Abstract
When censorship of visual imagery was subjected to prior censorship in nineteenth-century France, as was the case almost continuously between 1820 and 1881 (with the major exceptions of 1830–35 and 1848–51), the relevant law was so broad that it incorporated virtually any and all images: “No drawings, engravings, lithographs, medallions, prints, or emblems of any kind may be published, displayed or sold without the prior authorization of the Ministry of Police of Paris or the prefects in the departments.”1 This law was enforced to the full against the widest possible variety of media, which here will be discussed by type of objects. For a chronological, but far less comprehensive account, see the present author’s “France” in The War for the Public Mind.2
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Notes
Bertrand Tillier, “The Impact of Censorship on Painting and Sculpture, 1851–1914,” in Out of Sight: Political Censorship of the Visual Arts in Nineteenth-Century France, ed. Robert Goldstein (Yale French Studies; New Haven: Yale University Press, 2012), 81.
Robert Justin Goldstein, “France,” in The War for the Public Mind: Political Censorship in Nineteenth-Century Europe, ed. Goldstein (Westport: Praeger, 2000), 125–73.
Odile Krakovitch, “Les ciseaux d’Anastasie: le théâ tre au XIXe Siècle,” in Censures: de la Bible aux larmes Eros, ed. Martine Poulain (Paris: Centre Georges Pompidou,1987), 56, 63.
Claude Bellanger et al., Histoire gé né rale de la presse française, II (Paris: Presses Universitaires de France, 1969), 352.
Thureau-Dangin, Histoire de la monarchie du juillet (Paris: Pion, 1888), 575;
C. Baudelaire, The Painter of Modern Life (New York: Phaidon, 1964), 172;
H. Heine, French Affairs (New York: Heinemann, 1893), 142, 331. For extensive treatments of the “poire,”
see David Kerr, Caricature and French Political Culture, 1830–1848 (Oxford University Press, 2000);
E. Kenney and J. Merriman, The Pear: French Graphic Arts in the Golden Age of Caricature (Mt. Holyoke College Art Museum, 1991);
Sandy Petrey, In the Court of the Pear King: French Culture and the Rise of Realism (Ithaca: Cornell University Press, 2005);
Amy Forbes, The Satiric Decade: Satire and the Rise of Republicanism in France, 1830–1840 (New York: Lexington, 2010);
Fabrice Erre, La Rè gne de la Poire (Seyssel: Champ Vallon 2011).
See Robert Justin Goldstein, “André Gill and the Struggle against Censorship of Caricature in France, 1867–1879,” Journalism History, no. 21 (Winter 1995): 143–4.
Odile Krakovitch, Les Piè ces de Théâtre soumises a La Censure (1800–1830) (Paris: Archives Nationales, 1982), 14.
Odile Krakovitch, Hugo censuré: la liberté au théâtre au XIXe siècle (Paris: Archives Nationales, 1985), 83. Krakovitch’s work is the best overall summary of nineteenth- century French theater censorship.
For an extended English-language summary, see Robert Justin Goldstein, “France,” in Goldstein, ed., The Frightful Stage: Political Censorship of the Theater in Nineteenth-Century Europe (New York: Berghan, 2009), 70–129.
For a summary of nineteenth-century French carica-ture censorship, see Robert Justin Goldstein, Political Censorship of Caricature in Nineteenth-Century France (Kent State University Press, 1989).
For a recent French book on the subject, see Jean-Michel Renault, Censure et interdites et de combat de l’histoire de 10 Presse en France et dans le monde (Paris: Pat à Pan, 2006).
For over-all summaries of nineteenth-century European (including press) censorship, see Robert Justin Goldstein, Political Censorship of the Arts and the Press in Nineteenth-Century Europe (New York: St. Martin’s, 1989); and Goldstein, ed., The War for the Public Mind.
Donald English, Political Uses of Photography in the Third French Republic, 1871–1914 (Ann Arbor: UMI, 1984), 16.
John House, “Manet’s Maximilian: Censorship and the Salon,” in Elizabeth Childs, ed., Suspended License: Censorship and the Visual Arts (Seattle: University of Washington Press, 1997), 18.
Odile Krakovitch, “Robert Macaire ou la Grande Peur des Censeurs,” Europe: Revue litté raire mensuelle, no. 65 (1987): 55–6;
Jean-Marie Thomasseasu, “Le Melodrama et La Censure sous la Premier Empire et la Restauration,” Revue des sciences humaines, no. 162 (1976): 179.
Alberic Cahuet, La Liberté du Théâtre en France et a l’Etranger (Paris: Dejarric, 1902), 348;
Sonia Slatin, “Opera and Revolution: Muette de Portici and the Belgian Revolution of 1830 Revisited,” Journal of Musicological Research, no. 3 (1979): 45–62;
Victor Hallays-Dabot, Histoire de la Censure Théâtrale en France (Genève: Slatkine, 1970 [1862]), 116.
Krakovitch, Hugo, 150, 244–5, 227, 286; Cahuet, La Liberté, 206, 217; James Allen, In the Public Eye: A History of Reading in Modern France (Princeton University Press, 1991), 94; AN F18 2342, 2363.
Krakovitch, Hugo, 15, 240; W. D. Howard, Sublime and Grotesque: A Study of French Romantic Drama (London: Harrap, 1975), 306;
Charles O’Neill, “Theatrical Censorship in France, 1844–1875: The Experience of Victor Séjour,” Harvard Library Bulletin, no. 26 (1978): 434.
Lawson Carter, Zola and the Theatre (New Haven: Yale University Press, 1953) 141; Krakovitch, Hugo, 145; Cahuet, La Liberté, 281, 339.
F. W. J. Hemmings, Culture and Society in France, 1789–1848 (University of Leicester, 1987), 30.
F. W. J. Hemmings, Theatre and State in France, 1760–1905 (Cambridge University Press, 1994), 204–25, provides a good short summary of nineteenth- century French theater censorship.
Nicholas Harrison, “Colliding with the Censors: Theater Censorship in France after the Revolution,” Romance Studies, no. 25 (1955): 16 (7–18); Krakovitch, Hugo, 55;
Sheryl Kroen, Politics and Theater: The Crisis of Legitimacy in Restoration France (Berkeley: University of California Press, 2000), 229–84.
Sidhir Hazareesingh, The Legend of Napoleon (London: Granta, 2004), chapter 3.
Barbara Day, “Political Dissent and Napoleonic Representations during the Bourbon Monarchy,” Historical Reflexions, no. 19 (1993): 34; Hazareesingh, The Legend of Napoleon, 72–84.
Barbara Day, Napoleonic Art (Newark: University of Delaware Press, 1999), 40, 96; Kroen, Politics and Theater, 190–1; David O’Brien, “Censorship of Visual Culture in France, 1815–1852,” in Goldstein, ed., Out of Sight, 47.
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Goldstein, R.J. (2015). France. In: Goldstein, R.J., Nedd, A.M. (eds) Political Censorship of the Visual Arts in Nineteenth-Century Europe. Palgrave Macmillan, London. https://doi.org/10.1057/9781137316493_3
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