The Diary of J. J. Grandville and the Missouri Album: The Life of an Opposition Caricaturist and Romantic Book Illustrator in Paris Under the July Monarchy

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09As a result of fabricated accounts endlessly repeated since his death, the first nineteenth-century French satirist, J. J.Grandville (180347), can often be perceived as being as bizarre as his inventive protosurrealist imagery. With the recent bicentennial of his birth, the time is right for a reassessment on this seminal artist depending on primary sources. The Diary of J. J. Grandville as well as the Missouri Album: The Life of the Opposition Caricaturist and Romantic Book Illustrator in Paris underneath the July Monarchy by Clive F. Getty does that. This first major study in English of Grandville allows him to dicuss for himself by using a careful examination of his diary, fragments ones are to be seen in a previously unexamined album of drawings within the Special Collections from the University of Missouri-Columbia Libraries.An introductory biography situates the artist from the political, social,and cultural climate of France in the Romantic era as well as the July Monarchy of Louis-Philippe. The main body from the book consists connected with an annotated catalog in the albums drawings. Since the majority are derived from his diaries, they supply valuable new insights into Grandville’s life and work, particularly during those years most extensively represented: 1830, 1833, and 1846. An epilogue explores the genesis in the Missouri Album.

The biography follows Grandville from his native Nancy to Paris where he first gained fame being a satirist with all the human/ animal hybrids of Les Mtamorphoses du jour (182829). After the Revolution of 1830, he produced opposition caricatures for Philipons La Caricature, Le Charivari, plus the Association mensuelle. With the establishment of press censorship in
1835, Grandville ventured into book illustration, producing such innovative masterpiecesas Scnes de la vie prive et pub-liquedes animaux (1842) and Un autre monde (1844). The biography ends using the unusual circumstances of Grandville’s death in 1847 along with an analysis on the distorted accounts regarding the deceased artist and

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