The allegorical artist and the crises of history
Benjamin, Grandville, Baudelaire
Bibliographic Data
| ID | 5790736 |
|---|---|
| Authors | Michèle Hannoosh (corresponding author) |
| Year | 1994 |
| Volume | 10 |
| Issue | 1 |
| Pages | 38-54 |
| Publication date | 1994-01-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Word & Image (JOURNAL) |
| Journal identifiers | ISSN: 0266-6286 • E-ISSN: 1943-2178 |
| Publisher | Taylor & Francis (PUBLISHER • GB) |
| DOI | 10.1080/02666286.1994.10435502 |
| OpenAlex | W2131053539 |
| Language | EN |
| Citations received | 3 |
| References cited | 1 |
Thus wrote Walter Benjamin of the caricaturist and illustrator Grandville in the section devoted to him of the 1935 essay, 'Paris, Capital of the Nineteenth Century'.1 In the larger work on the nineteenth-century Parisian arcades, of which the essay was an expose, Grandville was meant to figure prominently as an artist of the kind of Baudclairean modernity that Benjamin discerned in the commodity culture of Second Empire Paris, in which specialty items and nouveautis are raised to the level of poetic objects
Capital (architecture · French Literature and Critical Theory · Literature, Culture, and Criticism · Walter Benjamin Studies Compilation
| Citations per year | 0.16 |
|---|---|
| Citation span | 2007 - 2023 (17) |
| Highly cited | No |