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Cambridge University Press 978-0-521-84243-3 — Ingres and his Critics Andrew Carrington Shelton Index More Information Index About, Edmond,´ 227, 232–33, 234 on Ingres, Jean-August-Dominique, 179–180, Agoult, Comte Charles d’, 112 234–237 Agoult, Marie d’ (pseud. Daniel Stern), 112–117, Baudry, Paul, 179 120, 122, 152, 186 beau id´eal, 130, 169–170, 234 Luigi Cherubini and the Muse of Lyric Poetry Beethoven, Ludwig van, 22 (Ingres), analysis of, 115–116 Belloy, Auguste de, 225, 227 d’Alcy, Georges. See Varnier, Jules Berger, Jean-Jacques, 203 Aligny, Caruelle d’, 224 Berlioz, Hector, 112 d’Almivar, G´en´eral, 47–48 Berry, Duc de, 22 Amaury-Duval, Eug`ene-Emmanuel, 1, 14, 55, Bertin, Louis-François, 63, 176, 177–178 74, 152, 162–168, 176, 181, 233 “La Bibliophile Jacob.” See Lacroix, Paul L’Atelier d’Ingres, 1 biographies (artistic), 138–139 Andrea del Sarto, 31, 110 ´eloge as form of, 138 archeology (classical) of Ingres, Jean-Auguste-Dominique, 135–146 La Stratonice (Ingres) and, references in, vie as form of, 138 76–77 Blanc, Charles, 18, 63, 64–65, 69, 72, 73, 152, 176 L’Artiste, 57, 60, 61, 62, 63, 70, 77, 90–91, 101, on La Stratonice (Ingres), 77, 78, 81–82, 84–85 108, 111, 116, 118, 138, 152, 177, 197, 224 Blanc, Louis, 63 l’art pour l’art (art for art’s sake) movement, 11, Boiteau, Paul-Dieudonn´e-Alexandre(pseud. 129–132, 171–176, 185, 209, 212, 220 Paul Boiteau d’Ambly), 229 l’art social (social art) movement, 220 Bonne-Nouvelle exhibition, 146–157, 162, L’Assembl´eenationale, 225 166–167, 170–171, 172–173, 175–176, 178, Association des artistes, peintres, sculpteurs, 179, 180, 201, 221 architectes, graveurs et dessinateurs, Bouguereau, Adolph William, 179 146, 149–151 Bourbon Restoration, 18, 21 Association des Mutuellists, 36 Bourdieu, Pierre, 12 Brid’oison, 24, 28, 47 Balleyguier, Eug`ene(pseud. Eug`eneLoudun), Buchez, Philippe, 48–49 226, 227 Bulletin des beaux-arts, 101 Baltard, Victor, 76–77 Bulletin des Salons, 60 Balze, Paul, 77 Balze, Raymond, 77 Cabanel, Alexandre, 179 Barthes, Roland, 7–8, 11, 162, 167–168 Cadiot, No´emie(pseud. Claude Vignon), 225 “Death of the Author,” 7–8, 162, 167–168 Calamatta, Luigi, 63 Bartolini, Lorenzo, 284 Calonne, Alphonse de, 225, 226, 227, 230 Bartolommeo, Fra, 18, 110 La Caricature, 123,Fig.29 works: Cassagne, Albert, 129, 130, 175 The Mystic Marriage of Saint Catherine, 18 Cav´e, Edmond,´ 102 Barye, Antoine-Louis, 100 Challamel, Pierre-Joseph, 62, 88, 89, 92, 137 Baudelaire, Charles, 153, 201, 222, 234 Chamber of Peers (France), 90–91 315 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-84243-3 — Ingres and his Critics Andrew Carrington Shelton Index More Information 316 Index Champfleury, See Fleury-Husson, Jules Delaborde, Henri, 20 Le Charivari, 92, 94, 102, 107, 108, 122–123, 136, Delacroix, Eug`ene, 1, 31, 164–165, 172, 202, 203, 142, 184, 187–188, 189 213–214, 218, 220, 223, 224–226, 228 Charlemagne, 210 works: Charles V (king), 133 Massacre of Scios, 172 Charles X (king), 21, 22, 23, 26, 34, 198 The 28th of July (Liberty Leading the Charlet, Nicolas-Toussaint, 34 People), 226 works: Delaroche, Paul, 15, 41–45, 48–49, 73–76, 78, Middle Class, Strong Class, 34–36,Fig.7 100, 136, 150, 203, 227 Chateaubriand, Françoise-Ren´ede,137 works: Cherubini, Luigi, 15, 111–112, 114–115, 120–121, Death of the Duc de Guise, 73–76,Fig.17 133 Lady Jane Grey, 15, 41–45, 48–49, Chevalier, Louis, 38 76,Fig.5 Chopin, Fr´ed´eric, 112 Del´ecluze, Etienne,´ 29, 47, 48, 63, 194, 197, Christian socialism, 48 227 Civil Code, 81 Delessert, Benjamin, 147 Clark, T. J., 5 Demidoff, Anatole, 216 Cogniet, L´eon, 100 Destouches, Paul Emile,´ 82 Cohn, Marjorie, 21 works: Le Coiffure parisien, 221–222 L’Amour m´edicin, 82 Columbus, Christopher, 117, 118 Diderot, Denis, 96–97, 101 Constitution of 1814, 90 Domenichino, 110 Le Constitutionnel, 29, 52, 152, 184, 190, 208 Dow, Gerard, 77 Corby, Alexandre, 194, 197, 198 Du Camp, Maxime, 197, 210–211, 212, 227 Cormenin, Louis de, 197, 200–202, 210 Du Pays, Joseph-Augustin, 170–171, 181, 188, Corot, Camille, 232 209–210, 211–212, 213, 227, 233, 234 Le Correspondant, 152, 172 Duncan, Carol, 180 Le Corsaire, 32, 57–60, 61, 64, 77 Dupin, Andr´e, 27 Le Corsaire-Satan, 153 Durand, Pierre. See Guinot, Eug`ene Cortot, Jean-Pierre, 94 Courbet, Gustave, 1, 5, 78, 223, 228 1848 Revolution, 184–185 Le Courrier français, 118 1830 Revolution, 21–22, 23 Cousin, Jean, 126 L’Esperance, 153 Couture, Thomas, 224 L’Estafette, 102 Crow, Thomas, 5 Etex,´ Antoine, 233–234 Cunego D., Eug´enie (empress), 204 works: L’Ev´´ enement, 184 Andromache Mourning Hector,Fig.20 “Exposition des artistes” (1846). See Curmer, Henri-L´eon, 59 Bonne-Nouvelle exhibition Exposition Universelle (of 1855), 1, 14, 204, Daly, C´esar, 63, 136 214–228, 237 Daumier, Honor´e, 34, 36, 37 works: Farochon, Eug`ene, 149 Ne vous y frottez pas!!, 34,Fig.6 Le Figaro, 24, 221 Rue Transnonain, 37,Fig.8 Fillioux, Antoine, 61, 63, 64, 136, 139–140 David, Jacques-Louis, 10, 41, 69, 78, 82–83, 97, Firmin-Didot, Ambroise, 194 99–100, 126, 128, 147, 172, 229 Firmin-Didot, Hyacinthe, 194 works: Flandrin, Hippolyte, 72–73, 144, 224 Antiochus and Stratonice, 82–83,Fig.21 Fleury-Husson, Jules (pseud. Champfleury), Brutus, 41, 84,Fig.12 184, 190 Death ofMarat, 172 Forbin, Comte de, 55 Intervention of the Sabine Women, 41, Foucart, Bruno, 107–108 99–100,Fig.13 Foucault, Michel, 8, 141 Leonidas at Thermopylae, 128, 172 Les français peint par eux-mˆemes, 59 Oath of the Horatii, 41, 84,Fig.11 La France, 106, 176 David d’Angers, Jean-Pierre, 136 La France Catholique, 33 De Kooning, Willem, 179 La France litt´eraire, 62, 68, 70, 88, 93 Decamps, Alexandre-Gabriel, 202, 220, 223, 224 La France nouvelle, 50 Degas, Edgar, 179 Fried, Michael, 4 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-84243-3 — Ingres and his Critics Andrew Carrington Shelton Index More Information Index 317 G., Marie-Camille de, 45–46 L’Illustration, 150, 170, 209 Galbacio, Bruno, 30, 32 Ingres, Jean-Auguste-Dominique La Galerie de la Presse, de la litt´eratureet des l’art pour l’art movement and, 11, 129, beaux-arts, 136 131–132, 171–172, 173–174 Gatteaux, Edouard,´ 55, 56, 60, 61 Association des artistes, peintres, sculpteurs, Gauguin, Paul, 179 architectes, graveurs et dessinateurs Gautier, Th´eophile, 30, 129, 184, 186–188, 197, and, 149–150 208, 209, 212–213, 223–224, 227, 229, banquet for, 87–93, 145 231–232, 234 biographies of, 136–138, 139–141, 142–146 Mademoiselle de Maupin, 129 Bonne-Nouvelle exhibition and, 146, 149–151, Gazette de France, 26, 37 155–156, 158, 162, 166–167, 175–177, Gazette des beaux-arts, 18 178–179 Gazette des travaux publics, 30 Copy after a Byzantine Icon, 104–105, Geffroy, L. de, 184, 188–189, 190, 191, 192 Fig. 24 G´erard, François, 147 Exposition Universelle (of 1855)and,14, 214, G´ericault, Theodore, 147, 233 215–221, 237,Figs.53, 54 G´erˆome, Jean-Leon, 179 female nude and, 178–184, 188–189, 200–202 Gilibert, Jean-Pierre-François, 22–23 Raphael’s influence on, 70–71, 104, 108, 109, Giotto, 71–72 139–140, 199–200 Girardin, Emile´ de, 60, 112 Salons, participation in, 1, 14, 15, 49–53, Girodet, Anne-Louis, 74, 147 54–55, 93–96, 98–99, 100–101 Gisquet, Henri-Joseph, 27 studio exhibitions of, 14, 55, 60, 94, 101–103, Giulio Romano, 31 111, 115, 118, 121–124, 135, 150, 183–185, Le Globe industriel et artistique, 224 189, 207–208 Greuze, Jean-Baptiste, 82, 147 works: Gros, Antoine-Jean, 147 Antiochus and Stratonice, 74,Fig.18 Gu´erin,Pierre-Narcisse, 147 The Apotheosis of Homer, 60, 71, 113, 120, Guinot, Eug`ene(pseud. Pierre Duvand), 92, 164, 208, 216, 218,Fig.51 155, 184, 191–192 The Apotheosis of Napoleon I, 14, 204–205, Guizot, François, 126, 127 206–211, 212–213, 215, 216, 218,Fig.50 Guyot de F`ere,François-Fortun´e, 138, 139, La Baronne de Rothschild, 183, 185, 140 189–192,Fig.45 Christ Giving the Keys of Paradise to Saint Hadjinicolauo, Nicos, 4, 193, 198 Peter, 218, 219 Art History and Class Struggle, 193 Le Comte Mol´e, 55, 94, 156, 176, 177–178, Hal´evy,Fromenthal, 112 Fig. 41 Haur´eau,Jean-Barth´el´emy, 24, 26, 147 Le Comte de Pastoret,Fig.22 Haussard, Prosper, 102 La Comtesse d’Haussonville, 156, 176, 178, Haussonville, Louise-Albertine, Comtesse d’, Fig. 43 176–177, 178 The Dream of Ossian, 216 H´ely, George d’, 197 Duc d’Orleans, 121–122, 133, 198 Henri IV (king), 128 The Entry into Paris of the Dauphin, Henriet, Fr´ed´eric, 207–208 Future Charles V, 156, 165, 166,Fig. 39 Hertford, d’ (marquis), 147 La Grande Odalisque, 1, 155, 165, 166, 168, Hittorff, Jacques-Ignace, 76, 111 170, 171, 172, 173, 179, 180–181, 188, 201, “De l’architecture polychrome chez les Fig. 35 Grecs,” 76 Jeanne d’Arc, 218 Hogarth, William, 157 Jesus Among the Doctors, 13,Fig.1 Homer, 228 Jupiter and Thetis, 216 Hˆotel-de-Ville, Paris, 202–204, 211–212, 214, 216, Louis-François Bertin, 50, 63, 94, 156, 166, Fig. 49 176, 177–178,Fig.40 Galerie des fˆetes, 202 Luigi Cherubini and the Muse of Lyric Salon de l’Empereur, 203–204, 207, 208 Poetry, 56, 111–112, 114, 115–118, 120–121, Salon Louis-Philippe, 202 123, 133, 186,Fig.26 Salon Napol´eon, 202 Madame Duvaucey, 50, 52,Fig.14 Salon de la Paix, 202–203, 213 Madame LeBlanc, 51, 52,Fig.15 Houssaye, Ars`ene, 197 The Martyrdom of Saint Symphorien, 1, 5, Huard, Etienne,´ 63, 77, 78, 79, 82, 91, 103, 117 14, 15–18, 20–21, 24–30, 31–34, 37–38, Hugo, Victor, 137, 164–165, 184, 232 39–40, 43–47, 48–49, 51, 52, 54, 55, 56, © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-84243-3 — Ingres and his Critics Andrew Carrington Shelton Index More Information 318 Index Ingres, Jean-Auguste-Dominique (cont.) Lamarque, Maximin, 36 67, 71, 76, 86, 87, 94, 140, 145, 164, 169, Lamartine, Alponse de, 137, 232 215, 218, 219, 231–232, 234, 236,Fig.3 Lapauze, Henry, 18 Napoleon Bonaparte, First Consul, 217 L`aurent, Alphonse Jean (pseud.
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    Homoeroticism in neoclassical poetics: French translations of the ideal male nude in late-eighteenth-century word and image. Satish Padiyar, University College London, PhD. 1999 BIBL LONDON flnv. 1 Abstract The thesis consists of four chapters, an Introduction and a Conclusion. The Introduction considers the theoretical frameworks within which recent readings of the late-eighteenth-century French homoerotic ideal male nude have been developed; and how these readings have in turn emerged from a wider extra-art-historical discourse on the sexual politics of representation and the representation of sexual politics. A clear picture of the ideal male nude as a contested field emerges; and a justification of the materials which will be used in the thesis clarifies their critical engagement with these polemical debates surrounding the object of study. Chapter 1 is in two parts. Part one deals with the possibilities of a textual representation of homosexuality in French neoclassical poetics by focusing on the notion of 'anacréontisme' as a synonym for 'veiled' homoeroticism. Contrary to the present understanding of the notion, it is argued here, by recourse to successive French translations of the Greek source text, that homosexuality was explicitly problematized in the development of anacréontisme as a critical term, rather than consensually hidden. Part two reviews a social history of homosexuality in eighteenth-century France, in order to contextualize the preceding anacreontic debate. A Kantian reading of the beau ideal, in Chapter 3, attempts to contradict the now dominant understanding of this figure as being simply a high-cultural sign of patriarchal dominance. The chapter traces the philosophical coordinates of the beau ideal from the late seventeenth century until the moment when this figure coincides with the Kantian transcedental aesthetic, and thereby propels it into an anti-ideological space.
  • Baroque 1590-1750 Classical 1750-1820

    Baroque 1590-1750 Classical 1750-1820

    Period Year Opera Composer Notes A pastoral drama featuring a Dafne new style of sung dialogue, 1597 Jacopo Peri more expressive than speech but less melodious than song The first opera to survive 1600 Euridice Jacopo Peri in tact The earliest opera still 1607 Orfeo Claudio Monteverdi performed today Il ritorno d’Ulisse in patria Claudio Monteverdi 1639 (The Return of Ulysses) L’incoronazione di Poppea 1643 (The Coronation of Poppea) Claudio Monteverdi 1647 Ofeo Luigi Rossi 1649 Giasone Francesco Cavalli 1651 La Calisto Francesco Cavalli 1674 Alceste Jean-Baptiste Lully 1676 Atys Jean-Baptiste Lully Venus and Adonis John Blow Considered the first English 1683 opera 1686 Armide Jean-Baptiste Lully 1689 Dido and Aeneas Henry Purcell Baroque 1590-1750 1700 L’Eraclea Alessandro Scarlatti 1710 Agrippina George Frederick Handel 1711 Rinaldo George Frederick Handel 1721 Griselda Alesandro Scarlatti 1724 Giulio Cesere George Frederick Handel 1728 The Beggar’s Opera John Gay 1731 Acis and Galatea George Frederick Handel La serva padrona 1733 (The Servant Turned Giovanni Battista Pergolesi Mistress) 1737 Castor and Pollux Jean-Philippe Rameau 1744 Semele George Frederick Handel 1745 Platee Jean-Philippe Rameau La buona figliuola 1760 (The Good-natured Girl) Niccolò Piccinni 1762 Orfeo ed Euridice Christoph Willibald Gluck 1768 Bastien und Bastienne Wolfgang Amadeus Mozart Mozart’s first opera Il mondo della luna 1777 (The World on the Moon) Joseph Haydn 1779 Iphigénie en Tauride Christoph Willibald Gluck 1781 Idomeneo Wolfgang Amadeus Mozart Mozart’s
  • Wreck: Gericault and the Body in Pieces

    Wreck: Gericault and the Body in Pieces

    Art Appreciation Lecture Series 2019 Being human: The figure in art Géricault’s The Raft of the Medusa Mark Ledbury 12 / 13 June 2019 Lecture summary: This lecture examines one of the great works of nineteenth-century Art, Géricault’s Raft of the Medusa, 200 years after the painting was first seen. It explores Gericault’s fascination with bodies, but also the political and cultural impact of a painting in its time and beyond. The wreck of the Medusa through incompetence and fear , the subsequent appalling suffering of the occupants of the Raft, caused scandal in the France of the recently restored Monarchy , and Gericault used both his fascination with human and animal bodies and his training in neo-classical studios to very powerful effect in a painting of enormous scale, ambition and effort. Slide list: 1. Théodore Géricault, The Raft of the Medusa, (Oil on canvas, 1817-19, 4,91 m. x 7,16 m, Paris: Louvre) 2. Horace Vernet, Portrait of Géricault, (Oil on Canvas, 1822 or 3, New York, Metropolitan Museum) 3. J-A-D Ingres, Grande Odalisque (1812-18, Oil on Canvas, Paris: Louvre) 4. A-L Girodet, Pygmalion (1818-19, Oil on Canvas, Paris: Louvre) 5. Achille Etna Michallon, The Death of Roland (oil on canvas, 1818, Paris: Louvre) 6. Géricault, Horse Studies,(Graphite on Paper, c.1812-14, Getty Museum, Los Angeles) 7. Géricault, Charging Chasseur, or An Officer of the Imperial Horse Guards Charging 1812, Oil on Canvas, Paris, Louvre 8. Géricault, Wounded Cuirassier leaving the Battle (1814, Oil on Canvas, Paris: Louvre) 9.