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What is the relationship between fashion and modernity, and how is this unique relationship manifested in the material world? This book considers how the relationship between fashion and modernity tests the very definition of modernity and enhances our understanding of the role of fashion in the modern world.
By the middle of the century, men were prompted to disdain the decadent and gaudy colors of the pre-Revolutionary period and wear unrelievedly black frock coats suitable to the manly and serious world of commerce. Their wives and daughters, on the other hand, adorned themselves in bright colors and often uncomfortable and impractical laces and petticoats, to signal the status of their family.
In this generously illustrated book, Anne Hollander examines the representation of the body and clothing in Western art, from Greek sculpture and vase painting through medieval and renaissance portraits, to contemporary films and fashion photography. First published ahead of its time, this book has become a classic.
BODIES OF MODERNITY explores the ways in which men's and women's bodies were represented in late 19th-century France. A series of case studies looks at well-known works by Cezanne, Renoir, and Seurat with new interpretation, while lesser-known works are considered seriously for the first time. 140 illustrations, 14 in color.
'Evil be Design' documents the search for the origins of the iconic 'femme fatale'. This text uses popular sources to make the critical link between the femme fatale and the rise of feminism.
In this seminal work of French history, François Pierre G. Guizot offers a comprehensive overview of the development of civilization in France from the Middle Ages to the 19th century. Exploring topics such as religion, politics, and art, Guizot provides a rich portrait of a complex and evolving society. His insights continue to influence scholars and historians today and make this book an essential resource for anyone interested in the history of France. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Manet, a founding father of modernism, is one of the towering figures of 19th-century art. In this volume, Carol Armstrong looks closely at Manet's works to uncover a view not only of the artist but also of modernity itself. As she places his art within frameworks of colour, the feminine Other (the Manette in Manet), and consumerism, Armstrong seeks to expand and revise our understanding of this artist as a painter of modern life.
The history of modernity written as a philosophy if fashion, set in the cultural framework of Paris.
This volume brings together the most innovative historical work on the conjoined themes of gender and consumption. In thirteen pioneering essays, some of the most important voices in the field consider how Western societies think about and use goods, how goods shape female, as well as male, identities, how labor in the family came to be divided between a male breadwinner and a female consumer, and how fashion and cosmetics shape women's notions of themselves and the society in which they live. Together these essays represent the state of the art in research and writing about the development of modern consumption practices, gender roles, and the sexual division of labor in both the United States and Europe. Covering a period of two centuries, the essays range from Marie Antoinette's Paris to the burgeoning cosmetics culture of mid-century America. They deal with topics such as blue-collar workers' survival strategies in the interwar years, the anxieties of working-class consumers, and the efforts of the state to define women's—especially wives' and mothers'—consumer identity. Generously illustrated, this volume also includes extensive introductions and a comprehensive annotated bibliography. Drawing on social, economic, and art history as well as cultural studies, it provides a rich context for the current discourse around consumption, particularly in relation to feminist discussions of gender.