Is Paris Still the Capital of the Nineteenth Century?
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aesthetics
Andre Dombrowski
Anne Higonnet
Baron Haussmann
capitalism
capitalist aesthetics
Category=AGA
Category=DNL
Category=JBSD
Category=NHTB
Charles Rice
Childe Hassam
CSS Alabama
Edhem Eldem
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eq_biography-true-stories
eq_history
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eq_isMigrated=2
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eq_society-politics
France
French art
Gazette Des Beaux Arts
global art networks
globalism
Gogh
Helene Valance
Jacob W. Lewis
Jules Claretie
Late Nineteenth Century Paris
Le Jour
legend
Manet's Art
Manet's Portrait
Manet’s Art
Manet’s Portrait
Marc Gotlieb
Margaret Werth
Marie De Launay
Mary Roberts
Modern Life Painting
modernism
modernist painting analysis
myth
mythic image of Paris in modernity
National Library
Nineteenth Century French Studies
nineteenth-century visual culture
Osman Hamdi
painting
Parisian Beaux Arts
Passage Des Panoramas
Paul Smith
Peter Soppelsa
printmaking
Salted Paper Print
Tamar Garb
Tense Coexistence
Ting Chang
Traditional Ottoman Art
urban planning
urban planning history
Vincent Van Gogh
Walter Benjamin
Walter Benjamin theory
White City
Zola's Portrait
Zola’s Portrait
Product details
- ISBN 9781472460141
- Weight: 760g
- Dimensions: 174 x 246mm
- Publication Date: 16 Jun 2016
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Hardback
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"Is Paris Still the Capital of the Nineteenth Century?" The question that guides this volume stems from Walter Benjamin's studies of nineteenth-century Parisian culture as the apex of capitalist aesthetics. Thirteen scholars test Benjamin's ideas about the centrality of Paris, formulated in the 1930s, from a variety of methodological perspectives. Many investigate the underpinnings of the French capital's reputation and mythic force, which was based largely upon the city's capacity to put itself on display. Some of the authors reassess the famed centrality of Paris from the vantage point of our globalized twenty-first century by acknowledging its entanglements with South Africa, Turkey, Japan, and the United States. The volume equally studies a broader range of media than Benjamin did himself: from modernist painting and printmaking, photography, and illustration to urban planning. The essays conclude that Paris did in many ways function as the epicenter of modernity's international reach, especially in the years from 1850 to 1900, but did so only as a consequence of the idiosyncratic force of its mythic image. Above all, the essays affirm that the study of late nineteenth-century Paris still requires nimble and innovative approaches commensurate with its legend and global aura.
Hollis Clayson is Bergen Evans Professor in the Humanities and Professor of Art History, Northwestern University, USA.
André Dombrowski is Associate Professor in History of Art, University of Pennsylvania, USA.
