Space, Images, and Art Perception in Napoleonic Paris

Camilla Murgia is Assistant Professor in History of Art at the Adam Mickiewicz University in Poznan. Previously, she was Junior Lecturer and Substitute Senior Lecturer in History of Art at the University of Lausanne, where she researched space, theatre, and staging in nineteenth-century France.

• List of Illustrations Acknowledgements Introduction About the Brittle Relationship between Space and Objects The Multidimensionality of Space Connecting Objects and Space The Chapters Bibliography Chapter One Displaying Public Space: The Example of the Louvre Physical and Intellectual Space Exhibiting Interacting Disseminating Printmaking and the question of originality Illustrating the Louvre’s collection Functionalities of the printed image Bibliography Chapter Two The Transferable Character of Space Spatialities of experience and expectation The Industry Exhibitions Exhibition space as a catalyst to celebrate the nation Transferability, experience, and seriality The theatrical function of the space: Antonin Carême’s sugar sculptures The image in spatial transferability: the case of Raphael’s Madonna della Seggiola The interaction between experience and expectation: the Velours Grégoire New forms of hybridity: visual experience and commercial strategies Multiple functions and versatility of space Bibliography Chapter Three Connecting Spaces: the Image as Performance Public space is a stage: shop signs, labels, and printed games Stage, theatre and mise en scène Mobile views and sequentiality as entertainment The dynamics of Panoramas Staging the action: equestrian shows and horse races Bibliography Chapter Four The Dilemma of Transition: Views on Art Perception Shifts and intermediaries Comparison and hybridity: old masters and contemporary art Text as mediating space: artists and critics Experimental areas Fiction/reality Theatrical plays Bibliography Epilogue Index