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[null,"1.","Record Nr.",null,"UNINA9910768400903321"]
[null,null,"Autore",null,"Bordes Philippe"]
[null,null,"Titolo",null,"Jacques Louis David, la Traite Négrière et L'esclavage : Son Séjour à Nantes, Mars-Avril 1790"]
[null,null,"Pubbl/distr/stampa",null,"Chicago : , : diaphanes, , 2024"]
[{"$nulls":4},"©2023"]
[null,null,"ISBN",null,"9782735129690"]
[{"$nulls":4},"2735129691"]
[null,null,"Edizione",null,"[1st ed.]"]
[null,null,"Descrizione fisica",null,"1 online resource (176 pages)"]
[null,null,"Soggetti",null,"Art, French"]
[{"$nulls":4},"Abolitionists"]
[null,null,"Lingua di pubblicazione",null,"Francese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,"Nota di contenuto",null,"Jacques Louis David, la traite négrière et l’esclavage --      9  - Introduction --     17  - I. Une célébrité artistique très politique --     25  - II. L’ami des Amis des Noirs --     39  - III. L’appel des édiles nantais --     49  - IV. David répond à Mathurin Crucy le 9 décembre 1789 --     53  - V. L’accueil de David à Nantes --     61  - VI. Le portrait de Kervegan --     71  - VII. Un long mois à Nantes --     83  - VIII. Le « tableau de Nantes » --     93  - IX. La composition allégorique --   113  - X. Du « tableau de Nantes » au Serment du Jeu de Paume --   123  - Épilogue. Le peintre et ses élèves au temps de l’abolition --   139  - Notes --   165  - Index --   171  - Remerciements --   173  - Crédits photographiques"]
[null,null,null,"Sommario/riassunto","This book explores the intersection of art and politics through the life and works of Jacques Louis David, a prominent French painter during the late 18th century. Focusing on David's time in Nantes in 1790, the text delves into his connections with the abolitionist movement and his allegorical artwork related to the French Revolution. The author examines how David's paintings challenged academic institutions and reflected Enlightenment ideals that contributed to the French Revolution. The narrative also addresses the complexities of historical interpretation and the evolving perspectives on David’s legacy, particularly in relation to colonialism and racism. This scholarly work is intended for an audience interested in art history, political history, and cultural studies."]