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This study documents the career of mainstream nineteenth-century artist, Ernst Meissonier.
Another fascinating book by the author of Brunelleschi’s Dome and Michelangelo and the Pope’s Ceiling: a saga of artistic rivalry and cultural upheaval in the decade leading to the birth of Impressionism. If there were two men who were absolutely central to artistic life in France in the second half of the nineteenth century, they were Edouard Manet and Ernest Meissonier. While the former has been labelled the “Father of Impressionism” and is today a household name, the latter has sunk into obscurity. It is difficult now to believe that in 1864, when this story begins, it was Meissonier who was considered the greatest French artist alive and who received astronomical sums for his work, while Manet was derided for his messy paintings of ordinary people and had great difficulty getting any of his work accepted at the all-important annual Paris Salon. Manet and Meissonier were the Mozart and Salieri of their day, one a dangerous challenge to the establishment, the other beloved by rulers and the public alike for his painstakingly meticulous oil paintings of historical subjects. Out of the fascinating story of their parallel careers, Ross King creates a lens through which to view the political tensions that dogged Louis-Napoleon during the Second Empire, his ignominious downfall, and the bloody Paris Commune of 1871. At the same time, King paints a wonderfully detailed and vivid portrait of life in an era of radical social change. When Manet painted Dejeuner sur l’herbe or Olympia, he shocked not only with his casual brushstrokes but with his subject matter: top-hatted white-collar workers (and their mistresses) were not considered suitable subjects for ‘Art.’ Ross King shows how, benign as they might seem today, these paintings changed the course of history. The struggle between Meissonier and Manet to see their paintings achieve pride of place at the Salon was not just about artistic competitiveness, it was about how to see the world. Full of fantastic tidbits of information and a colourful cast of characters that includes Baudelaire, Courbet and Zola, with walk-on parts for Monet, Renoir, Degas and Cezanne, The Judgment of Paris casts new light on the birth of Impressionism and takes us to the heart of a time in which the modern French identity was being forged.
THE HAMMOCK: A novel based on the true story of French painter James Tissot portrays ten remarkable years in the life of James Tissot (1836-1902), who rebuilt - and then lost - his reputation in London. THE HAMMOCK is a psychological portrait, exploring the forces that unwound the career of this complex man. Based on contemporary sources, the novel brings Tissot's world alive in a story of war, art, Society glamour, love, scandal, and tragedy.
In 1814, after two successive years of defeat in Russia and central Europe, Napoleon was faced with the ultimate disaster - an Allied invasion of France itself. The conduct of the intense, fast-moving campaign that followed has been widely hailed as one of his greatest feats as a commander, yet it has rarely been described fully and objectively. Andrew Uffindell, in this gripping and original study, reconstructs the campaign, reassesses Napoleon's military leadership and provides a masterly account of a campaign that helped shape modern Europe.Using numerous eyewitness accounts, Napoleon 1814 records the swift succession of clashes in graphic detail, leading up to the final battle outside Paris, the biggest and bloodiest of the entire campaign, and then the extraordinary drama of Napoleon's abdication. It shows for the first time how the course of the campaign was repeatedly determined by the weather and the terrain. The author also covers events off the battlefield, and examines a strangely neglected aspect of the campaign: the devastating impact on the civilian population. He provides a vivid and moving portrayal of a society traumatized by the brutal experience of war, as ordinary people struggled to survive and confront the moral dilemmas posed by enemy occupation.
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By the time of Ernest Meissonier's death in 1891, he was among the most famous painters of the nineteenth century. Delacroix, for instance, had hailed him as the "incontestable master of our epoch" and had felt that Meissonier's posthumous reputation would be greater than his own. But Meissonier's renown quickly vanished, and to modernist critics his oeuvre, composed largely of genre and battle paintings, seemed of little value. This provocative study of emulation contests the modernist critique and discloses a new aspect of Meissonier and French Salon painters in general: many of these artists attempted the ultimately impossible task of remaining loyal to their teachers and other predecessors while at the same time escaping their influence. A subtle and gifted painter, Meissonier projected a supremely self-confident public image. Nevertheless, he was obsessed by his efforts to prevail over the past. Marc Gotlieb examines both Meissonier's career and his painting, paying particular attention to the artist's exploration of genre painting as a new form of expression, to his use of live models, and to his eventually fruitless attempt to complete a massive mural painting that would rival those of the old masters on the grandest scale. Using new approaches from art history, literature, and psychoanalysis, "The Plight of Emulation" offers not only an intellectual biography of an extremely talented artist but also a wide-ranging picture of a fascinating era in European cultural history and a convincing analysis of the final impasse of the French Salon.
The publishing industry in France in the years before the Revolution was a lively and sometimes rough-and-tumble affair, as publishers and printers scrambled to deal with (and if possible evade) shifting censorship laws and tax regulations, in order to cater to a reading public's appetite for books of all kinds, from the famous Encyclop die, repository of reason and knowledge, to scandal-mongering libel and pornography. Historian and librarian Robert Darnton uses his exclusive access to a trove of documents-letters and documents from authors, publishers, printers, paper millers, type founders, ink manufacturers, smugglers, wagon drivers, warehousemen, and accountants-involving a publishing house in the Swiss town of Neuchatel to bring this world to life. Like other places on the periphery of France, Switzerland was a hotbed of piracy, carefully monitoring the demand for certain kinds of books and finding ways of fulfilling it. Focusing in particular on the diary of Jean-Fran ois Favarger, a traveling sales rep for a Swiss firm whose 1778 voyage, on horseback and on foot, around France to visit bookstores and renew accounts forms the spine of this story, Darnton reveals not only how the industry worked and which titles were in greatest demand, but the human scale of its operations. A Literary Tour de France is literally that. Darnton captures the hustle, picaresque comedy, and occasional risk of Favarger's travels in the service of books, and in the process offers an engaging, immersive, and unforgettable narrative of book culture at a critical moment in France's history.