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9783422074873

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Whereas the first Pomona portraits were strictly within the purview of the court and noblesse d'epee, by the turn of the 18th century the lesser aristocracy and even the rising bourgeoisie commissioned portraits histories of themselves or their wives, daughters and lovers as Pomona, Venus, Hebe, Amphitrite, and a multitude of other avatars for sensuous youth. These are only a few of many tales told in Marlen Schneider's engaging book about the portrait historie, a hybrid genre of painting that has been neglected in mainstream art history, even though it was widely practised by artists as prominent as Pierre Mignard and Francois de Troy and interacted with a wide range of cultural phenomena, from masquerades and opera ballets to panegyric literature and fete galante painting, another hybrid. Gauvin Alexander Bailey in: The Art Newspaper 321 (2020), 30

Whereas the first Pomona portraits were strictly within the purview of the court and noblesse d'epee, by the turn of the 18th century the lesser aristocracy and even the rising bourgeoisie commissioned portraits histories of themselves or their wives, daughters and lovers as Pomona, Venus, Hebe, Amphitrite, and a multitude of other avatars for sensuous youth. These are only a few of many tales told in Marlen Schneider's engaging book about the portrait historie, a hybrid genre of painting that has been neglected in mainstream art history, even though it was widely practised by artists as prominent as Pierre Mignard and Francois de Troy and interacted with a wide range of cultural phenomena, from masquerades and opera ballets to panegyric literature and fete galante painting, another hybrid. Gauvin Alexander Bailey in: The Art Newspaper 321 (2020), 30

Whereas the first Pomona portraits were strictly within the purview of the court and noblesse d'épée, by the turn of the 18th century the lesser aristocracy and even the rising bourgeoisie commissioned portraits historiés of themselves or their wives, daughters and lovers as Pomona, Venus, Hebe, Amphitrite, and a multitude of other avatars for sensuous youth. These are only a few of many tales told in Marlen Schneider's engaging book about the portrait historié, a ""hybrid genre"" of painting that has been neglected in mainstream art history, even though it was widely practised by artists as prominent as Pierre Mignard and François de Troy and interacted with a wide range of cultural phenomena, from masquerades and opera ballets to panegyric literature and fête galante painting, another hybrid. Gauvin Alexander Bailey in: The Art Newspaper 321 (2020), 30

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Dr. Marlen Schneider, Kunsthistorikerin, Universität Grenoble.

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