The Representation of Artist in French Painting of the Second Empire

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I approached the problem of representation of artist in the Second Empire from four points of views : (1)Hommage and manifest, (2)Artist of Bohemian type, Portrait, (4)Atelier.For (1),I made an intensive research on "Hommage a Delacroix"(1864) and "Toast (Hommage a la verite)"(1865) by Fantin-Latour, and analysed the characteristics as group portrait of artists from two aspects : subject and style. Aesthetic manifests could be realised thouruogh the themes of hommage to the painter Delacroix and to the allegorical figure of Truth. For (2),I took up "Le, cabaret de la Mere Antnony"(1866) by Renoir and "L'Artiste" by Manet. I made an analysis on the work of Renoir as rural bohemian and that of Manet as civil one by survey of criticism and iconographical approach.As for (3),I investigated self-portraits of painters, "Fantin-Latour et Oulevay" by Carolus Duran, and `"Portrait de Manet" by Fantin-Latour. In the former, the relationship with the paintings of Louvre Museum by point of sources was specified, and the latter was prouved to be the portrait reflecting an intransigent attitude of Manet to the academism. For the theme of(4),I treated "Atelier de la rue Condamine" by Bazille and "Un Atelier aux Batignolles" by Fantin-Latour Founding on the genealogy of the iconography of atelier in the Western painting, I compared the differences of characteristics of the two representation of atelier, particularly expression of intimate space and group portrait, fiction.In this way, by discussing these four important problematics, I considered the meanings of representation of artist in French painting of the Second Empire, and made clear the significations in the contexte of western modern painting.