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Making a tradition of modern art : = The case of Jean-Francois Millet.

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	Making a tradition of modern art :/
Reminder of title:	The case of Jean-Francois Millet.
Author:	Fratello, Bradley Peter.
Description:	1 online resource (506 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 64-06, Section: A.
Contained By:	Dissertations Abstracts International64-06A.
Subject:	Art history. -
Online resource:	click for full text (PQDT)
ISBN:	9780493690377

Making a tradition of modern art : = The case of Jean-Francois Millet.
Fratello, Bradley Peter.

Making a tradition of modern art :The case of Jean-Francois Millet. - 1 online resource (506 pages)

Source: Dissertations Abstracts International, Volume: 64-06, Section: A.

Thesis (Ph.D.)--Washington University in St. Louis, 2001.

Includes bibliographical references

This dissertation explores the reception and artistic canonization of Jean-Francois Millet (1814-75) during his life and in the quarter century after his death. Millet's depictions of rural life were sometimes harsh, and were received poorly at mid-century, earning him the reputation of a Socialist upstart in conservative circles. His difficulty selling them left Millet in financial straits and on the margins of the Parisian art world, suiting him ideally to the romantic, heroic archetype of the avant-garde artist that still largely persists in histories of Modern art. Considering the commemorative projects implemented by the artist's supporters, this study demonstrates how Millet's imagery and persona intersected with the political and cultural climate in France's Third Republic to transform him into a national hero. In tracing the recuperation of Millet's memory, this study presents a model for investigating the institutional embrace of other so-called radical artists. It is a case study of the processes that form canons of Modern art. At the foundation of the project are assessments of current Millet scholarship, his artistic achievement and the mid-nineteenth century reception of his work. They situate the current study methodologically and offer a point of origin for measuring the changes in Millet's constructed persona, and are the subject of the Introduction and the first two chapters. The subsequent three chapters focus on commemorative projects designed to assuage conservative anxieties that his most difficult works aroused. They include, among others, a Millet biography written by Alfred Sensier and Paul Mantz, two provincial monuments designed by Henri Chapu, a retrospective exhibition held in Paris and the incorporation of The Gleaners and The Angelus, two of Millet's most famous paintings, into French collections. These projects presented the artist and his imagery in a nostalgic, pastoral and nationalistic manner that comforted an insecure audience in fin-de-siecle France. The final chapter examines Millet's artistic legacy in the 1890s. Considering how artists of divergent aesthetic and political persuasions each turned to Millet's works for their own development demonstrates both the broadly nationalistic appeal of Millet's work and the ideological divisions that his memory continued to accommodate.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2024

Mode of access: World Wide Web

ISBN: 9780493690377Subjects--Topical Terms:

1180038
Art history.
Subjects--Index Terms:

FranceIndex Terms--Genre/Form:

554714
Electronic books.

Making a tradition of modern art : = The case of Jean-Francois Millet.
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520 $a This dissertation explores the reception and artistic canonization of Jean-Francois Millet (1814-75) during his life and in the quarter century after his death. Millet's depictions of rural life were sometimes harsh, and were received poorly at mid-century, earning him the reputation of a Socialist upstart in conservative circles. His difficulty selling them left Millet in financial straits and on the margins of the Parisian art world, suiting him ideally to the romantic, heroic archetype of the avant-garde artist that still largely persists in histories of Modern art. Considering the commemorative projects implemented by the artist's supporters, this study demonstrates how Millet's imagery and persona intersected with the political and cultural climate in France's Third Republic to transform him into a national hero. In tracing the recuperation of Millet's memory, this study presents a model for investigating the institutional embrace of other so-called radical artists. It is a case study of the processes that form canons of Modern art. At the foundation of the project are assessments of current Millet scholarship, his artistic achievement and the mid-nineteenth century reception of his work. They situate the current study methodologically and offer a point of origin for measuring the changes in Millet's constructed persona, and are the subject of the Introduction and the first two chapters. The subsequent three chapters focus on commemorative projects designed to assuage conservative anxieties that his most difficult works aroused. They include, among others, a Millet biography written by Alfred Sensier and Paul Mantz, two provincial monuments designed by Henri Chapu, a retrospective exhibition held in Paris and the incorporation of The Gleaners and The Angelus, two of Millet's most famous paintings, into French collections. These projects presented the artist and his imagery in a nostalgic, pastoral and nationalistic manner that comforted an insecure audience in fin-de-siecle France. The final chapter examines Millet's artistic legacy in the 1890s. Considering how artists of divergent aesthetic and political persuasions each turned to Millet's works for their own development demonstrates both the broadly nationalistic appeal of Millet's work and the ideological divisions that his memory continued to accommodate.
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