Companion to French Art

Natalie Adamson is a Professor in the School of Art History at the University of St Andrews. She specializes in postwar French art, abstraction, and cultural politics. She is the co-editor of several studies on twentieth-century European art and material culture and the author of Painting, Politics and the Struggle for the École de Paris, 1944-1964 and In Focus: Around the Blues 1957, 1962-3, by Sam Francis.Richard Taws is a Professor in the History of Art Department at University College London. His work focuses on the intersections of art, media, and politics in modern France. His publications include Time Machines: Telegraphic Images in Nineteenth-Century France and The Politics of the Provisional: Art and Ephemera in Revolutionary France. He has also co-edited volumes on art, technology, and media in early modern and modern Europe.

• List of Figures ixAbout the Editors xvNotes on Contributors xviiSeries Editor's Preface xxiiiAcknowledgments xxvIntroduction 1Natalie Adamson and Richard TawsPart 1 Post- Revolutionary Visions 191 The Smiling Face of Terror: Étienne Béricourt's French Revolution 21Richard Taws2 After the Terror, Passing Scenes: Historical Experience in Robertson's Paris Phantasmagoria 39Jillian Lerner3 Portraits and Pathologies: Clinical Pictures in Early Nineteenth-Century France 59Mechthild Fend Copyrighted Material4 Costuming in History Painting 77Susan L. Siegfried5 The Déjeuner Culture et récolte du cacao: Staging Fantasies of Regression in Nineteenth-Century French Porcelain 95Iris Moon6 The Album des Deux Frontières: Lithography at the Nation's Limit 113Kelly PresuttiPart 2 Materialising Modernity 1297 The Ground of Painting: Modernism and Materiality in Gustave Courbet's L'atelier du peintre (1855) 131Veronica Peselmann8 Designing with Iron in Mid- Nineteenth- Century France 149Amy F. Ogata9 Camille Pissarro at the Crossroad of the Plantation 167Helene Engnes Birkeli10 Gloomy Renoir 189Hollis Clayson11 Playing Doctor with Toulouse- Lautrec: Male Friendship, Medicine, and Identity 205Mary Hunter12 Monet's Series Reconsidered: Instantaneity in Standard Time 223André DombrowskiPart 3 Media, Publics, Subjects 24113 In the Tradition: Grappling with the Past in the Long Nineteenth Century 243Neil McWilliam14 Precious Works of Art: Rodin's Hanakos and Hanako's Rodins 261Juliet Bellow15 L'Inhumaine (1924), the "Plastic" Arts, and Cinematic Specificity 281Malcolm Turvey16 The Public Turn in French Art during the 1930s 299Toby Norris17 Surrealism: Revolution of the "Never Seen" 317Susan Laxton18 The Film Photo- Novel "Made in France" 335Jan BaetensPart 4 Contesting the Nation 34919 Entangled Modernisms: Vietnamese Modern Art in Paris 351Phoebe Scott20 "What the Black Man Contributes": Présence Africaine, l'art nègre, and Modernism in Post- War Paris 373Alastair Wright and Kathleen Rawlings21 Bidonville Aesthetics and Genealogies of Modernity from Algiers, 1953/1963 393Sheila Crane22 Universality as a Radical Form: The Philips Pavilion at Expo 58 411Noit Banai23 The World in Question: Post-Imperial Solidarities in Narrative Figuration 429Ming Tiampo24 The "École de Paris" in Dakar 449Maureen MurphyPart 5 Archives of the Present 46725 Building the "Museum Without Walls": Innovations in Photographic Art Reproduction in France, 1860-1960 469Kim Timby26 Unlearning at the École des Beaux- Arts de Paris 491Déborah Laks27 Seeing the Dark Continent in the City of Light: Women's Transnational Networks in 1970s Paris, Capital of the Arts 509Rakhee Balaram28 Art and Fashion in the 1980s 529Sophie Cras29 Photographic Investigations: Between Art, Human Sciences, and Investigative Journalism 545Danièle Méaux30 Unsunk Archives: The Resurfacing of Colonial Historical Records in Contemporary Art 563Katarzyna FalęckaIndex 581