Ingres and the Studio: Women, Painting, History

Author:   Sarah Betzer (Assistant Professor, Nineteenth-Century European Art, University of Virginia, McIntire Department of Art)
Publisher:   Pennsylvania State University Press
ISBN:  

9780271048758


Pages:   328
Publication Date:   07 April 2012
Format:   Hardback
Availability:   Out of stock   Availability explained
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Ingres and the Studio: Women, Painting, History


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Author:   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:  

9780271048758


ISBN 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   Availability explained
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 Contents

Contents 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 Index

Reviews

Ingres 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 Information

Sarah Betzer is Assistant Professor of Art History at the University of Virginia.

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