LEADER 02817oam  2200685I  450 
001 9910817457703321
005 20240410082059.0
010   $a1-134-91871-2
010   $a1-280-11288-3
010   $a1-134-91872-0
010   $a0-203-97646-0
024 7 $a10.4324/9780203976463 
035   $a(CKB)1000000000455209
035   $a(EBL)237249
035   $a(OCoLC)437150733
035   $a(SSID)ssj0000299681
035   $a(PQKBManifestationID)11266114
035   $a(PQKBTitleCode)TC0000299681
035   $a(PQKBWorkID)10242557
035   $a(PQKB)10377145
035   $a(SSID)ssj0000179312
035   $a(PQKBManifestationID)11154184
035   $a(PQKBTitleCode)TC0000179312
035   $a(PQKBWorkID)10126414
035   $a(PQKB)11790369
035   $a(MiAaPQ)EBC237249
035   $a(Au-PeEL)EBL237249
035   $a(CaPaEBR)ebr10100132
035   $a(CaONFJC)MIL11288
035   $a(OCoLC)60692542
035   $a(EXLCZ)991000000000455209
100   $a20180331d2000      uy         0
101 0 $aeng
135   $aur|n|---|||||
181   $ctxt
182   $cc
183   $acr
200 10$aIngres then, and now /$fAdrian Rifkin
205   $a1st ed.
210  1$aLondon ;$aNew York :$cRoutledge,$d2000.
215   $a1 online resource (178 p.)
225 0 $aRe visions
300   $aDescription based upon print version of record.
311   $a0-415-06698-0 
311   $a0-415-06697-2 
320   $aIncludes bibliographical references and index.
327   $aFront Cover; Ingres Then, and Now; Copyright Page; Contents; List of illustrations; Acknowledgements; Preliminary: from the bizarre to the sublime; Introduction: the formation of a palimpsest; 1. Ingres and the Arcades; 2. Acade?mie, or the colour white and the childhood of art criticism; 3. A filament in the tissues of modernity; Index
330   $aIngres Then, and Now  is an innovative study of one of the best-known French artists of the nineteenth century, Jean Auguste Dominique Ingres. Adrian Rifkin re-evaluates Ingres' work in the context of a variety of literary, musical and visual cultures which are normally seen as alien to him. Re-viewing Ingres' paintings as a series of fragmentary symptoms of the commodity cultures of nineteenth-century Paris, Adrian Rifkin draws the artist away from his familiar association with the Academy and the Salon.Rifkin sets out to show how, by thinking of the historical archive as a form 
410  0$aRe visions (London, England)
606   $aPainting$xHistory
615  0$aPainting$xHistory.
676   $a759.4
676   $aB
700   $aRifkin$b Adrian.$0245086
801  0$bFlBoTFG
801  1$bFlBoTFG
906   $aBOOK
912   $a9910817457703321
996   $aIngres then, and now$93931579
997   $aUNINA