Laugh Lines Caricaturing Painting in Nineteenth-Century France
Produktdetaljer
Biografisk notat
Julia Langbein is Research Fellow at Trinity College Dublin, Ireland. An art historian specialising in 19th-century popular visual culture, she previously held a postdoctoral research fellowship at the University of Oxford, UK.<p>Widely researched, and lavishly illustrated, <i>Laugh Lines</i>, makes both a challenging and inspirational reading. <br /><br />Supported by ample studies of the abundant primary sources, from Baudelaire and Champfleury to Grand-Carteret and Duret, as well as archival material in the Bibliothèque Nationale, the book straddles several areas: reproductive technologies, the practices of physiognomy, photography, Salon history, as well as into cultures of art viewing and the perception of laughter in nineteenth-century France.<br /><br />The book’s unquestionable strength are visual analyses. Langbein takes the readers on captivating journeys, which move with confidence between the original works by Delacroix, Ribot and many lesser-known artists, and the ‘hyperactive lines’ of the rapidly drawn caricatures by Cham and Bertall, sometimes including also polite reproductive engravings of the same paintings for comparison.</p>
Katarzyna Murawska-Muthesius, Journal of Art Historiography
<i>Laugh Lines </i>makes a significant contribution to our understanding of cultural and artistic changes in France from the 1840s to 1880s. It offers an important corrective to the historiography on caricature and modernist painting, and illuminates shifting relations between visual art, literature, and journalism.
Jillian Lerner, Instructor in Media History, Emily Carr University of Art & Design, Canada
<p>In this enthralling study of nineteenth-century Salon caricature, distinctive but neglected artists like Bertall and Cham benefit from being compared with Daumier and Nadar in a wide-ranging historical analysis which explores the extensive variety of printmaking techniques available at the time.</p>
Stephen Bann, Emeritus Professor of History of Art, Bristol University, UK
<p>Julia Langbein’s engaging and impeccably researched volume enriches our comprehension of the spatial and social dynamics of Salon spectatorship. It will become required reading for anyone interested in art headquartered in nineteenth-century Paris.</p>
Hollis Clayson, Bergen Evans Professor Emerita in the Humanities and Professor Emerita of Art History, Northwestern University, USA
Laugh Lines: Caricaturing Painting in Nineteenth-Century France is the first major study of Salon caricature, a kind of graphic art criticism in which press artists drew comic versions of contemporary painting and sculpture for publication in widely consumed journals and albums. Salon caricature began with a few tentative lithographs in the 1840s and within a few decades, no Parisian exhibition could open without appearing in warped, incisive, and hilarious miniature in the pages of the illustrated press.
This broad survey of Salon caricature examines little-known graphic artists and unpublished amateurs alongside major figures like Édouard Manet, puts anonymous jokesters in dialogue with the essays of Baudelaire, and holds up the material qualities of a 10-centime album to the most ambitious painting of the 19th-century. This archival study unearths colorful caricatures that have not been reproduced until now, drawing back the curtain on a robust culture of comedy around fine art and its reception in 19th-century France.
List of Plates
List of Figures
Introduction
1. Comic Reproduction in July Monarchy Paris
2. Dueling and Doubling: The Antagonism of Salon Caricature
3. Salon Caricature and The Physiognomy of Paint
4. Salon Caricature in the age of Reproduction.
5. Gravity and Graphic Medium in Cham and Daumier
6. Caricature and Comic Spectacle at the Paris Salon
7. Salon Caricature and the Making of Manet
Conclusion
Bibliography
Index