2023年9月21日星期四

絕對的資產階級：1848至1851年法國的藝術家與政治2023 The Absolute Bourgeois: Artists and Politics in France ...1990

絕對的資產階級：1848至1851年法國的藝術家與政治

作者: [英]T.J.克拉克

出版社: 商務印書館

譯者: 趙炎

出版年: 2023-6

頁數: 344

定價:CNY98.0

裝幀: 精裝

叢書: 藝術史名著譯叢

ISBN: 9787100215008

內容簡介 · · · · · ·

The Absolute Bourgeois: Artists and Politics in France ...

Amazon.com

https://www.amazon.com › Absolute-Bourgeois-Artists...

T. J. Clark's subject is painting and printmaking in the years following the 1848 Revolution in France, "a time", he argues, "when art and politics could ...

《絕對的資產階級：1848至1851年法國的藝術家與政治》是當代著名藝術史學家T. J. 克拉克的成名作，同時也是他早期藝術史研究的代表作，是展示其藝術社會史研究方法初期成型面貌的絕佳範例。

本書是一部研究時段相對集中，但涉及內容卻非常豐富的著作。在時間上基本聚焦於1848 年革命之後法蘭西第二共和國的短暫歷史，通過研究街壘主題的藝術創作、國家藝術贊助，以及米勒、杜米埃、德拉克洛瓦和波德賴爾在此時期的具體創作情況，展示出了藝術史研究中影響藝術面貌的諸多複雜面向：既有在特定歷史時刻出現的各種歷史變故、政治風向和意識形態轉型，又涉及不同藝術家自己的階級身份、心理狀況和創作中面臨的具體情況，也有關於藝術史傳統、公眾接受和批評家趣味等問題。這些錯綜複雜的因素共同交織成法蘭西第二共和國時期一幅波瀾壯闊又極富戲劇性的歷史畫卷。

目錄 · · · · · ·

前言

1 街壘圖景

2 共和國的藝術

3 米勒

4 杜米埃

5 德拉克洛瓦與波德賴爾

結論

附錄

簡明事記

縮寫表

注釋

參考文獻

插圖目錄

索引

關注作者

T. J. Clark

追蹤

The Absolute Bourgeois: Artists and Politics in France, 1848-1851 Paperback – 17 2 月 1999

作者 T. J. Clark (Author)

4.3 10 個評分

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When this book and its companion volume, Image of the People, appeared in 1973, they were taken as a challenge to the way art was usually written about. "This book," said the Times, "is a product of that school of art history whose history is as well read as its art, and whilst it covers only a small area of time and place, Clark's approach and style are such that it throws up enough ideas and pleasures to illuminate far beyond its rather special circumstances. It is suffused with wit and pathetic irony."

T. J. Clark's subject is painting and printmaking in the years following the 1848 Revolution in France, "a time", he argues, "when art and politics could not escape each other." The book tells the story of a handful of artists trying to take advantage of that unfamiliar—and short-lived—situation. Daumier and Millet are central, particularly in their dealings with the new State's art patronage machine; Delacroix figures as painter and diarist, in agonized withdrawal from the possibility of change, haunted by his own Liberty Guiding the People; and Baudelaire is depicted, after a moment of tortured political involvement in the first months of the Republic, as the great poet of postrevolutionary despair.

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