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The history of collecting is a topic of central importance to many academic disciplines, and shows no sign of abating in popularity. As such, scholars will welcome this collection of essays by internationally recognised experts that gathers together for the first time varied and stimulating perspectives on the nineteenth-century collector and art market for French eighteenth-century art, and ultimately the formation of collections that form part of such august institutions as the Louvre and the National Gallery in London. The book is the culmination of a successful conference organised jointly between the Wallace Collection and the Louvre, on the occasion of the acclaimed exhibition Masterpieces from the Louvre: The Collection of Louis La Caze. Exploring themes relating to collectors, critics, markets and museums from France, England and Germany, the volume will appeal to academics and students alike, and become essential reading on any course that deals with the history of collecting, the history of taste and the nineteenth-century craze for the perceived douceur de vivre of eighteenth-century France. It also provides valuable insight into the history of the art markets and the formation of museums.
A powerful history of Jewish art collectors in France, and how an embrace of art and beauty was met with hatred and destruction In the dramatic years between 1870 and the end of World War II, a number of prominent French Jews—pillars of an embattled community—invested their fortunes in France’s cultural artifacts, sacrificed their sons to the country’s army, and were ultimately rewarded by seeing their collections plundered and their families deported to Nazi concentration camps. In this rich, evocative account, James McAuley explores the central role that art and material culture played in the assimilation and identity of French Jews in the fin-de-siècle. Weaving together narratives of various figures, some familiar from the works of Marcel Proust and the diaries of Jules and Edmond Goncourt—the Camondos, the Rothschilds, the Ephrussis, the Cahens d'Anvers—McAuley shows how Jewish art collectors contended with a powerful strain of anti-Semitism: they were often accused of “invading” France’s cultural patrimony. The collections these families left behind—many ultimately donated to the French state—were their response, tragic attempts to celebrate a nation that later betrayed them.
Surveys the work and careers of twenty of the best-known American sculptors in the period 1893 to 1939.
Whether it is being studied or critiqued, the art canon is usually understood as an authoritative list of important works and artists. This collection breaks with the idea of a singular, transcendent canon. Through provocative case studies, it demonstrates that the content of any canon is both historically and culturally specific and dependent on who is responsible for the canon’s production and maintenance. The contributors explore how, where, why, and by whom canons are formed; how they function under particular circumstances; how they are maintained; and why they may undergo change. Focusing on various moments from the seventeenth century to the present, the contributors cover a broad geographic terrain, encompassing the United States, France, Germany, the Netherlands, Poland, Taiwan, and South Africa. Among the essays are examinations of the working and reworking of a canon by an influential nineteenth-century French critic, the limitations placed on what was acceptable as canonical in American textbooks produced during the Cold War, the failed attempt to define a canon of Rembrandt’s works, and the difficulties of constructing an artistic canon in parts of the globe marked by colonialism and the imposition of Eurocentric ideas of artistic value. The essays highlight the diverse factors that affect the production of art canons: market forces, aesthetic and political positions, nationalism and ingrained ideas concerning the cultural superiority of particular groups, perceptions of gender and race, artists’ efforts to negotiate their status within particular professional environments, and the dynamics of art history as an academic discipline and discourse. This volume is a call to historicize canons, acknowledging both their partisanship and its implications for the writing of art history. Contributors. Jenny Anger, Marcia Brennan, Anna Brzyski, James Cutting, Paul Duro, James Elkins, Barbara Jaffee, Robert Jensen, Jane C. Ju, Monica Kjellman-Chapin, Julie L. McGee, Terry Smith, Linda Stone-Ferrier, Despina Stratigakos
As a result of the Napoleonic wars, vast numbers of Old Master paintings were released on to the market from public and private collections across continental Europe. The knock-on effect was the growth of the market for Old Masters from the 1790s up to the early 1930s, when the Great Depression put an end to its expansion. This book explores the global movement of Old Master paintings and investigates some of the changes in the art market that took place as a result of this new interest. Arguably, the most important phenomenon was the diminishing of the traditional figure of the art agent and the rise of more visible, increasingly professional, dealerships; firms such as Colnaghi and Agnew's in Britain, Goupil in France and Knoedler in the USA, came into existence. Old Masters Worldwide explores the ways in which the pioneering practices of such businesses contributed to shape a changing market.
Collecting the New is the first book on the questions and challenges that museums face in acquiring and preserving contemporary art. Because such art has not yet withstood the test of time, it defies the traditional understanding of the art museum as an institution that collects and displays works of long-established aesthetic and historical value. By acquiring such art, museums gamble on the future. In addition, new technologies and alternative conceptions of the artwork have created special problems of conservation, while social, political, and aesthetic changes have generated new categories of works to be collected. Following Bruce Altshuler's introduction on the European and American history of museum collecting of art by living artists, the book comprises newly commissioned essays by twelve distinguished curators representing a wide range of museums. First considered are general issues including the acquisition process, and collecting by universal survey museums and museums that focus on modern and contemporary art. Following are groups of essays that address collecting in particular media, including prints and drawings, new (digital) media, and film and video; and national- and ethnic-specific collecting (contemporary art from Asia, Africa, and Latin America, and African-American art). The closing essay examines the conservation problems created by contemporary works--for example, what is to be done when deterioration is the artist's intent? The contributors are Christophe Cherix, Vishakha N. Desai, Steve Dietz, Howard N. Fox, Chrissie Iles and Henriette Huldisch, Pamela McClusky, Gabriel Pérez-Barreiro, Lowery Stokes Sims, Robert Storr, Jeffrey Weiss, and Glenn Wharton.
A powerful history of Jewish art collectors in France, and how an embrace of art and beauty was met with hatred and destruction In the dramatic years between 1870 and the end of World War II, a number of prominent French Jews--pillars of an embattled community--invested their fortunes in France's cultural artifacts, sacrificed their sons to the country's army, and were ultimately rewarded by seeing their collections plundered and their families deported to Nazi concentration camps. In this rich, evocative account, James McAuley explores the central role that art and material culture played in the assimilation and identity of French Jews in the fin-de-siècle. Weaving together narratives of various figures, some familiar from the works of Marcel Proust and the diaries of Jules and Edmond Goncourt--the Camondos, the Rothschilds, the Ephrussis, the Cahens d'Anvers--McAuley shows how Jewish art collectors contended with a powerful strain of anti-Semitism: they were often accused of "invading" France's cultural patrimony. The collections these families left behind--many ultimately donated to the French state--were their response, tragic attempts to celebrate a nation that later betrayed them.
Offering a broad and vivid survey of the culture of collecting from the French Revolution to the Belle Époque, The Purchase of the Past explores how material things became a central means of accessing and imagining the past in nineteenth-century France. By subverting the monarchical establishment, the French Revolution not only heralded the dawn of the museum age, it also threw an unprecedented quantity of artworks into commercial circulation, allowing private individuals to pose as custodians and saviours of the endangered cultural inheritance. Through their common itineraries, erudition and sociability, an early generation of scavengers established their own form of 'private patrimony', independent from state control. Over a century of Parisian history, Tom Stammers explores collectors' investments – not just financial but also emotional and imaginative – in historical artefacts, as well as their uncomfortable relationship with public institutions. In so doing, he argues that private collections were a critical site for salvaging and interpreting the past in a post-revolutionary society, accelerating but also complicating the development of a shared national heritage.