Eine andere Moderne im Paris der Dritten Republik. Die „Fontaines Wallace“ und Jules Coutans „Porteuse de pain“ als Avantgarde-Kunst

Of the two studies that deal with works of the ‘other modernity’ of the French 19th century, the first deals with objects that, as multiply producible and stylistically eclectic objects, fell through the Modernist grid, although they correspond exactly to a definition of the avant-garde as formulated in the succession of Saint-Simon. The second asks whether the iconography of “modern life”, in the sense of Charles Baudelaire’s “Le peintre de la vie moderne”, should not be added to the definition of modernity against a limited formalist definition of modernity.