Mary D. Sheriff

Jean-Honoré Fragonard

In the aftermath of the French Revolution, Jean Honoré Fragonard, perhaps the most significant French painter of the eighteenth century, was condemned first as a purveyor of luxury items and later as an artist who abandoned noble subjects for the erotic genre. In this revisionist, art-historical study, Mary D. Sheriff challenges such pejorative views of Fragonard by arguing that he is better understood as an artist whose unsurpassed technical skill and witty manipulation of academic standards established a dynamic relation with the audience his art both courted and created. Sheriff begins her inquiry with an appraisal of Fragonard criticism, followed by an extensive and thoroughly original reading of selected works by Fragonard and of the eroticism encoded in them. Art and eroticism converge in a discussion of execution, in which Sheriff explores the changing conception of execution and elucidates its complex rhetorical and cultural underpinnings. Drawing on analytic methods from contemporary critical theory and an understanding of each work's cultural milieu, Sheriff pays particular attention throughout to the relation between beholder and work of art, which she views as manifest in the artist's preoccupation with the play between the real and the fictive. Scholars and students of art history, eighteenth-century culture and history, critical theory, literary criticism, and all those drawn to the work of this great French painter will find this work essential reading.

Art and Eroticism

Fragonard

No happy endings, though, were imagined for such inspired women writers as Sappho and Heloise, who burned with an erotomania their art could not quench. Even so, Sheriff demonstrates that the perceived connections among sexuality, creativity, and disease also opened artistic opportunities for women - and creative women took full advantage of them."--BOOK JACKET.

Inspired Artists and Deviant Women in Eighteenth-Century France

Moved by Love

Art historians have long been accustomed to thinking about art and artists in terms of national traditions. This volume takes a different approach, suggesting instead that a history of art based on national divisions often obscures the processes of cultural appropriation and global exchange that shaped the visual arts of Europe in fundamental ways between 1492 and the early twentieth century. Essays here analyze distinct zones of contact--between various European states, between Asia and Europe, or between Europe and so-called primitive cultures in Africa, the Americas, and the South Pacific--focusing mainly but not exclusively on painting, drawing, or the decorative arts. Each case foregrounds the centrality of international borrowings or colonial appropriations and counters conceptions of European art as a "pure" tradition uninfluenced by the artistic forms of other cultures. The contributors analyze the social, cultural, commercial, and political conditions of cultural contact--including tourism, colonialism, religious pilgrimage, trade missions, and scientific voyages--that enabled these exchanges well before the modern age of globalization. Contributors: Claire Farago, University of Colorado at Boulder Elisabeth A. Fraser, University of South Florida Julie Hochstrasser, University of Iowa Christopher Johns, Vanderbilt University Carol Mavor, University of North Carolina at Chapel Hill Mary D. Sheriff, University of North Carolina at Chapel Hill Lyneise E. Williams, University of North Carolina at Chapel Hill

Cultural Contact and the Making of European Art since the Age of Exploration

In eighteenth-century France, the ability to lose oneself in a character or scene marked both great artists and ideal spectators. Yet it was thought this same passionate enthusiasm, if taken to unreasonable extremes, could also lead to sexual deviance, mental illness—even death. Women and artists were seen as especially susceptible to these negative consequences of creative enthusiasm, and women artists, doubly so. Mary D. Sheriff uses these very different visions of enthusiasm to explore the complex interrelationships among creativity, sexuality, the body and the mind in eighteenth-century France. Drawing on evidence from the visual arts, literature, philosophy, and medicine, she portrays the deviance ascribed to both inspired men and women. But while various mythologies worked to normalize deviance in male artists, women had no justification for their deviance. For instance, the mythical sculptor Pygmalion was cured of an abnormal love for his statue through the making of art. He became a model for creative artists, living happily with his statue come to life. No happy endings, though, were imagined for such inspired women writers as Sappho and Heloise, who burned with erotomania their art could not quench. Even so, Sheriff demonstrates, the perceived connections among sexuality, creativity, and disease also opened artistic opportunities for creative women took full advantage of them. Brilliantly reassessing the links between sexuality and creativity, artistic genius and madness, passion and reason, Moved by Love will profoundly reshape our view of eighteenth- century French culture.

Melissa Lee Hyde

Becoming a Woman in the Age of Enlightenment: French Art from the Horvitz Collection' is primarily an exhibition of drawings but will include pastels, paintings, and sculptures selected from one of the world?s best private collections of French drawings. The exhibition will feature nearly 120 works by many of the most prominent artists of the eighteenth century, including Antoine Watteau, Nicolas Lancret, François Boucher, Jean-Honoré Fragonard, as well as lesser-known artists both male and female, such as Anne Vallayer-Coster, Gabrielle Capet, François-André Vincent, Philibert-Louis Debucourt. Ranging from spirited, improvisational sketches and figural studies, to highly finished drawings of exquisite beauty, the works included in the exhibition vary in terms of style, genre, and period.0Becoming a Woman will be organized into thematic sections that address some of the most important and defining questions of women?s lives in the eighteenth century. These include: how the stages of a woman?s life were measured; what cultural attitudes and conditions in France shaped how women were defined; what significant relations women formed with men; what social and familial rituals gave order to their lives; what pleasures they pursued; and what work they accomplished. The aim is to bring new insights to the questions of what it meant to be a woman in this period, by offering the first exhibition to focus specifically on representations of women of a broad range of ages and conditions.00Exhibition: Harn Museum of Art, University of Florida, Gainesville, USA (06.10.-31.12.2017).

French Art from the Horvitz Collection

Becoming a Woman in the Age of Enlightenment

Katie Scott

Mimi Hellman

Charissa Bremer-David

"This exhibition challenges the reasons why sculpture is usually considered alone, in the gallery, and the decorative arts are considered as part of a period setting. It suggests that by breaking away from these conventional categories we can see how sculpture is also part of a spatial conversation, and how furniture and fittings can be appreciated as unique works." "With five original essays and forty complete catalogue entries, this publication both documents an exhibition and goes beyond it, opening our eyes to the fluidity of formal language in the 'long' eighteenth century, and to the ways in which objects can change according to whether they are seen together or apart, as mobile or fixed, as two- or three-dimensional, as ideal or as functional." --Book Jacket.

Finding Sculpture in the Decorative Arts : an Exhibition Co-organised by the Henry Moore Institute, Leeds and the J. Paul Getty Museum, Los Angeles, California

Taking Shape

In Enchanted Islands, renowned art historian Mary D. Sheriff explores the legendary, fictional, and real islands that filled the French imagination during the ancien regime as they appeared in royal ballets and festivals, epic literature, paintings, engravings, book illustrations, and other objects. Some of the islands were mythical and found in the most popular literary texts of the day—islands featured prominently, for instance, in Ariosto’s Orlando furioso,Tasso’s Gerusalemme liberata, and Fénelon’s, Telemachus. Other islands—real ones, such as Tahiti and St. Domingue—the French learned about from the writings of travelers and colonists. All of them were imagined to be the home of enchantresses who used magic to conquer heroes by promising sensual and sexual pleasure. As Sheriff shows, the theme of the enchanted island was put to many uses. Kings deployed enchanted-island mythology to strengthen monarchical authority, as Louis XIV did in his famous Versailles festival Les Plaisirs de l’île enchantée. Writers such as Fénelon used it to tell morality tales that taught virtue, duty, and the need for male strength to triumph over female weakness and seduction. Yet at the same time, artists like Boucher painted enchanted islands to portray art’s purpose as the giving of pleasure. In all these ways and more, Sheriff demonstrates for the first time the centrality of enchanted islands to ancient regime culture in a book that will enchant all readers interested in the art, literature, and history of the time.

Mary D. Sheriff

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