Julia Langbein
Art Historian, Nineteenth Century Art and Visual Culture
My first monograph, Laugh Lines: Caricaturing Painting in Nineteenth Century France (Bloomsbury, March 2022) tells the story of the comic and satiric reception of art in 19th century France, focusing on a press genre known as Les Salons pour rire, or les Salons caricaturaux.
A second book project looks at the relations between modernist discourse and the first European public crisis of population aging.
From 2020-2022 I was a Postdoctoral fellow at Trinity College Dublin and Co-investigator of a Wellcome-Trust-funded program entitled "Framing Ageing" which brought together humanities, social science and medical/clinical researchers to reassess methodological assumptions about approaches to the study of ageing/old age. I am co-editor of a volume also entitled Framing Ageing which will be published by Bloomsbury in 2023.
My first novel, AMERICAN MERMAID, will be published in the U.S. in Spring 2023 by Doubleday.
My first monograph, Laugh Lines: Caricaturing Painting in Nineteenth Century France (Bloomsbury, March 2022) tells the story of the comic and satiric reception of art in 19th century France, focusing on a press genre known as Les Salons pour rire, or les Salons caricaturaux.
A second book project looks at the relations between modernist discourse and the first European public crisis of population aging.
From 2020-2022 I was a Postdoctoral fellow at Trinity College Dublin and Co-investigator of a Wellcome-Trust-funded program entitled "Framing Ageing" which brought together humanities, social science and medical/clinical researchers to reassess methodological assumptions about approaches to the study of ageing/old age. I am co-editor of a volume also entitled Framing Ageing which will be published by Bloomsbury in 2023.
My first novel, AMERICAN MERMAID, will be published in the U.S. in Spring 2023 by Doubleday.
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Papers by Julia Langbein
31 March – 06 May 2017
Curated by Julia Langbein & Tobias Czudej
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STURTEVANT & THE SALON POUR RIRE places work by Elaine Sturtevant (1924-2014) among examples of nineteenth-century Salon caricature, a genre of caricature that comically reproduced paintings in the booming Parisian illustrated press from the 1840s until the end of the century. The Salon, then France’s and arguably Europe’s central exhibition of contemporary art, opened its doors annually or biennially to the public in the spring; not long after, the pages of the press filled with comic miniature versions of the paintings concurrently on display. Salon caricature was often titled le Salon pour rire—“the Salon to laugh at.”
Book Reviews by Julia Langbein
31 March – 06 May 2017
Curated by Julia Langbein & Tobias Czudej
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STURTEVANT & THE SALON POUR RIRE places work by Elaine Sturtevant (1924-2014) among examples of nineteenth-century Salon caricature, a genre of caricature that comically reproduced paintings in the booming Parisian illustrated press from the 1840s until the end of the century. The Salon, then France’s and arguably Europe’s central exhibition of contemporary art, opened its doors annually or biennially to the public in the spring; not long after, the pages of the press filled with comic miniature versions of the paintings concurrently on display. Salon caricature was often titled le Salon pour rire—“the Salon to laugh at.”