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The invention of "the model": Artis...

Waller, Susan Stewart.

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The invention of "the model": Artists and models in Paris, 1830--1900.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The invention of "the model": Artists and models in Paris, 1830--1900./
作者:	Waller, Susan Stewart.
面頁冊數:	702 p.
附註:	Source: Dissertation Abstracts International, Volume: 60-12, Section: A, page: 4221.
Contained By:	Dissertation Abstracts International60-12A.
標題:	Art history. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9953393
ISBN:	9780599566934

The invention of "the model": Artists and models in Paris, 1830--1900.
Waller, Susan Stewart.

The invention of "the model": Artists and models in Paris, 1830--1900. - 702 p.

Source: Dissertation Abstracts International, Volume: 60-12, Section: A, page: 4221.

Thesis (Ph.D.)--Northwestern University, 1999.

The study of the human figure became central to art making in Europe after the fifteenth century, but the artist's model became identified as a distinct profession, social type and cultural trope in nineteenth century Paris. By the end of the century, the artist's model was typically assumed to be female and the relationship between artist and model was presumed to be sexual as well as professional. This dissertation complicates and historicizes prevailing assumptions about "the model" by providing a social history of the metier and an examination of stereotypes of the model that circulated in Paris after 1830, when the female displaced the male nude in French art.

ISBN: 9780599566934Subjects--Topical Terms:

2122701
Art history.

The invention of "the model": Artists and models in Paris, 1830--1900.
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245 1 4 $a The invention of "the model": Artists and models in Paris, 1830--1900.
300 $a 702 p.
500 $a Source: Dissertation Abstracts International, Volume: 60-12, Section: A, page: 4221.
500 $a Adviser: S. Hollis Clayson.
502 $a Thesis (Ph.D.)--Northwestern University, 1999.
520 $a The study of the human figure became central to art making in Europe after the fifteenth century, but the artist's model became identified as a distinct profession, social type and cultural trope in nineteenth century Paris. By the end of the century, the artist's model was typically assumed to be female and the relationship between artist and model was presumed to be sexual as well as professional. This dissertation complicates and historicizes prevailing assumptions about "the model" by providing a social history of the metier and an examination of stereotypes of the model that circulated in Paris after 1830, when the female displaced the male nude in French art.
520 $a The first three chapters investigate the prevalent stereotypes of the model. These were figured along lines of class, gender and ethnicity and emerged within popular caricatures and panorama literature, genres that reasserted boundaries at a moment when Parisian population growth disrupted familiar social hierarchies. The stereotype of the shiftless and unkempt modele---occasionnel justified the increasingly marginalized position of male models with the Ecole des Beaux-Arts; the modele-femme was closely related to eroticized feminine types---the grisette and the lorette. The duplicitous modele-juive focused fears about the assimilation of Jews into French society, while the peasant modele-italienne confirmed the modernity of Parisian culture. A persistent "problem" addressed by the stereotypes was the model's social indeterminacy: models, who assumed a variety of roles in the atelier, undermined attempts to reassert social coherence on Parisian streets.
520 $a The fourth chapter examines Realists, efforts to negotiate the emergence of models as recognizable social types. Their efforts to develop an alternative atelier practice and to distance their work from academic practices are examined through paintings of the artist's atelier by Gustave Courbet, Theodore Fantin-Latour, James McNeill Whistler and Frederic Bazille.
520 $a By the Third Republic, the liberalization of censorship laws and the consolidation of the modern dealer/critic and entertainment systems altered the contexts in which stereotypes of models were seen. The final chapter examines the mobilization of the eroticized female model within Salon paintings and boulevard journals as a diversion for a masculine bourgeois audience.
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