Portraits of the artist

in Bertrand Tavernier
Abstract only
Get Access to Full Text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Access Tokens

If you have an access token for this content, you can redeem this via the link below:

Redeem token

Bertrand Tavernier's oeuvre contains a self-reflecting dimension, and many of his characters are artists. This chapter discusses on Tavernier's portraits of professional artists, focusing on Des enfants gâtés, Un dimanche à la campagne, and Autour de minuit. In these films, all the artists portrayed are fictional, although most took inspiration from real historical models. Tavernier's portraits of the artist also function as self-portraits. Des enfants gâtés gives us a middle-aged scriptwriter who rents an apartment away from his family in order to complete a screenplay. He is soon caught up in a renters' dispute. Un dimanche à la campagne portrays an elderly painter provoked by a Sunday visit from his children and grandchildren to reflect upon the artistic compromises he has made. In Autour de minuit, an aging African-American bebop saxophonist, making a comeback in 1959 Paris, is rescued from self-destruction by a French fan, himself a graphic artist.

Information

Metrics

All Time Past Year Past 30 Days
Abstract Views 10 10 10
Full Text Views 3 3 3
PDF Downloads 1 1 1

Related Content