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City of mirrors: Reflection and vis...

Carlson, Elizabeth Anne.

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City of mirrors: Reflection and visual construction in 19th century Paris.

Record Type:	Electronic resources : Monograph/item
Title/Author:	City of mirrors: Reflection and visual construction in 19th century Paris./
Author:	Carlson, Elizabeth Anne.
Description:	311 p.
Notes:	Source: Dissertation Abstracts International, Volume: 67-11, Section: A, page: 4014.
Contained By:	Dissertation Abstracts International67-11A.
Subject:	Art History. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3243332
ISBN:	9780542991431

City of mirrors: Reflection and visual construction in 19th century Paris.
Carlson, Elizabeth Anne.

City of mirrors: Reflection and visual construction in 19th century Paris. - 311 p.

Source: Dissertation Abstracts International, Volume: 67-11, Section: A, page: 4014.

Thesis (Ph.D.)--University of Minnesota, 2006.

"City of Mirrors: Reflection and Visual Construction in Nineteenth Century Paris" reconstructs and critically examines the popularity of mirrored public interiors in 19th century Paris and how they staged and constructed modern vision. I argue that mirrors were strategically placed in commercial settings such as cafes and department stores to enhance the spectacle of leisure and consumerism and blur the division between public and private space. Expansive plate glass panes (approximately 8 by 5 feet) were mass-produced by the Saint-Gobain glass factory and installed throughout Paris during the mid to late 19 th century. Strips of mirrors that often bordered storefronts exaggerated the spectacle of commerce, leisure, the crowd and the public street. Angled mirrors on storefronts could multiply one person four-fold, revealing multiple profiles and creating the illusion of an even larger crowd on the boulevard. Reflections produce odd, often contradictory spaces. They offer additional views of one's surroundings but also expose him to the public's view. Rather than providing whole pictures, they reflect ephemeral glimpses, bits and pieces of one's surroundings. They seem to double the space, creating theatrical environments that exaggerate and multiply the display of public social relations, urban consumers and commodities. Additionally, mirrored spaces confuse distinctions between public and private realms or even the boundaries between exterior and interior space. I argue that the experience of the mirror seems to be ubiquitous, in all visual experiences in the 19th century, training the public to see differently.

ISBN: 9780542991431Subjects--Topical Terms:

635474
Art History.

City of mirrors: Reflection and visual construction in 19th century Paris.
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100 1 $a Carlson, Elizabeth Anne. $3 1922849
245 1 0 $a City of mirrors: Reflection and visual construction in 19th century Paris.
300 $a 311 p.
500 $a Source: Dissertation Abstracts International, Volume: 67-11, Section: A, page: 4014.
500 $a Adviser: Jane Blocker.
502 $a Thesis (Ph.D.)--University of Minnesota, 2006.
520 $a "City of Mirrors: Reflection and Visual Construction in Nineteenth Century Paris" reconstructs and critically examines the popularity of mirrored public interiors in 19th century Paris and how they staged and constructed modern vision. I argue that mirrors were strategically placed in commercial settings such as cafes and department stores to enhance the spectacle of leisure and consumerism and blur the division between public and private space. Expansive plate glass panes (approximately 8 by 5 feet) were mass-produced by the Saint-Gobain glass factory and installed throughout Paris during the mid to late 19 th century. Strips of mirrors that often bordered storefronts exaggerated the spectacle of commerce, leisure, the crowd and the public street. Angled mirrors on storefronts could multiply one person four-fold, revealing multiple profiles and creating the illusion of an even larger crowd on the boulevard. Reflections produce odd, often contradictory spaces. They offer additional views of one's surroundings but also expose him to the public's view. Rather than providing whole pictures, they reflect ephemeral glimpses, bits and pieces of one's surroundings. They seem to double the space, creating theatrical environments that exaggerate and multiply the display of public social relations, urban consumers and commodities. Additionally, mirrored spaces confuse distinctions between public and private realms or even the boundaries between exterior and interior space. I argue that the experience of the mirror seems to be ubiquitous, in all visual experiences in the 19th century, training the public to see differently.
520 $a I analyze three interiors as case studies of how vision was constructed in these reflective environments: the Folies-Bergere cafe-concert hall, the Au Bon Marche department store, and the "Palace of Illusions," a mirrored pavilion at the 1900 Paris Exposition. All of these mirrored spaces, located in the center of Paris, became theatrical stages for the display of capital and consumption, through both the gigantic mirrors that decorated theatrical performances and cafes and the portable mirrors that enhanced the display of commodities in the new department stores.
590 $a School code: 0130.
650 4 $a Art History. $3 635474
650 4 $a Design and Decorative Arts. $3 1024640
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790 1 0 $a Blocker, Jane, $e advisor
790 $a 0130
791 $a Ph.D.
792 $a 2006
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3243332