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Reports

Royal commission for the Paris universal exhibition of 1867

Published: 1868

Total Pages: 338


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This edition of over 60 000 entries, including significantly more than 20% new or revised material, not only updates its predecessor but also continues the policy of extending coverage to areas dealt with only sparsely in previous editions. Special attention has been paid to the Far East, Australasia and Latin America in general, and to the People's Republic of China in particular. The cross-referencing between a defunct organization and its successor (indicated by ex and now) introduced into the last edition, has been extended. Otherwise the policies adopted in previous editions have been retained. All kinds of organizations are included - international, national, governmental, individual, large or small - but strictly local organizations have been omitted. The subject scope includes activities of all kinds, in the fields of commerce and industry, education, law, politics, public administration, religion, recreation, medicine, science and technology. The country of origin of a national organization is given in brackets, unless it is the home country of the title language or can be deduced readily from the title itself. Acronyms of parent bodies of subsidiary organizations are also added in brackets. Equivalences are used to link acronyms in different languages for the same organization. A select bibliography guides the reader to specialist works providing more detailed information.
Challenging distinctions between fine and decorative art, this book begins with a critique of the Rodin scholarship, to establish how the selective study of his oeuvre has limited our understanding of French nineteenth-century sculpture. The book's central argument is that we need to include the decorative in the study of sculpture, in order to present a more accurate and comprehensive account of the practice and profession of sculpture in this period. Drawing on new archival sources, sculptors and objects, this is the first sustained study of how and why French sculptors collaborated with state and private luxury goods manufacturers between 1848 and 1895. Organised chronologically, the book identifies three historically-situated frameworks, through which sculptors attempted to validate themselves and their work in relation to industry: industrial art, decorative art and objet d'art. Detailed readings are offered of sculptors who operated within and outside the Salon, including S?n, Ch?t, Carrier-Belleuse and Rodin; and of diverse objects and materials, from S?es vases, to pewter plates by Desbois, and furniture by Barbedienne and Carabin. By contesting the false separation of art from industry, Claire Jones's study restores the importance of the sculptor-manufacturer relationship, and of the decorative, to the history of sculpture.
Art Markets, Agents and Collectors brings together a wide variety of case studies, based on letters and detailed archival research, which nuance the history of the art market and the role of the collector within it. Using diaries, account books and other archival sources, the contributions to this volume show how agents set up networks and acquired works of art, often developing the taste and knowledge of the collectors for whom they were working. They are therefore seen as important actors in the market, having a specific role that separates them from auctioneers, dealers, museum curators or amateurs, while at the same time acknowledging and analyzing the dual positions that many held. Each chronological period is introduced by a contextual essay, written by a leading expert in the field, which sets out the art market in the period concerned and the ways in which agents functioned. This book is an invaluable tool for those needing a broader introduction to the intricate workings of the art market.