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Degas, Edgar, --- Edgar Degas --- artists --- France

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Marcel Duchamps Ready-mades sowie Pablo Picassos Collagen stehen paradigmatisch für den Bruch der Avantgarde mit der traditionellen Kunst. Inwiefern dies eine Konstruktion der Kunstgeschichtsschreibung ist, bringt die Untersuchung von Tobias Vogt zur Sprache wie zur Anschauung. Das Buch behandelt das Verhältnis von künstlerischer Produktion zu handwerklichen und industriellen Herstellungsverfahren im französischen 19. Jahrhundert. Im Zentrum stehen dabei Industrieprodukte als plastisches Material, gemalte Zeitungslettern und die Arbeitsteilung vor allem in druckgrafischen Prozessen. Fallbeispiele zeigen, dass bereits die Salon-Kunst, die Pressegrafik, ein Gemälde von Claude Monet sowie das Bild-Text-Spiel des Rebus den vermeintlichen Innovationen des 20. Jahrhunderts - Collage und Ready-made - den Weg ebneten.

Avant-garde --- Avantgarde --- Tageszeitung --- Salonkunst --- Salon art --- Rebus --- Ready-made --- Claude Monet --- Collage --- Edgar Degas --- Impressionism --- Impressionismus --- Marcel Duchamp --- Newspaper --- Pablo Picasso

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prentkunst --- Graphic arts --- Degas, Edgar --- grafiek --- painters [artists] --- printmakers --- prints [visual works] --- drawings [visual works] --- (069) --- 76.07 --- Edgar Degas (Edgar de Gas) 1834-1917 (°Parijs, Fr.) --- Grafiek ; Impressionisme ; Edgar Degas --- 76 DEGAS, EDGAR --- 76 DEGAS, EDGAR Grafische kunsten. Grafiek. Prentkunst--DEGAS, EDGAR --- Grafische kunsten. Grafiek. Prentkunst--DEGAS, EDGAR --- (Musea. Collecties) --- Grafische kunst ; grafische kunstenaars A-Z --- Degas, Edgar, --- De Gas, Hilaire Germain Edgar, --- Dega, Ėdgar, --- Degas, Hilaire Germain Edgar, --- Gas, Hilaire Germain Edgar De, --- דגה, אדגאר, --- Doujia, --- Te-chia, --- Exhibitions. --- De Gas, Hilaire Germain Edgar --- de Gas, Hilaire Germain Edgar --- Degas, Hilaire Germain Edgar --- Gas, Hilaire Germain Edgar De --- Doujia --- Te-chia --- Degas, Edgar.

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How the urban spectator became the archetypal modern viewer and a central subject in late nineteenth-century French artGawkers explores how artists and writers in late nineteenth-century Paris represented the seductions, horrors, and banalities of street life through the eyes of curious viewers known as badauds. In contrast to the singular and aloof bourgeois flâneur, badauds were passive, collective, instinctive, and highly impressionable. Above all, they were visual, captivated by the sights of everyday life. Beautifully illustrated and drawing on a wealth of new research, Gawkers excavates badauds as a subject of deep significance in late nineteenth-century French culture, as a motif in works of art, and as a conflicted model of the modern viewer.Bridget Alsdorf examines the work of painters, printmakers, and filmmakers who made badauds their artistic subject, including Félix Vallotton, Pierre Bonnard, Henri de Toulouse-Lautrec, Honoré Daumier, Edgar Degas, Jean-Léon Gérôme, Eugène Carrière, Charles Angrand, and Auguste and Louise Lumière. From morally and intellectually empty to sensitive, empathetic, and humane, the gawkers these artists portrayed cut across social categories. They invite the viewer’s identification, even as they appear to threaten social responsibility and the integrity of art.Delving into the ubiquity of a figure that has largely eluded attention, idling on the margins of culture and current events, Gawkers traces the emergence of social and aesthetic problems that are still with us today.

Spectators in art. --- Social distancing (Public health) --- Advertising. --- Aeschylus. --- Aestheticism. --- Alfred Dreyfus. --- Alfred Jarry. --- Ambroise Vollard. --- Auguste Vaillant. --- Badaud. --- Benvenuto Cellini. --- Camille Mauclair. --- Caricature. --- Cartoon. --- Cesare Lombroso. --- Champfleury. --- Charivari. --- Charles Baudelaire. --- Charles Booth (social reformer). --- Charles Philipon. --- Chester Dale. --- Competition. --- Constantin Guys. --- Cricket test. --- Crowd psychology. --- Degenerate art. --- Dictionary of Received Ideas. --- Disenchantment. --- Dreyfus affair. --- E. T. A. Hoffmann. --- Edgar Allan Poe. --- Edgar Degas. --- Ferdinand Walsin Esterhazy. --- Fine art. --- Functional response. --- Gawker. --- Georges Seurat. --- Giacomo Meyerbeer. --- Gustave Caillebotte. --- Gustave Courbet. --- Herbert Marcuse. --- Honoré Daumier. --- Hydra effect. --- Illustration. --- Impressionism. --- Isocline. --- Jane Avril. --- Jingoism. --- Journalism. --- Jules Renard. --- L'Assiette au Beurre. --- L'Aurore. --- La Caricature (1830–1843). --- La Revue Blanche. --- La Vie (painting). --- Le Charivari. --- Le Figaro. --- Le Rire. --- Le Ventre de Paris. --- Literature. --- Lord Alfred Douglas. --- Mary Cassatt. --- Maximilien Luce. --- Melodrama. --- Modernity. --- Mutualism (biology). --- Narcissism. --- National Gallery of Art. --- Newspaper. --- Odilon Redon. --- Pathogen. --- Paul Lafargue. --- Picturesque. --- Pierre Bonnard. --- Pierre Larousse. --- Political revolution. --- Pollice Verso (Gérôme). --- Poster. --- Racism. --- Ravachol. --- Revue. --- Rivers of Blood speech. --- Robert le diable. --- Rococo. --- Romanticism. --- Rosicrucianism. --- Sadahide. --- Salon des Cent. --- Satire. --- Siegfried Bing. --- Subsidy. --- Suspension of disbelief. --- Symbolic power. --- The Execution of Marshal Ney. --- The Film Crew. --- The Masses. --- Trial of the Thirty. --- Ubu Roi. --- Urban renewal. --- V. --- Viewing (funeral). --- Woodcut. --- 1800-1899