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OverviewFull Product DetailsAuthor: Sarah Betzer (Assistant Professor, Nineteenth-Century European Art, University of Virginia, McIntire Department of Art)Publisher: Pennsylvania State University Press Imprint: Pennsylvania State University Press Dimensions: Width: 22.90cm , Height: 2.90cm , Length: 25.40cm Weight: 1.565kg ISBN: 9780271048758ISBN 10: 0271048751 Pages: 328 Publication Date: 07 April 2012 Audience: Professional and scholarly , Professional & Vocational Format: Hardback Publisher's Status: Active Availability: Out of stock ![]() The supplier is temporarily out of stock of this item. It will be ordered for you on backorder and shipped when it becomes available. Table of ContentsContents List of Illustrations Acknowledgments Introduction 1 The Ingriste Portrait as History 2 Ingres's Studio and the Subjects of Art 3 Julie Mottez, Rome, and Ingriste Myths of Origin 4 Marie d'Agoult, the Aesthetics of Androgyny, and the Apotheosis of Ingrisme 5 Ingres's Studio Between History and Allegory: Rachel, Antiquity, and Tragedie Conclusion Notes Selected Bibliography IndexReviewsIngres and the Studio offers a powerful new account of Ingres s principally female portrait subjects, situated in the context of contemporary aesthetic and artistic debates and no less situated within the context of Ingres s studio practice and its psychological dynamics. Marc Gotlieb, Williams College Betzer frames Ingres as an innovator whose contributions surpassed struggles waged on academic terrain. By probing the distinction between academic and ingriste, established via the portrait-as-history and negotiated through the bodies of Ingres's female sitters, Betzer rejects old criticisms to establish ingriste practice as a crucial bridge to modernity, an idea forwarded by her conclusion's examination of Edgar Degas's The Bellelli Family (1858-67) as a history portrait. In this handsomely illustrated and persuasively written text, however, Betzer's true contribution lies in her excavation of Ingres's frequently dismissed students, many of whom have received relatively minimal critical consideration in the art historical literature. --Mary Manning, Nineteenth-Century French Studies Betzer frames Ingres as an innovator whose contributions surpassed struggles waged on academic terrain. By probing the distinction between academic and ingriste, established via the portrait-as-history and negotiated through the bodies of Ingres s female sitters, Betzer rejects old criticisms to establish ingriste practice as a crucial bridge to modernity, an idea forwarded by her conclusion s examination of Edgar Degas s The Bellelli Family (1858-67) as a history portrait. In this handsomely illustrated and persuasively written text, however, Betzer s true contribution lies in her excavation of Ingres s frequently dismissed students, many of whom have received relatively minimal critical consideration in the art historical literature. Mary Manning, Nineteenth-Century French Studies Author InformationSarah Betzer is Assistant Professor of Art History at the University of Virginia. Tab Content 6Author Website:Countries AvailableAll regions |