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The Intervention of the Sabine Women

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Description: The Intervention of the Sabine Women
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Description: Emulation: David, Drouais, and Girodet in the Art of Revolutionary France
~In the tense weeks after Marat’s death, Girodet’s Endymion finally went on public display in Paris at the Salon of 1793. The exhibition opened on 10 August, the first anniversary of the monarchy’s downfall in the storming of the Tuileries palace by the forces of the Parisian sans-culottes. Only two days before, the...
PublisherYale University Press
Related print edition pages: pp.171-188
Description: Necklines: The Art of Jacques-Louis David after the Terror
On 30 Frimaire, Year VIII of the French Republic (21 December 1799), the former premises of the abolished academy of architecture at the Louvre reopened for an unusual public display of a single painting...
PublisherYale University Press
Related print edition pages: pp.130-235
Description: Transformations in Late Eighteenth-Century Art
~THE UNCOMMON heroism of a Hector or a Germanicus, the noble tears of an Andromache or an Agrippina—such high moments from...
PublisherPrinceton University Press
Related print edition pages: pp.50-106
Description: The Power of Color: Five Centuries of European Painting
~~The eighteenth century sees the definitive politicization of art, which would ultimately come to play a role in the wrenching events of the French Revolution. Louis XIV’s takeover of the art establishment in the service of the state, beginning around 1660, laid the foundation for what followed. Crucial to Louis’s...
PublisherYale University Press
Related print edition pages: pp.145-185
Description: Extremities: Painting Empire in Post-Revolutionary France
When Napoleon and his French army invaded Egypt in 1798, a proclamation explained their motives to the inhabitants. Napoleon’s army had come to protect French merchants from harassment and to liberate Egyptians from the yoke of Mameluke tyranny...
PublisherYale University Press
Related print edition pages: pp.105-163
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
Description: Flesh and the Ideal: Winckelmann and the Origins of Art History
Among many ways in which I might have defined the historical afterlife of Winckelmann’s work, I have deliberately singled out two very loaded engagements with his image of the Greek ideal, the first connected with the politics of the 1789 French Revolution and the second with late nineteenth-century aestheticism and definitions of homosexual identity. In each instance, a distinctive combination of historical circumstances made Winckelmann’s conception of Greek art particularly compelling as the …
PublisherYale University Press
Related print edition pages: pp.222-253
Description: Farewell to an Idea: Episodes from a History of Modernism
Books about modernism tend to go in for inaugural dates. It all began in the 1820s, they say, or with Courbet setting up his booth outside the Exposition Universelle in 1855, or the year Madame Bovary and Les Fleurs du Mal were put on trial, or in room M of the Salon des Refusés. “An important component in historical sequences of artistic events,” writes George Kubler, “is an abrupt change of content and expression at intervals when an entire language of form suddenly falls into …
PublisherYale University Press
Related print edition pages: pp.15-53

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