1871)
A01=Albert Boime
Academic art
Anarchism
Art critic
Art Nouveau
Art school
Art world
Au Bonheur des Dames
Auguste Comte
Author_Albert Boime
Berthe Morisot
Bois de Boulogne
Bourgeoisie
Camille Pissarro
Category=ABA
Category=AGA
Category=JBCC9
Category=NHD
Category=NHTB
Communards
Comparative sociology
Couleur
Council of Paris
Count of Chambord
Courbevoie
Cultural practice
Dimanche
eq_art-fashion-photography
eq_bestseller
eq_history
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
eq_society-politics
Francis I of France
French Algeria
French Army
French art
French nationalism
French nationality law
French Parliament
French people
Freycinet Plan
Gare Saint-Lazare
Gazette des Beaux-Arts
Georges Seurat
Georges-Eugene Haussmann
Gustave Caillebotte
Haussmann's renovation of Paris
Henri
History painting
Impressionism
L'Illustration
La Commune (Paris
La Defense
Le Figaro
Louis Althusser
Maxime Du Camp
Modernity
Nadar (photographer)
Napoleon III
Outfit (retailer)
Paris
Paris Commune
Paul Cezanne
Paul Gauguin
Phidias
Pierre-Auguste Renoir
Pierre-Joseph Proudhon
Place Vendome
Pont de Neuilly
Proportion (architecture)
Public art
Public space
Residence
Rue Montorgueil
Rue Saint-Denis (Paris)
Sacre-Coeur
Sainte-Chapelle
Siege of Paris (1870-71)
Social Darwinism
Social order
Social relation
The Days of the Commune
Trouville
Visual arts
Product details
- ISBN 9780691015552
- Weight: 482g
- Dimensions: 178 x 267mm
- Publication Date: 06 Feb 1997
- Publisher: Princeton University Press
- Publication City/Country: US
- Product Form: Paperback
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In this bold exploration of the political forces that shaped Impressionism, Albert Boime proposes that at the heart of the modern is a "guilty secret"--the need of the dominant, mainly bourgeois, classes in Paris to expunge from historical memory the haunting nightmare of the Commune and its socialist ideology. The Commune of 1871 emerged after the Prussian war when the Paris militia chased the central government to Versailles, enabling the working class and its allies to seize control of the capital. Eventually violence engulfed the city as traditional liberals and moderates joined forces with reactionaries to restore Paris to "order"--the bourgeois order. Here Boime examines the rise of Impressionism in relation to the efforts of the reinstated conservative government to "rebuild" Paris, to return it to its Haussmannian appearance and erase all reminders of socialist threat. Boime contends that an organized Impressionist movement owed its initiating impulse to its complicity with the state's program.
The exuberant street scenes, spaces of leisure and entertainment, sunlit parks and gardens, the entire concourse of movement as filtered through an atmosphere of scintillating light and color all constitute an effort to reclaim Paris visually and symbolically for the bourgeoisie. Amply documented, richly illustrated, and compellingly argued, Boime's thesis serves as a challenge to all cultural historians interested in the rise of modernism.
Albert Boime, Professor of Art History at the University of California, Los Angeles, is the author of many books, including The Academy and French Painting in the Nineteenth Century and Art in the Age of Revolution
