Hadrien Viraben, Le savant et le profane. Documents et monuments de l’impressionnisme (1900-1939), Dijon, Les Presses du réel, 2021, 370 p., 57 ill.
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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| Natura: | Article ou chapitre numérique |
| Lingua: | Français |
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2024
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| Accesso online: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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cairn-RDA_223_0083a |
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cairn-RDA_223_0083aRDARevue de l'art https://shs.cairn.info/revue-de-l-art-2024-1-page-83a?lang=fr https://doi.org/10.3917/rda.223.0083a Hadrien Viraben, Le savant et le profane. Documents et monuments de l’impressionnisme (1900-1939), Dijon, Les Presses du réel, 2021, 370 p., 57 ill. Claass, Victor2024 fre Revue de l'art | 223 | 1 | 2024-04-23 | p. 83a-84 | 0035-1326 RDA_22391 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 |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/Cairn/ |
| 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 |
Claass, Victor |
| spellingShingle |
Claass, Victor Hadrien Viraben, Le savant et le profane. Documents et monuments de l’impressionnisme (1900-1939), Dijon, Les Presses du réel, 2021, 370 p., 57 ill. |
| author_facet |
Claass, Victor |
| author_sort |
Claass, Victor |
| title |
Hadrien Viraben, Le savant et le profane. Documents et monuments de l’impressionnisme (1900-1939), Dijon, Les Presses du réel, 2021, 370 p., 57 ill. |
| title_short |
Hadrien Viraben, Le savant et le profane. Documents et monuments de l’impressionnisme (1900-1939), Dijon, Les Presses du réel, 2021, 370 p., 57 ill. |
| title_full |
Hadrien Viraben, Le savant et le profane. Documents et monuments de l’impressionnisme (1900-1939), Dijon, Les Presses du réel, 2021, 370 p., 57 ill. |
| title_fullStr |
Hadrien Viraben, Le savant et le profane. Documents et monuments de l’impressionnisme (1900-1939), Dijon, Les Presses du réel, 2021, 370 p., 57 ill. |
| title_full_unstemmed |
Hadrien Viraben, Le savant et le profane. Documents et monuments de l’impressionnisme (1900-1939), Dijon, Les Presses du réel, 2021, 370 p., 57 ill. |
| title_sort |
hadrien viraben, le savant et le profane. documents et monuments de l’impressionnisme (1900-1939), dijon, les presses du réel, 2021, 370 p., 57 ill. |
| publishDate |
2024 |
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| container_issue |
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https://ezproxy.univ-orleans.fr/login?url=https://shs.cairn.info/revue-de-l-art-2024-1-page-83a?lang=fr https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.3917/rda.223.0083a |
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