Relevant bibliographies by topics / Anne-Louis Girodet Trioson

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  1. Journal articles
  2. Dissertations / Theses
  3. Book chapters

Academic literature on the topic 'Anne-Louis Girodet Trioson'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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Journal articles on the topic "Anne-Louis Girodet Trioson"

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Müller, Stefan. "Anne-Louis Girodet-Trioson: Der schlafende Endymion." Schlaf 07, no. 03 (October 2018): 162. http://dx.doi.org/10.1055/s-0038-1675301.

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O'Rourke, Stephanie. "Histories of the self: Anne-Louis Girodet and The Trioson Portrait Series." Eighteenth-Century Studies 52, no. 2 (2019): 201–23. http://dx.doi.org/10.1353/ecs.2019.0007.

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Dissertations / Theses on the topic "Anne-Louis Girodet Trioson"

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Higley, Morgan Yonan Michael Elia. "The developing child in three portraits by Anne-Louis Girodet." Diss., Columbia, Mo. : University of Missouri-Columbia, 2009. http://hdl.handle.net/10355/6728.

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The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on March 19, 2010). Thesis advisor: Dr. Michael Yonan. Art work removed from thesis by author. Includes bibliographical references.
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Lemeux-Fraitot, Sidonie. "Ut poeta pictor : les champs culturels et littéraires d'Anne-Louis Girodet-Trioson (1767-1824)." Paris 1, 2003. http://www.theses.fr/2003PA010581.

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La richesse du milieu où grandit Girodet et l'éducation soignée qu'il reçue, lui conférèrent une place particulière dans l'atelier de David où il étudia la peinture. Après l'obtention en 1789 du Prix de Rome, il fit au cours de son séjour en Italie, une expérience culturelle et artistique intense qui marqua le reste de sa carrière. Les nombreuses amitiés qu'il noua dans le domaine des lettres (particulièrement Delille, Chateaubriand et la famille Bertin), associées à son tempérament original et à son attrait particulier pour la poésie, déterminèrent sa conception de la peinture, extrêmement intellectuelle, qui lui valut de virulentes critiques. Non content de tenir un des premiers rôles dans les salons comme dans les cercles artistiques, il voulut devenir à son tour poète. Reconnu comme chef de file du néoclassicisme à partir de 1819, il devint, en vertu de ses désirs synestésiques et de sa personnalité, un modèle d'inspiration pour les écrivains de la génération romantique.
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Collins, Megan Marie. "The Portrait of Citizen Jean-Baptiste Belley, Ex-Representative of the Colonies by Anne-Louis Girodet Trioson: Hybridity, History Painting, and the Grand Tour." Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1237.pdf.

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Koh, Adam Byunghoon. "Black Dionysus classical iconography and its contemporary resonance in Girodet's Portrait of Citizen Belley /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 84 p, 2008. http://proquest.umi.com/pqdweb?did=1605135741&sid=2&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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O'Rourke, Stephanie. "Bodies of Knowledge: Fuseli and Girodet at the Turn of the Nineteenth Century." Thesis, 2015. https://doi.org/10.7916/D8W37W10.

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This dissertation situates the works of Anglo-Swiss artist Henry Fuseli and French artist Anne-Louis Girodet within a vast and heterogeneous epistemological transformation occurring in the late eighteenth and early nineteenth centuries. It examines three distinct but interlocking case studies—physiognomy, electricity, and the guillotine—each of which constellates scientific discourses, representational practices, and popular attractions. Although working in separate contexts and different modalities, Fuseli and Girodet both engaged with these discourses and practices. Yet they did so in ways that also tested and undermined them. They painted bodies that emphatically failed to conform to the scientific discourses they cited; they painted bodies that were similarly unable to represent heroic virtues or legible narratives. In this way Fuseli and Girodet compel us to read the stylistic shift from neoclassicism to romanticism as participating in a significant realignment of the relationship between knowledge, representation, and the body. By the first decades of the nineteenth century, the body no longer served as a privileged agent of knowledge production within the scientific discourses and artistic practices under consideration. The physiognomic body was no longer self-identical; the electric body was no longer internally continuous. The guillotine offered, in their places, bodies without heads and heads without bodies, whose mechanisms of sensation and cognition were only ever partially and provisionally aligned.
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Book chapters on the topic "Anne-Louis Girodet Trioson"

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"Anne Louis Girodet-Trioson, Sleeping Bacchus, 1790/1791." In French Paintings and Pastels, 1600-1945: The Collections of the Nelson-Atkins Museum of Art. The Nelson-Atkins Museum of Art, 2021. http://dx.doi.org/10.37764/78973.5.412.

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