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The tumultuous years of the French Revolution left France’s prestigious decorative arts industries poised on the brink of ruin. It was not until after the fall of the monarchy and the ascendancy of the Consulat and Empire under Napoleon that they began to recover so that by the middle of the nineteenth century they stood at the pinnacle of their achievement. This book is the first in depth study of the renowned porcelain works at Sèvres during its virtual rebirth under the 47 year direction of the scientist, teacher, and administrator Alexandre Brongniart. Some 110 working drawings from the Sèvres Archive are reproduced here for the first time in color. They celebrate the high skill of the artists whose work often documented contemporary events in France. There are table services in the 'Egyptian' and 'Etruscan' taste as well as individual pieces that recall Napoleonic military campaigns. There are also exquisite Neoclassical decorations using motifs such as birds, butterflies, and insects that reflect the century’s early fascination with the natural sciences. The repertoire of nineteenth century eclecticism is evident in the output of Sèvres from the revival of Gothic and renaissance motifs to the outburst of naturalism. Eleven essays by leading authorities assess this dynamic period.
The art world has become a point of contention within a range of debates and yet, strangely enough, while art criticism has been discussed at length, very little is said about art critics. Following in the footsteps of Lionello Venturi’s History of Art Criticism, in the current volume Lorente provides an updated reassessment of the great art critics from the Enlightenment down to the turn of the millennium. Conceived as a didactic handbook with a recommended bibliography at the end of each chapter, this concise work tells the history of a profession in permanent crisis, while also paying homage to its most infl uential practitioners in different cultural contexts.
Charles Baudelaire’s flâneur, as described in his 1863 essay "The Painter of Modern Life," remains central to understandings of gender, space, and the gaze in late nineteenth-century Paris, despite misgivings by some scholars. Baudelaire’s privileged and leisurely figure, at home on the boulevards, underlies theorizations of bourgeois masculinity and, by implication, bourgeois femininity, whereby men gaze and roam urban spaces unreservedly while women, lacking the freedom to either gaze or roam, are wedded to domesticity. In challenging this tired paradigm and offering fresh ways to consider how gender, space, and the gaze were constructed, this book attends to several neglected elements of visual and written culture: the ubiquitous male beggar as the true denizen of the boulevard, the abundant depictions of well-to-do women looking (sometimes at men), the popularity of windows and balconies as viewing perches, and the overwhelming emphasis given by both male and female artists to domestic scenes. The book’s premise that gender, space, and the gaze have been too narrowly conceived by a scholarly embrace of Baudelaire’s flâneur is supported across the cultural spectrum by period sources that include art criticism, high and low visual culture, newspapers, novels, prescriptive and travel literature, architectural practices, interior design trends, and fashion journals.