TY - JOUR
AU - Goudie, Allison
AB - Book Reviews Harvard University Press, 2002), 101–33; and (third version) in Selected Writings, busts are painted in grisaille, quite distinct therefore from the vol. 4, 1938– 40, ed. Michael Jennings and Howard Eiland (Cambridge, MA: otherwise colourful gouache and suggestive, it would seem, of Belknap and Harvard University Press), 2003), pp. 251–83. the highly charged status of portrait representations and the 5. Perhaps the best and most succinct formulation of this idea belongs to Siegfried unique semiotic potential they embodied at this historical Kracauer: ‘The principle of Goethe philology [sic] is that of historicist thinking, which 4 moment. Similarly telling is the way in which Lesueur depicted emergedatabout thesametimeas modern photographic technology ...’, Siegfried the busts being paraded not by hand, as contemporary accounts Kracauer, ‘Photography’ in The Mass Ornament, trans. and ed. Thomas Y. Levin recalled, but on pikes, complicating the series’ ostensible (Cambridge, MA and London: Harvard University Press, 1995), p. 49. function as a chronological narrative and collective memory of 6. For a philosophical discussion of the ways that a technological attitude informs the Revolution by inflecting the events of 12 July 1789 with thinking, see Martin Heidegger, ‘The Age of the World Picture’, in The 
TI - Art and Politics in the French Revolution
JF - Oxford Art Journal
DO - 10.1093/oxartj/kcv006
DA - 2015-06-26
UR - https://www.deepdyve.com/lp/oxford-university-press/art-and-politics-in-the-french-revolution-86RTDRGC4x
SP - 288
EP - 292
VL - 38
IS - 2
DP - DeepDyve
ER -