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020 _a9783031636349
_9978-3-031-63634-9
024 7 _a10.1007/978-3-031-63634-9
_2doi
050 4 _aK201-487
050 4 _aK140-165
072 7 _aLAB
_2bicssc
072 7 _aLAW000000
_2bisacsh
072 7 _aLAB
_2thema
245 1 0 _aOn the Artistic Representation of Industrial Disputes in the Shadow of Repression in European Art
_h[electronic resource] :
_bFrom 1870 to 1914 and Beyond /
_cedited by Filip Dorssemont.
250 _a1st ed. 2024.
264 1 _aCham :
_bSpringer International Publishing :
_bImprint: Springer,
_c2024.
300 _aIX, 210 p. 114 illus., 99 illus. in color.
_bonline resource.
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
490 1 _aLaw and Visual Jurisprudence,
_x2662-4540 ;
_v15
505 0 _aIntroduction -- Some perspectives on the representation of industrial disputes under the shadow of repression in European Art (1870-1914) -- Early Stages of Collective Action and their Visual Representations: an Emotions Driven Approach to the Struggle for Better Working Conditions -- The Midinette guiding the People. An iconographic break of the Assiette au Beurre -- Labour and Art: The dualism of backwardness and timeliness in Hungary and in its Eastern neighbourhood -- From 1844 to 1944 - Workers and revolutions in Poland -- Conclusions.
520 _aThis book is the first volume on the artistic representation of industrial disputes in European art (from 1870 to 1914) since the catalogue of the landmark exhibition Streik, Realität und Mythos, organized by the Deutsches Historisches Museum (1992). It has been written by a group of scholars who share a keen interest in social history and the history of art, as well as in-depth knowledge of industrial relations and collective labour law. Seeking to transcend a purely western European perspective, the book offers unprecedented insights into artistic production in Poland and Hungary from the 19th century to the communist era. It even goes beyond the European continent, examining the United States and Mexico. The media explored include painting, sculpture, the graphic arts and photography. Further, the book deals with artists great (Carlo Carrà, Walter Crane, James Ensor, Juan Gris, Käthe Kollwitz, Constantin Meunier,Mihály Munkácsy, Théophile-Alexandre Steinlen and Jan Toorop) and small, sometimes even anonymous. The artistic styles range from (social) realism, naturalism and neo-impressionism to futurism and socialist realism. All stages of industrial disputes (from the causes of strikes to their violent suppression) are subjected to iconographical and iconological analysis, combined with perspectives from visual studies, critical art and gender studies. Agricultural workers, miners, construction workers and textile workers fill the scenes. Most of them are subordinate workers; others are (bogus) independent workers and migrant workers. Given its scope, the book will be of interest to (art) historians, labour law scholars, and specialists in industrial relations.
650 0 _aLaw
_xPhilosophy.
_967596
650 0 _aLaw
_xHistory.
_967597
650 0 _aSemiotics.
_969632
650 0 _aSocial legislation.
_965663
650 0 _aEurope, Central
_xHistory.
_977403
650 0 _aLabor.
_960901
650 0 _aHistory.
650 1 4 _aTheories of Law, Philosophy of Law, Legal History.
_967600
650 2 4 _aSemiotics.
_969632
650 2 4 _aLabour Law/Social Law.
_965669
650 2 4 _aHistory of Germany and Central Europe.
_977404
650 2 4 _aLabor History.
_975020
700 1 _aDorssemont, Filip.
_eeditor.
_4edt
_4http://id.loc.gov/vocabulary/relators/edt
_981538
710 2 _aSpringerLink (Online service)
773 0 _tSpringer Nature eBook
776 0 8 _iPrinted edition:
_z9783031636332
776 0 8 _iPrinted edition:
_z9783031636356
776 0 8 _iPrinted edition:
_z9783031636363
830 0 _aLaw and Visual Jurisprudence,
_x2662-4540 ;
_v15
_971541
856 4 0 _uhttps://doi.org/10.1007/978-3-031-63634-9
912 _aZDB-2-LCR
912 _aZDB-2-SXLC
999 _c62047
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