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Author:   Iris Moon (Metropolitan Museum of Art, USA) ,  Richard Taws (University College London, UK)
Publisher:   Bloomsbury Publishing PLC
Imprint:   Bloomsbury Visual Arts
ISBN:  

9781350249523

ISBN 10:   1350249521
Pages:   272
Publication Date:   19 September 2024
Audience:   College/higher education ,  Tertiary & Higher Education
Format:   Paperback
Publisher's Status:   Active
Availability:   Available To Order  
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Table of Contents

List of Plates List of Figures Notes on Contributors Acknowledgments Introduction, Iris Moon (MET Museum of Art, USA) and Richard Taws (UCL, UK) 1 Miniature Style, 1789-1815, Jann Matlock (UCL, UK) 2 Rupture, Interrupted: Rococo Recursions and Political Futures in Percier and Fontaine’s Napoleon Fan, Iris Moon (MET Museum of Art, USA) 3 A Draughtsman’s Contract: Court and Country in the work of Louis Lafitte, Stephen Bann (University of Bristol, UK) 4 Jean-Baptiste Huet’s Lions and the Look of the Captive in Post-Revolutionary France, Katie Hornstein (Dartmouth University, USA) 5 First as Farce, then as Tragedy: Art, Vaudeville and Modern Painting after the French Revolution, Steven Adams (University of Hertfordshire, UK) 6 Monsieur Crouton, The Shop Sign Painter: The Unexceptional Artist in Early Nineteenth-Century Satirical Print, Kathryn Desplanque (University of North Carolina at Chapel Hill, USA) 7 Medium as Museum: Marie-Victoire Jacquotot’s Porcelain Painting and Post-Revolutionary Fantasies of Preservation, Daniel Harkett (Colby College, USA) 8 The Cultural Politics of Fashion and the French Revolution of 1830, Susan L. Siegfried (University of Michigan, USA) 9 A Storm is Coming: Georges Michel in the Wind, Richard Taws (UCL, UK) Index

Reviews

"Time, Media and Visuality is brilliantly composed and written, with great essays on a wide range of topics that put forward new objects and well as new ideas. It is also excellently illustrated, with a gallery of color plates that represent a kind of alternative art history. And it encourages us to rethink the relationships between art, technology, and politics in other periods of historical turmoil and subsequent (partial and not always successful) restoration. * Jan Baetens, Leonardo Reviews * The editors emphasize the ways in which the events of the Revolution caused a rupture—or, more accurately, many ruptures—in French society, impacting all spheres of artistic production. [...] Taken together, the volume offers not just an introduction to new forms of visuality but new methodological approaches to integrate into our study of this period and beyond. * Daniella Berman, Nineteenth-Century Art Worldwide * What did it mean to be post-Revolutionary? The question catalyzed an efflorescent and experimental media landscape. Reimagining the significance of artists and genres conventionally classified as ""minor"", this superb volume is every bit as trailblazing as the eclectic objects it brings to life. * Nina L. Dubin, Associate Professor of Art History, University of Illinois at Chicago, USA * This is truly a collection where the whole is greater than the sum of the parts, but what parts! Fans, miniatures, fashion, vaudeville, and paintings of shop-signs, porcelains, clouds, and lions add up in surprising ways: their crosspollination reveals a preoccupation with time in a post-revolutionary moment unlike any other. Read this as an exemplar of what media studies can be, or read it just for the sheer pleasure of each scintillating essay. * Lynn Hunt, Distinguished Research Professor, UCLA, USA * A fascinating dive into the period between the French Revolution and Second Empire, going to the heart of a visual and material culture split between the seductions of modernity and nostalgia for the past. It offers original reflections on notions of hierarchy, innovation, and mediation, examining the most varied and unusual artistic expressions in genre painting, the ""minor"" arts, fashion, and popular print. * Anne Perrin Khelissa, Maître de conférences, Université Toulouse - Jean Jaurès, France * A scintillating and powerful corrective to familiar narratives of French art of the period, Time, Media, and Visuality in Post-Revolutionary France brings to the fore an impressive diversity of artistic agents, materials, and forms. Centering on accounts of such habitually marginalized forms as miniature painting and reproductive painting on porcelain, animal painting, wallpaper, and fan design, the volume offers fascinating insights into the ways such representational practices were shaped by a new sense of time's recursivity. * Sarah Betzer, Associate Professor of Art History, University of Virginia, USA *"

Author Information

Iris Moon is Assistant Curator in the Department of European Sculpture and Decorative Arts at the Metropolitan Museum of Art, New York, USA. She is author of The Architecture of Percier and Fontaine and the Struggle for Sovereignty in Revolutionary France (2016). Richard Taws is Reader in the History of Art at University College London. He is author of The Politics of the Provisional: Art and Ephemera in Revolutionary France (2013), and co-editor, with Genevieve Warwick, of Art and Technology in Early Modern Europe (2016). With a collective of scholars in various disciplines, he co-authored Interacting with Print: Elements of Reading in the Era of Print Saturation, 1700-1900 (2018).

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