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|DOI (Digital Object Identifier) Link:||http://doi.org/10.1525/rep.2012.117.1.86|
|Google Scholar:||Look up in Google Scholar|
Diderot’s well-known commentary on Greuze’s Girl Weeping over a Dead Bird (1765) is the source for the generally accepted interpretation of the painting as an allegory of lost virginity. This essay challenges the authority of Diderot’s account by relating the image to representations of the young girl in a range of eighteenth-century discourses, including aesthetic theory, sentimental fiction and medical literature. It contends that the painting does not cater to the desiring gaze in a straightforwardly erotic fashion; rather than being a lover as such, the implied spectator is a quasi-paternal figure, who disavows his own desire for the girl whilst nevertheless relishing the illusion of intimacy with her. In thereby raising the specter of incest even as it represses it, Greuze’s Weeping Girl exemplifies deep-seated tensions within later eighteenth-century French culture.
|Item Type:||Journal Article|
|Copyright Holders:||2012 The Regents of the University of California|
|Academic Unit/Department:||Faculty of Arts and Social Sciences (FASS) > Art History, Classical Studies, English and Creative Writing, Music
Faculty of Arts and Social Sciences (FASS)
|Depositing User:||Emma Barker|
|Date Deposited:||23 Jan 2012 13:41|
|Last Modified:||03 Aug 2016 16:20|
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