The Representation of Artist in French Painting of the Second Empire

我从四个角度探讨了第二帝国时期艺术家的再现问题：(1)致敬与表现；(2)波西米亚式艺术家肖像；(4)画室。(1)对芳丹-拉图尔的《致敬德拉克洛瓦》（Hommage a Delacroix, 1864）和《Toast （Hommage a la verite, 1865）》（1865）进行了深入研究，从题材和风格两个方面分析了艺术家群像的特点。美学表现可以通过对画家德拉克洛瓦和寓言人物真理的致敬主题来实现。第二，我选了雷诺阿的《Le， cabaret de la Mere antony》（1866）和马奈的《艺术家》（L'Artiste）。从批评和肖像学的角度，对雷诺阿作为乡村波西米亚人的作品和马奈作为平民波西米亚人的作品进行了分析。至于(3)，我调查了画家的自画像，卡洛勒斯·杜兰的《芳丹·拉图尔与大道》和芳丹·拉图尔的《马奈肖像》。前者从来源上明确了与卢浮宫绘画的关系，后者则证明是马奈对学院派不妥协态度的一幅肖像。对于(4)的主题，我以巴齐耶的《康达明街的工作室》（Atelier de la rue Condamine）和芳丹-拉图尔的《巴提诺勒的工作室》（Un Atelier aux Batignolles）为研究对象，在西方绘画中工作室图像学谱系的基础上，比较了两种工作室表现形式的特征差异，尤其是亲密空间的表达和群像、虚构的表现。这样，通过对这四个重要问题的讨论，我思考了第二帝国时期法国绘画中艺术家再现的意义，并明确了其在西方现代绘画语境中的意义。

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.