Pierre-Auguste Renoir et Berthe Morisot : Deux peintres impressionnistes face à l’art du xviiie siècle

Pierre-Auguste Renoir et Berthe Morisot : Deux peintres impressionnistes face à l’art du xviiie siècle

In 1888, the French artist Jean-François Raffaëlli painted a full-length portrait of the writer Edmond de Goncourt in his home. The work was the first of several joint projects the pair would embark on between 1888 and 1890. Perhaps no other work would challenge Raffaëlli’s approach more fundamental...

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Autor principal: Kovács, Anna Zsófia
Format: Article ou chapitre numérique
Idioma:Français
Publicat: 2024
Accés en línia:Accès Université d'Orléans et IFPM
Accès Université d'Orléans et IFPM
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spelling cairn-RDA_223_0078RDARevue de l'art https://shs.cairn.info/revue-de-l-art-2024-1-page-78?lang=fr https://doi.org/10.3917/rda.223.0078 Pierre-Auguste Renoir et Berthe Morisot : Deux peintres impressionnistes face à l’art du xviiie siècle Kovács, Anna Zsófia2024 fre Revue de l'art | 223 | 1 | 2024-04-23 | p. 78-82 | 0035-1326 RDA_22389 In 1888, the French artist Jean-François Raffaëlli painted a full-length portrait of the writer Edmond de Goncourt in his home. The work was the first of several joint projects the pair would embark on between 1888 and 1890. Perhaps no other work would challenge Raffaëlli’s approach more fundamentally than painting Goncourt’s portrait. For Raffaëlli, portraying this esteemed writer also entailed portraying Goncourt’s worldview, much of which was fundamentally at odds with his own. These differences concerned the very premise of Raffaëlli’s philosophy of art: what comprises character; where it resides; and how it differs according to one’s social position. Painting Goncourt forced Raffaëlli to confront these differences head-on and, in turn, to make the aesthetic and ethical compromises involved in truly making space for another person in your art.Cairn free access
language Français
format Article ou chapitre numérique
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description In 1888, the French artist Jean-François Raffaëlli painted a full-length portrait of the writer Edmond de Goncourt in his home. The work was the first of several joint projects the pair would embark on between 1888 and 1890. Perhaps no other work would challenge Raffaëlli’s approach more fundamentally than painting Goncourt’s portrait. For Raffaëlli, portraying this esteemed writer also entailed portraying Goncourt’s worldview, much of which was fundamentally at odds with his own. These differences concerned the very premise of Raffaëlli’s philosophy of art: what comprises character; where it resides; and how it differs according to one’s social position. Painting Goncourt forced Raffaëlli to confront these differences head-on and, in turn, to make the aesthetic and ethical compromises involved in truly making space for another person in your art.
author Kovács, Anna Zsófia
spellingShingle Kovács, Anna Zsófia
Pierre-Auguste Renoir et Berthe Morisot : Deux peintres impressionnistes face à l’art du xviiie siècle
author_facet Kovács, Anna Zsófia
author_sort Kovács, Anna Zsófia
title Pierre-Auguste Renoir et Berthe Morisot : Deux peintres impressionnistes face à l’art du xviiie siècle
title_short Pierre-Auguste Renoir et Berthe Morisot : Deux peintres impressionnistes face à l’art du xviiie siècle
title_full Pierre-Auguste Renoir et Berthe Morisot : Deux peintres impressionnistes face à l’art du xviiie siècle
title_fullStr Pierre-Auguste Renoir et Berthe Morisot : Deux peintres impressionnistes face à l’art du xviiie siècle
title_full_unstemmed Pierre-Auguste Renoir et Berthe Morisot : Deux peintres impressionnistes face à l’art du xviiie siècle
title_sort pierre-auguste renoir et berthe morisot : deux peintres impressionnistes face à l’art du xviiie siècle
publishDate 2024
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url https://ezproxy.univ-orleans.fr/login?url=https://shs.cairn.info/revue-de-l-art-2024-1-page-78?lang=fr
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.3917/rda.223.0078
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