Troubadour style painting first appeared at the Paris Salon in the opening years of the Nineteenth century. After its initial success during the reign of Napoleon, it continued to fiourish in the period of the Bourbon Restoration. Of small scale and primarily devoted to the representation of anecdotal scenes from the lives of the great French monarchs of the Middle Ages and the Renaissance periods, troubadour style painting evoked nationalist and patriotic sentiments. This analysis of its socio-political foundations in the Napoleonic period reveals an implicit royalist message, particularly in the works of Pierre Revoil and Fleury Richard, the two leading practitioners of this type of painting.
| Identifer | oai:union.ndltd.org:LACETR/oai:collectionscanada.gc.ca:QMM.27931 |
| Date | January 1997 |
| Creators | Blais, Catherine L. |
| Contributors | Solomon-Kiefer, Carol (advisor) |
| Publisher | McGill University |
| Source Sets | Library and Archives Canada ETDs Repository / Centre d'archives des thèses électroniques de Bibliothèque et Archives Canada |
| Language | French |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Format | application/pdf |
| Coverage | Master of Arts (Department of Art History.) |
| Rights | All items in eScholarship@McGill are protected by copyright with all rights reserved unless otherwise indicated. |
| Relation | alephsysno: 001619716, proquestno: MQ37191, Theses scanned by UMI/ProQuest. |
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