MARC Record from marc_columbia

LEADER: 03974cam a22005654a 4500
001 14662273
005 20201022132137.0
006 m o d
007 cr cnu---unuuu
008 000307s2000 nyua ob 001 0 eng d
010 $a 99042448
035 $a(OCoLC)ocm60692542
035 $a(NNC)14662273
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019 $a1048129992$a1107339030
020 $a0203976460$q(electronic bk.)
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072 7 $aART$x015000$2bisacsh
082 04 $a759.4$aB$222
049 $aZCUA
100 1 $aRifkin, Adrian.
245 10 $aIngres then, and now /$cAdrian Rifkin.
260 $aNew York :$bRoutledge,$c2000.
300 $a1 online resource (xii, 163 pages) :$billustrations
336 $atext$btxt$2rdacontent
337 $acomputer$bc$2rdamedia
338 $aonline resource$bcr$2rdacarrier
490 1 $aRe visions
504 $aIncludes bibliographical references and index.
588 0 $aPrint version record.
505 0 $a1. Ingres and the Arcades -- 2. Académie, or the colour white and the childhood of art criticism -- 3. A filament in the tissues of modernity.
520 0 $aThis is an unusually fine and intelligent study, which will prove compelling to anyone thinking about the nature of modern art and the situation of the modern artist in 19th and 20th century France. Rifkin offers the reader an array of brilliant and unexpected insights--at times focused on Ingres, at others opening out onto new ways of thinking about modernity and the fabric of modern artistic culture Alex Potts, University of ReadingIngres Then, and Now is an innovative study of one of the best-known French artists of the nineteenth century, Jean Auguste Dominique Ingres. Adam Rifkin reevaluates Ingres' work in the context of a variety of literary, musical and visual cultures which are normally seen as alien to him. Rifkin offers insightful interpretations of Ingres' early work, and follows the artist's image in the popular cultures of the twentieth century. Approaching Ingres' paintings as symptomatic of the commodity cultures of nineteenth-century Paris, he draws the artist away from his familiar association with the Academy and the Salon, and instead situates Ingres in the world of the Parisian Arcades. Finally, the book examines Ingres' importance for the great French art critic Jean Cassou, and makes a bold, contemporary gay appropriation of his work. Ingres Then, and Now transforms the popular image we have of Ingres. Rifkin argues that the figure of the artist is neither fixed in time or place--there is neither an essential man named Ingres, nor a singular body of his work--but rather is an effect of many complex and overlapping historical forces. Lavishly illustrated with over 50 images, this compelling study will transform our understanding of Ingres and his cultural impact.
600 10 $aIngres, Jean-Auguste-Dominique,$d1780-1867$xCriticism and interpretation.
600 17 $aIngres, Jean-Auguste-Dominique,$d1780-1867$2fast$0(OCoLC)fst00071950
650 7 $aART$xHistory$xGeneral.$2bisacsh
655 0 $aElectronic books.
655 4 $aElectronic books.
655 7 $aCriticism, interpretation, etc.$2fast$0(OCoLC)fst01411635
776 08 $iPrint version:$aRifkin, Adrian.$tIngres then, and now.$dNew York : Routledge, 2000$z0415066972$z0415066980$w(DLC) 99042448$w(OCoLC)42027472
830 0 $aRe visions.
830 0 $aRe visions (London, England)
856 40 $uhttp://www.columbia.edu/cgi-bin/cul/resolve?clio14662273$zTaylor & Francis eBooks
852 8 $blweb$hEBOOKS