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"Theophile Gautier a envoye avec un feuilleton plus de trois mille personnes dans latelier de M. Ingres, wrote Champfleury in 1848. For artists, critics and readers alike, Gautier was the essential figure in French art journalism in the mid-nineteenth century. During the short-lived but pivotal period of the Second Republic, when the new administration was committed to reforming all the institutions of the fine arts, Gautier deployed the full resources of his brilliant, flexible and authoritative writing to support and direct these developments in ways compatible with his commitment to an idealist aesthetic, itself under growing pressure from alternative trends in an increasingly competitive art market. This first study of all Gautiers art journalism written during the Second Republic provides a long overdue reassessment of Gautiers importance in French nineteenth-century visual culture."
Slave Portraiture in the Atlantic World is the first book to focus on the individualized portrayal of enslaved people from the time of Europe's full engagement with plantation slavery in the late sixteenth century to its final official abolition in Brazil in 1888. While this period saw the emergence of portraiture as a major field of representation in Western art, 'slave' and 'portraiture' as categories appear to be mutually exclusive. On the one hand, the logic of chattel slavery sought to render the slave's body as an instrument for production, as the site of a non-subject. Portraiture, on the contrary, privileged the face as the primary visual matrix for the representation of a distinct individuality. Essays address this apparent paradox of 'slave portraits' from a variety of interdisciplinary perspectives, probing the historical conditions that made the creation of such rare and enigmatic objects possible and exploring their implications for a more complex understanding of power relations under slavery.