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- W2789270093 abstract "Within the art historical canon, Gustave Courbet is presented as the quintessential autonomous artist. He is seen as part of the seminal modern movement “away” from the courtly in art and towards artistic freedom and critical distance. Reading his work within the discourse of Critical Legal Studies, and in particular psychoanalytical theory, it is clear that an artist is never wholly free of the legal structures that define them. What is the import of that repositioning? In a close reading of Courbet’s major work, The Studio, this chapter makes two claims. First that Courbet is actually partisan, imaging very strongly and clearly his Republican values. His work is situated within the language of sovereignty, not outside of it, and represents duelling claims to sovereignty. Second, that in the self portrait, far from positioning the artist at the centre of the world, which is the canonical reading, the work can instead be seen as an attempt to image the position of the legal subject in relation to the law. It is a work that illustrates the process of legal subject formation." @default.
- W2789270093 created "2018-03-29" @default.
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- W2789270093 date "2018-01-01" @default.
- W2789270093 modified "2023-09-23" @default.
- W2789270093 title "Courbet and the Nude Republican Master" @default.
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- W2789270093 doi "https://doi.org/10.1007/978-3-319-75497-0_4" @default.
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