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Regulating the Academie : Art, Rules and Power in ancien regime France. 王立絵画・彫刻アカデミーの規制 －アンシァン・レジーム期フランスの芸術、規則、権力－
・ISBN 978-0-7294-0972-8 paper GB£ 85.00
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お気に入り
★★★
| 著者・編者 | Benhamou, Reed, |
|---|---|
| シリーズ | SVEC |
| 出版社 | (Voltaire Foundation, UK) |
| 出版年月 | 2009 |
| ページ数 | x, 298 pp. |
| 言語 | ENG |
| ニュース番号 | ＜570-1746＞ |
解説
The acclaimed Academie royale de peinture et de sculpture, the second oldest academy in France, was abolished in 1793. Whilst a number of studies have explored the drama of its dissolution, often associated with a speech by former member Jacques-Louis David, this outcome can only be fully understood in the context of the evolving governance of the institution.
In this groundbreaking work, Reed Benhamou provides the first comprehensive examination of the codes and practices of the Academie, from its inception in 1648 to its abolition in 1793. As well as exploring why certain rules were adopted, how they facilitated the development of institutional power bases, and the part they played in the Academie's growing factionalism, the author uncovers changing attitudes to the guild, women, associate academicians and unaffiliated artists. This astute and comprehensive analysis is followed by nine annotated appendices of both registered and proposed statutes and of other related documents, many of which are made readily accessible for the first time.
Offering new insights into the tensions between art and state throughout the ancien regime and beyond, Regulating the Academie is an invaluable reference not only for art historians, but also for those working in cultural or legal history.
In this groundbreaking work, Reed Benhamou provides the first comprehensive examination of the codes and practices of the Academie, from its inception in 1648 to its abolition in 1793. As well as exploring why certain rules were adopted, how they facilitated the development of institutional power bases, and the part they played in the Academie's growing factionalism, the author uncovers changing attitudes to the guild, women, associate academicians and unaffiliated artists. This astute and comprehensive analysis is followed by nine annotated appendices of both registered and proposed statutes and of other related documents, many of which are made readily accessible for the first time.
Offering new insights into the tensions between art and state throughout the ancien regime and beyond, Regulating the Academie is an invaluable reference not only for art historians, but also for those working in cultural or legal history.