Luxury After the Terror / / Iris Moon.

• Superior document: Title is part of eBook package: De Gruyter EBOOK PACKAGE Arts 2022
• VerfasserIn: Moon, Iris,
• Place / Publishing House: University Park, PA : : Penn State University Press, , [2022]; ©2022
• Year of Publication: 2022
• Language: English
• Physical Description: 1 online resource (272 p.) :; 30 color/65 b&w illustrations
• Other title: Frontmatter --; Contents --; List of Illustrations --; Acknowledgments --; Introduction --; 1 Death and Dispersal: The 1793–94 Revolutionary Auctions at Versailles --; 2 Henry Auguste: Precious Metals in the Age of Terror --; 3 Jean- Démosthène Dugourc: Political Fantasies of the Arabesque --; 4 Aubert- Henri- Joseph Parent: Carving in Exile --; 5 Alexandre Brongniart: Fragile Terrains --; Coda --; Notes --; Bibliography --; Index
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9780271093093; 9783110992809; 9783110992816; 9783110993899; 9783110994810; 9783110766929
• DOI: 10.1515/9780271093093?locatt=mode:legacy
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Iris Moon.

When Louis XVI was guillotined on January 21, 1793, vast networks of production that had provided splendor and sophistication to the royal court were severed. Although the king’s royal possessions—from drapery and tableware to clocks and furniture suites—were scattered and destroyed, many of the artists who made them found ways to survive. This book explores the fabrication, circulation, and survival of French luxury after the death of the king.Spanning the final years of the ancien régime from the 1790s to the first two decades of the nineteenth century, this richly illustrated book positions luxury within the turbulent politics of dispersal, disinheritance, and dispossession. Exploring exceptional works created from silver, silk, wood, and porcelain as well as unrealized architectural projects, Iris Moon presents new perspectives on the changing meanings of luxury in the revolutionary and Napoleonic periods, a time when artists were forced into hiding, exile, or emigration. Moon draws on her expertise as a curator to revise conventional accounts of the so-called Louis XVI style, arguing that it was only after the revolutionary auctions liquidated the king’s collections that their provenance accrued deeper cultural meanings as objects with both a royal imprimatur and a threatening reactionary potential.Lively and accessible, this thought-provoking study will be of interest to curators, art historians, scholars, and students of the decorative arts as well as specialists in the French Revolution.