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Hush Little Baby


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In the nineteenth century France became fixated on infant sleep. Pictures of sleeping babies proliferated in paintings, posters, and advertisements for cradles and toys. Childcare manuals and medical writings insisted on the importance of sleep as a measure of a child’s future health and vigour. Infant sleep was transformed from an unremarkable event to a precarious stage of life that demanded monitoring, support, and, above all, the constant presence and attention of mothers. Hush Little Baby uncovers the cultural, medical, and economic forces that came to shape Western ideas about infants’ sleeping patterns, rituals, and settings. By the mid-nineteenth century doctors were advising that infant sleep should be carefully controlled by caregivers according to medical guidelines, and that to do otherwise would risk compromising a child’s development. A sleeping baby was seen as the sign of a good mother – an idea that was reinforced through countless pictures of mothers watching vigilantly over their sleeping children, even as the reality of postpartum depression was known to doctors. The medical advice literature also helped to create a commercial infant industry, encouraging the production of clothing, bedding, cradles, and accessories designed to foster sleep, and providing new ways for families to demonstrate social status. In Hush Little Baby Gal Ventura shows how these images and ideas about babies’ sleep created many of the standards and expectations that keep parents awake today.




The Learned Draftsman


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The celebrated French artist Edme Bouchardon (1698–1762) is primarily known as a sculptor today, but his contemporaries widely lauded him as a draftsman as well. Talented, highly innovative, and deeply invested in the medium, Bouchardon made an important contribution to the European art and culture of his time, and in particular to the history of drawing. Around two thousand of his drawings survive—most of which bear no relation, conceptual or practical, to his sculpture—yet, remarkably, little scholarly attention has been paid to this aspect of his oeuvre. This is the first book-length work devoted to the artist’s draftsmanship since 1910. Ambitious in scope, this volume offers a compelling narrative that effectively covers four decades of Bouchardon’s activity as a draftsman—from his departure for Rome in 1723 as an aspiring student to his death in Paris in 1762, by which time he was one of the most renowned artists in Europe. His accomplished and dynamic style is analyzed and copiously illustrated in a series of five interrelated chapters that serve as case studies, each of which focuses on a coherent group of drawings from a particular period of Bouchardon’s career.










Bibliotheca Reuteriana


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