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The Barricade, Rue De La Mortellerie, June 1848: A Reflection Of Class Tension In Nineteenth-Century Paris, Chelsea Werner
The Barricade, Rue De La Mortellerie, June 1848: A Reflection Of Class Tension In Nineteenth-Century Paris, Chelsea Werner
The Corinthian
Scholars have previously maintained that Meissonier’s painting pays homage to the many working-class Parisians that died during the uprising. For example, Constance Cain Hungerford contends, “Meissonier thus dignifies the rebels with devotion to a nation ideal that he shared, even if he defied republican values less radically and disapproved of violence as a means to pursue them.”3 Hungerford and other scholars have explored the possibility that The Barricade represents a dedication to those who died during the rebellion, but few have explored the contention that this painting is not only a warning to future rebels, but also a manifestation of …
The Feminine Personification Of Death In Gustave Moreau’S Evening And Sorrow, May Johnson
The Feminine Personification Of Death In Gustave Moreau’S Evening And Sorrow, May Johnson
The Corinthian
This paper will argue that Moreau’s depiction of the female embodies the seductive and destructive nature of death which preoccupied the arts and literature of the late nineteenth-century. Moreau’s Evening and Sorrow, effectively conveys the increased interest in emotions, and psychology, as a counter-action to the predominance of natural sciences, during the late-nineteenth century.
The Socioeconomic Significance Of Maximilien Luce’S Morning, Interior 1890, Stephanie Reagan
The Socioeconomic Significance Of Maximilien Luce’S Morning, Interior 1890, Stephanie Reagan
The Corinthian
Using the painting, Morning, Interior, as a platform for discussion, we delve into the technical prominence and political ideals of Maximilien Luce. Luce’s individual authenticity is an intriguing, often overlooked point of discussion.
The Wounds Of War: Puvis De Chavannes’ The Dream, Ariana Yandell
The Wounds Of War: Puvis De Chavannes’ The Dream, Ariana Yandell
The Corinthian
In The Dream by Puvis de Chavannes from 1883, what is presented in a nightscape involving a slumbering traveler who is visited by three luminous vestiges representing Love, Glory and Wealth. Scholars have noted that such representations of these three often appear in Western literature in regards to worldly desires, which could allude to the success of the artist at his current level of production. However, noting the extent of the influence of Renaissance and Medieval imagery on Puvis, and his commitment to French government commissions, there is likely a more political interpretation to the meaning of The Dream.