By Ronit Milano

In The Portrait Bust and French Cultural Politics within the Eighteenth Century, Ronit Milano probes the wealthy and intricate aesthetic and highbrow cost of a remarkably concise paintings shape, and explores its position as a strong agent of epistemological swap in the course of probably the most seismic moments in French heritage. The pre-Revolutionary portrait bust was once inextricably tied to the formation of recent selfhood and to the development of person id through the Enlightenment, whereas positioning either sitters and audience as a part of a collective of people who jointly shaped French society. In interpreting the contribution of the portrait bust to the development of interiority and the formula of recent gender roles and political beliefs, this e-book touches upon a suite of matters that represent the very center of our modernity.

Show description

Read Online or Download The Portrait Bust and French Cultural Politics in the Eighteenth Century PDF

Similar judaism books

What We Talk about When We Talk about Anne Frank

From the up-and-coming younger American author who has contributed to McSweeney's and written for the hot Yorker comes a masterful choice of brief tales that has already got rave reports from a number of the such a lot popular writers operating this day. many of the tales are comedian masterpieces, a few embrace as darkish a imaginative and prescient of the universe as you will definitely come across, and them all exhibit a author grappling with the good questions of recent existence.

Responses to Suffering in Classical Rabbinic Literature

The lifestyles of affliction poses an noticeable challenge for the monotheistic religions. Why does an omnipotent, benevolent God enable people to undergo? And provided that God does, what's the acceptable human reaction? nowa days Jewish theologians particularly, confronted with the enormity of the Holocaust, have struggled to return to grips with those concerns.

Israeli Culture in Perspective

###############################################################################################################################################################################################################################################################

The Origins of Israel, 1882–1948: A Documentary History

In 1880 the Jewish group in Palestine encompassed a few 20,000 Orthodox Jews; inside of sixty-five years it used to be reworked right into a secular proto-state with well-developed political, army, and fiscal associations, a full of life Hebrew-language tradition, and a few 600,000 population. The Origins of Israel, 1882–1948: A Documentary background chronicles the making of contemporary Israel earlier than statehood, offering in English the texts of unique assets (many translated from Hebrew and different languages) followed by means of large introductions and commentaries from the quantity editors.

Additional resources for The Portrait Bust and French Cultural Politics in the Eighteenth Century

Example text

Finally, during this period of cultural and political change, the smiling portraits of the French king can be read as a means of 40 Jean Pestré, “Bonheur,” in Encyclopédie, eds. Diderot and d’Alembert, vol. 2, 322. 20 introduction representing the alleged happiness and well-being of the public. Taken together, these different representational formulae reveal the complexity of the concept of happiness as it was understood in eighteenth-century France. The following five chapters examine five different categories of portrait busts, which are each defined and analyzed as articulating a distinct set of shared themes and ideas.

As a visitor noted in 1785: I find the bust of him [Buffon] by Houdon to be the best likeness; but the sculptor could not render in stone those black eyebrows that shade black eyes, very active under beautiful white hair. The hair was dressed when I saw him, though he was ill; that is one of his obsessions. ] After getting his hair done in the morning, he very often had it done again for supper. 26 26 Marie-Jean Hérault de Séchelles, Voyage à Montbard (Paris, 1890), 5. 32 chapter 1 Houdon took great care in rendering his subject’s hair, which is made to appear all the more prominent due to the absence of accessories, using the same formula employed in his bust of Diderot.

4, discussed in detail in Chapter 1), for instance, operated simultaneously on several levels: on the most explicit level, it captured the likeness of the celebrated philosopher, whose facial expression alludes to his writings and ideas. Yet this bust, when displayed in a private domestic space, implicitly suggested its owner’s acquaintance with Voltaire’s views, thus affiliating him with the intellectual milieu of his time and bestowing upon him the same air of satisfaction represented by the philosopher’s smile.

Download PDF sample

Rated 4.22 of 5 – based on 34 votes