In the middle of the nineteenth century, the reaction against spiritualism was a prelude to the struggle that would start up against art for art’s sake--against art seen as autonomous and rid of all social responsibility. A certain number of thinkers paved the way at the time by attacking this vision of an ethereal, ...
#11-2 | Major Exhibitions | Olivier Berggruen
In The Ephemeral Museum, Francis Haskell decried the new hegemony created by major art exhibitions and the harmful consequences thereof. He recalled the genesis of the ways in which art works circulate as well as, from the early twentieth century, the first loans of paintings for prestigious international exhibitions, the establishment of ties between ...
# 11-1 | Major Exhibitions | Paul Ardenne
In The Ephemeral Museum, Francis Haskell decried the new hegemony created by major art exhibitions and the harmful consequences thereof. He recalled the genesis of the ways in which art works circulate as well as, from the early twentieth century, the first loans of paintings for prestigious international exhibitions, the establishment of ties between ...
# 10-2 | The Voyage of the Avant-Gardes | Laure-Caroline Semmer
We already knew the role the Armory Show of 1913 had played in the transatlantic exportation of European modernity. At the initiative of artists themselves, a number of foreign painters were able to achieve recognition in America as precursors of modernism. Cézanne in particular benefitted from the wave of exportation of French Impressionism before ...
# 10-1 | The Voyage of the Avant-gardes | Béatrice Joyeux-Prunel
We already knew the role the Armory Show of 1913 had played in the transatlantic exportation of European modernity. At the initiative of artists themselves, a number of foreign painters were able to achieve recognition in America as precursors of modernism. Cézanne in particular benefitted from the wave of exportation of French Impressionism before ...
# 9-2 | Art in the Republic | Rodolphe Rapetti
Society is not immune to what Richard Thomson calls a visual culture that in turn plays upon people’s mentalities. In the case of the French Republic between 1889 and 1900, he sees an opportunity to depart from the established categories of art history, which often limits itself to studying avant-gardes while downplaying the notion ...
# 9-1 | Art in the Republic | Richard Thomson
Society is not immune to what Richard Thomson calls a visual culture that in turn plays upon people’s mentalities. In the case of the French Republic between 1889 and 1900, he sees an opportunity to depart from the established categories of art history, which often limits itself to studying avant-gardes while downplaying the notion ...
# 8-2 | The Market, at the Start | Dominique Sagot-Duvauroux
One must wait until the seventeenth century to see art become no longer just the object of isolated exchanges carried out in order to enlarge the coffers of churches and princes and to give itself out as a commodity to institutions capable of ensuring aboveboard transactions that would allow price comparison and therefore competition ...
# 8-1 | The Market, at the Start | Jérôme Poggi
One must wait until the seventeenth century to see art become no longer just the object of isolated exchanges carried out in order to enlarge the coffers of churches and princes and to give itself out as a commodity to institutions capable of ensuring aboveboard transactions that would allow price comparison and therefore competition ...