Förlagets beskrivning
Ingres Then, and Now is an innovative study of one of the best-known French
artists of the nineteenth century, Jean Auguste Dominique Ingres. Adrian Rifkin
re-evaluates Ingres' work in the context of a variety of literary, musical and
visual cultures which are normally seen as alien to him. Re-viewing Ingres'
paintings as a series of fragmentary symptoms of the commodity cultures of
nineteenth-century Paris, Adrian Rifkin draws the artist away from his familiar
association with the Academy and the Salon. Rifkin sets out to show how, by
thinking of the historical archive as a form of the unconscious, we can renew
our understanding of nineteenth-century conservative or academic cultures by
reading them against their 'other'. He situates Ingres in the world of the
Parisian Arcades, as represented by Walter Benjamin, and examines the effect of
this juxtaposition on how we think of Benjamin himself, following Ingres' image
in popular cultures of the twentieth century. Rifkin then returns to the late eighteenth and early nineteenth centuries
to find traces of the emergence of bizarre symptoms in Ingres' early work,
symptoms which open him to a variety of conflicting readings and
appropriations. It concludes by examining his importance for the great French
art critic Jean Cassou on the one hand, and in making a bold, contemporary gay
appropriation on the other. Ingres Then, and Now transforms the popular image
we have of Ingres. It argues that the figure of the artist is neither fixed in
time or place - there is neither an essential man named Ingres, nor a singular
body of his work - but is an effect of many, complex and overlapping historical
effects. A study of one of the best-known French artists of the 19th century, Jean
Auguste Dominique Ingres. Adrian Rifkin re-evaluates Ingres' work in the
context of a variety of literary, musical and visual cultures which are
normally seen as alien to him.
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Ingres, Then and Now
Bokrecensioner » Ingres, Then and Now (Re Visions : Critical Studies in the History and Theory of Art)
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