Round passport Art January-February 2011
Some details of the nineteenth century at the Musée des Beaux-Arts de Tours.
New cycle passport for art, we will focus on collections of nineteenth century painting of the Museum of Fine Arts.
3-5-8 Session 1 January: Introduction, collections nineteenth witness of the living museum
10-12-15 Session 2 January: Birth of the history of art, the Archaeology redesigned
Session 3 January 17-19-22 cons Taste Le Beau, aesthetic struggle early nineteenth century
25-26-29 Session 4 January The logic of an academic, conservation of past models
Session 5 January 31 -2 to 5 February A revival of naturalism of Caravaggio to the Impressionism
7-9-12 Session 6 February and travel as physical movement and mental: Orientalism
14-16-19 Session 7 February The landscape on a modern declared?
Session 8 February 21-23-26 feelings and sensations, the reception of the work in the nineteenth
Session 9 -2 to 5 February 28 March End of a century and tipping prosecutions of artistic debates of the nineteenth to twentieth
The lecture discusses the art passport, for this winter 2011, the collections of paintings nineteenth Museum of Fine Arts Tours. These collections were made during the lifetime of the museum. It is numerically the largest fund.
Despite the interest and quality of works from the revolutionary captures the late eighteenth century, the Museum of Fine Arts Tours was not selected from 15 provincial museums receiving the first shipments of the state declared in September 1800. It is in the interest of General Francois Rene de Pomereul and perseverance with the interior minister and Dominique Vivant Denon, which must be the first shipments of the state since 1803. Many letters reflect the prefect of his struggle to get these deposits for the museum and also its role in the selection of his works. 30 paintings from the museum were to reach the central museum of Tours in 1803. Three years later the same Reeve directed back to the director for him to claim six paintings conservation at the museum remained central. Shipments are not contemporary works of earlier periods, but mainly to allow the opening themes and subjects of paintings already in the collections. This will be the case for reception pieces of the academy to afford large model for the school located on the ground floor of the palace of the archbishop.
The collections of the nineteenth century were made in ways common to all French museums, is to tell the government deposits, gifts, bequests, purchases. Shipments will start state for collections of nineteenth until 1815 and then will continue at a pace more or less sustained. Thus in 1819 the picture Joan of Arc in Loches of Millin's Perreux goes into collections. Shipments of the state are motivated to spread throughout the French territory of large collections. The State has a role as a patron by supporting a purchasing policy and controls. The state guides the work and encourages them using the deposits. Conservations province regularly remind the State in case you forget its part to continually increase the number of deposits.
donations and bequests will be from 1840, the generosity of private accounts for a large part in the constitution of these collections. Among the donors, artists and their families occupy a prominent place should be emphasized. Whether in their lifetime or after their disappearance, deposit their works in the collections of the museum reflects a desire to perpetuate the memory of the work and ensure its sustainability. These are so comprehensive collections, funds absolutely unique, which will join the museum's collections. The scientific interest is to have a body which retain their coherence and their deposits at the museum will never be dispersed.
For the period, the activities of conservatives in the acquisition is permanently restricted by the scarcity of funds also must be emphasized that the establishment of collections of nineteenth Museum of Fine Arts is more attached a deposit of state ghettos that not really a policy of purchasing extended.
nineteenth collection of the Museum of Fine Arts does not only masterpieces but demonstrates and teaches on building the collection and the nineteenth century in general. It was not until 1921 that we will choose the second floor to showcase their collections.
The nineteenth century was the invention of the museum's encyclopedic collection of works in the past. The company falls in love with the story in 1818 into the school curriculum. It puts in place the services of the national archives or historical monuments. In an age of eclecticism, history and accumulation built the thought of a nation. The art is then included in the historical record.
The nineteenth century presents constant change, decisive and irreversible that transform Western civilization and thus its artistic productions. The evolution of political regimes, economic systems, social organization, modes of production, science and technology or mores and ideologies which creates a perpetual motion painting, sculpture and architecture belong.
The theory of the positivist Auguste Comte, which condenses in "Love the principle, the order based on the progress intended" progress depends on the invention of new products from new technologies, the rationalization of production methods and the painting is featured on the same principle of permanent evolution explaining the rapidity of change and artistic questions raised by his reception. Technical change and revolutionize the concept of industrial progress. Art beyond the spirits will guide the materiality question of increasing importance in painting. The metropolis is the engine and place of this change, the urban order settles and the city became the subject of modern art.
Major artistic issues are debated within the major trade shows. As Walter Benjamin points out Paris is the capital of the nineteenth century. The city will present up to four rooms:
- The exhibition of French artists
- The lounge of the National Society of Fine Arts
- The Lounge independent
- The autumn fair
The first two celebrated painters to fashion and public orders, they are the mirror of the role of patron that the state has on artistic production. The other two refused to open, they have a certain power-cons artistic taste and common action. Cleavage will be created generating violent struggle at the height of the economic, artistic and political content in its cultural showcases.
In addition this system slowly from 1850 a private exhibition mode. The galleries combine economic factors, changing tastes, distribution, reputation and fads. All this multiplies the dissemination and reception of the work. The nineteenth century will be one of the press written, which will become the place of rising criticism either for or against the principles of beauty. Both sides face each other with their respective supports giving rise to a real and comprehensive debate on the issues and values of the artwork. The nineteenth century was in itself the end of rebirth in the freedom gained by the artist in his work.
The nineteenth can be arbitrarily divided into two
- 1815 - 1848 the neoclassical and romantic.
There is no absolute opposition between these two movements. Romanticism can be seen like the prodigal son of the neoclassical. The Napoleonic era has changed the relationship of the history painter, he became a contemporary, open to new topics Orientalism. The East is in lieu of antiquity, the taste for the Middle Ages in its myths becomes a reality, and on behalf of a liberal research builds vocabulary, styles and references that are constantly changing but are constants. The pictorial romanticism, literary and music are obviously interrelated and characterize a crucial period for collaboration between artistic practices.
- 1849 - 1890 era of modern
The second half of the nineteenth century is a long period of peace is the period of neo, neo-Gothic, baroque ... It was also at this point that we note the birth of the painter of modern life, a new period must match a painting itself renewed and more than engaging in the reality of his time. We can consider that the story was the basis of the classic gives the best argument to modernity. Bourgeois society behind the models of the past not to see its own customs and its own time. In a society that is accelerating the artistic movements themselves will accelerate and become entangled.
Session 2: Rise of art history, archeology redesigned
With the neoclassical, the impact of art history and a nationalization of the stylistic revisits the past models. The artist revisits the great models, updates. Archaeology and history of art become science whose value symbolic feeds an official speech academic. Creation Museum of the province built "temples" to consecrate these schools and styles. Heir pondered the archeology and ancient poetry of the eighteenth century, the imagination of the past continues.
Session 3 cons Taste Le Beau, fight aesthetic in the early nineteenth century
The turn of the eighteenth and nineteenth century was a period of great change for painting. The aesthetics of "taste" of pastoral are severely undermined by Winckelmann, David and even Delacroix. In a nostalgia for the great taste of Louis XIV, asserting the claim of beauty. The latter becomes the subject of debate and splitting the critical reception of the work and the quality of the paint. The aesthetic struggle rests on this challenging opinions and tastes impaired or not. Baudelaire even see the logic behind the thought of a "nation".
Session 4 The logic of an academic, retention of past models
The neoclassical creates a new academic. Conservation patterns of the past does not yet limit the capacity for invention. Despite a standardized design, generations of painters demonstrates academic developments and tastes. The recent exhibition of Ingres and studies show that modernity in search of a beauty ideal.
Session 5 A revival of naturalism to impressionism by Caravaggio
Naturalism and its collusion with the ideal principles of classical painting shows a pictorial and autonomy of the table. If the subject wants to be more daily in its approach as in its purpose. Pictorial naturalism is further evidence of a complete or even a radicalization of the artificiality of the work. From Caravaggio to the Impressionists, painting, taking as the only real support is nevertheless a concentration and thus condensed.
Session 6 and travel as physical movement and mental: Orientalism
The East renews the themes of classical painting. It is also for the possibility of a romantic journey of initiation. Stay away from the Roman artists in the East will look light and a record that can be observed in the West. The fantasy and fable becomes the locus of a debate between a real and dreamed East.
Session 7 The landscape on a modern declared?
Subject eighteenth depreciated by its position within the hierarchy of genres, the landscape will become an icon of modernity in the nineteenth.
Session 8 Feelings and sensations receipt of the work in the nineteenth
The proliferation of Exhibitions and exhibition creates a profound transformation of the reception. Even the official art dominates, the public is split according to his tastes and took sides. The work finds its way between feeling and sensation, between ideal and sensory. Debates on beauty and taste, the work finds its way to autonomy and a summary of its functions.
Session 9 End of a century and tipping prosecutions of artistic debates of the nineteenth to twentieth
The debates dialogues and developments in artistic practice in the nineteenth continued in the twentieth. The "isms" successive build a progressive image of the art pitch at a company where change is accelerating.
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