Marine Kisiel : La peinture impressionniste et la décoration. Paris, le Passage, 2021. 380 p. ill. en coul.
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...
সংরক্ষণ করুন:
| প্রধান লেখক: | |
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| বিন্যাস: | Article ou chapitre numérique |
| ভাষা: | Français |
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2024
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| অনলাইন ব্যবহার করুন: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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cairn-RDA_223_0085 |
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cairn |
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cairn-RDA_223_0085RDARevue de l'art https://shs.cairn.info/revue-de-l-art-2024-1-page-85?lang=fr https://doi.org/10.3917/rda.223.0085 Marine Kisiel : La peinture impressionniste et la décoration. Paris, le Passage, 2021. 380 p. ill. en coul. Deltour, Louis2024 fre Revue de l'art | 223 | 1 | 2024-04-23 | p. 85-86 | 0035-1326 RDA_22393 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 |
Deltour, Louis |
| spellingShingle |
Deltour, Louis Marine Kisiel : La peinture impressionniste et la décoration. Paris, le Passage, 2021. 380 p. ill. en coul. |
| author_facet |
Deltour, Louis |
| author_sort |
Deltour, Louis |
| title |
Marine Kisiel : La peinture impressionniste et la décoration. Paris, le Passage, 2021. 380 p. ill. en coul. |
| title_short |
Marine Kisiel : La peinture impressionniste et la décoration. Paris, le Passage, 2021. 380 p. ill. en coul. |
| title_full |
Marine Kisiel : La peinture impressionniste et la décoration. Paris, le Passage, 2021. 380 p. ill. en coul. |
| title_fullStr |
Marine Kisiel : La peinture impressionniste et la décoration. Paris, le Passage, 2021. 380 p. ill. en coul. |
| title_full_unstemmed |
Marine Kisiel : La peinture impressionniste et la décoration. Paris, le Passage, 2021. 380 p. ill. en coul. |
| title_sort |
marine kisiel : la peinture impressionniste et la décoration. paris, le passage, 2021. 380 p. ill. en coul. |
| publishDate |
2024 |
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https://ezproxy.univ-orleans.fr/login?url=https://shs.cairn.info/revue-de-l-art-2024-1-page-85?lang=fr https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.3917/rda.223.0085 |
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