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The nude in French art and culture, 1870-1910 / Heather Dawkins.

By: Material type: TextTextPublication details: Cambridge : Cambridge University Press, 2002.Description: xii, 231 p. : ill., facsims., ports. 27 cmISBN:
  • 9780521807555 .
  • 9780521807555 .
Subject(s):
Partial contents:
Introduction -- Decency in dispute: viewing the nude -- Modelling another view: posing for the nude -- Improper appreciation: women and the fine art of the nude -- A defiant imagination: Marie de Montifaud, censorship, and the nude
Scope and content: This title examines the forces that made the nude a contentious image in the early Third Republic. Analyzing the evolving relationship between the fine art nude, print culture, and censorship, The author explores how artists, art critics, politicians, bureaucrats, lawyers, and judges evaluated the nude. She shows how spectatorship of the nude was refracted through the ideals of art, femininity, republican liberty, and public decency. An art form made for and by men, the nude was rarely the subject of serious engagement on the part of women. A few, nevertheless, attempted to take up the issues and challenges of the nude. Dawkins investigates in detail how these women reshaped the genre of the nude and its spectatorship in order for it to accommodate their own experience and subjectivity
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Holdings
Item type Current library Call number Status Date due Barcode
General General ATU Wellpark Road General Shelves 757.4094409034 (Browse shelf(Opens below)) Available G114849

Includes bibliographical references (p. 215-222) and index.

Introduction -- Decency in dispute: viewing the nude -- Modelling another view: posing for the nude -- Improper appreciation: women and the fine art of the nude -- A defiant imagination: Marie de Montifaud, censorship, and the nude

This title examines the forces that made the nude a contentious image in the early Third Republic. Analyzing the evolving relationship between the fine art nude, print culture, and censorship, The author explores how artists, art critics, politicians, bureaucrats, lawyers, and judges evaluated the nude. She shows how spectatorship of the nude was refracted through the ideals of art, femininity, republican liberty, and public decency. An art form made for and by men, the nude was rarely the subject of serious engagement on the part of women. A few, nevertheless, attempted to take up the issues and challenges of the nude. Dawkins investigates in detail how these women reshaped the genre of the nude and its spectatorship in order for it to accommodate their own experience and subjectivity

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