東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

Visions for the Viewer: The Influenc...

Thomas, Geoffrey Neil David.

Linked to FindBook

Google Book

Amazon

博客來

Visions for the Viewer: The Influence of Two Unique Easel Paintings on the Late Murals of Pierre Puvis de Chavannes.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Visions for the Viewer: The Influence of Two Unique Easel Paintings on the Late Murals of Pierre Puvis de Chavannes./
Author:	Thomas, Geoffrey Neil David.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2018,
Description:	127 p.
Notes:	Source: Masters Abstracts International, Volume: 58-02.
Contained By:	Masters Abstracts International58-02(E).
Subject:	Art history. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10841561
ISBN:	9780438549838

Visions for the Viewer: The Influence of Two Unique Easel Paintings on the Late Murals of Pierre Puvis de Chavannes.
Thomas, Geoffrey Neil David.

Visions for the Viewer: The Influence of Two Unique Easel Paintings on the Late Murals of Pierre Puvis de Chavannes. - Ann Arbor : ProQuest Dissertations & Theses, 2018 - 127 p.

Source: Masters Abstracts International, Volume: 58-02.

Thesis (M.A.)--University of South Carolina, 2018.

While certainly not lost to the history of art, Pierre Puvis de Chavannes has never enjoyed the status of the titans of the modern canon who openly expressed their indebtedness to him. Georges Seurat, Vincent van Gogh, Pablo Picasso, and so many other artists known to the general public the world over paid tribute to the artist once dubbed "The Painter of France" at a banquet held in his honor to coincide with a retrospective exhibition on the occasion of his seventieth birthday.

ISBN: 9780438549838Subjects--Topical Terms:

2122701
Art history.

Visions for the Viewer: The Influence of Two Unique Easel Paintings on the Late Murals of Pierre Puvis de Chavannes.
LDR:03287nmm a2200349 4500 001 2203612
005 20190531105741.5
008 201008s2018 ||||||||||||||||| ||eng d
020 $a 9780438549838
035 $a (MiAaPQ)AAI10841561
035 $a (MiAaPQ)sc:15904
035 $a AAI10841561
040 $a MiAaPQ $c MiAaPQ
100 1 $a Thomas, Geoffrey Neil David. $3 3430416
245 1 0 $a Visions for the Viewer: The Influence of Two Unique Easel Paintings on the Late Murals of Pierre Puvis de Chavannes.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2018
300 $a 127 p.
500 $a Source: Masters Abstracts International, Volume: 58-02.
500 $a Adviser: Andrew Graciano.
502 $a Thesis (M.A.)--University of South Carolina, 2018.
520 $a While certainly not lost to the history of art, Pierre Puvis de Chavannes has never enjoyed the status of the titans of the modern canon who openly expressed their indebtedness to him. Georges Seurat, Vincent van Gogh, Pablo Picasso, and so many other artists known to the general public the world over paid tribute to the artist once dubbed "The Painter of France" at a banquet held in his honor to coincide with a retrospective exhibition on the occasion of his seventieth birthday.
520 $a Interestingly enough, defenders of the old, academic guard, such as William-Adolphe Bouguereau, Alexandre Cabanel, and Jean-Leon Gerome also held Puvis in high esteem, despite their pronounced opposition to the avant-garde. Thinkers on both sides of the political spectrum, from the socialist Gustave Geffroy to the nationalist Eugene-Melchior de Vogue saw Puvis's oeuvre as symbolic of their definitions of Frenchness, strikingly different as they were.
520 $a I argue that Puvis's broad appeal is largely due to the qualities of his canvases that critic Alphonse de Calonne described as "for the viewer". This evaluation refers to the fact that his compositions are ambiguous enough those who consume them to project their own ideas onto their dreamlike realms, which would, understandably, prove satisfying. Such satisfaction is partly derived from a compositional device Puvis developed during a time when he was not working on the murals for which he was so famous. Instead, he was painting private easel works during a period of his career when public commissions were difficult to come by.
520 $a These works were marked by extreme isolation and despair due to their environments bearing down harshly on their human figures. The murals that followed inverted that composition, instead having the human figures encircle the space they inhabit. Two of those later murals by Puvis debuted in the early 1890s as part of the decorative cycle for an entrance to the restored Hotel de Ville---a civic location meant to welcome all citizens of France. In that context, the murals' being "for the viewer" is not only expected, but appropriate. The murals of Puvis are, in essence, imbued with significance by all who see them, thereby genuinely establishing him "The Painter of France".
590 $a School code: 0202.
650 4 $a Art history. $3 2122701
650 4 $a Art criticism. $3 526357
650 4 $a Aesthetics. $3 523036
690 $a 0377
690 $a 0365
690 $a 0650
710 2 $a University of South Carolina. $b Art History. $3 3185159
773 0 $t Masters Abstracts International $g 58-02(E).
790 $a 0202
791 $a M.A.
792 $a 2018
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10841561