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The agreeable game of art: Francois ...

Hyde, Melissa Lee.

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The agreeable game of art: Francois Boucher and the worldly play of gender.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	The agreeable game of art: Francois Boucher and the worldly play of gender./
作者:	Hyde, Melissa Lee.
面頁冊數:	343 p.
附註:	Source: Dissertation Abstracts International, Volume: 58-02, Section: A, page: 0323.
Contained By:	Dissertation Abstracts International58-02A.
標題:	History, European. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9723032
ISBN:	9780591321463

The agreeable game of art: Francois Boucher and the worldly play of gender.
Hyde, Melissa Lee.

The agreeable game of art: Francois Boucher and the worldly play of gender. - 343 p.

Source: Dissertation Abstracts International, Volume: 58-02, Section: A, page: 0323.

Thesis (Ph.D.)--University of California, Berkeley, 1996.

In the body of writing about eighteenth-century French art, there is an abiding conception of the rococo as feminine. This study responds critically to that idea, first, by examining the discursive processes by which the rococo was defined, after the fact, in terms of a binary notion of gender and then, by reading against the grain of this textual formation in a re-examination of rococo visual culture, largely as it was exemplified by the work of Francois Boucher (1703-1770).

ISBN: 9780591321463Subjects--Topical Terms:

1018076
History, European.

The agreeable game of art: Francois Boucher and the worldly play of gender.
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245 1 4 $a The agreeable game of art: Francois Boucher and the worldly play of gender.
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500 $a Source: Dissertation Abstracts International, Volume: 58-02, Section: A, page: 0323.
500 $a Chair: Carol Armstrong.
502 $a Thesis (Ph.D.)--University of California, Berkeley, 1996.
520 $a In the body of writing about eighteenth-century French art, there is an abiding conception of the rococo as feminine. This study responds critically to that idea, first, by examining the discursive processes by which the rococo was defined, after the fact, in terms of a binary notion of gender and then, by reading against the grain of this textual formation in a re-examination of rococo visual culture, largely as it was exemplified by the work of Francois Boucher (1703-1770).
520 $a In considering how the rococo was en-gendered rather than how it was inherently gendered, I trace the links between the writing of the rococo as feminine and the gendering of mondaine, or worldly, culture, and I point to the ways in which anti-rococo criticism was wedded to a critique of class. Reformist critics invested in the binary oppositions of man/woman anxiously labeled the worldly ambiguities of Boucher's paintings as exclusively "feminine." But such uncongenial assessments of le beau monde and the work of its painter of choice imposed a binary logic on a world that was not so binary. For the mondaine public, the status of Boucher's images would have been much less categorical and clear cut. The binary model through which Boucher's oeuvre has been read traditionally is a construction imposed on a previous culture's celebration of undecidability.
520 $a In light of such mondaine ambiguities, my project has been to rethink the visual economies of certain pictures by Boucher, the kinds of subjectivity that they posit, the ways in which they construct gender identity, and the kinds of viewing pleasure they offer. My position is distinct both from the eighteenth-century conception of the rococo as feminine (and its art historical aftermath), and from twentieth-century understandings of the gaze and masculinist economies of representation that have informed much feminist art history since Laura Mulvey's ground-breaking essay: I do not view Boucher's paintings as representing gender in terms of the rigid categories that were a central formation of Enlightenment philosophy and political ideology--a formation upon which the understanding of "woman as image, man as bearer of the look" also relies. His paintings were informed, rather, by ideals and practices that often work against the fixed contrariety of masculine/feminine, confusing the categories themselves in what one eighteenth-century critic termed, "the agreeable game of art."
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