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Synopsis
The siege of Paris by Prussians in the fall and winter of 1870 and 1871 turned the city upside down, radically altering its appearance, social structure, and mood. As Hollis Clayson demonstrates in Paris in Despair, the siege took an especially heavy toll on the city's artists, forcing them out of the spaces and routines of their insular prewar lives and thrusting them onto the ramparts (as many became soldiers).
But the crisis did not halt artistic production, as some have suggested. In fact, Clayson argues that the siege actually encouraged innovation, fostering changed attitudes and new approaches to representation among a wide variety of artists as they made art out of their individual experiences of adversity and change—art that has not previously been considered within the context of the siege. Clayson focuses especially on Rosa Bonheur, Edgar Degas, Jean-Alexandre-Joseph Falguière, Edouard Manet, and Henri Regnault, but she also covers a host of other artists, including Ernest Barrias, Gustave Courbet, Edouard Detaille, Pierre Puvis de Chavannes, Albert Robida, and James Tissot. Paris in Despair includes more than two hundred color and black-and-white images of works by these artists and others, many never before published.
Using the visual arts as an interpretive lens, Clayson illuminates the wide range of issues at play during the siege and thereafter, including questions of political and cultural identity, artistic masculinity and femininity, public versus private space, everyday life and modernity, and gender and class roles in military and civilian society. For anyone concerned with these issues, or with nineteenth-century French art in general, Paris in Despair will be a landmark work.
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About the Author
Hollis Clayson is the author of Painted Love: Prostitution and French Art of the Impressionist Era, Paris in Despair: Art and Everyday Life Under Siege(1870–71), and Illuminated Paris: Essays on Art and Lighting in the Belle Époque. A Chevalier in the French Order of the Academic Palms, she is professor emerita at Northwestern University and was the 2024 College Art Association Distinguished Scholar.
From the Back Cover
The siege of Paris by Prussians in the fall and winter of 1870 and 1871 turned the city upside down, radically altering its appearance, social structure, and mood. As Hollis Clayson demonstrates in Paris in Despair, the siege took an especially heavy toll on the city's artists, forcing them out of the spaces and routines of their insular prewar lives and thrusting them onto the ramparts (as many became soldiers).
But the crisis did not halt artistic production, as some have suggested. In fact, Clayson argues that the siege actually encouraged innovation, fostering changed attitudes and new approaches to representation among a wide variety of artists as they made art out of their individual experiences of adversity and change—art that has not previously been considered within the context of the siege. Clayson focuses especially on Rosa Bonheur, Edgar Degas, Jean-Alexandre-Joseph Falguière, Edouard Manet, and Henri Regnault, but she also covers a host of other artists, including Ernest Barrias, Gustave Courbet, Edouard Detaille, Pierre Puvis de Chavannes, Albert Robida, and James Tissot. Paris in Despair includes more than two hundred color and black-and-white images of works by these artists and others, many never before published.
Using the visual arts as an interpretive lens, Clayson illuminates the wide range of issues at play during the siege and thereafter, including questions of political and cultural identity, artistic masculinity and femininity, public versus private space, everyday life and modernity, and gender and class roles in military and civilian society. For anyone concerned with these issues, or with nineteenth-century French art in general, Paris in Despair will be a landmark work.
From the Inside Flap
The siege of Paris by Prussians in the fall and winter of 1870 and 1871 turned the city upside down, radically altering its appearance, social structure, and mood. As Hollis Clayson demonstrates in Paris in Despair, the siege took an especially heavy toll on the city's artists, forcing them out of the spaces and routines of their insular prewar lives and thrusting them onto the ramparts (as many became soldiers).
But the crisis did not halt artistic production, as some have suggested. In fact, Clayson argues that the siege actually encouraged innovation, fostering changed attitudes and new approaches to representation among a wide variety of artists as they made art out of their individual experiences of adversity and change&;art that has not previously been considered within the context of the siege. Clayson focuses especially on Rosa Bonheur, Edgar Degas, Jean-Alexandre-Joseph Falguière, Edouard Manet, and Henri Regnault, but she also covers a host of other artists, including Ernest Barrias, Gustave Courbet, Edouard Detaille, Pierre Puvis de Chavannes, Albert Robida, and James Tissot. Paris in Despair includes more than two hundred color and black-and-white images of works by these artists and others, many never before published.
Using the visual arts as an interpretive lens, Clayson illuminates the wide range of issues at play during the siege and thereafter, including questions of political and cultural identity, artistic masculinity and femininity, public versus private space, everyday life and modernity, and gender and class roles in military and civilian society. For anyone concerned with these issues, or with nineteenth-century French art in general, Paris in Despair will be a landmark work.
But the crisis did not halt artistic production, as some have suggested. In fact, Clayson argues that the siege actually encouraged innovation, fostering changed attitudes and new approaches to representation among a wide variety of artists as they made art out of their individual experiences of adversity and change&;art that has not previously been considered within the context of the siege. Clayson focuses especially on Rosa Bonheur, Edgar Degas, Jean-Alexandre-Joseph Falguière, Edouard Manet, and Henri Regnault, but she also covers a host of other artists, including Ernest Barrias, Gustave Courbet, Edouard Detaille, Pierre Puvis de Chavannes, Albert Robida, and James Tissot. Paris in Despair includes more than two hundred color and black-and-white images of works by these artists and others, many never before published.
Using the visual arts as an interpretive lens, Clayson illuminates the wide range of issues at play during the siege and thereafter, including questions of political and cultural identity, artistic masculinity and femininity, public versus private space, everyday life and modernity, and gender and class roles in military and civilian society. For anyone concerned with these issues, or with nineteenth-century French art in general, Paris in Despair will be a landmark work.
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Paris in Despair Art and Everyday Life under Siege (1870-71)
Published by
The University of Chicago Press Chicago London, 2002
ISBN 10: 0226109577
ISBN 13: 9780226109572
Used
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Seller: Librairie du Bassin, Bordeaux, France
Seller rating 5 out of 5 stars
Couverture souple. Condition: Bon. Texte en anglais / text in english ! Art. Peinture. Monographie. XXXI + 485 p. Riche iconographie. Paris in Despair Art and Everyday Life under Siege (1870-71). --- Hollis Clayson is professor of art history and the Martin J. and Patricia Koldyke Outstanding Teaching Professor at Northwestern University. She is the author of Painted Love: Prostitution in French Art of the Impressionist Era and the coeditor of Understanding Paintings: Themes in Art Explored and Explained. --- The siege of Paris by Prussians in the fall and winter of 1870 and 1871 turned the city upside down, radically altering its appearance, social structure, and mood. As Hollis Clayson demonstrates in Paris in Despair, the siege took a heavy toll on the city's artists, forcing them out of the spaces and routines of their insular prewar lives and often thrusting them onto the ramparts. But the crisis did not halt artistic production, as some have suggested. In fact, as Clayson argues, the siege actually encouraged innovation, fostering changed attitudes and new approaches to representation among a wide variety of artists as they made art out of their individual experiences of adversity and change-art that has not previously been considered within the context of the siege. Using the visual arts as an interpretive lens, Clayson illuminates the wide range of issues at play during the siege and thereafter. For anyone concerned with life or art in nineteenth-century France, Paris in Despair will be a landmark work. --- "Important and original. A beautifully produced book, whose illustrations-more than two hundred-are the substance of the argument rather than mere decoration. Clayson's outstanding strength is that she combines the painstaking technical expertise of the art historian with the broad perspectives of an accomplished social and political historian". Robert Tombs, Times Literary Supplement. --- "Clayson uses current methods of cultural history and feminist theory that look behind battles, monuments, and leading politicians in order to evoke the everyday lives of women, children, and men as they were transformed by war and siege". Robert L. Herbert, New York Review of Books. 22x23,5 cm. 485 p. Broché. Bon état. Papier légèrement bruni. Anecdotiques rousseurs en tranche avec faible impact en marge des pages. in-8°. Seller Inventory # L133729
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Paris in Despair - Art and Everyday Life under Siege (1870-1871)
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University of Chicago Press, 2005
ISBN 10: 0226109577
ISBN 13: 9780226109572
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Soft cover. Condition: Very Good. [Loc. J1-4]. Seller Inventory # 015971
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