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How did the tumult caused by German composer Richard Wagner result
in the first modernist painting? In the first full-length book
dedicated to the study of Edouard Manet and music, art historian
Therese Dolan demonstrates that the 1862 painting Music in the
Tuileries represents the progressive musical culture of his time,
heretofore read by scholars predominantly through the words of
Charles Baudelaire. Dolan sees in this painting's radical style the
conceptual shift to modernism in both painting and music, a
transition that, she convincingly argues, received a strong impetus
from Manet's Music in the Tuileries and Wagner's controversial
Tannhauser, which premiered the previous year. Supplemental to
analysis of the painting, Dolan incorporates discussion of texts by
Theophile Gautier, Champfleury, and Baudelaire who are represented
in the painting. This book incorporates studies of the major
artistic, literary, and musical figures of nineteenth-century
France. It represents an important contribution to an understanding
of French culture in the third quarter of the nineteenth century, a
period of intense literary, artistic, and musical activity that
formed the crucible for modernism.
Bringing forth fresh perspectives on Manet's art by established
scholars, this volume places this compelling and elusive artist's
painted A"uvre within a broader cultural context, and links his
artistic preoccupations with literary and musical currents. Rather
than seeking consensus on his art through one methodology, or
focusing on one crucial work or period, this collection
investigates the range of Manet's art in the context of his time
and considers how his vision has shaped subsequent interpretations.
Specific essays explore the relationship between Manet and
Whistler; Emile Zola's attitude toward the artist; Manet's
engagement with moral and ethical questions in his paintings; and
the heritage of Charles Baudelaire and Clement Greenberg in
critical responses to Manet. Through these and other analyses, this
volume illuminates the scope of Manet's career, and indicates the
crucial position the artist held in generating a modernist
avant-garde aesthetic.
Bringing forth fresh perspectives on Manet's art by established
scholars, this volume places this compelling and elusive artist's
painted A"uvre within a broader cultural context, and links his
artistic preoccupations with literary and musical currents. Rather
than seeking consensus on his art through one methodology, or
focusing on one crucial work or period, this collection
investigates the range of Manet's art in the context of his time
and considers how his vision has shaped subsequent interpretations.
Specific essays explore the relationship between Manet and
Whistler; Emile Zola's attitude toward the artist; Manet's
engagement with moral and ethical questions in his paintings; and
the heritage of Charles Baudelaire and Clement Greenberg in
critical responses to Manet. Through these and other analyses, this
volume illuminates the scope of Manet's career, and indicates the
crucial position the artist held in generating a modernist
avant-garde aesthetic.
How did the tumult caused by German composer Richard Wagner result
in the first modernist painting? In the first full-length book
dedicated to the study of Edouard Manet and music, art historian
Therese Dolan demonstrates that the 1862 painting Music in the
Tuileries represents the progressive musical culture of his time,
heretofore read by scholars predominantly through the words of
Charles Baudelaire. Dolan sees in this painting's radical style the
conceptual shift to modernism in both painting and music, a
transition that, she convincingly argues, received a strong impetus
from Manet's Music in the Tuileries and Wagner's controversial
Tannhauser, which premiered the previous year. Supplemental to
analysis of the painting, Dolan incorporates discussion of texts by
Theophile Gautier, Champfleury, and Baudelaire who are represented
in the painting. This book incorporates studies of the major
artistic, literary, and musical figures of nineteenth-century
France. It represents an important contribution to an understanding
of French culture in the third quarter of the nineteenth century, a
period of intense literary, artistic, and musical activity that
formed the crucible for modernism.
One highly visible example of French influence on the city of
Philadelphia is the Benjamin Franklin Parkway, modeled on the
Champs-Élysées. In Salut!, Lynn Miller and Therese Dolan trace
the fruitful, three-centuries-long relationship between the City of
Brotherly Love and France. This detailed volume illustrates the
effect of Huguenots settling in Philadelphia and 18-year-old
William Penn visiting Paris, all the way up through more recent
cultural offerings that have helped make the city the distinctive
urban center it is today. Salut! provides a magnifique
history of Philadelphia seen through a particular cultural lens.
The authors chronicle the French influence during colonial and
revolutionary times. They highlight the contributions of
nineteenth-century French philanthropists, such as Stephen Girard
and the Dupont family. And they showcase the city’s vibrant
visual arts community featuring works from the Philadelphia Museum
of Art, the Rodin Museum, the Barnes Foundation, and the Joan of
Arc sculpture, as well as studies of artists Thomas Eakins, Mary
Cassatt, and Henry Ossawa Tanner. There is also a profile of
renowned Le Bec-Fin chef Georges Perrier, who made Philadelphia a
renowned culinary destination in the twentieth century. With lavish
illustrations and enthusiastic text, Salut!celebrates a potpourri
of all things French in the Philadelphia region.
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