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Acknowledgments=xi
Preface=xiii
Chapter One. French Humanism and Patriotic Visual Culture=1
Rome in Fragments=11
Published Sources=12
Encomia and Entrances=16
Absolutism and Relational Power=21
Chapter Two. Object Lessons=25
Education and Exemplarity=25
Historical Skepticism and Material Culture=28
The Politics of the Antique Object=30
Classicism as Conflict=34
Chapter Three. Emergent Clients=37
Portraying Michel Passart=38
The Robin:Prestige and Political Theory=40
Power in the Archive=41
Camillus and the Schoolmaster=43
Conduct for Sieges=47
Disorder or Fleeing Confusion=48
Differential Readings=56
Chapter Four. Antique Moses=61
Flavius Josephus=64
Exchanging Moses=68
Chapter Five. The Fronde, Poussin, and his French Clients=71
Letters from Abroad=74
Disgrace=75
The Fronde=77
Clients and Social Actors=80
Passart and the Chambre des comptes=81
Robins for Nobles=83
Cafeacute de la Fronde=84
The Brothers Freacuteart=85
Outside Institutions=86
Portraits, Retreat, and Recalcitrance=89
Sublet's Portrait=90
Strategic Power and Relative Autonomy=96
Chapter Six. Mazarinades and Cultural Resistance during the Fronde=101
Antiquity:The Language of Contemporary Politics=102
Inversions=104
Unstable Signs=105
Oppositional Historiography=106
Reading Coriolanus=111
Female Agency=116
Chapter Seven. Frondeurs and Artistic Discourse=123
Failed Patronage=126
Suspect Collections=128
Appropriate Collections=132
The Orion Landscape:Collecting Thematized=134
Chapter Eight. Reception, Style, and Drawing=137
Poussin's Argument=139
Bold, Rude, and Abbreviated Signs=142
Paper Gallery=146
Drawing upon Circumstance=149
From Ink and Wash to Oil=151
Archaism and Opacity=156
Chapter Nine. Interventions:Painting and Renunciation=163
The Early Modern Testament=163
Social Practice and Self-Reflexive Painting=166
The Painted Legacy and the Legacy of Paint=174
Duration and Attention=175
Difficulty and Opacity=177
Perception and Political Theory in Practice=181
Chapter Ten. Institutional Appropriation=187
The Incomplete Support of Vouet=190
Reorganizing the Arts=191
Conciliatory Moves=193
The Fronde Enters the Acadeacutemie=195
Robe Patronage=197
Poussin Enters the Acadeacutemie=199
Transmission=200
Les Mays:Ambition and Public Display during the Fronde=204
Eustache Le Sueur's May Painting of 1649=207
Nicolas Loir and Louis Testelin:The May Paintings of 1650 and 1652=207
Chapter Eleven. Painting and Landscape=213
Retreat=221
Eclogues=223
Genre=227
Ekphrasis=229
Paint without Art=235
Notes=245
Bibliography=294
Photograph Credits=307
Index=308
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