![]() ![]() The ten essays in this volume go far in challenging critical biases against the artist and suggesting new avenues of research. In light of revisionist and postmodern trends over the past four decades, however, Gérôme’s work is now being approached with unprecedented seriousness and refreshing creativity. Émile Zola, champion of Édouard Manet, dismissed Gérôme as a cynical manufacturer of anecdotal images for popular consumption-a critique repeatedly echoed by historians of modern art. ![]() Crowds flocked to see his vividly rendered historical and Orientalist compositions, and thanks to the mass marketing of his work through mechanical reproduction, he reached audiences on an unprecedented scale.From the outset, however, his success met with critical hostility. Jean-Léon Gérôme (1824–1904) was an undisputed professional success during his lifetime. ![]()
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