Ingres, Then and Now (Re Visions : Critical Studies in the by Adrian Rifkin
By Adrian Rifkin
Ingres Then, and Now is an cutting edge examine of 1 of the best-known French artists of the 19th century, Jean Auguste Dominique Ingres. Adrian Rifkin re-evaluates Ingres' paintings within the context of numerous literary, musical and visible cultures that are ordinarily noticeable as alien to him. Re-viewing Ingres' work as a sequence of fragmentary signs of the commodity cultures of nineteenth-century Paris, Adrian Rifkin attracts the artist clear of his accepted organization with the Academy and the Salon.Rifkin units out to teach how, through taking into consideration the historic archive as a sort of the subconscious, we will renew our knowing of nineteenth-century conservative or educational cultures via interpreting them opposed to their 'other'. He situates Ingres on this planet of the Parisian Arcades, as represented by means of Walter Benjamin, and examines the influence of this juxtaposition on how we expect of Benjamin himself, following Ingres' photo in renowned cultures of the 20th century. Rifkin then returns to the past due eighteenth and early 19th centuries to discover strains of the emergence of unusual signs in Ingres' early paintings, indicators which open him to numerous conflicting readings and appropriations. It concludes by way of interpreting his significance for the good French artwork critic Jean Cassou at the one hand, and in creating a daring, modern homosexual appropriation at the other.Ingres Then, and Now transforms the preferred snapshot we've got of Ingres. It argues that the determine of the artist is neither fastened in time or position - there's neither an important guy named Ingres, nor a novel physique of his paintings - yet is an impact of many, complicated and overlapping ancient results.
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Additional resources for Ingres, Then and Now (Re Visions : Critical Studies in the History and Theory of Art) (Re Visions)
But where do those dull, barely reflecting mirrors of his fit into the nineteenth century of the arcades? Is it simply a matter of social distance— these countesses, Mme de Senonnes, 1815, Mme d’Haussonville, 1845, turned their back on those mirrors that also reflected bourgeois man (Figure 10)? Though Haussonville went on display along with all the other commodities on the Boulevard Bonne-Nouvelle in 1846, and was thus exposed to the flâneur’s gaze only a stone’s throw from the Passage des Panoramas.
For, if nothing else his condition resembles our own, our problematic knowledge of artists in a selfcritical art history that nonetheless transmits a belief in art’s monstrous importance. And if the play between those artists’ puzzles and ours makes possible a ‘poros’ of our own, then our relation to them is critically structured. And then, from being a cold regard on the sign ‘Ingres’ and on Ingres’ signs, this text has become an attempt to imagine their spaces parabolically, as something that we might need to imagine, in part as a series of framings or stagings that distinguish this artist from any other, let us say, Edouard Manet or Louis Barye, in the decades immediately following the author’s death at the hands of Barthes or Foucault.
Annales du Musée, Paris, au bureau des Annales du Musée, 1827, p. 70) This sense of a wasting or a wanting of meaning in a word, whether of established usage such as the words of the Academic discourse, or of recent currency like romantisme, is important for my argument concerning Ingres or Girodet and their sense of depossession. It symptomatises their difficulty in confronting the commonplaces of contemporary cultural phenomena while linguistically belonging to them. We will return to this throughout Chapter 2.