On the Goncourt brothers and the return of color in French art in the 19th c. Focuses on the figure of the painter Coriolis and the significance of color in Manette Salomon. Argues that Orientalism represented a limiting of color rather than acceptance and celebration of it.
Sauf mention contraire ci-dessus, le contenu de cette notice bibliographique peut être utilisé dans le cadre d'une licence CC BY 4.0 / Unless otherwise stated above, the content of this bibliographic record may be used under a CC BY 4.0 license