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E-grāmata: National Identity and Nineteenth-Century Franco-Belgian Sculpture

(University of Ghent)
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National Identity and Nineteenth-Century Franco-Belgian SculpturePalielināt
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This book elaborates on the social and cultural phenomenon of national schools during the nineteenth century, via the less studied field of sculpture and using Belgium as a case study. The role, importance of, and emphasis on certain aspects of national identity evolved throughout the century, while a diverse array of criteria were indicated by commissioners, art critics, or artists that supposedly constituted a "national sculpture." By confronting the role and impact of the four most crucial actors within the artistic field (politics, education, exhibitions, public commissions) with a linear timeframe, this book offers a chronological as well as a thematic approach. Artists covered include Guillaume Geefs, Eugčne Simonis, Charles Van der Stappen, Julien Dillens, Paul Devigne, Constantin Meunier, and George Minne.
List of Tables
x
List of Figures
xi
List of Abbreviations
xiv
Acknowledgments xv
Introduction 1(14)
PART I 1830--1850: Belgium's `Big Bang' and the Emergence of Its Sculpture School
15(62)
1 Politics
17(5)
1.1 Sculpture for a New Country: Art as a Unifier
17(5)
2 Education
22(13)
2.1 Defying `Enemies of Our True Nationality': The Academy of Antwerp
22(3)
2.2 Enemies within the Borders of the Nation: Antwerp vs. Brussels
25(1)
2.3 Out with the Old, in with the New: The Academy of Brussels
26(4)
2.4 Outside the Classroom, into the Studio
30(5)
3 Exhibitions
35(2)
3.1 The Belgian Salons: An Exclusive Party
35(2)
4 Public Commissions
37(40)
4.1 Guillaume Geefs, `le seul sculpteur beige'
37(25)
4.1.1 General Augustin Belliard, `plus Beige que Francais'?
52(5)
4.1.2 Geefs' Peter Paul Rubens: King of the Flemish Painter School'
57(5)
4.1.3 A Battle of Heroes: Rubens vs. Belliard
62(1)
4.2 Louis-Eugene Simonis, `pere de la sculpture beige moderne'
62(11)
4.2.1 Simon Stevin, an Ambiguous Choice
68(3)
4.2.2 Godfrey of Bouillon, a Belgian Hero Ahorse
71(2)
4.3 A Battle of Sculptors: Geefs vs. Simonis
73(4)
PART II 1850--1880: A Foreign Prevalence and Non-Belgian Sculpture
77(56)
5 Politics
79(4)
5.1 Sculpture Midway through the Century: Art as a Sign of Unity
79(4)
6 Education
83(7)
6.1 The Academies: Expansion and Consolidation
83(3)
6.2 Beyond Academies and Borders: The Private Studio
86(4)
7 Exhibitions
90(12)
7.1 Sculpture at the Salons: The Road to National and International Fame and Claim
90(5)
7.2 `National Schools' at the International Exhibitions: Constructed (or) Reality?
95(4)
7.2.1 Cultural Shards and Patches
95(2)
7.2.2 The `boulangerie nationale'
97(2)
7.3 Jean Baptiste Carpeaux in Belgium: Visiting, Exhibiting, Inspiring
99(3)
8 Public Commissions
102(31)
8.1 `Une question d'art ou une question de nationalite?"
102(1)
8.2 French Sculptors in Belgium
103(24)
8.2.1 A Clash at the Bourse of Brussels
103(11)
8.2.2 `A Good-for-Nothing [ Who] Will Soon Be Disposed of': Auguste Rodin in Belgium
114(4)
8.2.3 Carrier-Belleuse in Belgium: The Sequel
118(6)
8.2.4 Jules Bertin: `enfant adoptif de Tongres', or a Frenchman?
124(3)
8.3 Sculpture at the Palace of Justice: A Lesson Learned?
127(3)
8.4 Une Question d'Art et une Question de Nationality
130(3)
PART III 1880--1895: A Renaissance of Belgian Sculpture
133(54)
9 Politics
135(11)
9.1 Artistic Prosperity and Economic Distress
135(5)
9.2 Building for King and Country
140(6)
10 Education
146(11)
20.2 Antwerp: The `Flemish' Academy
146(2)
10.2 Van der Stappen's Reign at the Academy of Brussels
148(2)
10.3 Finding Native Heritage Abroad
150(7)
11 Exhibitions
157(14)
11.1 The Old Ways: The Salons
157(2)
11.2 Alternative Stages: L'Essor, Les XX, and La Libre Esthetique
159(6)
11.3 National Success on an International Stage: The Paris Salons
165(3)
11.4 Sculpture at the International Exhibitions: Yesterday's `National Schools'?
168(3)
12 Public Commissions
171(16)
12.1 "Dans l'esprit des sculptures du grand Opera de Paris': Two Statues for the Royal Museums of Fine Arts
171(9)
12.2 The Renaissance of Sculpture in Belgium
180(4)
12.3 Sculpting a(n) (Inter)National and Local Identity
184(3)
PART IV 1895--1916: International Belgian Sculpture
187(46)
13 Politics
189(8)
13.1 King Leopold II, Belgian Chryselephantine Sculptures, and a French Garden
189(2)
13.2 A New Political Movement, a New Sculpture
191(6)
14 Education
197(6)
14.1 Ever Looking Back: The Antwerp Academy
197(1)
14.2 Ta nature, c'est moi qui l'enseigne!': Van der Stappen vs. Dillens in Brussels
198(3)
14.3 A Need for Change: The Education Abroad
201(2)
15 Exhibitions
203(18)
15.1 Salons: The Old and the New
203(4)
15.2 `La France aux Francais!': The Paris Salons
207(1)
15.3 Contradicting Storylines: Belgians at the International Exhibitions
208(7)
15.3.1 Paris---1900
208(3)
15.3.2 Ghent---1913
211(4)
15.4 Meunier and Minne Exhibiting Abroad
215(4)
15.5 Sculpture in Exile: Later Exhibitions
219(2)
16 Public Commissions
221(12)
16.1 Public Identity: Locality vs. Nationality
221(5)
16.1.1 Le Debardeur, a Local Hero
221(2)
16.1.2 Art Criticism Revised: Walloon Sculpture?
223(3)
16.2 `Qu'importe la nationality de l'artiste?': Meunier's Zola
226(4)
16.3 Multiple Identities
230(3)
Bibliography 233(26)
Index 259
Jana Wijnsouw holds a PhD from the Department of Art History, Music, and Theatre Studies at Ghent University.
Biežāk uzdotie jautājumi par e-grāmatām Biežāk uzdotie jautājumi par e-grāmatām
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