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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.

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American Art Association, Anderson Galleries (Firm)

Published: 1923

Total Pages: 1670


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During the final decades of the ancient regime, prominent collectors in Paris commissioned and collected French paintings of the period, works by Greuze, Fragonard, David and others that together comprised 'l'Ecole Francoise' - the French School. In this book, an art historian discusses six of these collectors and the collections they assembled, showing that private patronage in this period was revitalized by this patriotic desire to collect contemporary art. Colin B. Bailey explains why a taste for modern art emerged at this time and how it was encouraged and fostered. Examining the relationship between artist and patron, he discusses the degree of influence these enlightened patrons and collectors expected to exercise when new works were being commissioned. Bailey shows that collectors of eighteenth-century French painting seem not to have made rigid distinctions between the various genres or styles of the Academy's practitioners. Instead, history paintings and genre paintings - both rococo and neo-classical - were exhibited proudly on their walls as superb examples of the French School.