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dc.contributor.authorAdams, S.R.
dc.date.accessioned2010-03-25T09:56:32Z
dc.date.available2010-03-25T09:56:32Z
dc.date.issued2008
dc.identifier.citationIn: English translation from Renoir La Maturità tra classico e moderno, Exhibition catalogue, Complesso del Vittoriano, Skira, 2008. pp.89-97en
dc.identifier.other904513en
dc.identifier.urihttp://hdl.handle.net/2299/4360
dc.descriptionThis article is a translation for the 2008 catalogue essay in the Complesso Vittoriano exhibition, Renoir: La maturita tra classico e moderno, Roma: Skira, 2008.en
dc.description.abstractThis article sets out to examine some of the traditional components of Renoir's practice as a painter. Modernist views of nineteenth century art history have long clouded our vision of many aspects of artistic practice in the nineteenth century. Renoir's painting, this article demonstrates, was rooted within artisan practices of the early nineteenth century in such crafts as porcelain painting and decoration. Renoir, like many of his peers, turned his hand to painting in all of its forms and declined to identify himself with a partisan movement. An examination in this hitherto unexplored realm of nineteenth century French visual culture and history offers an insight into Renoir's painting that points backwards to many forgotten traditions of the past.en
dc.format.extent189975 bytes
dc.format.mimetypeapplication/pdf
dc.language.isoenen
dc.subjectRenoiren
dc.subjectHistoriographyen
dc.subjectImpressionismen
dc.subjectFrench Paintingen
dc.titleRenoir and the half life of Impressionismen
dc.title.alternativeRenoir: la traditizione e l'altra faccia dell'impressionismoen
dc.typeBook chapteren
herts.preservation.rarelyaccessedtrue


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