A thought-provoking analysis of Frederic Bazille that sheds new
light on the origins and dilemmas of modernist painting.
Studio companion of Monet and Renoir, protege of Courbet, and
friend of Manet, Frederic Bazille (1841-1870) is more often
remembered for the financial assistance he provided to future
Impressionists than for his own vivid and often unsettling work. In
this first complete book in English devoted to Bazille, Dianne
Pitman seeks to situate this often overlooked artist within the
complex and contradictory art world of the 1860s. In the process,
she greatly refines our understanding of the modernist
tradition.
Pitman examines a series of major paintings and critical essays
by Bazille and his contemporaries and frames them within the
modernist discourse about purity, or respecting the proper limits
of the medium. She stresses the problem of pose -- the way in which
painted subjects seem to respond to the artist's presence and the
implied presence of the beholder -- and explores his responses to
the new medium of photography, the idea of painting without subject
matter, the burden of tradition, and the problematic of
self-portraiture. As these themes again come to the fore in much of
the most controversial art and criticism of the late twentieth
century, this study also represents an important contribution to
the ongoing debate concerning the oppositions and continuities
between modernism and postmodernism.
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