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Other titles in the Princeton Series in Nineteenth-Century Art, Culture, and Society series:

Art and French Commune : Imagining Paris After War and Revolution (95 Edition)

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Art and French Commune : Imagining Paris After War and Revolution (95 Edition) Cover

 

Synopses & Reviews

Please note that used books may not include additional media (study guides, CDs, DVDs, solutions manuals, etc.) as described in the publisher comments.

Publisher Comments:

In this bold exploration of the political forces that shaped Impressionism, Albert Boime proposes that at the heart of the modern is a "guilty secret"--the need of the dominant, mainly bourgeois, classes in Paris to expunge from historical memory the haunting nightmare of the Commune and its socialist ideology. The Commune of 1871 emerged after the Prussian war when the Paris militia chased the central government to Versailles, enabling the working class and its allies to seize control of the capital. Eventually violence engulfed the city as traditional liberals and moderates joined forces with reactionaries to restore Paris to "order"--the bourgeois order. Here Boime examines the rise of Impressionism in relation to the efforts of the reinstated conservative government to "rebuild" Paris, to return it to its Haussmannian appearance and erase all reminders of socialist threat.

Boime contends that an organized Impressionist movement owed its initiating impulse to its complicity with the state's program. The exuberant street scenes, spaces of leisure and entertainment, sunlit parks and gardens, the entire concourse of movement as filtered through an atmosphere of scintillating light and color all constitute an effort to reclaim Paris visually and symbolically for the bourgeoisie. Amply documented, richly illustrated, and compellingly argued, Boime's thesis serves as a challenge to all cultural historians interested in the rise of modernism.

Synopsis:

"Quite stimulating--a heady mix of political and art history. Albert Boime does a first-rate job in sorting out the ways Impressionism was shaped by various political orientations."--Philip Nord

Synopsis:

In this bold exploration of the political forces that shaped Impressionism, Albert Boime proposes that at the heart of the modern is a "guilty secret"--the need of the dominant, mainly bourgeois, classes in Paris to expunge from historical memory the haunting nightmare of the Commune and its socialist ideology. The Commune of 1871 emerged after the Prussian war when the Paris militia chased the central government to Versailles, enabling the working class and its allies to seize control of the capital. Eventually violence engulfed the city as traditional liberals and moderates joined forces with reactionaries to restore Paris to "order"--the bourgeois order. Here Boime examines the rise of Impressionism in relation to the efforts of the reinstated conservative government to "rebuild" Paris, to return it to its Haussmannian appearance and erase all reminders of socialist threat.

Boime contends that an organized Impressionist movement owed its initiating impulse to its complicity with the state's program. The exuberant street scenes, spaces of leisure and entertainment, sunlit parks and gardens, the entire concourse of movement as filtered through an atmosphere of scintillating light and color all constitute an effort to reclaim Paris visually and symbolically for the bourgeoisie. Amply documented, richly illustrated, and compellingly argued, Boime's thesis serves as a challenge to all cultural historians interested in the rise of modernism.

Table of Contents

LIST OF ILLUSTRATIONS XI
ACKNOWLEDGMENTS XV
1. INTRODUCTION 3
2. THE CRITICAL RECEPTION 27
3. THE DISLOCATING IMPACT OF THE COMMUNE ON THE IMPRESSIONISTS 46
4. THE IMPRESSIONIST AGENDA 77
5. MAPPING THE TERRAIN 114
EPILOGUE: GEORGES SEURAT'S Un Dimanche a la Grande fatte AND POST-COMMUNE UTOPIANISM 140
APPENDIX: ON OLIN LEVI WARNER'S DRAFT OF A SPEECH IN DEFENSE OF THE FRENCH COMMUNE 186
NOTES 209
POSTSCRIPT 223
INDEX 225

Product Details

ISBN:
9780691015552
Author:
Boime, Albert
Publisher:
Princeton University Press
Location:
Princeton
Subject:
Europe - France
Subject:
History - General
Subject:
France
Subject:
History - Impressionism
Subject:
General
Subject:
American history
Subject:
Comparative Literature
Subject:
Art; impressionism
Subject:
Art-History and Criticism
Copyright:
Edition Description:
Trade paper
Series:
Princeton Series in 19th Century Art, Culture, and Society
Series Volume:
Imagining Paris afte
Publication Date:
January 1997
Binding:
TRADE PAPER
Grade Level:
College/higher education:
Language:
English
Illustrations:
162 halftones
Pages:
256
Dimensions:
10 x 7 in 18 oz

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Related Subjects

Arts and Entertainment » Art » Europe General
Arts and Entertainment » Art » French
Arts and Entertainment » Art » History and Criticism
History and Social Science » World History » European History General
History and Social Science » World History » France » General

Art and French Commune : Imagining Paris After War and Revolution (95 Edition) Used Trade Paper
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$40.00 In Stock
Product details 256 pages Princeton University Press - English 9780691015552 Reviews:
"Synopsis" by , "Quite stimulating--a heady mix of political and art history. Albert Boime does a first-rate job in sorting out the ways Impressionism was shaped by various political orientations."--Philip Nord
"Synopsis" by , In this bold exploration of the political forces that shaped Impressionism, Albert Boime proposes that at the heart of the modern is a "guilty secret"--the need of the dominant, mainly bourgeois, classes in Paris to expunge from historical memory the haunting nightmare of the Commune and its socialist ideology. The Commune of 1871 emerged after the Prussian war when the Paris militia chased the central government to Versailles, enabling the working class and its allies to seize control of the capital. Eventually violence engulfed the city as traditional liberals and moderates joined forces with reactionaries to restore Paris to "order"--the bourgeois order. Here Boime examines the rise of Impressionism in relation to the efforts of the reinstated conservative government to "rebuild" Paris, to return it to its Haussmannian appearance and erase all reminders of socialist threat.

Boime contends that an organized Impressionist movement owed its initiating impulse to its complicity with the state's program. The exuberant street scenes, spaces of leisure and entertainment, sunlit parks and gardens, the entire concourse of movement as filtered through an atmosphere of scintillating light and color all constitute an effort to reclaim Paris visually and symbolically for the bourgeoisie. Amply documented, richly illustrated, and compellingly argued, Boime's thesis serves as a challenge to all cultural historians interested in the rise of modernism.

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