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Painting as social conservation: The...

University of Toronto (Canada).

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Painting as social conservation: The petit sujet in the Ancien Regime.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Painting as social conservation: The petit sujet in the Ancien Regime./
Author:	Whyte, Ryan Lee.
Description:	321 p.
Notes:	Source: Dissertation Abstracts International, Volume: 69-06, Section: A, page: 2022.
Contained By:	Dissertation Abstracts International69-06A.
Subject:	Art History. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=NR39835
ISBN:	9780494398357

Painting as social conservation: The petit sujet in the Ancien Regime.
Whyte, Ryan Lee.

Painting as social conservation: The petit sujet in the Ancien Regime. - 321 p.

Source: Dissertation Abstracts International, Volume: 69-06, Section: A, page: 2022.

Thesis (Ph.D.)--University of Toronto (Canada), 2008.

This dissertation analyzes the petit sujet, a type of painting and printmaking whose subjects were popular and non-literary in origin, low in social status, contemporary, French, and anonymous, and that developed through and in response to the eighteenth-century Paris Salon du Louvre, the public exhibition of the more or less contemporary works of the Academie royale de peinture et de sculpture. The dissertation contextualizes the petit sujet by analyzing the structures of the social and artistic world of the Salon, focusing on the circulation of reproductive prints and of interpretive texts, to argue that the petit sujet was a public art form in both structural and interpretive terms: just as its artists adapted their practice to a newly public artworld, critics crafted a new means of interpreting their works. The dissertation conceptualizes the petit sujet, and the new interpretive model it generated, through comparative, hermeneutic readings of artworld documentation: criticism, print Annonces, print letters, etc., and treats reproductive prints, or rather their non-letter component, as both pictorial and conceptual interpretations of the paintings or drawings they reproduced. This dissertation conceives of the petit sujet as a vehicle of transmission of social and aesthetic ideals, and relies on a semiotic model of the art object while understanding the art object as circulating and in contact with a heterogeneous audience. This dissertation argues that, although the elite controlled the textual interpretation of the petit sujet, the mode of engagement they crafted for it was public in that it treated the petit sujet as a catalyst for the refinement of a vision of society. Through comparative, hermeneutic, semiotic, stylistic, social-contextual and iconographic readings of the work of J.-F. de Troy, J.-B.-S. Chardin, J.-B. Greuze, E. Jeaurat, P.-A. Baudouin, their reproductive printmakers, and dozens of other academic and non-academic artists, the dissertation argues that the productive freedom and interpretive ease of the petit sujet ran counter to academic principles that aimed to stabilize both iconography and interpretation.

ISBN: 9780494398357Subjects--Topical Terms:

635474
Art History.

Painting as social conservation: The petit sujet in the Ancien Regime.
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245 1 0 $a Painting as social conservation: The petit sujet in the Ancien Regime.
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500 $a Source: Dissertation Abstracts International, Volume: 69-06, Section: A, page: 2022.
502 $a Thesis (Ph.D.)--University of Toronto (Canada), 2008.
520 $a This dissertation analyzes the petit sujet, a type of painting and printmaking whose subjects were popular and non-literary in origin, low in social status, contemporary, French, and anonymous, and that developed through and in response to the eighteenth-century Paris Salon du Louvre, the public exhibition of the more or less contemporary works of the Academie royale de peinture et de sculpture. The dissertation contextualizes the petit sujet by analyzing the structures of the social and artistic world of the Salon, focusing on the circulation of reproductive prints and of interpretive texts, to argue that the petit sujet was a public art form in both structural and interpretive terms: just as its artists adapted their practice to a newly public artworld, critics crafted a new means of interpreting their works. The dissertation conceptualizes the petit sujet, and the new interpretive model it generated, through comparative, hermeneutic readings of artworld documentation: criticism, print Annonces, print letters, etc., and treats reproductive prints, or rather their non-letter component, as both pictorial and conceptual interpretations of the paintings or drawings they reproduced. This dissertation conceives of the petit sujet as a vehicle of transmission of social and aesthetic ideals, and relies on a semiotic model of the art object while understanding the art object as circulating and in contact with a heterogeneous audience. This dissertation argues that, although the elite controlled the textual interpretation of the petit sujet, the mode of engagement they crafted for it was public in that it treated the petit sujet as a catalyst for the refinement of a vision of society. Through comparative, hermeneutic, semiotic, stylistic, social-contextual and iconographic readings of the work of J.-F. de Troy, J.-B.-S. Chardin, J.-B. Greuze, E. Jeaurat, P.-A. Baudouin, their reproductive printmakers, and dozens of other academic and non-academic artists, the dissertation argues that the productive freedom and interpretive ease of the petit sujet ran counter to academic principles that aimed to stabilize both iconography and interpretation.
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