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Chez le Père Lathuille

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Description: Chez le Père Lathuille
Related content: Chapters (3) Images (91)

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Description: Realism in the Age of Impressionism: Painting and the Politics of Time
Alfred-Philippe Roll first showed The Strike of the Miners at the Paris Salon of 1880 (fig. 58). Having won a first-class medal three years before, he was allowed to hang his large canvas outside the competition in the main entrance hall, where it garnered widespread attention from critics and the public alike.See Gabriel P. Weisberg, Beyond Impressionism: The Naturalist Impulse (New York: Harry N. Abrams, 1992), 97–99; Olivier Le Bihan et al., Alfred Roll, 1846–1919: Le Naturalisme en question, exh. cat. (Paris: Somogy, 2007); and Camille Baillargeon, “1880: Des mineurs en grève au Salon ou de l’influence de la peinture sur les acquis sociaux,” Analyse de l’IHOES [Institut d’Histoire Ouvrière, Économique et Sociale] 29 (31 November 2007), accessed 20 August 2014,...
PublisherYale University Press
Related print edition pages: pp.91-125
https://doi.org/10.37862/aaeportal.00100.006
Description: Manet Manette
~The Garden was not a Salon painting. The only white dress to show up in Manet’s next Salon was worn by a child, in The Railway (fig. 95). In the Salon of 1874, Manet showed this painting and a little watercolor of Punchinello with a poem...
PublisherYale University Press
Related print edition pages: pp.201-226
https://doi.org/10.37862/aaeportal.00080.011
Description: Impressionism: Art, Leisure, and Parisian Society
Even a casual glance at successive editions of guide books to Paris, from their beginnings in the 1840s to the end of the “Belle Epoque,” reveals the striking truth: leisure and entertainment took an ever-increasing place in the life of Paris...
PublisherYale University Press
Related print edition pages: pp.59-91
https://doi.org/10.37862/aaeportal.00067.007

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