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摘要
摘要
While the Civil War raged in America, another very different revolution was beginning to take shape across the Atlantic, in the studios of Paris: The artists who would make Impressionism the most popular art form in history were showing their first paintings amidst scorn and derision from the French artistic establishment. Indeed, no artistic movement has ever been, at its inception, quite so controversial. The drama of its birth, played out on canvas, would at times resemble a battlefield; and, as Ross King reveals, Impressionism would reorder both history and culture as it resonated around the world.
The Judgment of Paris chronicles the dramatic decade between two famous exhibitions--the scandalous Salon des Refuses in 1863 and the first Impressionist showing in 1874--set against the rise and dramatic fall of Napoleon III and the Second Empire after the Franco-Prussian War. A tale of many artists, it revolves around the lives of two, described as "the two poles of art"--Ernest Meissonier, the most famous and successful painter of the 19th century, hailed for his precision and devotion to history; and Edouard Manet, reviled in his time, who nonetheless heralded the most radical change in the history of art since the Renaissance. Out of the fascinating story of their parallel lives, illuminated by their legendary supporters and critics--Zola, Delacroix, Courbet, Baudelaire, Whistler, Monet, Hugo, Degas, and many more--Ross King shows that their contest was not just about Art, it was about competing visions of a rapidly changing world.
With a novelist's skill and the insight of an historian, King recalls a seminal period when Paris was the artistic center of the world, and a revolutionary movement had the power to electrify and divide a nation.
评论 (5)
出版社周刊评论
NBCC finalist King (Michelangelo and the Pope's Ceiling) presents an engrossing account of the years from 1863-when paintings denied entry into the French Academy's yearly Salon were shown at the Salon des Refuses-to 1874, the date of the first Impressionist exhibition. To dramatize the conflict between academicians and innovators during these years, he follows the careers of two formidable, and very different, artists: Jean-Louis-Ernest Meissonier, a conservative painter celebrated for detailed historical subjects, and Edouard Manet, whose painting Le Dejeuner sur l'herbe caused an uproar at the Salon des Refuses. Many other artists of the day, among them Courbet, Degas, Morisot, Monet and Cezanne, are included in King's compelling narrative, and the story is further enhanced by the author's vivid portrayal of artistic life in Paris during a turbulent era that saw the siege of the city by the Prussians and the fall of Napoleon III. An epilogue underscores the irony of the tale: after his death, Meissonier quickly fell from favor, while Manet, whose paintings were once judged scandalous, was recognized as a great artist who set the stage for Impressionism and the future of painting. Illus. not seen by PW. (Feb.) (c) Copyright PWxyz, LLC. All rights reserved
《书目》(Booklist)书评
King is a master at linking pivotal moments in art history to epic rivalries. n his third supremely engaging and illuminating inquiry (following Michelangelo and the Pope's Ceiling, 2003), King summons forth mid-nineteenth-century Paris and vividly portrays two diametrically opposed artists. Jean-Louis-Ernest Meissonier, the world's wealthiest and most celebrated painter, spends years laboring over his meticulously detailed historical paintings, eliminating every trace of the brush and striving for scientific precision. Newcomer Edouard Manet dispenses with the historical claptrap and the highly polished finish that are Meissonier's stock in trade, and boldly creates sharp contrasts and vigorous brushstrokes to depict ordinary people and brazenly matter-of-fact female nudes. Meissonier is a crowd-pleaser, Manet nearly instigates riots. King follows the fortunes of this pair of celebrity artists over the course of a decade as Meissonier becomes a giant to be slain and Manet is anointed king of the impressionists. Writing with zest and a remarkable command of diverse and fascinating facts, and offering keen insights into the matrix of art, politics, social mores, and technology, King charts the coalescence of a movement that changed not only painting for all time but also our way of seeing the world. And perhaps most laudably, he resurrects a discredited and forgotten figure, the marvelous monomaniac Meissonier, a man King has bemused affection and respect for, and an artist readers will be delighted to learn about. --Donna Seaman Copyright 2005 Booklist
Choice 评论
King offers a fascinating, well-written account of the beginning of modernism in Paris during a decade that spanned the scandalous Salon des Refuses in 1863 and the first Impressionist show in 1874. Against the background of Napoleon III's Second Empire and the Franco-Prussian War, Impressionism was born. Arguably the most profound directional shift in Western art since the Renaissance, its cast of characters is impressive: Baudelaire, Cabanel, Cezanne, Courbet, Degas, Delacroix, Gautier, Monet, Pissarro, Renoir, Whistler, and Zola, among others. From this group the author singles out two: the famous, well-established Ernest Meissonier, a precise, well-schooled, academic artist devoted to history, and the often-reviled Edouard Manet, an independent artist whose unconventional approach to technique and subject matter ushered in a true revolution in art. Despite the scorn and derision of the establishment, Impressionism thrived and challenged the past's obsession with perspectival space, traditional technique, and the concept of mastery itself. King's narrative follows the lives of the artists, models, and writers as they negotiated outraged critics, salon juries, and accusations of "moral depravity and carnal eloquence." Well illustrated, with notes and an excellent index, this readable, scholarly work is a solid addition to any collection. ^BSumming Up: Highly recommended. General readers; lower-division undergraduates through professionals. R. M. Davis emeritus, Albion College
Kirkus评论
A fluid, engaging account of how the conflicting careers of two French painters--the popular establishment favorite Jean-Louis-Ernest Meissonier and the oft-reviled newcomer Édouard Manet--reveal the slow emergence of Impressionism and its new view of painting and the world. King, a novelist (Domino, 2002, etc.) and art historian (Michelangelo and the Pope's Ceiling, 2003, etc.), has crafted an exciting chronicle about political and cultural change. By shifting the light of his research from Meissonier (whose career is now at its nadir) to Manet (whose paintings now go for millions of dollars) and back again, the author illuminates an entire epoch. Many great characters in cultural history appear--Baudelaire, Zola, Henry James--not to mention the painters whose names are now Olympian. Delacroix, Monet, Cézanne, Rossetti, Renoir--they all strut a bit on King's stage, as do political figures, most notably Napoleon III. The author does not neglect the military history of the period. There is a chapter-long narrative about the brutal Franco-Prussian War, during which Meissonier and Manet met while serving with the National Guard. (The war's bloody aftermath earns another chapter.) During the protracted Siege of Paris both artists found time to sketch and eat increasingly unappetizing forms of protein. But King's focus is on the art world--especially on the annual Salons, whose politics and popular reactions King thoroughly explores. Of great interest is the savage reception (including laughter and disgust and disdain--even from friends) that Manet endured year after year at the Salons. (He fought a feckless duel with one critic.) A weaker man might have considered another career. King illustrates that the clash of ideas is even more exciting than the clang of swords. Copyright ©Kirkus Reviews, used with permission.
《图书馆杂志》(Library Journal )书评
Best-selling author King (Brunelleschi's Dome) does not disappoint with this fast-paced romp through the Parisian art scene between 1863 (the first Salon des Refuses exhibition) and 1874 (the first impressionist exhibition). Political upheaval and public scandal set the background for artistic endeavors, which King cleverly frames with two diverse figures who seem to share only initials: Ernest Meissonier (representing the successful old guard) and Edouard Manet (the radical provocateur of the new order). While many artists and paintings are touched on, King's approach will surely disappoint scholars looking to explore the artwork itself in any critical depth; this is not a work of art historical acumen. King diligently assembles a swath of anecdotes and evidence, coaxing lively color and fascinating detail from even the most stolid of historical facts and documents. The book serves as an entertaining if broad account of a revolutionary transformation in vision-not least of all through art. Recommended for general audiences.-Prudence Peiffer, Cambridge, MA (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
摘录
摘录
Chapter One Chez Meissonier One gloomy January day in 1863, -Jean--Louis--Ernest Meissonier, the world's wealthiest and most celebrated paint-er, dressed himself in the costume of Napoleon Bonaparte and, despite the snowfall, climbed onto the rooftop balcony of his mansion in Poissy. A town with a population of a little more than 3,000, Poissy lay eleven miles northwest of Paris, on the south bank of an oxbow in the River Seine and on the railway line running from the Gare -Saint--Lazare to the Normandy coast. It boasted a -twelfth--century church, an equally ancient bridge, and a weekly cattle market that supplied the butcher shops of Paris and, every Tuesday, left the medieval streets steaming with manure. There was little -else in Poissy except for the ancient priory of -Saint--Louis, a walled convent that had once been home to an order of Dominican nuns. The nuns had been evicted during the French Revolution and the convent's buildings either demolished or sold to private buyers. But inside the enclosure remained an enormous, spired church almost a hundred yards in length and, close by, a grandiose -house with clusters of balconies, dormer windows and -pink--bricked chimneys: a building sometimes known as the Grande Maison. Ernest Meissonier had occupied the Grande Maison for most of the previous two de-cades. In his -forty--eighth year he was short, arrogant and densely bearded: "ugly, little and mean," one observer put it, "rather a scrap of a man."2 A friend described him as looking like a professor of gymnastics, and indeed the burly Meissonier was an eager and accomplished athlete, often rising before dawn to rampage through the countryside on -horse-back, swim in the Seine, or launch himself at an opponent, -fencing -sword in hand. Only after an hour or two of these exertions would he retire, sometimes still shod in his riding boots, to a studio in the Grande Maison where he spent ten or twelve hours each day crafting on his easel the wonders of precision and meticulousness that had made both his reputation and his fortune. To overstate either Meissonier's reputation or his fortune would have been difficult in the year 1863. "At no period," a contemporary claimed, "can we point to a French paint-er to whom such high distinctions -were awarded, whose works -were so eagerly sought after, whose material interests -were so guaranteed by the high prices offered for every production of his brush." No artist in France could command Meissonier's extravagant prices or excite so much public attention. Each year at the Paris -Salon - the annual art exhibition in the Palais des -Champs-Élysées - the space before Meissonier's paintings grew so thick with spectators that a special policeman was needed to regulate the masses as they pressed forward to inspect his latest success. Collected by wealthy connoisseurs such as James de Rothschild and the Duc d'Aumale, these paintings proved such lucrative investments that Meissonier's signature was said to be worth that of the Bank of France. "The prices of his works," noted one awestruck art critic, "have attained formidable proportions, never before known." Meissonier's success in the auction rooms was accompanied by a chorus of critical praise -and - even more unusual for an art world riven by savage rivalries and piffling -jealousies - the respect and admiration of his peers. "He is the incontestable master of our epoch," declared Eugène Delacroix, who predicted to the poet Charles Baudelaire that "amongst all of us, surely it is he who is most certain to survive!" Another of Meissonier's friends, the writer Alexandre Dumas fils , called him " the paint-er of France." He was simply, as a newspaper breathlessly reported, "the most renowned artist of our time." From his vantage point at the top of his mansion this most renowned artist could have seen all that his tremendous success had bought him. A stable -housed his eight -horses and a coach -house his fleet of carriages, which included expensive landaus, berlines, and victorias. He even owned the fastest vehicle on the road, a mail coach. All -were decorated, in one of his typically lordly gestures, with a crest that bore his most fitting motto: Omnia labor , or "Everything by work." A green-house, a saddlery, an En-glish garden, a photographic workshop, a duck pond, lodgings for his coachman and groom, and a meadow planted with cherry -trees - all -were ranged across a patch of land sloping down to the embankments of the Seine, where his two yachts -were moored. A dozen miles upstream, in the Rue des Pyramides, a fashionable street within steps of both the Jardin des Tuileries and the Louvre, he maintained his Paris apartment. The Grande Maison itself stood between the convent's Gothic church and the remains of its ancient cloister. Meissonier had purchased the -pink--bricked -eighteenth--century orangery, which was sometimes known as Le Pavillon -Rose, in 1846. In the ensuing years he had spent hundreds of thousands of francs on its expansion and refurbishment in order to create a splendid palace for himself and his family. A turret had been built above an adjoining cottage to -house an enormous cistern that provided the Grande Maison with running water, which was pumped through the -house and garden by means of a steam engine. The -house also boasted a luxurious water closet and, to warm it in winter, a central heating system. A billiard room was available for Meissonier's rare moments away from his easel. Yet despite these modern con-ve-niences, the Grande Maison was really intended to be an exquisite antiquarian daydream. "My -house and my temperament belong to another age," Meissonier once said. He did not feel at home or at ease in the nineteenth century. He spoke unashamedly of the "good old days," by which he meant the eighteenth century and even earlier. He detested the sight of railway stations, -cast--iron bridges, modern architecture and recent fashions such as frock coats and top hats. He did not like how people sat -cross--legged and read newspapers and cheap pamphlets instead of -leather--bound books. And so from the outside his -house-all gables, pitched roofs and leaded -windows - was a vision of -eighteenth--century elegance and tranquillity, while on the inside the rooms -were decorated in the style of Louis XV, with expensive tapestries, armoires, embroidered fauteuils, and carved wooden balustrades. The Grande Maison included not one but, most unusually, two large studios in which Meissonier could paint his masterpieces. The atelier d'hiver , or "winter workshop," featuring bay windows and a large fireplace, was on the top floor of the -house, while at ground level, overlooking the garden, he had built a -glass--roofed annex known as the atelier d'été , or "summer workshop." Both abounded with the tools of his trade: canvases, brushes and easels, but also musical instruments, suits of armor, bridles and harnesses, plumed helmets, and an assortment of halberds, rapiers and -muskets - enough weaponry, it was said, to equip a company of mercenaries. For Meissonier's paintings -were, like his -house, recherché figments of an antiquarian imagination. He specialized in scenes from -seventeenth- and -eighteenth--century life, portraying an -ever--growing cast of -silk--coated and -lace--ruffed -gentlemen - what he called his bonshommes , or "goodfellows" - playing chess, smoking pipes, reading books, sitting before easels or double basses, or posing in the uniforms of musketeers or halberdiers. These musicians and bookworms striking their quiet and reflective poses in serene, softly lit interiors, all executed in microscopic detail, bore uncanny similarities to the work of Jan Vermeer, an artist whose rediscovery in the 1860s owed much to the ravenous taste for -Meissonier - and one whose tremendous current popularity approaches the enthusiastic esteem in which Meissonier himself was held in -mid--nineteenth--century France. Typical of Meissonier's work was one of his most recent creations, Halt at an Inn , owned by the Duc de Morny, a wealthy art collector and the illegitimate half brother of the French Emperor, Napoleon III. Completed in 1862, it featured three -eighteenth--century cavaliers in tricorn hats being served drinks on -horse-back outside a -half--timbered rural tavern: a charming vignette of the days of old, without a railway train or top hat in sight. Meissonier's most famous painting, though, was The Brawl , a somewhat less decorous scene depicting a fight in a tavern between two men -dressed - as -usual - in opulent -eighteenth--century attire. Awarded the Grand Medal of Honor at the Salon of 1855, it was owned by Queen Victoria, whose husband and consort, Prince Albert, had prized Meissonier above all other artists. At the height of the Crimean War, Napoleon III had purchased the work from Meissonier for 25,000 -francs - eight times the annual salary of an average factory -worker - and presented it as a gift to his ally across the Channel. From the Hardcover edition. Excerpted from The Judgment of Paris: The Revolutionary Decade That Gave the World Impressionism by Ross King All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.目录
List of Illustrations | p. xi |
Chapter 1 Chez Meissonier | p. 1 |
Chapter 2 Modern Life | p. 13 |
Chapter 3 The Lure of Perfection | p. 26 |
Chapter 4 Mademoiselle V. | p. 36 |
Chapter 5 Dreams of Genius | p. 43 |
Chapter 6 Youthful Daring | p. 48 |
Chapter 7 A Baffling Maze of Canvas | p. 56 |
Chapter 8 The Salon of Venus | p. 73 |
Chapter 9 The Tempest of Fools | p. 81 |
Chapter 10 Famous Victories | p. 92 |
Chapter 11 Young France | p. 101 |
Chapter 12 Deliberations | p. 113 |
Chapter 13 Room M | p. 121 |
Chapter 14 Plein Air | p. 132 |
Chapter 15 A Beastly Slop | p. 144 |
Chapter 16 The Apostle of Ugliness | p. 151 |
Chapter 17 Maitre Velazquez | p. 159 |
Chapter 18 The Jury of Assassins | p. 167 |
Chapter 19 Monet or Manet? | p. 175 |
Chapter 20 A Flash of Swords | p. 184 |
Chapter 21 Marvels, Wonders and Miracles | p. 192 |
Chapter 22 Funeral for a Friend | p. 206 |
Chapter 23 Maneuvers | p. 217 |
Chapter 24 A Salon of Newcomers | p. 227 |
Chapter 25 Au Bord de la Mer | p. 233 |
Chapter 26 Mademoiselle Berthe | p. 241 |
Chapter 27 Flying Gallops | p. 248 |
Chapter 28 The Wild Boar of the Batignolles | p. 257 |
Chapter 29 Vaulting Ambitions | p. 265 |
Chapter 30 The Prussian Terror | p. 272 |
Chapter 31 The Last Days of Paris | p. 281 |
Chapter 32 A Carnival of Blood | p. 293 |
Chapter 33 Days of Hardship | p. 310 |
Chapter 34 The Apples of Discord | p. 318 |
Chapter 35 A Ring of Gold | p. 327 |
Chapter 36 Pure Haarlem Beer | p. 332 |
Chapter 37 Beyond Perfection | p. 342 |
Chapter 38 The Liberation of Paris | p. 349 |
Epilogue: Finishing Touches | p. 362 |
Political Timeline | p. 375 |
Acknowledgments | p. 379 |
Notes | p. 381 |
Bibliography | p. 423 |
Index | p. 437 |