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Writing impressionism into the Musée du Luxembourg’s history of nineteenth-century art
Museum History Journal Pub Date : 2018-01-02 , DOI: 10.1080/19369816.2018.1429369
Alexis Clark 1
Affiliation  

ABSTRACT Published in 1895, Léonce Bénédite’s Le Musée du Luxembourg interceded in debates around Caillebotte Bequest, by elevating Impressionism as a style critical to the French state’s official history of nineteenth-century art. As the first fully illustrated catalogue dedicated to this institution, Le Musée du Luxembourg not only described the museum’s extant collection but, in effect, prescribed a future history of art to be narrated on its walls. Yet, the Caillebotte Bequest and its Impressionist paintings and works on paper were only installed at the museum in 1897. This article interrogates how Le Musée du Luxembourg preemptively ushered Impressionism into official art history, studying the intersections between Bénédite’s enthusiasm for this art and the French state’s calls for fine-arts policies predicated on such republican principles as impartiality and eclecticism.

中文翻译:

将印象派写进卢森堡博物馆的 19 世纪艺术史

摘要 Leonce Bénédite 的 Le Musée du Luxembourg 于 1895 年出版,通过将印象派提升为对法国国家 19 世纪艺术官方历史至关重要的一种风格,参与了围绕 Caillebotte Bequest 的辩论。作为第一个专门为该机构绘制的完整插图目录,卢森堡博物馆不仅描述了博物馆现存的藏品,而且实际上还规定了将在其墙上讲述的未来艺术史。然而,卡耶博特遗赠及其印象派绘画和纸上作品直到 1897 年才在博物馆展出。 本文探讨了卢森堡博物馆如何抢先将印象派引入官方艺术史,
更新日期:2018-01-02
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