Abstract This article examines the prolific French critical promotion of the sculptor Émile-Antoine Bourdelle published between 1918 and 1931, and argues for its direct function in the cultural politics of rappel à l’ordre conservatism in France. Authored by numerous art critics and writers, these texts collectively sought to secure Bourdelle as the supremely French sculptor of the contemporary era. In so doing, they provide a richly layered and largely unexplored ideological discourse that served, and indeed helped write, the period’s rhetoric of French national recovery and, ultimately, exclusivity. The persuasive language of these texts maneuvered around certain problematic realities of Bourdelle’s style, process, affiliation, even adverse critical assessment, to herald the man and his sculpture as vitally reconstituting France’s authentic, and heretofore lost, self—its classical and medieval art forms and allied principles of discipline and collective appeal. This claim was made, moreover, through a complex of naturalizing, racialist, and gendered constructs that equipped Bourdelle—as sculptor and as national body—in inviolable terms against “un-French” artistic “infiltrations,” past and present.

中文翻译：

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撰写法国雕塑家：埃米尔·安托万·鲍德勒（Émile-AntoineBourdelle）批判性话语中的排他性运作，1918-31年

摘要本文考察了1918年至1931年间出版的雕刻家Émile-AntoineBourdelle在法国的重要批评，并论证了其在法国竖式保守主义文化政治中的直接作用。由众多艺术评论家和作家共同创作的这些文字共同努力确保Bourdelle成为当代最杰出的法国雕塑家。通过这样做，它们提供了一个层次丰富且很大程度上未经探索的意识形态话语，该话语有助于并且确实有助于撰写该时期法国民族复兴的言论，并最终形成了排他性。这些文字的说服性语言围绕着Bourdelle的风格，过程，从属关系甚至不利的批判性评估的某些现实问题进行了调整，从而预示着该人及其雕塑将法国的真实，迄今为止，迷失了自我-它的古典和中世纪艺术形式以及相关的纪律和集体诉求原则。而且，这种主张是通过归化，种族主义和两性平等的建筑结构提出的，这些建筑结构使Bourdelle（作为雕塑家和国家机构）不受过去和现在的“非法国”艺术“渗透”的侵害。