Photograph Credits

Grigsby, Darcy Grimaldo

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Photograph Credits

Darcy Grimaldo Grigsby

Extremities: Painting Empire in Post-Revolutionary France

Photograph Credits

Author

Darcy Grimaldo Grigsby

PublisherYale University Press

Stable URL: https://aaeportal.com/?id=-20665

Photograph Credits

Most of the photographs and transparencies have been supplied by and are reproduced courtesy of the owners or custodians of the original works. Those for which further credit is due are listed below:

© Photo R.M.N.: 1, 2, 3, 5, 18, 23, 37, 38, 40, 43, 44, 61, 65, 66, 68, 69, 71, 72, 73, 83, 88, 89, 90, 92, 101, 107, 112, 115, 134, 135, 138, 153, 156, 161, 165, 179, 181, 183, 190, 192, 204, 210, 211, 215, 225; © Photothèque des Musées de la Ville de Paris: 7, 13, 184, 197, 200; © 2001, The Art Institute of Chicago, All Rights Reserved: 19, 105, 151; © Gilles Bancarel/Société d’Etudes Guillaume-Thomas Raynal: 21; Julie Wolff: 24, 53, 82; A. Mewbourn, Houston: 33; Giraudon: 39; Deutsches Archologisches Institut-Abteilung Rom: 93; Alinari/Art Resource, NY: 94; Studio G. Deroude: 106; Studio Flandre: 113; Charles Choffet: 114; © Trustees of Princeton University: 137; © Roumagnac Photographie: 171, 216; Le Centre d’Outre-Mer: 172; © Cliché du M. B. A. de Bordeaux/photographie Lysiane Gauthier: 201.

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Book details

BOOKExtremities: Painting Empire in Post-Revolutionary France

Darcy Grimaldo Grigsby

https://doi.org/10.37862/aaeportal.00220

Stable URL: https://aaeportal.com/?id=-20652

In the decades following the French Revolution, four artists—Girodet, Gros, Géricault, and Delacroix—painted works in their Parisian studios that vividly expressed violent events and issues in faraway, colonial lands. This highly original book examines six of these paintings and argues that their disturbing, erotic depictions of slavery, revolt, plague, decapitation, cannibalism, massacre, and abduction chart the history of France’s empire and colonial politics.

Darcy Grimaldo Grigsby shows that these paintings about occurrences in the West Indies, Syria, Egypt, Senegal, and Ottoman Empire Greece are preoccupied not with mastery and control but with loss, degradation, and failure, and she explains how such representations of crises in the colonies were able to answer the artists’ longings as well as the needs of the government and the opposition parties at home. Empire made painters devoted to the representation of liberty and the new French nation confront liberty’s antithesis: slavery. It also forced them to contend with cultural and racial differences. Young male artists responded, says Grigsby, by translating distant crises into images of challenges to the self, making history painting the site where geographic extremities and bodily extremities articulated one another.

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Author

Darcy Grimaldo Grigsby

PublisherYale University Press

Print publication date May 2002 (out of print)

Print ISBN 9780300088878

EISBN 9780300259100

Illustrations 221

Print Status out of print

Publisher (out of print)

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Google Books

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