Revolutionary Paris and the Market for Netherlandish Art


Book Description

Seventeenth-century Dutch and Flemish paintings were aesthetic, intellectual, and economic touchstones in the Parisian art world of the Revolutionary era, but their importance within this framework, while frequently acknowledged, never attracted much subsequent attention. Darius A. Spieth’s inquiry into Revolutionary Paris and the Market for Netherlandish Art reveals the dominance of “Golden Age” pictures in the artistic discourse and sales transactions before, during, and after the French Revolution. A broadly based statistical investigation, undertaken as part of this study, shows that the upheaval reduced prices for Netherlandish paintings by about 55% compared to the Old Regime, and that it took until after the July Revolution of 1830 for art prices to return where they stood before 1789.




High & Low


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Readins in high & low




Salvator Rosa in French Literature


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" Salvator Rosa (1615–1673) was a colorful and controversial Italian painter, talented musician, a notable comic actor, a prolific correspondent, and a successful satirist and poet. His paintings, especially his rugged landscapes and their evocation of the sublime, appealed to Romantic writers, and his work was highly influential on several generations of European writers. James S. Patty analyzes Rosa’s tremendous influence on French writers, chiefly those of the nineteenth century, such as Stendhal, Honoré de Balzac, Victor Hugo, George Sand, and Théophile Gautier. Arranged in chronological order, with numerous quotations from French fiction, poetry, drama, art criticism, art history, literary history, and reference works, Salvator Rosa in French Literature forms a narrative account of the reception of Rosa’s life and work in the world of French letters. James S. Patty, professor emeritus of French at Vanderbilt University, is the author of Dürer in French Letters . He lives in Nashville, Tennessee.







Uranie


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I WAS seventeen. She was called Uranie. Was Uranie, then, a young girl, fair, with blue eyes, innocent, but eager for knowledge? No, she was simply what she has always been, one of the nine muses; she who presided over astronomy, and whose celestial glance animated and directed the spheral choir; she was the heavenly idea hovering above earthly dullness; she had neither the palpitating flesh, nor the heart whose pulsations can be transmitted through space, nor the soft warmth of humanity; but she existed, nevertheless, in a sort of ideal world, superior to humanity, and always pure; and yet she was human enough in name and form to produce in the soul of a youth a vivid and profound impression; to awaken in that soul an undefined and undefinable sentiment of admiration: almost of love.




The Order of Minims in Seventeenth-Century France


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Thinking of the text from the Dies frae (S. Matthew, XXV, 40). It is also probable that this other Saint Francis, partly out of admiration for his illustrious compatriot of Assisi and partly from a compelling urge to be superlative in all things, chose the title in opposition to the Franciscans, the Fratres Minori, l who had previously adopted this style taken from Saint Matthew, XXIII, 8. The title "Minim" was confirmed in these words" ... eosque Eremitos Ordinis Minimorum Fratrum Eremitarum F. Francesci de Paula in posterum nuncupari," taken from the Papal Bull, Meritis religiosae vitae, of 26 February, 1493. The earliest reference to the Order in France is in a fragment preserved in the Bibliotheque de l'Arsenal called, La regle et vie de Frere Franfois, pauvre et humble hermite de Paule, laquelle donne a tous ses 2 freres voulant entrer et vivre en son ordre. The dating of this manuscript should be accepted with considerable reserve; it bears a clearly legible "1474," although it seems most unlikely that any reference to an Order occurred before the Bull of 1493 or that any Rule appeared in French before the Founder's visit to Louis XI in 1483. 3 The fame of Francis and his reputation as a "guerisseur" had reached the French court where Louis XI was sick and dying; the King summoned him to the chateau of Le Plessis-Ies-Tours, but it required the intervention of the Pope to make the hermit undertake the journey







Portraits by Ingres


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Om portrætter af den franske maler Jean Auguste Dominique Ingres (1780-1867)




Walks in Rome


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Museums in the German Art World


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Combining the history of ideas, institutions, and architecture, this study shows how the museum both reflected and shaped the place of art in German culture from the late eighteenth century to the early twentieth century. On a broader level, it illuminates the origin and character of the museum's central role in modern culture. James Sheehan begins by describing the establishment of the first public galleries during the last decades of Germany's old regime. He then examines the revolutionary upheaval that swept Germany between 1789 and 1815, arguing that the first great German museums reflected the nation's revolutionary aspirations. By the mid-nineteenth century, the climate had changed; museums constructed in this period affirmed historical continuities and celebrated political accomplishments. During the next several years, however, Germans became disillusioned with conventional definitions of art and lost interest in monumental museums. By the turn of the century, the museum had become a site for the political and cultural controversies caused by the rise of artistic modernism. In this context, Sheehan argues, we can see the first signs of what would become the modern style of museum architecture and modes of display. The first study of its kind, this highly accessible book will appeal to historians, museum professionals, and anyone interested in the relationship between art, politics, and culture.