Intern, Orderly, Artist, Corpse: Emerging Masculinities in Henri Gervex's Autopsy at Hôtel-Dieu.
Henri Gervex's large oil painting Autopsy at Hôtel-Dieu (1876) stages a medical scene in which male identities are depicted through visible signs of social, educational and class difference. Through an examination of the historical particularities and contradictions of medical and artistic manhoods,...
| Published in: | Oxford Art Journal Vol. 38; no. 3; pp. 407 - 427 |
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| Format: | Article |
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Oxford University Press / USA
Dec2015
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| Online Access: | View this record in EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=111342732&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 111342732 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 01426540 BJ3 jtl: Oxford Art Journal issn: 01426540 maglogo: N pubinfo: dt: Dec2015 vid: 38 iid: 3 pid: 622 pub: Oxford University Press / USA artinfo: ui: 111342732 10.1093/oxartj/kcv024 ppf: 407 ppct: 20 formats: tig: atl: Intern, Orderly, Artist, Corpse: Emerging Masculinities in Henri Gervex's Autopsy at Hôtel-Dieu. aug: au: Hunter, Mary su: Gervex, Henri, 1852-1929 19th century painting Masculinity in art Medicine in art History of Paris, France 19th century medical history Nineteenth century sug: subj: Gervex, Henri, 1852-1929 19th century painting Masculinity in art Medicine in art History of Paris, France 19th century medical history Nineteenth century ab: Henri Gervex's large oil painting Autopsy at Hôtel-Dieu (1876) stages a medical scene in which male identities are depicted through visible signs of social, educational and class difference. Through an examination of the historical particularities and contradictions of medical and artistic manhoods, this paper explores the dissection room as a social space of masculinity and examines the complex hierarchical relationships amongst men in the Parisian medical world. By analyzing nineteenth-century conceptions of artists, interns, orderlies and corpses, this paper argues that different types of masculinities were performed, mobilized, enforced and produced through visual representations as well as professional cultures and discourses. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y dt: @attributes: year: 2015 holdings: @attributes: islocal: N |
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