History, Anecdote, and Accuracy: Anicet Charles Gabriel Lemonnier's Première lecture, chez Madame Geoffrin, de l' "Orphelin de la Chine," tragédie de Voltaire, en 1755.
Anicet Charles Gabriel Lemonnier's Première lecture, chez Madame Geoffrin, de l' "Orphelin de la Chine," tragédie de Voltaire, en 1755 (1812) frequently appears in books, articles, and websites as an illustration of the famous salon of Mme Geoffrin. Most scholarship on the painting focuses on its st...
| Publicado en: | Eighteenth Century Fiction Vol. 33; no. 1; pp. 25 - 57 |
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| Formato: | Artículo |
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University of Toronto Press
Fall2020
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=145957803&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 145957803 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 08406286 7SD jtl: Eighteenth Century Fiction issn: 08406286 maglogo: N pubinfo: dt: Fall2020 vid: 33 iid: 1 pid: 678 pub: University of Toronto Press artinfo: ui: 145957803 10.3138/ecf.33.1.25 ppf: 25 ppct: 32 formats: fmt: – @attributes: type: T – @attributes: type: P size: 5MB tig: atl: History, Anecdote, and Accuracy: Anicet Charles Gabriel Lemonnier's Première lecture, chez Madame Geoffrin, de l' "Orphelin de la Chine," tragédie de Voltaire, en 1755. aug: au: Fripp, Jessica L. su: Lemonnier, Anicet Charles Gabriel, 1743-1824 18th century French painting Josephine, Empress, consort of Napoleon I, Emperor of the French, 1763-1814 Geoffrin, Marie Thérèse Rodet, 1699-1777 Salons (Gatherings) History of painting sug: subj: Lemonnier, Anicet Charles Gabriel, 1743-1824 18th century French painting Josephine, Empress, consort of Napoleon I, Emperor of the French, 1763-1814 Geoffrin, Marie Thérèse Rodet, 1699-1777 Salons (Gatherings) History of painting ab: Anicet Charles Gabriel Lemonnier's Première lecture, chez Madame Geoffrin, de l' "Orphelin de la Chine," tragédie de Voltaire, en 1755 (1812) frequently appears in books, articles, and websites as an illustration of the famous salon of Mme Geoffrin. Most scholarship on the painting focuses on its status as a false "document," and situates it within the context of Post-Revolution nostalgia for the ancien régime. These discussions ignore two key parts of this work's history: its purchase by Joséphine de Beauharnais, and the critical reaction to its exhibition at the Salon of 1814. This essay explores these two interconnected aspects. First, I situate Joséphine's interest in the broader cultural context of salonnières' use of art to promote a femino centric history of the salon. Second, I consider how critics fixated on the painting's anachronism, and deemed that aspect necessary to its success. Ultimately, I argue that the criticism and eventual dismissal of the work is rooted in broader inter pretations of the anecdotal genre scenes, and women's interest in those subjects, as "feminine." pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Eighteenth Century Fiction is the property of University of Toronto Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Eighteenth Century Fiction holder: University of Toronto Press dt: @attributes: year: 2020 holdings: @attributes: islocal: N |
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