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Portraiture and Friendship in Enlightenment France

Jessica L. Fripp


BUY Cloth · 240 pp. · 6 × 9 · ISBN 9781644532010 · $70.00 · Nov 2020
BUY Ebook · 240 pp. · ISBN 9781644532027 · $70.00 · Nov 2020

Portraiture and Friendship in Enlightenment France examines how new and often contradictory ideas about friendship were enacted in the lives of artists in the eighteenth century. It demonstrates that portraits resulted from and generated new ideas about friendship by analyzing the creation, exchange, and display of portraits alongside discussions of friendship in philosophical and academic discourse, exhibition criticism, personal diaries, and correspondence. This study provides a deeper understanding of how artists took advantage of changing conceptions of social relationships and used portraiture to make visible new ideas about friendship that were driven by Enlightenment thought.

Studies in Seventeenth- and Eighteenth-Century Art and Culture

Distributed for the University of Delaware Press

Reviews:


Portraiture and Friendship in Enlightenment France is well researched and is particularly commendable in terms of its use of unexamined or understudied primary-source material. Fripp introduces texts—visual and written—that will be useful for scholars in a number of fields. It is a welcome addition to scholarship on sociability and portraiture and will be of interest to scholars in art history, cultural studies, and gender studies.

Heather Belnap, Brigham Young University, coeditor of Women, Femininity, and Public Space in European Visual Culture, 1789–1914

Portraiture and Friendship in Enlightenment France forges important new ground in several respects. Fripp makes a compelling case that the idea of friendship was a structuring principle that guided many aspects of the theory and practice of the Royal Academy of Painting and Sculpture, a gendered notion that operated differently for female and male artists, a tool that artists could employ to further their careers, and an important key to understanding the caricatures that circulated among members of the Academy, particularly when traveling abroad. Although many of the primary-source texts and images discussed will be familiar to specialists in eighteenth-century French painting, looking at these written and visual documents through the lens of friendship reveals new layers of meaning that have never before been discussed.

Laura Auricchio, Dean, Fordham College at Lincoln Center, author of Adélaïde Labille-Guiard: Artist in the Age of Revolution

About the Author(s): 

Jessica L. Fripp is Assistant Professor of Art History at Texas Christian University.

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