'A crisis in historical representation unfolded in French visual
culture in the first half of the nineteenth century, reaching its
climax at the Paris Universal Exhibition of 1855, when artists and
critics alike came to a troubling realization: depictions of past
heroes that had once held exceptional influence over their viewers
now left the public indifferent. This book shows that underneath
this crisis was a mounting demand for empirical observation in art,
and an emergent modern epistemology that posited the past as
foundational and yet inaccessible to the physically and
historically specific individual. Since neither the painter nor the
viewer could have actually experienced a bygone historical incident
as it unfolded, was history painting even feasible in modern times?
When historical representation seemed all but impossible to critics
and artists of various hues, Gerome came up with a momentous
solution. A small group of paintings constitute the focus of this
provocative study on the artist's early work, whose pivotal role in
Gerome's oeuvre as well as in the broader history of modernization
of art have been so far unrecognized in art historical scholarship.
In these, the artist charted a new roadmap for the art of painting
in response to the modern sensibility of history.'
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