirit of popular art, and its formal qualities, Champfleury's interpretation is primarily art historical. His approach forms the basis of a realist manifesto for the high art of his period. Closely analysing his work on imagery, songs, ceramics, caricature and pantomime, this book places Champfleury's approach to popular art in the context of the work of contemporary writers, historians, artists and folklorists.
In this engrossing book, Hollis Clayson provides the first description and analysis of French artistic interest in women prostitutes, examining how the subject was treated in the art of the 1870s and 1880s by such avant-garde painters as Cézanne, Degas, Manet, and Renoir, as well as by the academic and low-brow painters who were their contemporaries. Clayson not only illuminates the imagery of prostitution-with its contradictory connotations of disgust and fascination-but also tackles the issues and problems relevant to women and men in a patriarchal society. She discusses the conspicuous sexual commerce during this era and the resulting public panic about the deterioration of social life and civilized mores. She describes the system that evolved out of regulating prostitutes and the subsequent rise of clandestine prostitutes who escaped police regulation and who were condemned both for blurring social boundaries and for spreading sexual licentiousness among their moral and social superiors. Clayson argues that the subject of covert prostitution was especially attractive to vanguard painters because it exemplified the commercialization and the ambiguity of modern life.