View Cart
[ Log In ]
  • Textbooks
    • New! Browse by Course
    • Desk Copy Request
    • Exam Copies
    • eExam Copy Request 
  • Special Sales
  • Author Resources
  • Publicity / Convention Schedule
  • Affiliated Companies
Pastiche, Fashion, and Galanterie in Chardin's Genre Subjects Looking Smart
978-1-61149-424-2 • Hardback
December 2013 • $75.00 • (£44.95)
Add to Cart
978-1-61149-425-9 • eBook
December 2013 • $74.99 • (£44.95)

eBooks have to be checked out individually and cannot be combined with print books.
Pages: 206
Size: 6 1/2 x 9 1/4
By Paula Radisich
Series: Studies in Seventeenth- and Eighteenth- Century Art and Culture
Art | European
University Press Copublishing Division | University of Delaware
Pastiche, Fashion and Galanterie in Chardin’s Genre Subjects seeks to understand how Chardin’s genre subjects were composed and constructed to communicate certain things to the elites of Paris in the 1730s and 1740s. This book argues against the conventional view of Chardin as the transparent imitator of bourgeois life and values so ingrained in art history since the nineteenth century. Instead, it makes the case that these pictures were crafted to demonstrate the artist’s wit (esprit) and taste, traits linked to conventions of seventeenth-century galanterie. Early eighteenth-century Moderns like Jean-Siméon Chardin (1699–1779) embraced an aesthetic grounded upon a notion of beauty that could not be put into words—the je ne sais quoi. Despite its vagueness, this model of beauty was drawn from the present, departed from standards of formal beauty, and could only be known through the critical exercise of taste. Though selecting subjects from the present appears to be a simple matter, it was complicated by the fact that the modernizers expressed themselves through the vehicles of older, established forms. In Chardin’s case, he usually adapted the forms of seventeenth-century Dutch and Flemish genre painting in his genre subjects. This gambit required an audience familiar enough with the conventions of Lowlands art to grasp the play involved in a knowing imitation, or pastiche. Chardin’s first group of enthusiasts accordingly were collectors who bought works of living French artists as well as Dutch and Flemish masters from the previous century, notably aristocratic connoisseurs like the chevalier Antoine de la Roque and Count Carl-Gustaf Tessin.
Paula Radisich is professor of art history at Whittier College.
List of Illustrations
Introduction Looking Smart
Chardin and the Goût Moderne: Reception
Chardin and the Goût Moderne: Creation
Chardin and the Academy
Examples of the Goût Moderne and Examples of Its Critics
The Emerging Public Sphere
1. Pastiche
Collecting and Pastiche
Well Boiled Turnips Make Good Soup
Self Reference
Contrast and Comparison
2. Fashionability
Figures de modes
Fashionability and Social Ambiguity
The Draughtsman
La pourvoyeuse
Fashionable Governesses
The Teetotum
3. Spaces of Imitation
Rue du Four
The Gôut Moderne and Its Practices
Diligent Imitators
Labor and Leisure
Enlightenment Things
4. Negligent Beauty
Reading #1: Pastiche, Fashion, and Galanterie
Reading #2: Fashion and Piety
Reading #3: Chardin and Class
5. Picture Titles
The Salon and Picture Titles
A Brief History of the Picture Title
Chardin and Picture Titles
About the Author