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- W2481127002 abstract "Our brief juxtaposition of Laforgue and Seurat’s visions of dominical leisure in the previous chapter afforded an illustration of the discursive meeting points between contemporary poetry and painting that is all the more compelling in light of Laforgue’s ongoing interest in contemporary avant-garde art.1 In the early stages of the Neo-Impressionist movement, bourgeois leisure was a primary object of satire; and the early work of Seurat’s follower Paul Signac, Le Dimanche parisien (1889–90), lampooned the alienating domesticity of the middle-class Sunday in a way that could not but recall Laforgue’s caricature of dominical recreation. We have seen how the poet’s attention to the Sabbath extended beyond class critique to questions of poetic style and self-reflexivity; and in not altogether dissimilar ways, this chapter demonstrates that such connections between leisure and aesthetics were integral to the public agendas and self-understanding of Neo-Impressionism, from Seurat onwards. This chapter takes as its starting point a passage from T. J. Clark’s The Painting of Modern Life. In it, Clark brings together questions of modernity and modernism, material history and aesthetic shifts, by relating the broad outlines of painting’s trajectory in France through and beyond the late nineteenth century to a transformed — and transformative — view of leisure: I think this implication of leisure in class struggle goes some way to explain the series of transformations undergone by the subject in painting from 1860 to 1914. In particular it seems to me to shed light on the painters’ changes of mind about how leisure should be depicted: the way, for example, styles of spontaneity are repeatedly displaced by styles of analysis — grandly individualistic modes of handling, that is, abandoned in favour of ones claiming to be anonymous, scientific and even collective. The classic instance is Neo-Impressionism: I do not believe that its vehemence (or its appeal to Pissarro) can be understood unless it is seen as deriving from an altered view of leisure, and of art as part of that leisure — which in turn derived from a new set of class allegiances." @default.
- W2481127002 created "2016-08-23" @default.
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- W2481127002 date "2014-01-01" @default.
- W2481127002 modified "2023-09-27" @default.
- W2481127002 title "Beyond the Leisure Principle: Luce and Neo-Impressionism" @default.
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- W2481127002 doi "https://doi.org/10.1057/9781137373076_4" @default.
- W2481127002 hasPublicationYear "2014" @default.
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