東華大學圖書館 |

What Was in the News : = Picturing Current Events in Seventeenth Century France.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	What Was in the News :/
其他題名:	Picturing Current Events in Seventeenth Century France.
作者:	Brown, Thomas Franklin.
面頁冊數:	1 online resource (650 pages)
附註:	Source: Dissertations Abstracts International, Volume: 84-03, Section: A.
Contained By:	Dissertations Abstracts International84-03A.
標題:	Art history. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29328446click for full text (PQDT)
ISBN:	9798351459363

What Was in the News : = Picturing Current Events in Seventeenth Century France.
Brown, Thomas Franklin.

What Was in the News :Picturing Current Events in Seventeenth Century France. - 1 online resource (650 pages)

Source: Dissertations Abstracts International, Volume: 84-03, Section: A.

Thesis (Ph.D.)--Rutgers The State University of New Jersey, School of Graduate Studies, 2022.

Includes bibliographical references

My dissertation examines how images shaped and disseminated knowledge of current events in seventeenth-century France. Focusing on prints but also considering painting, tapestry, and other media, I investigate depictions of war, ceremony, festivity, diplomacy, and crime and punishment. Looking both at specific events and the period as a whole, I determine what was emphasized or ignored, when images were made and distributed, by whom, for whom, and to what ends, and how depictions changed as France emerged from internal strife to become the dominant European power.My opening chapter surveys the current events imagery of the sixteenth century, setting the stage for my study by identifying the formats for depicting events that emerged as artists, notably the Cologne printmaker Frans Hogenberg, documented the French Wars of Religion and the Dutch War of Independence. The second chapter uses a data set I amassed of about 1,200 seventeenth century prints of events to find patterns, continuities, and absences. The majority are French but to allow for cross-cultural comparison I include German and Dutch images of events connected to France. To understand how treatments of similar subjects varied (or not) over time and place, I take into account a range of criteria, including subject matter, timeliness, quality, gender of figures, and accompanying text. My finding is that over the course of the century, as the artistic sophistication of French prints of events increased, the amount of information they provided dwindled, and the time lag between an event and its depiction grew longer.Each subsequent chapter focuses on a specific event or period. Chapter 3 assesses prints of the 1610 assassination of Henri IV and the public execution of his assassin, Francois Ravaillac, who, notorious in the wake of his crime, became the subject of what I argue is a new genre of portrait print. Chapter 4 is devoted to imagery surrounding the 1627-28 Siege of La Rochelle, which definitively ended the decades-long conflict in France between the Catholic crown and the Protestant minority. Close analysis of a royal commission, Jacques Callot's large-scale siege print, opens comparisons to mass-produced news images of the siege and contemporary chronicles by eyewitnesses. The final two chapters analyze portrayals of ceremonial and military events of the last decades of the century. Chapter 5 focuses on images of events at Versailles, both before and after it became the permanent seat of the French court in 1682; Chapter 6 on prints of the wars of Louis XIV, with special attention given to two engagements in the Franco-Dutch War, the 1673 Siege of Maastricht and the 1674 Battle of Seneffe. My careful consideration of chronological sequence reveals that in these years the production of timely images of what was in the news was rare. Instead, the dominant formats for depicting events were (i) the almanac prints brought out annually by Parisian publishers every December and (ii) state-sponsored sets that often appeared only years after the events they depicted. I propose that the absence of news prints in the France of Louis XIV, attributable on first glance to the repressive climate of an absolutist state, is instead a function of the conservative business practices of French print publishers themselves.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798351459363Subjects--Topical Terms:

2122701
Art history.
Subjects--Index Terms:

BaroqueIndex Terms--Genre/Form:

542853
Electronic books.

What Was in the News : = Picturing Current Events in Seventeenth Century France.
LDR:04763nmm a2200409K 4500 001 2359062
005 20230906055303.5
006 m o d
007 cr mn ---uuuuu
008 241011s2022 xx obm 000 0 eng d
020 $a 9798351459363
035 $a (MiAaPQ)AAI29328446
035 $a AAI29328446
040 $a MiAaPQ $b eng $c MiAaPQ $d NTU
100 1 $a Brown, Thomas Franklin. $3 3699624
245 1 0 $a What Was in the News : $b Picturing Current Events in Seventeenth Century France.
264 0 $c 2022
300 $a 1 online resource (650 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Dissertations Abstracts International, Volume: 84-03, Section: A.
500 $a Advisor: Puglisi, Catherine.
502 $a Thesis (Ph.D.)--Rutgers The State University of New Jersey, School of Graduate Studies, 2022.
504 $a Includes bibliographical references
520 $a My dissertation examines how images shaped and disseminated knowledge of current events in seventeenth-century France. Focusing on prints but also considering painting, tapestry, and other media, I investigate depictions of war, ceremony, festivity, diplomacy, and crime and punishment. Looking both at specific events and the period as a whole, I determine what was emphasized or ignored, when images were made and distributed, by whom, for whom, and to what ends, and how depictions changed as France emerged from internal strife to become the dominant European power.My opening chapter surveys the current events imagery of the sixteenth century, setting the stage for my study by identifying the formats for depicting events that emerged as artists, notably the Cologne printmaker Frans Hogenberg, documented the French Wars of Religion and the Dutch War of Independence. The second chapter uses a data set I amassed of about 1,200 seventeenth century prints of events to find patterns, continuities, and absences. The majority are French but to allow for cross-cultural comparison I include German and Dutch images of events connected to France. To understand how treatments of similar subjects varied (or not) over time and place, I take into account a range of criteria, including subject matter, timeliness, quality, gender of figures, and accompanying text. My finding is that over the course of the century, as the artistic sophistication of French prints of events increased, the amount of information they provided dwindled, and the time lag between an event and its depiction grew longer.Each subsequent chapter focuses on a specific event or period. Chapter 3 assesses prints of the 1610 assassination of Henri IV and the public execution of his assassin, Francois Ravaillac, who, notorious in the wake of his crime, became the subject of what I argue is a new genre of portrait print. Chapter 4 is devoted to imagery surrounding the 1627-28 Siege of La Rochelle, which definitively ended the decades-long conflict in France between the Catholic crown and the Protestant minority. Close analysis of a royal commission, Jacques Callot's large-scale siege print, opens comparisons to mass-produced news images of the siege and contemporary chronicles by eyewitnesses. The final two chapters analyze portrayals of ceremonial and military events of the last decades of the century. Chapter 5 focuses on images of events at Versailles, both before and after it became the permanent seat of the French court in 1682; Chapter 6 on prints of the wars of Louis XIV, with special attention given to two engagements in the Franco-Dutch War, the 1673 Siege of Maastricht and the 1674 Battle of Seneffe. My careful consideration of chronological sequence reveals that in these years the production of timely images of what was in the news was rare. Instead, the dominant formats for depicting events were (i) the almanac prints brought out annually by Parisian publishers every December and (ii) state-sponsored sets that often appeared only years after the events they depicted. I propose that the absence of news prints in the France of Louis XIV, attributable on first glance to the repressive climate of an absolutist state, is instead a function of the conservative business practices of French print publishers themselves.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2023
538 $a Mode of access: World Wide Web
650 4 $a Art history. $3 2122701
650 4 $a European history. $2 bicssc $3 1972904
650 4 $a Art criticism. $3 526357
653 $a Baroque
653 $a Callot, Jacques
653 $a French Art
653 $a Hogenberg, Frans
653 $a Louis XIV
653 $a Printmaking
655 7 $a Electronic books. $2 lcsh $3 542853
690 $a 0377
690 $a 0335
690 $a 0365
710 2 $a ProQuest Information and Learning Co. $3 783688
710 2 $a Rutgers The State University of New Jersey, School of Graduate Studies. $b Art History. $3 3354477
773 0 $t Dissertations Abstracts International $g 84-03A.
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29328446 $z click for full text (PQDT)