The body in time : figures of femininity in late nineteenth-century France / Tamar Garb.
"The Body in Time looks at two different genres in relation to the construction of femininity in late nineteenth-century France: Degas' representation of ballet dancers and the transforming tradition of female portraiture. Class, gender, power, and agency are at stake in both arenas, but t...
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| Main Author: | |
|---|---|
| Other title: | Figures of femininity in late nineteenth-century France. |
| Format: | Book |
| Language: | English |
| Published: |
Lawrence, Kan. :
Spencer Museum of Art, University of Kansas in association with University of Washington Press, Seattle,
©2008.
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| Series: | University of Kansas Franklin D. Murphy lecture series.
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| Subjects: |
MARC
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| 100 | 1 | |a Garb, Tamar. |0 http://id.loc.gov/authorities/names/n86116749 |1 http://isni.org/isni/0000000119528700. | |
| 245 | 1 | 4 | |a The body in time : |b figures of femininity in late nineteenth-century France / |c Tamar Garb. |
| 246 | 3 | 0 | |a Figures of femininity in late nineteenth-century France. |
| 260 | |a Lawrence, Kan. : |b Spencer Museum of Art, University of Kansas in association with University of Washington Press, Seattle, |c ©2008. | ||
| 300 | |a 89 pages : |b illustrations ; |c 25 cm. | ||
| 336 | |a text |b txt |2 rdacontent. | ||
| 337 | |a unmediated |b n |2 rdamedia. | ||
| 338 | |a volume |b nc |2 rdacarrier. | ||
| 490 | 1 | |a The University of Kansas Franklin D. Murphy lecture series. | |
| 504 | |a Includes bibliographical references (pages 79-83) and index. | ||
| 520 | 1 | |a "The Body in Time looks at two different genres in relation to the construction of femininity in late nineteenth-century France: Degas' representation of ballet dancers and the transforming tradition of female portraiture. Class, gender, power, and agency are at stake in both arenas, but they play themselves out in different ways via different pictorial languages." "Degas' depictions of anonymous young female ballerinas at the Paris Opera reflect his fascination with the physical exertions and prosaic setting of the dancer's sexualized body. Unlike the standard Romantic depictions of the ballerina, Degas' dancers are anonymous, spread-legged workers on public display. Female portraiture and self-portraiture, in contrast, depicted the unique and the distinctive: privileged women, self-assured individuals transgressing gender conventions." "Focusing on Degas' representation of the dancer, Tamar Garb examines the development of Degas' oeuvre from its early Realist documentary ambitions to the abstracted Symbolist renderings of the feminine as cypher in his later works. She argues that despite the apparent depletion of social significance and specificity, Degas' later works remain deeply enmeshed in contemporary gendered ways of viewing and experiencing art and life."--BOOK JACKET. | |
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| 830 | 0 | |a University of Kansas Franklin D. Murphy lecture series. |0 http://id.loc.gov/authorities/names/no2008112379. | |
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