title: Jean-Baptiste Greuze’s “Rhetoric of obedience” in the context of Russian-French artistic connections
metadata.name: dc.contributor.author
metadata.value: Sechin, Alexander G.
metadata.lang: -
metadata.name: dc.date.accessioned
metadata.value: 2018-06-22T12:50:53Z
metadata.lang: -
metadata.name: dc.date.available
metadata.value: 2018-06-22T12:50:53Z
metadata.lang: -
metadata.name: dc.date.issued
metadata.value: 2018-06
metadata.lang: -
metadata.name: dc.identifier.citation
metadata.value: Sechin A. G. Jean-Baptiste Greuze’s “Rhetoric of obedience” in the context of Russian- French artistic connections. Vestnik of Saint Petersburg University. Arts, 2018, vol. 8, issue 2, pp. 273–299.
metadata.lang: en_GB
metadata.name: dc.identifier.other
metadata.value: 10.21638/11701/spbu15.2018.207
metadata.lang: -
metadata.name: dc.identifier.uri
metadata.value: http://hdl.handle.net/11701/10336
metadata.lang: -
metadata.name: dc.description.abstract
metadata.value: The paper concerns the rhetorical basis in works of French artist Jean-Baptiste Greuze, who
  was a prominent representative of the Enlightenment. In the early twentieth century L. Hautecoeur
  has revealed literary devices that are used by Greuze in his paintings, but then scholars
  have not focused attention on this issue. In the opinion of the author, many of Greuze’s works
  were modelled on the rhetorical syllogisms that were described as far back as the Classical
  antiquity. Using Aristotle’s division of rhetorical sentences into common and specific topics
  or enthymemes, he reveals in the work of the French painter representative samples of both.
  Greuze’s favorite commonplace was the antithesis and other «figures of speech» closely related
  to this rhetorical topic, and he used it very variously, contrasting each other as whole pictures
  and images within a work, and these oppositions, in turn, have very different degrees of contrast.
  One of the most famous specific enthymemes created by Greuze is the iconographic
  cliché which is at the core of his very popular «expressive heads» — «têtes d’expression». Both
  kinds of figures of visual rhetoric found understanding and reflection in Russian culture of the
  18–19 centuries, particularly in Russian literature.
metadata.lang: en_GB
metadata.name: dc.language.iso
metadata.value: ru
metadata.lang: en_GB
metadata.name: dc.publisher
metadata.value: St Petersburg State University
metadata.lang: en_GB
metadata.name: dc.relation.ispartofseries
metadata.value: Vestnik of St Petersburg University. Arts;Volume 8; Issue 2
metadata.lang: -
metadata.name: dc.subject
metadata.value: J.-B. Greuze
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: rhetoric
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: rhetorical syllogism
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: common and specific topics or enthymemes
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: antithesis
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: iconographic cliché
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: têtes d’expression
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Russian-French artistic connections
metadata.lang: en_GB
metadata.name: dc.title
metadata.value: Jean-Baptiste Greuze’s “Rhetoric of obedience” in the context of Russian-French artistic connections
metadata.lang: en_GB
metadata.name: dc.type
metadata.value: Article
metadata.lang: en_GB
resources.filename: 07-Sechin.pdf
resources.url: https://dspace.spbu.ru/bitstream/11701/10336/1/07-Sechin.pdf
resources.format: Adobe PDF
resources.size: 8,71 MB