Laugh Lines

Caricaturing Painting in Nineteenth-Century France

Inbunden, Engelska, 2022

Av Julia Langbein, Ireland) Langbein, Julia (Trinity College Dublin

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Laugh Lines: Caricaturing Painting in Nineteenth-Century France is the first major study of Salon caricature, a kind of graphic art criticism in which press artists drew comic versions of contemporary painting and sculpture for publication in widely consumed journals and albums. Salon caricature began with a few tentative lithographs in the 1840s and within a few decades, no Parisian exhibition could open without appearing in warped, incisive, and hilarious miniature in the pages of the illustrated press.This broad survey of Salon caricature examines little-known graphic artists and unpublished amateurs alongside major figures like Édouard Manet, puts anonymous jokesters in dialogue with the essays of Baudelaire, and holds up the material qualities of a 10-centime album to the most ambitious painting of the 19th-century. This archival study unearths colorful caricatures that have not been reproduced until now, drawing back the curtain on a robust culture of comedy around fine art and its reception in 19th-century France.

Produktinformation

Utgivningsdatum2022-03-10
Mått162 x 236 x 16 mm
Vikt760 g
FormatInbunden
SpråkEngelska
Antal sidor256
FörlagBloomsbury Publishing PLC
ISBN9781350186859

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List of PlatesList of FiguresIntroduction1. Comic Reproduction in July Monarchy Paris2. Dueling and Doubling: The Antagonism of Salon Caricature3. Salon Caricature and The Physiognomy of Paint 4. Salon Caricature in the age of Reproduction. 5. Gravity and Graphic Medium in Cham and Daumier6. Caricature and Comic Spectacle at the Paris Salon 7. Salon Caricature and the Making of ManetConclusionBibliographyIndex

Widely researched, and lavishly illustrated, Laugh Lines, makes both a challenging and inspirational reading. Supported by ample studies of the abundant primary sources, from Baudelaire and Champfleury to Grand-Carteret and Duret, as well as archival material in the Bibliothèque Nationale, the book straddles several areas: reproductive technologies, the practices of physiognomy, photography, Salon history, as well as into cultures of art viewing and the perception of laughter in nineteenth-century France.The book’s unquestionable strength are visual analyses. Langbein takes the readers on captivating journeys, which move with confidence between the original works by Delacroix, Ribot and many lesser-known artists, and the ‘hyperactive lines’ of the rapidly drawn caricatures by Cham and Bertall, sometimes including also polite reproductive engravings of the same paintings for comparison.