The Representation of Artist in French Painting of the Second Empire

我从四个角度探讨了第二帝国艺术家的表现问题：（1）致敬与宣言，（2）波希米亚式艺术家，肖像，（4）工作室。对于（1），我对《向德拉克洛瓦致敬》（1864）和《吐司》进行了深入的研究拉图尔的《向真理致敬》（1865），并从题材和风格两个方面分析了作为艺术家群像的特点。通过对画家德拉克洛瓦和真理的寓言形象的致敬主题，可以实现美学的彰显。对于（2），我选择了雷诺阿的《Le，cabaret de la Mere Antnony》（1866）和马奈的《L 'Artiste》。在第三部分中，我考察了画家的自画像，如杜兰的《凡坦-拉图尔和乌列韦》和凡坦-拉图尔的《马奈的肖像》。前者从来源上明确了与卢浮宫绘画的关系，后者则被证明是马奈对绘画主义不妥协态度的写照。对于（4）的主题，我以巴齐耶的《孔达明芸香的工作室》和方丹-拉图尔的《一个巴蒂尼奥勒的工作室》为例，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的特征差异，特别是私密空间的表现和群像的表现，虚构性，这样，通过对这四个重要问题的讨论，第二帝国时期的法国绘画中艺术家的再现性的意义，并在西方现代绘画的语境中明确其意义。

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.