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Author: Tom Stammers Publisher: Cambridge University Press ISBN: 1108807224 Category : History Languages : en Pages : 375
Book Description
Offering a broad and vivid survey of the culture of collecting from the French Revolution to the Belle Époque, The Purchase of the Past explores how material things became a central means of accessing and imagining the past in nineteenth-century France. By subverting the monarchical establishment, the French Revolution not only heralded the dawn of the museum age, it also threw an unprecedented quantity of artworks into commercial circulation, allowing private individuals to pose as custodians and saviours of the endangered cultural inheritance. Through their common itineraries, erudition and sociability, an early generation of scavengers established their own form of 'private patrimony', independent from state control. Over a century of Parisian history, Tom Stammers explores collectors' investments – not just financial but also emotional and imaginative – in historical artefacts, as well as their uncomfortable relationship with public institutions. In so doing, he argues that private collections were a critical site for salvaging and interpreting the past in a post-revolutionary society, accelerating but also complicating the development of a shared national heritage.
Author: Tom Stammers Publisher: Cambridge University Press ISBN: 1108807224 Category : History Languages : en Pages : 375
Book Description
Offering a broad and vivid survey of the culture of collecting from the French Revolution to the Belle Époque, The Purchase of the Past explores how material things became a central means of accessing and imagining the past in nineteenth-century France. By subverting the monarchical establishment, the French Revolution not only heralded the dawn of the museum age, it also threw an unprecedented quantity of artworks into commercial circulation, allowing private individuals to pose as custodians and saviours of the endangered cultural inheritance. Through their common itineraries, erudition and sociability, an early generation of scavengers established their own form of 'private patrimony', independent from state control. Over a century of Parisian history, Tom Stammers explores collectors' investments – not just financial but also emotional and imaginative – in historical artefacts, as well as their uncomfortable relationship with public institutions. In so doing, he argues that private collections were a critical site for salvaging and interpreting the past in a post-revolutionary society, accelerating but also complicating the development of a shared national heritage.
Author: Darius A. Spieth Publisher: BRILL ISBN: 9004276750 Category : Art Languages : en Pages : 535
Book Description
Seventeenth-century Dutch and Flemish paintings were aesthetic, intellectual, and economic touchstones in the Parisian art world of the Revolutionary era, but their importance within this framework, while frequently acknowledged, never attracted much subsequent attention. Darius A. Spieth’s inquiry into Revolutionary Paris and the Market for Netherlandish Art reveals the dominance of “Golden Age” pictures in the artistic discourse and sales transactions before, during, and after the French Revolution. A broadly based statistical investigation, undertaken as part of this study, shows that the upheaval reduced prices for Netherlandish paintings by about 55% compared to the Old Regime, and that it took until after the July Revolution of 1830 for art prices to return where they stood before 1789.
Author: Oliver Wunsch Publisher: Penn State Press ISBN: 0271096675 Category : Art Languages : en Pages : 268
Book Description
Eighteenth-century France witnessed an unprecedented proliferation of materially unstable art, from oil paintings that cracked within years of their creation to enormous pastel portraits vulnerable to the slightest touch or vibration. In A Delicate Matter, Oliver Wunsch traces these artistic practices to the economic and social conditions that enabled them: an ascendant class of art collectors who embraced fragile objects as a means of showcasing their disposable wealth. While studies of Rococo art have traditionally focused on style and subject matter, this book reveals how the physical construction of paintings and sculptures was central to the period’s reconceptualization of art. Drawing on sources ranging from eighteenth-century artists’ writings to twenty-first-century laboratory analyses, Wunsch demonstrates how the technical practices of eighteenth-century painters and sculptors provoked a broad transformation in the relationship between art, time, and money. Delicacy, which began the eighteenth century as a commodified extension of courtly sociability, was by century’s end reimagined as the irreducible essence of art’s autonomous value. Innovative and original, A Delicate Matter is an important intervention in the growing body of scholarship on durability and conservation in eighteenth-century French art. It challenges the art historical tendency to see decay as little more than an impediment to research, instead showing how physical instability played a critical role in establishing art’s meaning and purpose.
Author: Colin B. Bailey Publisher: Yale University Press ISBN: 9780300089868 Category : Art Languages : en Pages : 374
Book Description
During the final decades of the ancient regime, prominent collectors in Paris commissioned and collected French paintings of the period, works by Greuze, Fragonard, David and others that together comprised 'l'Ecole Francoise' - the French School. In this book, an art historian discusses six of these collectors and the collections they assembled, showing that private patronage in this period was revitalized by this patriotic desire to collect contemporary art. Colin B. Bailey explains why a taste for modern art emerged at this time and how it was encouraged and fostered. Examining the relationship between artist and patron, he discusses the degree of influence these enlightened patrons and collectors expected to exercise when new works were being commissioned. Bailey shows that collectors of eighteenth-century French painting seem not to have made rigid distinctions between the various genres or styles of the Academy's practitioners. Instead, history paintings and genre paintings - both rococo and neo-classical - were exhibited proudly on their walls as superb examples of the French School.
Author: Tom Stammers
Author: Tom Stammers
Author: E. and A. Evans
Author: Darius A. Spieth
Author: British Museum. Department of Printed Books
Author: British museum. Dept. of printed books
Author: Oliver Wunsch
Author: 
Author: British Museum. Department of Printed Books
Author: 
Author: Colin B. Bailey