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Description: Necklines: The Art of Jacques-Louis David after the Terror
Index
PublisherYale University Press
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Index
abjected signifiers, 30, 47
abjection, 30–32
Abominable Ones, The, 112, 117, 129
Acerbic Forms (Normand after Louis Lafitte), 24, 25
Acrisius, King, 252–53
Act of Justice (Viller), 20–21, 26
Aeneid (Virgil), 203–4
Alexander, 292–94, 351–52n.153
Allegory of 9 Thermidor, 31–32, 32
Amaury-Duval. See Polyscope
Ambassadors, The (Holbein the Younger), 297, 298
Ampère, André-Marie, 258
Anarchist, The (Petit), 112, 116, 129
Anarchy, 45
androgyny, 4, 254, 308n.9
Antal, Frederik, 138, 246–47
Antiquity: as aesthetic criterion, 145–50
in David’s art, 131–32, 220, 269–70
ideals of as espoused by méditateurs, 205–6
as vogue under the Directoire, 141–42, 203. See also David: works: The Sabine Women
Apelles, 75, 292–95
artist: psychosexual unease of, 255–56
self-definition of under the Directoire, 206–16
socioeconomic realities of, 130–35, 144
subjectivity, 207–9
artistic community: as enclave of masculinity, 214–16
women excluded from, 214–16
Astyanax, 301–2
Augustin, Jean-Baptiste, 266
Baczko, Bronisław, 17
Bailly, Sylvain, 106
bals de victimes, 193
Banquet of Psyche, The (Giulio Romano), 270, 273
Barbeau-Dubarran, Joseph Nicolas, 94–95
barbus. See méditateurs
Baroness de Crussol (Vigée-Lebrun), 270–72, 274
Barque of Isabey, The (Isabey), 211, 212
baths, public, 181–84
Battle of Perseus and Phineus (Caracci), 167
Baudelaire, Charles, 125
Bayard, 223
Beau, Monsieur, 139, 202
beau idéal, 146, 240
Beaupré, 190
Bellegarde sisters, 141–42
Belly, Jacques, 167
Berger, Harry, Jr., 91–92
Bernard de Saintes, 94–95, 97
Bernini, Lorenzo, 165
Berthault, Louis, 276, 277, 278
blindness: of Minerva, 214, 215
as trope in Homer drawings, 77–79, 80–88
in Woman in a Turban, 119, 128
Blondel, 177–78
Blum, Carol, 314n.97
body: and artistic self-definition, 204–16
as means of self-articulation, 181
as metaphor in revolutionary culture, 28–32
moral and social function of, 174–80
as object of the look, 195
in portraiture, 241
as presented in medallions, 98–105
psychosexual dimension of, 144
relationship to the self, 1–2, 17, 138–39, 203–4
sexuality of, 285–91
symbolic loss of, 14. See also fashion; female body; male body
Boigne, Comtesse de, 257
Boilly, Louis-Léopold, 70, 213–15, 218
Boissy d’Anglas, François Antoine, Comte de, 74–75
Bonaparte, Josephine, 244
Bonaparte, Lucien, 258, 341n.30
Bonaparte, Napoleon, 185
Bonnemaison, Feréol, 196, 234
Borch-Jacobsen, Mikkel, 304
Boucher, François, 269
Breuer, Joseph, 71, 87
Brookner, Anita, 257
Bryson, Norman, 77, 338n.182
Butler, Judith, 194
Cabanis, Pierre Jean George, Report on the Physical and Moral Aspect of Man, 275, 287–91
Café of the Incroyables, 187–88, 188
Campaspe, 292–95
Candeille, Julie, 254
cannibalism, 29–31
Caracci, Annibale, 167
Carr, John, 142
Carrier, J.-B., engraving of, 112, 114
castration, as metaphor, 31–32, 122, 167, 232
Chaptal, Jean Antoine, 217, 225
Chardin, Jean-Baptiste Siméon, 10–11
Chastenay, Victorine, 242
Chateaubriand, François-René, Vicomte de, 258–59, 345–46n.79
Chaudet, Jeanne-Elisabeth (painter), 214, 337n.158
Chaudet (sculptor), 214
Chaussard, Pierre, 145–52, 164–66, 179, 225, 228, 235, 240, 281–85, 328n.30, 340n.17, 340–41n.19, 350n.128
Chaussée d’Antin, 244, 276
Chénier, André, 73, 77–79, 88, 319n.23
Chénier, Marie-Joseph, 73–74
Christine Boyer (Gros), 243, 244, 341n.30
Clark, T. J., 10, 38, 45–46, 47, 125, 126
Cless, Jean-Henri, 218, 219
Cochin, Charles-Nicolas, 99
Combat of the Romans and the Sabines, The (Vincent), 156, 157
Committee of General Security, 48, 50
Committee of Public Instruction, 10, 318n.11
Committee of Public Safety, 48, 154
Confessions (Rousseau), 50
Corinne (de Staël), 259–60
corpo-reality, 5, 132
Crito, 57–58, 63, 297–98
Crow, Thomas, 4, 134, 254, 338n.174
Dancer Beaupré in the Ballet of “Paul et Virginie,” 190
David, Jacques-Louis: attachment to Robespierre, 49, 50, 51–52
clothing of, in self-portraits, 38–39, 43, 46
Delécluze’s impressions of, 13–14
Discours of, 48–54
effeminacy in work of, 308n.9
facial swelling of, 36–38, 39, 41, 42–43
as father, 13–14
imprisonment of, 10–11, 14–15, 95
and Institut National, 216–17
loss as embodied by, 3, 14, 46–47, 120–29, 229–31, 296–305
and Mme Récamier, 236–47
political involvement of, 8–10, 36, 42, 48–54, 71–73
portrait practice of, 238–40, 245–46
release from prison, 216–18
sexual identity in work of, 4–6, 62–70, 128–29
studio of, 217–34, 337–38n.173, 338n.174
after the Terror, 2–3, 6–7
women in work of, 119–23
women’s engagement with work of, 141–42
—works: Abandoned Psyche, 3, 6, 15, 54–64, 70, 279, 315–16n.109, plate 2
femininity in, 58–63, 303
grief in, 56–57
Andromache’s Grief, 57, 84, 301–3, 301, plate 4
Apelles and Campaspe, 292–95, 293
Barbeau-Dubarran, 89, 91, 100, 102, 108–9, 115, 117
Belisarius, 79, 80, 87
Bernard de Saintes, 89, 90, 100, 102, 103, 104, 115–16
Crouching Venus, 58–59, 58
Danton, 102, 104
Death of Socrates, 4, 57–58, 63, 264, 268, 297–99, plate 5
Emilie Sériziat, 3, 64–65, 65, 67–68, 70, 130, 317n.126
Emmanuel Joseph Sieyès, 34, 35, 118
Funeral of Patrocles, 85, 229
Gaspar Meyer, 265
Goncourt medallion, 90, 96, 100, 104, 115, 117
Head of Dead Marat, 123, 125, 126, 128
Henriette de Verninac, 2, 245–46, 264, 265–66, 274–76
Homer project, 72–77
Homer Reciting His Verses to the Greeks (“Reciting Homer”), 76, 77, 80, 82, 84, 230
Jeanne-Suzanne Sedaine, 102, 103
Jean-Paul Rabaut-Saint-Etienne, 108, 109, 117
Juliette Récamier, 275, 296, plate 11
Leonidas at Thermopylae, 82, 108, 292, 295
Le Pelletier de Saint-Fargeau on His Deathbed, 74, 85, 86, 269, 299
Lictors Returning to Brutus the Bodies of His Sons, The (“Brutus”), 3, 29, 30, 87
Lindet, 95, 100–101, 103, 321n.46
Loves of Paris and Helen, The, 268
Mme Pastoret, 35
Marat at His Last Breath, 2, 43, 45–46, 78, 85, 125–26, 157, 269, 298–99, plate 9
Marie Antoinette on Her Way to the Scaffold, 125–26, 127
medallion portraits, 88–118
Monsieur Magon, 98
Mother and Child at the Feet of Tatius, 143
Oath of the Horatii, The, 3, 87, 226, 228
Ottawa medallion, 89, 93, 115, 116, 119, 320n.45
Pautrizel, 89, 92, 100, 103, 104, 116–17
Pierre-Louis Prieur de la Marne, 108, 110
Pierre Sériziat, 3, 66, 67–69, 130, 209
Portrait of Antoine Mongez and His Wife, Angelica, 68, 69
Resting Homer, 75, 76, 80, 82, 83, 84
Sabine Women, The, 3, 70, 131, 153, 206, 224
bodies as object of the look in, 201–2
Chaussard’s view of, 145–52, 164–66, 225
as elaboration of David’s self-image, 232
as emblematic of the Revolution, 152–57
exhibition of, 130–45, 246, 325nn7–8
femininity and masculinity as cultural constructs in, 166–68, 203, 232–35
male body in, 155–56, 166–68, 223–34
mirrors used with exhibition, 136–39, 157–62, 326n.11
nudity in, 135, 136, 142–43, 163–66, 202
as response to cultural re-negotiation of the body, 203
sketches for, 143, 147–49, 151–52, 165, 173, 228
sources for, 152–55
story depicted in, 135–36
vaudeville of, 139–41, 327n.18
Saint-André, 89, 90–91, 100–101, 102, 103, 105, 108, 115, 118, 119
self-portraits, 3, 6, 8, 9, 10–15, 33–48, 35, 84
Tennis Court Oath, 4, 28, 30–31, 36, 105–11, 107, 174, 226, 227, 228, plate 6
fraternité in, 106–7
nudity in, 108, 323n.82
Triumph of the People, 27, 74
Woman in a Turban, 15, 118–23, 120
Young Woman in a Turban, 119, 123
Zurich medallion, 89, 90, 94, 115, 118, 320n.45
David, Jules, 142, 238, 320–21n.45, 326n.11
Debret, Jean-Baptiste, 79, 81–82, 83
Debucourt, Philibert-Louis, 197–201
Degville, 223
Delacroix, Eugène, 266
Delafontaine, 72, 218
Delécluze, Etienne, 13–14, 218–20, 221, 238, 258
Delphine (de Staël), 259–60, 346n.87
Departure for Frascati, 261–62, 261
de-repression, 25
desire: differing views of, 287–91, 351n.145
and loss, 300–305
as manifested in the gaze, 182–83
as manifested in The Sleep of Endymion, 253–54
regulation of, 350n.138. See also Psyche
Diderot, Denis, 43, 86–87, 162, 330n.58
Didot, 59, 279
dignity: as aesthetic ideal, 145
Directoire: as cultural formation, 242–44
importance of the body during, 1–2, 174–77
sartorial customs of, 6, 181–95
visual rhetoric of, 145–46
divorce, 178
dress. See fashion
Dubois-Crancé, Edmond Louis Alexis, 89, 321n.46
Ducis, 132, 179
Duplessi-Bertaux, Jean, 171–74
Duplessis, Joseph, 39, 40
Dusaulchoy, J. F. N., 22
embodiment: and artistic self-definition, 204–16
and subjectivity, 2
in Tennis Court Oath, 105–7. See also body; female body; male body
Eros, 47, 52–53
extimacy, 42–43
family: as metaphor of society, 177–78
fantasy and phantasm, 14, 22, 46, 51–53, 85, 211–16, 247, 251–53, 292–96, 299, 300
fashion, 334n.117
and artistic self-definition, 204–5, 206–7
as employed by Mme Récamier, 259–60
female, 190–93
and gender identity, 140–42
importance of under the Directoire, 181–204
male, 184–90
Fashionable Baths, 181–84, 181, 201
Fashionable Mother, The, 176–77, 176, 212
female body: in David’s work, 3–4
under the Directoire, 190–96
effect of on men, 260–62
as fashionable vs. good mother, 176–77
as means of self-representation, 5, 291–92
Phallic mother image of, 166–68
in portraiture, 241–42
as representation of abstract ideals, 2, 161
as sexual difference, 175
under Thermidorian reaction (as Bad Mother), 31–32
female narcissism, and figure of narcissistic woman, 260–63, 305
femininity: in Abandoned Psyche, 58–63
and aesthetic values, 146–48
in David’s portraits, 68–70, 126
in Homer drawings, 86–88
and loss, 300–305
and Nature, 146–50
perception of under the Directoire, 242–44
and Psyche myth, 279–85
in The Sabine Women, 166–68
and the Terror, 31–32
in Woman in a Turban, 127–29. See also female body
feminist theory, 5
Ferraud, Deputy, 172
festivals, revolutionary, 13, 73–74, 78, 162–63, 178, 318n.8
fêtes morales, 177
fetishism, 166, 330n.62
Flügel, J. C., 189–90, 200, 262–63
Forbin, 221
Foucault, Michel, 86
Fouquier-Tinville, Antoine Quentin, 26
Fragonard, Alexandre-Evariste, 279–80, 282
Fragonard, Jean-Honoré, 164, 165–66
Fraisse, Genèvieve, 175
Franque, Jean-Pierre, 206
Frascati park, 138, 261–62
fraternité: in Tennis Court Oath, 106–8
Fréron, Louis, 184–85
Freud, Sigmund, 17, 19, 52, 62, 295, 315n.100
Fried, Michael, 76–77, 80, 88, 319n.23
Friend of Justice and Humanity, The, 112, 115
Frivole, Monsieur, 139–41, 140, 142, 202–3
Furet, François, 17
Fuss, Diana, 295, 300
Gavaudan, 139, 140, 140
gaze, the, 181–84, 203, 215, 260–62, 333n.102
gender roles: destabilization of after Thermidor, 5, 178–79
and identity, 19
and visual representation, 4–5, 234–35. See also sexual identity
Gérard, François, 59, 209–11, 213–14
and Mme Récamier, 237, 238, 267
Psyche as subject for, 279–85
Germinal uprising, 170–74
Girl on a Couch (Boucher), 270
Girodet, Anne-Louis, 203–4, 247–56, 343n.56
feminine identification of, 254–55
Girodet Directing the Hanging of The New Danaë in the Salon (Naudet), 249
Giulio Romano, 270, 273
Godefroy, Adrien-Pierre-François, 158
Godineau, Dominique, 94
Goldstein, Jann, 16
Gorgon, 232
Grand odalisque (Ingres), 270
Grégoire, Abbé Henri, 73
Gros, Jean-Antoine, 243
guillotine: fear of implied by bandage images, 122–23
incorporation of into David’s art, 116
guillotine’s shadow, 18–19, 92, 98
Gust of Wind, The, 195–96, 197
Hamelin, Mme, 191
Hamilton, Emma, 259
Harriet, Fulchran-Jean, 158, 161
Hercules, 27, 32
as incarnation of the People, 2
Hermaphrodite (Borghese), 272, 276, 348n.104
Heroines of Today, The, 262
Hersilia, 150, 151–52, 154, 161, 166, 167, 232–34
Hertz, Neil, 19
Holbein the Younger, 297, 298
Hold Fast to Your Bonnet (Rolandson), 185
homoeroticism, 53, 180
homosociality, 188, 214–15
in David’s studio, 218–19
homo-visuality: of the Jacobin period, 4
Hubert Robert in His Cell at Sainte-Pélagie (Robert), 33
Hunt, Lynn, 14, 126, 290–91, 334n.n1, 351–11.140
hysteria, 19–20, 32, 61, 129, 310n.35
and blindness, 85–88
in Lacanian perspective, 62
identification, psychoanalytic concept of, 52–54, 295, 297, 300
identity. See sexual identity
idéologie, 16–17, 287
idéologues, 175
Iliad (Homer), 84
Imaginary, 161–62, 329n.50, 235
status of women in, 168
incroyables, 181, 186, 187–88, 261
Incroyables, The (Vernet), 186, 187
Ingres, Jean Auguste Dominique, 270
Institut National, 208–9
David as member of, 216–17
invidia, 263, 297
Isabey, Jean-Baptiste, 185, 209–14
Jacobin Republic: cultural apparatus of, 10
cultural constructions of, 20–32
dominant fiction of, 31–32
Jagot, Grégoire-Marie, 320n.45
jeunesse dorée, 324n.101
Johnson, Dorothy, 326n.11
Journal des dames et des modes, 158, 193
Judgment of Psyche, The (Fragonard), 279–80, 283
Judgment of Solomon, The (Poussin), 121
Kauffmann, Angelica, 280, 285
Kristeva, Julia, 18–19, 30, 330n.63
Lacan, Jacques, 53, 62, 160, 296–97, 329n.50, 338n.185, 353n.164
lack, 296–99, 352n.161
Laclau, Ernesto, 312n.60
Lacoste, Elie, 320n.45
La décade philosophique, 145–46, 240
Lafitte, Louis, 24, 25, 27–28, 30
La Fontaine, Jean de, 56, 278, 279
Landes, Joan, 244
Lange, Mlle, 247–56, 342n.40
Laqueur, Thomas, 285–86
“L’aveugle” (Chénier), 77–78
Le Bon, Joseph, 25, 28
Le Brun, Charles, 60, 61, 137
Lecointre, Deputy, 48–49
Legouvé, Gabriel, 88, 118, 324n.90
Le tableau des Sabines (vaudeville), 139–41, 327n.18
Levassuer, René, 96
libido, 287–91
Lindet, Robert, 89–90, 97, 104, 321n.46
Little Coblentz, The (Isabey), 185, 186
look, the, 195–96, 201–2
loss: in David’s paintings, 3, 14–15, 123–25, 229–31, 296–305
and desire, 300
and femininity, 300–305
paternal, 302–3
as revolutionary subject, 17–18, 29–32
love: Platonic discourse on, 52–53
in psychoanalytic discourse, 53
Love Drying Psyche’s Tears (Kauffmann), 280, 285
Mme Boyer (Vincent), 69, 70
Mme Récamier (Augustin), 266, 267
Mme Récamier (Gerard), 237, 238, 267
Mme Regnault de Saint-Jean Angely (Gérard), 283, 286, 350n.128
male body: equated with the Phallus, 31–32, 166
erotic potential of, 179–80
in The Sabine Women, 155–56, 166–68, 223–34
as subject and object in David’s studio, 218–22
subjective ideal of, 106
male narcissism, 188–90, 197, 211, 215–16, 220–22, 231–32, 235
Mantegna, Andrea, 150
Marat, Jean-Paul, 26, 43–46, 78, 125–28, 298
Marat (Tourcaty), 44
Marie Antoinette, 125
marriage, 177–78
masculinity: and aesthetic values, 146–48
and artistic identity, 209–14
as culturally constructed, 166
in The Sabine Women, 203
in The Sleep of Endymion, 253. See also male body
maternal Thing, 18–19
méditateurs (barbus or primitifs), 204–8
melancholia, 18, 19–20, 29–30, 46–47, 97, 310n.35
as manifested in medallions, 110–11, 129
Melancholic Maiden, 59
Mercier, Louis-Sébastien, 185, 191, 242, 326n.14
merveilleuses, 181, 195–96, 197, 234
Michel, Regis, 257, 302
Michelangelo, 119
Miette de Villars, 238
Minerva, 214
Mirabeau, Honoré-Gabriel Riqueti, Comte de, 226, 227, 228, 231, 320n.45
Mirror of the Past as Safeguard for the Future, 168–71, 169
mirror: used in exhibition of The Sabine Women, 136–39. See also psyche mirror
Monnet, Charles, 171–74
Montagnards (deputies of the Mountain), 96–98, 102, 111, 120–23, 299. See also David: works: specific portraits
Morose, Monsieur, 139, 202
motherhood, 176–77
Mount Erected at the Champ-de-Mars, The, 26
muscadins, 185, 199–200, 333n.105
Name of the Mother, 302–3
narcissism, 338n.185. See also female narcissism; male narcissism
Narcissus, 229
National Assembly, 105–6
National Convention, 71–72
David at, 9–10
and Prairial uprising, 93–94
Nature: as metaphorized by female tropes, 146–50
Naudet, Thomas-Charles, 249
necklines: under the Directoire, 181–204
of Marie Antoinette, 125
of the Montagnards, 117–18, 121–22
as a term, 5–6
of Woman in a Turban, 121–22. See also fashion
New Danaë, The (Girodet), 248–53, 248, 254, 255–56
Noailles, Mme de, 141
Nodier, Charles, 189
Normand, 24, 25
Nouvelle académie des dames, 269
nudity: in David’s studio, 218–19
in The Sabine Women, 135, 136, 142–43, 163–66, 179–80
sartorial uses for, 191
in The Sleep of Endymion, 253–54
in Tennis Court Oath, 108, 323n.82
of women, 195
object small o (objet petit a), 296–97, 352n.161, 353n.164
O’Murphy, Louise, 269
Orange, or the Modern Judgment of Paris, The (Debucourt), 197–201, 199, 202
Outram, Dorinda, 106
Ozouf, Mona, 17
Pajou, Jacques-Augustin, 55, 56, 59
Parisian Tea Party, The (Harriet), 158, 200
Paul et Virginie (ballet), 190
penis: in art of David, 164, 330n.60
Perée, Jacques Louis, 194, 195
Périé, Hilaire, 204, 206, 221
Perino del Vaga, 56
Perseus, 167
Petit, Simon, 43, 44, 112
Phaedrus (Plato), 52–53, 54–55
Phallus: and male body, 31–32, 166–68
Philosophy in the Boudoir (Sade), 287–91, 351n.140
physiognomie, in portraiture, 240–41. See also body
David: works: medallion portraits
Pinel, Philippe, 16–17, 18, 97, 103, 105
Plane, J.-M., 103
Plato, 52–53
Pliny the Elder, 292
Plutarch, 135–36
Poirier of Dunkerque, 25
Pollock, Griselda, 211
Polyscope (Amaury-Duval), 240, 328n.31, 340nn.15–16
Pornographic Whore, The, 269, 271
portrait gallant, 267–68
Portrait of Isabey, the Painter (Gérard), 209, 210, 211
Portrait of Vien (Duplessis), 39, 40
portraiture: artists’ ambivalence about, 255–57
as genre, 240–42, 340n.12, 340n.17. See also David: works: specific portraits
pose: as fiction in medallion portraits, 91–94
Potts, Alex, 106, 180, 323n.78
Poussin, Nicolas, 42, 119, 121, 328n.41
Prairial uprising, 93–94, 170–74
Primaticcio, 292, 294
primitifs. See méditateurs
Private Academy (Saint-Aubin), 269, 272
Prudhon, 70
Psyche, 270, 273, 316n.112, 349n.119
fascination with myth of, 278–85, 288–89
as figure of grief and loss, 56–64
Gérard’s illustrations to La Fontaine fable of, 279, 280–81. See also David: works: Abandoned Psyche
Psyche and Love (Gérard), 280–85, 284
Psyche Displaying Her Possessions to Her Sisters (Fragonard), 279–80, 282
psyché mirror, 136–39, 157–62, 261–62, 326n.11
Psychology of Clothes, The (Flügel), 189, 262–63
pudeur, 149, 287
Quay, Maurice, 206–7, 221, 223
Quentin de la Tour, Maurice, 36, 37
Queverdo, 154, 155, 186
Rape of the Sabines (Poussin), 328n.41
Raphael, 56, 119, 150, 168
Récamier, Juliette, 3, 185
and Chateaubriand, 258–59, 345–46n.79
David’s relationship with, 236–47
house of, 276–78, 348n.110
as modern Psyche, 278, 291–92, 305
sexual mystery of, 257–63, 344n.64
staging of portrait, 264–76, 339–40n.9
reflection, as interpretive paradigm, 138–39
Regenerated Man, The (Perée), 194, 195
Regnault, Jean-Baptiste, 198–99, 200, 217
Reunion of the Artists in Isabey’s Studio, The (Boilly), 213–15, 213, 218
Revoil, Pierre, 205–6
Revolution: Pinel’s view of, 16–17
and subjectivity, 12
Robert, Hubert, 33
Robespierre, Maximilien de, 9–10, 16, 113, 177
David’s attachment to, 49, 50, 51–52, 314–15n.97
fall of, 20–21
medallion portrait of, 99–100, 99, 102, 111–12
as symbolic body, 24–25
Robespierre Guillotining the Executioner after Having Guillotined All the French, 23
rococo, 267–69
Romano, Giulio, 56
Rome, ancient, 135–36
Romulus, 148–49, 150, 155, 179–80
in caricature, 221–22
as distinguished from earlier heroes, 226–31
model for, 223
significance of, 223–25, 224
Rose, Jacqueline, 5
Rousseau, Jean-Jacques, 50, 146, 165, 175
Roussel, Pierre, 175
Sacrifice of the Rose, The (Fragonard), 164, 165
Sade, Marquis de, 287–91, 351n.141
Saint-André, Jeanbon, 94–95, 97
Saint-Aubin, Gabriel de, 269, 272
Saint Teresa (Bernini), 165
sans-culottes, 43, 177, 184–85
Schnapper, Antoine, 351n.109, 317n.126
Selene, 253
selfhood: body as representative of, 138–39, 188–89
crisis of, 160
as manifested in David’s Discours, 50–54
and portraiture, 240–42
revolutionary, 12
after Thermidor, 14–15
Self-Portrait at the Easel (Chardin), 11
semiosis, 12
Sérangeli, 64
Sérullaz, Arlette, 125, 321n.47
sexual difference: in Juliette Récamier, 272–76, 303–4
as manifested in fashion, 144
as represented in Abandoned Psyche, 62–63
as represented in Self-Portrait, 43
as represented in The Sabine Women, 132
as represented in the Sériziats, 66–70
woman as embodiment of, 175
sexual identity: in David’s work, 4–5, 62–64, 66–70, 149–50
in medallion portraits and Woman in a Turban, 128–29
sexuality: as anatomical difference, 285–87
differing view of, 287–91
Silverman, Kaja, 263, 297, 312n.60
Simons, Michel-Jean, 342n.40
Sleep of Endymion, The (Girodet), 252, 253–54, 343n.56
Solomon-Godeau, Abigail, 308n.9
Staël, Germaine de, 257–60, 344n.67, 346n.87
Storm, The, 195–96, 196
Studio of David, The (Cless), 218, 219
subjectivity, 352n.161
artistic, 207–9
in David’s art, 5, 295–96
and embodiment, 2
in fashion, 143–44, 189–90
male, 262–63
as influenced by the Revolution, 12, 16
in medallion portraits, 90–93
and reflection, 138–39
in Tennis Court Oath, 106–7
Taillasson, Jean-Joseph, 61, 62
Talleyrand-Périgord, Charles Maurice de, 185
Tallien, Jean Lambert, 16
Tallien, Mme, 141, 191, 259, 346n.81
Tardieu, P.-A., 86
Tatius, 142, 143, 150, 151, 164–65, 179–80, 223, 228, 330n.60
Taunay, Nicolas A., 25–29, 30, 87
Terror: femininity aligned with, 31–32
making sense of, 21–22
responsibility for, 48–54
visual images of, 20–32
Thanatos, 47
Thermidorian reaction, body as represented during, 1–2
Thermidorians, political identity of, 15–16
Thibaudeau, Antoine Claire, 74, 318n.11
Three Graces, The (Regnault), 198–99, 200, 201, 202
Tourcaty, Jean-François, 43, 44
transference, 52, 351n.100
tricoteuse, 112–13, 170, 174
Triumph of the Guillotine, The (Taunay), 25–29, 74, plate 3
Valmont de Bomare, J.-Ch., 251
Vernet, Carle, 186–87
Vestris, 185
Vien, 39, 40, 217
View of the Luxembourg Gardens, 64, 67
Vigée-Lebrun, Elisabeth, 68, 70, 270–72, 274–76
Viller, 20–21, 26
Vincent, François-André, 69, 70, 119, 156, 157, 217
Virgil, 203–4
Voulland, Jean-Henri, 320n.45
voyeurism, 261–63
wigs, 191–93
Wilhelm, Jacques, 321n.47
Winckelmann, Johann Joachim, 146, 156, 179, 234
women: as agent of sexual corruption, 251–52
exclusion of from artistic community, 214–16
militancy of, 170–74, 331n.72
Psyche as ideal for, 279–80. See also female body; femininity
Young Woman Surprised by a Storm (Bonnemaison), 196, 198
Ysabeau, Claude Alexandre, 320n.45