The Portrait Bust and French Cultural Politics in the Eighteenth Century (original) (raw)
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The po rtraitist has no tro uble keeping fo o d o n his table; that is to say that there is not o ne wealthy bo urgeo is no t being co quettish eno ugh to want to o wn a portrait o f herself." 1 What this witty o bserver o f the co ntempo rary French art scene in 1728 ironically attacks here reflects the ambivalent po si tion of portraiture in the eighteenth century. Quantitatively meaningf ul, it nevertheless occupied only a middling position in the academic hierarchy of genres. Particularly with the attempts of the incipient neoclassical style to leave the subjects of the time behind (which were considered f rivolous) did the number of people grow who accused portraiture of enjoying an undue boost in popularity, especially compared to history painting. The public ad ministration of art felt compelled to compensate f or the private penchant by of f icially limiting its promotion. 2 Ultimately, however, this had little ef f ect.
This study centres on classicizing portrait busts of French philosophers created during the second half of the eighteenth century. Drawing on Diderot's claim that a sculpture, unlike a painting, requires the viewer to communicate with it, I suggest that the portrait bust of that period should be redefined as a conceptual platform of human interaction. The main observation in this study is that portrait busts of French contemporary philosophers constituted a unique case in art because they epitomized main discourses pertaining both to the French society (as a collective idea) and to the individual. I show that such duality, wherein a collective and patriotic identity is expressed synchronically with the rise of the individual, is most acute in representations of philosophers, who sought to be perceived both as ideal figures and as enlightened individuals. In an era characterized by the flourishing of concepts such as unique self, one and only truth, and authenticity, the use of a classicizing style engendered what seems to be, at first sight, a significant conflict between opposing values. The portraits examined in this essay not only surface this idea but also offer an opportunity to reflect upon the performative role of the busts, considering the communication of the viewer with the works. Prompting a conceptual conversation, portrait busts of philosophers made during the second half of the eighteenth century are thus scrutinized here to delineate the intricate interrelations between the self and the society, between simplicity and virtue, and between the concept of 'here and now' versus eternality.
Decorative Painting and Politics in France, 1890-1914
2014
benefit to me, especially in the final stages-as were his careful and generous (re)readings of the text. Susan Siegfried and Michèle Hannoosh were also early mentors, first offering inspiring coursework and then, as committee members, advice and comments at key stages. Their feedback was such that I always wished I had solicited more, along with Michèle's tea. Josh Cole's seminar gave me a window not only into nineteenth-century France but also into the practice of history, and his kind yet rigorous comments on the dissertation are a model I hope to emulate. Betsy Sears has also been an important source of advice and encouragement. The research and writing of this dissertation was funded by fellowships and grants from the Georges Lurcy Foundation, the Rackham Graduate School at the University of Michigan, the Mellon Foundation, and the Getty Research Institute, as well as a Susan Lipschutz Award. My research was also made possible by the staffs at the Bibliothèque nationale de France, the Institut nationale d'Histoire de l'Art, the Getty Research Library, the Musée des arts décoratifs/Musée de la Publicité, and the Musée Maurice Denis, iii among other institutions. Special thanks go to a number of individuals who provided particular assistance. I would like to express my gratitude to the late Françoise Cachin for allowing me access to the Signac Archives and to Marina Ferretti-Bocquillon for devoting her time to those archival visits and to subsequent questions and requests, as well as to Charlotte Liébert Hellman for related permission requests. At the Musée Maurice Denis, Marie El Caïdi could not have been more welcoming and informative, while Fabienne Stahl, working nearby on the artist's catalogue raisonnée, has been generous both with information and images. Others I would like to thank for research assistance are Michèle Jasnin and Virginie Vignon at the Musée de la Publicité, Anne-Marie Sauvage at the BN's Département des estampes et de la photographie, as well as Laurence Camous and François-Bernard Michel. I would also like to take the opportunity to highlight three professional opportunities that played a particularly strong role in furthering my reflection, and the people who made those opportunities possible. New Directions in Neo-Impressionism, organized by Tania Woloshyn and Anthea Callen at Richmond, the American International University in London on November 20, 2010 led to an issue of the same name in RIHA Journal, edited by Woloshyn and Anne Dymond. Their feedback on my submission, along with that of Robyn Roslak was instrumental in shaping the core of chapter three (which also benefitted from editing by Regina Wenninger). Having welcomed my attendance at sessions of her graduate seminar, Ségolène Le Men kindly invited me to contribute to a stimulating Journée d'étude (Jules Chéret, un pionnier à la iv croisée de l'art décoratif et de l'affiche) at the Musée des Arts Décoratifs on October 20, 2010, she co-organized with Réjane Bargiel in conjunction with the museum's exhibition of the artist's work. This experience, as well as the exhibition itself and its catalog/catalogue raisonnée, helped me to define the argument(s) of chapter two. It also led to many fruitful discussions on posters and other subjects with Karen Carter. Chapter two has also benefitted from thinking and research prompted by my contribution to a forthcoming volume edited by Anca I.