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• W224233670 abstract "The salon essay, a literary vogue in nineteenth-century France, was written by famous authors and professional art critics alike. This study examines the formal and rhetorical characteristics of one of the salon essays inspired by the very influential 1855 World's Fair, Claude Vignon's Exposition universelle de 1855--Beaux-Arts. Claude Vignon, pseudonym of the sculptor and author, Normie Cadiot, was an influential figure in French cultural life whose varied contributions have been unjustly neglected. While shedding light on the discursive characteristics of the salon essay in general, this study gives particular attention to the ways her gender influenced the strategies of persuasion and argumentation she employed. ********** Nineteenth-century France witnessed the flowering of the salon essay as a prose genre. (1) It was, however, during the previous century that the philosopher, essayist, novelist, and Encyclopedia editor, Denis Diderot, wrote the first salon essays of literary merit. The fact that his first salon (1759) came almost a century after the first Salon exhibition, held in 1673, demonstrates that the practice of state-organized, yearly or biennial fine arts exhibitions was not sufficient to create a new prose genre of aesthetic value. This required a writer with both artistic sensibility and literary skill, a unique combination that was one of the hallmarks of Diderot's genius. (2) Once the example had been given, however, many were eager to follow. While it could be argued that Baudelaire brought the genre to its literary apogee in the nineteenth-century, many other literary figures, including V. Hugo, Stendhal, A. de Musset, P. Merimee, Th. Gautier, Champfleury, E. Fromentin, E. Zola, G. de Maupassant, J.-K. Huysmans, J. Laforgue, M. Barres and S. Mallarme all wrote--and published--art criticism. This phenomenon was made possible by the belief, commonly held at the time, that any cultivated person was qualified to judge the arts. To the names of the literary figures just mentioned, some of whom wrote salon criticism only on an occasional basis, can be added those of other writers--Delecluze, Thore Burger, and Castagnary, to name only three--who throughout the nineteenth-century contributed to making writing on the fine arts, in salon essays and other critical pieces, a profession in its own right. Claude Vignon, journalistic and literary pseudonym of Noemie Cadiot (1832-1888), belongs principally to the first of these categories. A student of the Romantic sculptor, Pradier, Vignon exhibited her works at the Paris Salons from 1852 to 1864, which at the time was a remarkable achievement for a woman. However, especially in later life Vignon earned a reputation as an author, publishing fiction, poetry, and nonfiction, including political commentary and art criticism. The latter appeared in a number of journals, as well as in four book-length salon essays. The present essay explores the formal and rhetorical characteristics of her 127-page discussion of French art exhibited at the 1855 World's Fair--the first such exhibition to include the fine arts--as found in her essay, Exposition universelle de 1855-Beaux-Arts. Before turning to Vignon's text and in an effort to better understand the success of the genre it represented, it is useful to note that the fortune of both of the categories of art critics identified above -the author-amateurs and the nascent professionals--was enhanced by two defining characteristics of nineteenth-century French culture, the development of the press and the rise of the bourgeoisie. In spite of occasional setbacks due to state censorship, during the nineteenth century the number of periodicals increased exponentially, and newspapers and revues of every political stripe often established long-standing relationships with art critics in sympathy with their ideological positions. (3) It is thus not coincidental, for example, that the conservative critic, Delecluze, wrote salon essays for many years for the right leaning paper, the Journal des debats. …" @default.
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• W224233670 date "2005-03-22" @default.
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• W224233670 title "The Rhetoric of Salon Criticism: Claude Vignon's Exposition Universelle De 1855-Beaux-Arts" @default.
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