Journées d’Étude | Académies d’Art et Mondes Sociaux, 1740–1805
From the conference programme:
Académies d’Art et Mondes Sociaux, 1740–1805
Fonder les institutions artistiques : l’individu, la communauté et leurs réseaux
Centre Allemand d’Histoire de l’Art, Paris, 8–9 December 2016
Le XVIIIe siècle connaît un mouvement inédit de fondation d’écoles de dessin et d’académies d’art dans toutes les régions en France. Le phénomène émerge à partir des années 1740 à Rouen et à Toulouse puis se déploie sur l’ensemble du territoire. Il est le fait de quelques hommes déterminés, qui s’inscrivent à la suite des grands projets colbertiens de modernisation de l’État. Ils agissent dans un jeu de tension entre pouvoirs municipaux et autorité royale, ambitions personnelles et intérêts communautaires, projet pédagogique et visée commerciale. Comment naissent ces institutions et quel rôle y prend l’individu selon son rang, ses activités, son milieu ? Quelles stratégies sont mises en œuvre pour donner un cadre juridique et une légitimité sociale à ces établissements ? Quelles logiques président à leur fondation, ces écoles étant pensées comme des structures-clef de la formation et des échanges artistiques, mais aussi comme des viviers d’artistes, d’artisans et d’entrepreneurs prêts à développer des centres de production en Europe. De quelle manière le « modèle » de l’Académie royale de peinture et de sculpture est-il utilisé ou, à l’inverse, contourné devant les contraintes et les logiques locales ?
Ces journées d’étude, premier volet d’une série consacrée aux réseaux des académies d’art, seront l’occasion de questionner la genèse des institutions à travers le prisme de l’individu. En prenant l’exemple de quelques figures phare—entendues comme les ego et leurs alter engagés dans des liens aux configurations multiples, notamment familiales, amicales, socio-professionnelles—nous interrogerons l’épaisseur et l’efficacité des relations humaines dans la construction et l’organisation des établissements. Dans un aller-retour permanent entre l’individuel et le collectif, il s’agira aussi de réfléchir à la fonction des structures institutionnelles comme régulateur social. L’objectif est donc d’accompagner une relecture du mouvement académique à l’appui d’outils d’analyse encore peu usités. Les intervenants s’attacheront à la fois à examiner les sources qui documentent l’ouverture des écoles (correspondances, lettres patentes, etc.) et à déterminer les réseaux sociaux activés.
Issu d’un partenariat scientifique entre le programme de recherche ACA-RES (Les Académies d’art et leurs réseaux dans la France pré-industrielle, soutenu par le Labex Structuration des Mondes Sociaux de l’Université de Toulouse et la MSH-T2) et le Centre allemand d’histoire de l’art de Paris, cette journée d’étude entend privilégier le dialogue entre spécialistes et jeunes chercheurs.
Comité d’organisation
Markus Castor (Centre allemand d’histoire de l’art)
Anne Perrin-Khelissa (Université Toulouse – Jean Jaurès, Laboratoire FRAMESPA UMR 5136)
Émilie Roffidal (CNRS, Laboratoire FRAMESPA UMR 5136)
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J E U D I , 8 D É C E M B R E 2 0 1 6
17.30 Ouverture — Thomas Kirchner, directeur de Centre allemand d’histoire de l’art Paris
Conférence introductive — Christian Michel, Université de Lausanne, Les relations complexes entre l’Académie royale de peinture et de sculpture et les autres académies du royaume
18.30 Apéritif dinatoire pour les participants
V E N D R E D I , 9 D É C E M B R E 2 0 1 6
Intervenants de la journée
• Aude Gobet (musée du Louvre), L’académie de Rouen
• Arianne James-Sarazin, L’école de dessin d’Angers
• Gaëtane Maës (université de Lille 3), Les académies de Lille et Valenciennes
• Laëtitia Pierre et Gérard Fabre (musée des beaux-arts de Marseille), L’académie de Marseille
• Fabienne Sartre (université Paul-Valéry-Montpellier 3), L’académie de Toulouse
• Elsa Trani (université Paul-Valéry-Montpellier 3), L’académie de Montpellier
• Nelly Vi-Tong (université de Bourgogne), L’académie de Dijon
9.00 Accueil par Markus Castor, Anne Perrin Khelissa, Emilie Roffidal
9.20 Séance de travail 1 : les hommes
Il s’agira de mettre l’accent sur le rôle des individus dans la création des écoles de dessins et des académies artistiques. Nous interrogerons notamment leur origine sociale, leur carrière, leur entregent, etc.
10.20 Pause
11.30 Table-ronde avec l’ensemble des intervenants et les organisateurs
12.30 Pause déjeuner
14.00 Séance de travail 2 : les textes fondateurs
Au cours de cette séance, les textes fondateurs des établissements (lettres patentes, statuts, règlements et d’autres sources) seront examinés pour en questionner les contenus, les objectifs et leurs évolutions.
15.15 Pause
16.15 Table-ronde avec l’ensemble des intervenants et les organisateurs
17.00 Conférence conclusive — Nathalie Heinich (EHESS), Le phénomène académique : une approche sociologique
New Book | Women Artists in Early Modern Italy
From Brepols:
Sheila Barker, ed., Women Artists in Early Modern Italy: Careers, Fame, and Collectors (Turnhout: Harvey Miller, 2016), 181 pages, ISBN: 978-1909400351, $125.
Enhancing our understanding of early Italian female painters including Sofonisba Anguissola and introducing new ones such as Costanza Francini and Lucrezia Quistelli, this volume studies women artists, their patrons, and their collectors, in order to trace the rise of the social phenomenon of the woman artist.
In ten chapters spanning two centuries, this collection of essays examines the relationships between women artists and their publics, both in early modern Italy and across Europe. Drawing upon archival evidence, these essays afford abundant documentary evidence about the diverse strategies that women utilized in order to carry out artistic careers, from Sofonisba Anguissola’s role as a lady-in-waiting at the court of Philip II of Spain, to Lucrezia Quistelli’s avoidance of the Florentine market in favor of upholding the prestige of her family, to Costanza Francini’s preference for the steady but humble work of candle painting for a Florentine confraternity. Their unusual life stories along with their outstanding talents brought fame to a number of women artists even in their own lifetimes—so much fame, in fact, that Giorgio Vasari included several women artists in his 1568 edition of artists’ biographies. Notably, this visibility also subjected women artists to moral scrutiny, with consequences for their patronage opportunities. Because of their fame and their extraordinary (and often exemplary) lives, works made by women artists held a special allure for early generations of Italian collectors, including Grand Duke Cosimo III de’ Medici (1642–1723), who made a point of collecting women’s self-portraits. In the eighteenth century, British collectors wishing to model themselves after the Italian virtuosi exhibited an undeniable penchant for the Italian women artists of a bygone era, even though they largely ignored the contemporary women artists in their midst.
Sheila Barker directs the Jane Fortune Research Program on Women Artists at the Medici Archive Project, the first archival program of its kind. Her publications of documentation on women artists have shed light on Lucrezia Quistelli, Artemisia Gentileschi, Irene Parenti Duclos, and the phenomenon of female copyists.
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C O N T E N T S
1 Editor’s Preface, Sheila Barker (The Medici Archive Project)
2 ‘Piu che famose’: Some Thoughts on Women Artists in Early Modern Europe, Sheila ffolliott (George Mason University, emerita)
3 Sofonisba Anguissola at the Court of Philip II, Cecilia Gamberini (Universidad Autonoma de Madrid Felsina Cattòlica)
4 Sofonisba Anguissola, ‘Pittora de Natura’: A Page from Van Dyck’s Italian Sketchbook, Barbara Tramelli (Max Planck Institute, Berlin)
5 Lucrezia Quistelli (1541–1594): A Noblewoman and Artist in Vasari’s Florence, Sheila Barker (The Medici Archive Project)
6 Arcangela Paladini and the Medici, Lisa Goldenberg Stoppato (Independent Scholar)
7 Costanza Francini. A Painter in the Shadow of Artemisia Gentileschi, Julia Vicioso (Archivio Storico dell’Arciconfraternita dei Fiorentini)
8 A Newly Discovered Late Work by Artemisia Gentileschi: Susanna and the Elders of 1652, Adelina Modesti (La Trobe University)
9 The Medici’s First Woman Court Artist: The Life and Career of Camilla Guerrieri Nati, Eve Straussman-Pflanzer (The Davis Museum, Wellesley College)
10 Female Painters and Cosimo III de’ Medici’s Art Collecting Project, Roberta Piccinelli (Univerity of Teramo)
11 The English Collectors of Italy’s Female Old Masters, 1700–1824, Nicole Escobedo (Independent Scholar)
Exhibition | The Artist
Elias Martin, King Gustav III Visits the Academy of Fine Arts in 1780, 1782, oil on canvas, 99 × 135 cm
(Stockholm: Nationalmuseum)
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Now on view at the Moderna Museet in Malmo:
The Artist / Konstnären
Konstakademien (Royal Academy of Fine Arts), Stockholm, 11 February — 11 September 2016
Moderna Museet, Malmö, 24 September 2016 — 19 February 2017
Throughout history, artists have played a wide variety of different roles. It’s a huge leap from the courtly painter who works on commission to the bohemian who refuses to rely on the approval of high society. This exhibition explores a number of different roles for artists, and also uncovers some of the myths that surround them.
How independent was the bohemian really? What kinds of new standards and rules have emerged within the avant-garde of modern art? And where did the idea of the free, creative, male genius come from? Women artists have often been portrayed as ‘exceptional anomalies’ in the history of art, but this exhibition shows just how numerous and how influential they have been, and how in the 1870s and 80s they shook up the preconception of the artist as a role for men.
Alexander Roslin, The Artist and His Wife Marie Suzanne Giroust Painting the Portrait of Wilhelm Peill, 1767, oil on canvas 131 × 98.5 cm (Stockholm: Nationalmuseum).
In more recent times, many artists have played the role of entrepreneur. Jeff Koons and Ernst Billgren work as modern businessmen in a commercial market economy. But the entrepreneurial artist has historical roots. Rosa Bonheur and Anders Zorn were both skilled painters as well as extremely competent when it came to building up their own personal brands, which helped them achieve great success in the international art market at the end of the nineteenth century. Entrepreneurial artists played an important role in seventeenth-century Holland as well.
During the eighteenth and nineteenth centuries, it was the values of the art academies of Europe that set the standard in the art world. Artists in these academies were trained in reproducing the classical ideals. Today the research conducted in university art schools is an example of a new form of academic work for artists.
This exhibition illuminates how artists relate to travel and to encounters with other cultures. In some cases an artist’s view of foreign cultures may be full of clichés and stereotypes. But there are also plenty of examples of artists who have worked to expose underlying power structures and standards in their encounters with other cultures.
Many artists throughout history have seen themselves as visionaries or prophets. Feminist artists such as Siri Derkert and Gittan Jönsson have worked both with criticism of contemporary society and with politically charged visions of the future. Other artists have been preoccupied with visions of a more spiritual nature, including Hilma af Klint and Vassilij Kandinskij.
This exhibition is a collaboration between Moderna Museet, the Royal Academy of Fine Arts, and the National Museum of Fine Arts. We want to show how powerful it is when we allow our collections from different eras to meet, and then complement that mix with a number of key works on loan.
Anne Dahlström, Margareta Gynning, Per Hedström, Carl-Johan Olsson, Andreas Nilsson, John Peter Nilsson, and Eva-Lena Bengtsson, Konstnären / The Artist (Stockholm: Nationalmuseum, 2016), 130 pages, ISBN: 978–9171008626, SEK149.
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