The Origins of the Exhibition Space (1450-1750)
Pamela Bianchi
- Titel
- Space, Images, and Art Perception in Napoleonic Paris
- Subtitel
- Setting the Gaze
- Auteur
- Camilla Murgia
- Prijs
- € 129,00 excl. BTW
- ISBN
- 9789463724142
- Uitvoering
- Hardback
- Aantal pagina's
- 312
- Taal
- Engels
- Publicatiedatum
- 03 - 01 - 2025
- Afmetingen
- 17 x 24 cm
List of Illustrations
Acknowledgements
Introduction
About the Brittle Relationship between Space and Objects
The Multidimensionality of Space
Connecting Objects and Space
The Chapters
Bibliography
Chapter One
Displaying Public Space: The Example of the Louvre
Physical and Intellectual Space
Exhibiting
Interacting
Disseminating
Printmaking and the question of originality
Illustrating the Louvre’s collection
Functionalities of the printed image
Bibliography
Chapter Two
The Transferable Character of Space
Spatialities of experience and expectation
The Industry Exhibitions
Exhibition space as a catalyst to celebrate the nation
Transferability, experience, and seriality
The theatrical function of the space: Antonin Carême’s sugar sculptures
The image in spatial transferability: the case of Raphael’s Madonna della Seggiola
The interaction between experience and expectation: the Velours Grégoire
New forms of hybridity: visual experience and commercial strategies
Multiple functions and versatility of space
Bibliography
Chapter Three
Connecting Spaces: the Image as Performance
Public space is a stage: shop signs, labels, and printed games
Stage, theatre and mise en scène
Mobile views and sequentiality as entertainment
The dynamics of Panoramas
Staging the action: equestrian shows and horse races
Bibliography
Chapter Four
The Dilemma of Transition: Views on Art Perception
Shifts and intermediaries
Comparison and hybridity: old masters and contemporary art
Text as mediating space: artists and critics
Experimental areas
Fiction/reality
Theatrical plays
Bibliography
Epilogue
Index
Acknowledgements
Introduction
About the Brittle Relationship between Space and Objects
The Multidimensionality of Space
Connecting Objects and Space
The Chapters
Bibliography
Chapter One
Displaying Public Space: The Example of the Louvre
Physical and Intellectual Space
Exhibiting
Interacting
Disseminating
Printmaking and the question of originality
Illustrating the Louvre’s collection
Functionalities of the printed image
Bibliography
Chapter Two
The Transferable Character of Space
Spatialities of experience and expectation
The Industry Exhibitions
Exhibition space as a catalyst to celebrate the nation
Transferability, experience, and seriality
The theatrical function of the space: Antonin Carême’s sugar sculptures
The image in spatial transferability: the case of Raphael’s Madonna della Seggiola
The interaction between experience and expectation: the Velours Grégoire
New forms of hybridity: visual experience and commercial strategies
Multiple functions and versatility of space
Bibliography
Chapter Three
Connecting Spaces: the Image as Performance
Public space is a stage: shop signs, labels, and printed games
Stage, theatre and mise en scène
Mobile views and sequentiality as entertainment
The dynamics of Panoramas
Staging the action: equestrian shows and horse races
Bibliography
Chapter Four
The Dilemma of Transition: Views on Art Perception
Shifts and intermediaries
Comparison and hybridity: old masters and contemporary art
Text as mediating space: artists and critics
Experimental areas
Fiction/reality
Theatrical plays
Bibliography
Epilogue
Index
Camilla Murgia
Space, Images, and Art Perception in Napoleonic Paris
Setting the Gaze
De onderstaande tekst is niet beschikbaar in het Nederlands en wordt in het Engels weergegeven.
This book examines the impact of space on the perception of art and visual culture in early nineteenth-century Paris. It turns its attention to the way in which space determines the understanding and the development of visual culture. The abundance of images, their status, and their employment alike offer a means to grasp the extent of the development of an approach to art which further involved the spectator. Space is here conceived as a multifaceted entity, spanning architectural, scholarly, artistic, and visual dimensions. These various aspects offer means to consider the way in which images work and are consumed, and the individual experience they represent. Space works as a link and a connecting tool between different intellectual and visual categories, and this study examines how this interaction applies to works of art as well as everyday objects.
Auteur
Camilla Murgia
Camilla Murgia is Assistant Professor in History of Art at the Adam Mickiewicz University in Pozna.. Previously, she was Junior Lecturer and Substitute Senior Lecturer in History of Art at the University of Lausanne, where she researched space, theatre, and staging in nineteenth-century France.
