Linked Data Explorerhttp://worldcat.org/entity/work/id/1846133174
Le vice a la mode : Gustave Courbet and the vogue for lesbianism in the Second Empire
Le Vice a la Mode: Gustave Courbet and the Vogue for Lesbianism in Second Empire France studies the centrality of the trope of lesbianism in 19th--century French visual culture, using several "lesbian" paintings by Gustave Courbet as a nucleus within a larger environment of related imagery, discourses, and psychosexual cultural obsessions. The quotation marks surrounding the term "lesbian" are meant to signal the difference between the historical reality of actual lesbians and the cultural fantasy of lesbianism produced, for the most part, by male artists, writers, and savants.
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http://schema.org/about
- http://id.loc.gov/authorities/subjects/sh97001908
- http://experiment.worldcat.org/entity/work/data/1846133174#Topic/women_s_studies
- http://experiment.worldcat.org/entity/work/data/1846133174#Topic/history_modern
- http://id.worldcat.org/fast/996535
- http://worldcat.org/entity/person/id/2631342502
- http://experiment.worldcat.org/entity/work/data/1846133174#Topic/art_history
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- "Le Vice a la Mode: Gustave Courbet and the Vogue for Lesbianism in Second Empire France studies the centrality of the trope of lesbianism in 19th--century French visual culture, using several "lesbian" paintings by Gustave Courbet as a nucleus within a larger environment of related imagery, discourses, and psychosexual cultural obsessions. The quotation marks surrounding the term "lesbian" are meant to signal the difference between the historical reality of actual lesbians and the cultural fantasy of lesbianism produced, for the most part, by male artists, writers, and savants."@en
- "Courbet's dedication to popular imagery--most particularly, to contemporary lithographic and photographic "lesbian" erotica--is emphasized throughout the dissertation, with special attention paid to the ways in which Courbet turned to the visual and literary lesbianism that was then in vogue (by Charles Baudelaire, George Sand, Achille Deveria, Pierre Numa Bassaget, and so on) as source material for his own "lesbian" paintings."@en
- "Courbet's "lesbian" paintings are situated along a spectrum, or continuum, which ranges from the suggestive to the overtly erotic and explicitly sexual. For example, his Bathers, 1853, is deemed his earliest and most subtle exploration into the theme of lesbian eroticism, followed by Les Demoiselles des bords de la Seine, 1857, which is reread as an image replete with pictorial signifiers then associated with visual and literary lesbianism. Within the lesbian spectrum delineated, the Etude de Femmes (or Venus and Psyche), 1864, and The Awakening, 1866, are read as "lesboerotic" images; that is, as images with "lesbian" overtones, but not necessarily a "lesbian" theme. Finally, The Sleepers, 1866, is considered the most unambiguously and explicitly sexual of Courbets "lesbian" paintings."@en