Museum ad nauseam? Museums in the post-modern labyrinth
In 1956, as France was just beginning to savor the benefits of a consumer society, Charles Estienne, an influential and popular French art critic who was championing the most advanced forms of modern art, finally decided to give up his career in the art world and devote himself to writing popular s...
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| Gepubliceerd in: | URI:https://journals.openedition.org/perspective, |
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| Hoofdauteur: | |
| Formaat: | Article ou chapitre numérique |
| Taal: | Anglais |
| Gepubliceerd in: |
Perspective
2016
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| Onderwerpen: | |
| Online toegang: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Samenvatting: | In 1956, as France was just beginning to savor the benefits of a consumer society, Charles Estienne, an influential and popular French art critic who was championing the most advanced forms of modern art, finally decided to give up his career in the art world and devote himself to writing popular songs, in particular for his anarchist friend Léo Ferré, and quickly became the household name of French intellectual songwriting. In order to justify such a radical change, Estienne, who had previo... |
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