000			04159nam a2200481 i 4500
005			20250728115441.0
008			920306s1992 enkm b a001 0 eng
020			_a0691032092
020			_a9780691032092
020			_a1857090144
020			_a9781857090147
020			_a1857090012
020			_a9781857090017
020			_a0300061552
020			_a9780300061550
035			_a(OCoLC)25631663 _z(OCoLC)26322300 _z(OCoLC)26633412 _z(OCoLC)316264589
040			_aDLC _beng _cDLC _dCIN _dPMC _dUKM _dBAKER _dNLGGC _dBTCTA _dYDXCP _dVVW _dNLE _dDEBBG _dGEBAY _dHALAN _dUKMGB _dBDX _dOCLCF _dTAMSA _dOCLCO _dUtOrBLW _dBAUN _erda
041	0		_aeng
043			_ae-fr---
049			_aBAUN_MERKEZ
050	0	0	_aND553.M3 _bA66 1992
082	0	0	_220
100	1		_aWilson-Bareau, Juliet _eaut _9121876
245	1	0	_aManet, the execution of Maximilian : _bpainting, politics, and censorship / _cJuliet Wilson-Bareau ; with essays by John House and Douglas Johnson.
264		1	_aLondon : _bNational Gallery Publications ; _a[Ewing, N.J.] : _bPrinceton University Press, _c1992.
300			_a128 pages : _billustrations (some color) ; _c28 cm.
336			_atext _btxt _2rdacontent
337			_aunmediated _bn _2rdamedia
338			_avolume _bnc _2rdacarrier
500			_aCatalog of an exhibition held at the National Gallery, London, Jul. 1-Sept. 27, 1992.
504			_aIncludes bibliographical references (pages [119]-120) and index.
505	0	0	_tThe French intervention in Mexico : a historical background _r/ Douglas Johnson _t-- Manet and the execution of Maximilian _r/ Juliet Wilson-Bareau _t-- Manet's Maximilian : history painting, censorship and ambiguity _r/ John House _t-- The Maximillian paintings : provenance and exhibition history _r/ John Leighton and Juliet Wilson-Bareau.
520			_aThe execution by firing squad in 1867 of Maximilian, the puppet emperor installed in Mexico by Napoleon III, was to have far-reaching implications, shattering the international prestige of France and hastening the collapse of the Second Empire. Edouard Manet was an opponent of Napoleon's authoritarian government, and was regarded in Paris as a dangerously non-conformist artist. Between 1867 and 1869 he made three separate attempts to create a monumental painting of the.
520			_aExecution. He attracted political censorship, but equally he aroused hostility by his subversive style, which deliberately rejected the conventions of history painting. This comprehensive study was inspired by an exhibition at the National Gallery in London, which united the three paintings for the first time since Manet's death in 1883. Manet's paintings are illustrated alongside contemporary prints and photographs, as well as major works that reveal how Manet tackled a.
520			_aRange of current issues. Juliet Wilson-Bareau, who has uncovered a wealth of new material on this subject, discusses possible sources for the paintings and the development of Manet's imagery. The Maximilian paintings are often seen as an isolated outburst of political sentiment in his career, but Juliet Wilson-Bareau argues that many of his most familiar works of the 1860s may contain references to contemporary events. Douglas Johnson's historical account of the French.
520			_aIntervention in Mexico, and John House's discussion of Salon painting in the 1860s, place Manet's choice of subject and of style in a broad context of political and artistic opposition to Napoleon III. John House describes a general decline in history painting in the second half of the nineteenth century and shows how Manet's unassertive and wholly modern scene of martyrdom not only went against academic tradition but, just because of its ambiguities and its.
520			_aInexpressiveness, made a strong political statement and became a potent symbol of failed imperial ambition.
600	1	0	_aManet, Edouard, _d1832-1883 _tExecution of the Emperor Maximilian.
600	1	0	_aManet, Edouard, _d1832-1883 _xPolitical and social views. _915668
651		0	_aFrance _xHistory _ySecond Empire, 1852-1870. _931547
710	2		_aNational Gallery (Great Britain)
942			_2lcc _cKT
999			_c94190 _d94190