By Adrian Rifkin
Ingres Then, and Now is an cutting edge research of 1 of the best-known French artists of the 19th century, Jean Auguste Dominique Ingres. Adrian Rifkin re-evaluates Ingres' paintings within the context of a number of literary, musical and visible cultures that are as a rule obvious as alien to him. Re-viewing Ingres' work as a sequence of fragmentary signs of the commodity cultures of nineteenth-century Paris, Adrian Rifkin attracts the artist clear of his normal organization with the Academy and the Salon.Rifkin units out to teach how, via taking into account the historic archive as a sort of the subconscious, we will renew our knowing of nineteenth-century conservative or educational cultures by means of interpreting them opposed to their 'other'. He situates Ingres on this planet of the Parisian Arcades, as represented via Walter Benjamin, and examines the impression of this juxtaposition on how we expect of Benjamin himself, following Ingres' snapshot in well known cultures of the 20th century. Rifkin then returns to the past due eighteenth and early 19th centuries to discover lines of the emergence of unusual signs in Ingres' early paintings, indicators which open him to various conflicting readings and appropriations. It concludes through reading his value for the good French artwork critic Jean Cassou at the one hand, and in creating a daring, modern homosexual appropriation at the other.Ingres Then, and Now transforms the preferred snapshot we have now of Ingres. It argues that the determine of the artist is neither mounted in time or position - there's neither a vital guy named Ingres, nor a novel physique of his paintings - yet is an influence of many, advanced and overlapping old results.
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Extra resources for Ingres, Then and Now (Re Visions : Critical Studies in the History and Theory of Art) (Re Visions)
Jean-Pierre Mourey, Philosophies et pratiques du detail: Hegel, Ingres, Sade et quelques autres, Paris, Champ Vallon, 1996, p. 100. It is hard to overestimate this chapter as a contribution to the symptomatic understanding of painting in general and Ingres’ in particular, while his final discussion of linear details in Ingres, pp. 159–166, is disappointingly narrow and formalist. Julia Kristeva, La Revolution du langage poétique. L’avant-garde a la fin du XIXe siècle: Lautréaumont et Mallarmé, Paris, Seuil, 1974, p.
154–170. 37 Tubières de Grimoard de Pestels de Lévis, Comte de Caylus, Tableaux tirés d’Homère et de Virgile, avec des observations générales sur le costume, Paris, 1757, and see Norman Schlenoff, Ingres: cahiers littéraires inédits, Paris, PUF, 1956, for the best account of Ingres’ classical reading. 38 When we look at Caylus in his volumes of antiquites we see how the quantity of objects, problems of periodisation and classification almost always exceeds judgement, and how he comes to admire Egyptian building for its own grandeur rather than as a mere precedent for that of Periclean Athens.
Yet if antiquity and exemplary modern texts are like a score, it’s something INTRODUCTION 27 of a Cageian score, a graphesis that demands no single realisation. So, these are words from the accumulated texts of an artist’s culture at the end of the Enlightenment and the ancien regime, and at the beginning of a revolutionary social world that we think of as becoming systematically bourgeois and modern. Ingres therefore begins to make his notebooks more or less at the outset of the ‘modern episteme’ in Foucault’s sense of the word ‘modern’, and their fragmentary suspense between denoting and classifying seems to fit the moment well.