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The Académie Royale de Peinture et de Sculpture (French Academy of Painting and Sculpture)—perhaps the single most influential art institution in history—governed the arts in France for more than 150 years, from its founding in 1648 until its abolition in 1793. Christian Michel's sweeping study presents an authoritative, in-depth analysis of the Académie’s history and legacy.  The Académie Royale assembled nearly all of the important French artists working at the time, maintained a virtual monopoly on teaching and exhibitions, enjoyed a priority in obtaining royal commissions, and deeply influenced the artistic landscape in France. Yet the institution remains little understood today: all commentary on it, during its existence and since its abolition, is based on prejudices, both favorable and critical, that have shaped the way the institution has been appraised. This book takes a different approach. Rather than judging the Académie Royale, Michel unravels existing critical discourse to consider the nuances and complexities of the academy’s history, reexamining its goals, the shifting power dynamics both within the institution and in the larger political landscape, and its relationship with other French academies and guilds.   

Academie Recorder Made in Germany with casePlease examine pictures for condition.Thank you for looking.

Qu’on la vénère ou qu’on la critique, l’Académie française demeure une institution bien vivante. Depuis sa création en 1637 par Richelieu pour fixer les règles de la langue française, sa riche histoire est ponctuée par les élections de ses membres toujours abondamment commentées. Car si la « Vieille Dame » sut accueillir Corneille, Voltaire ou Hugo, elle rejeta tout de même Balzac et Zola... C’est cette histoire que raconte Dominique Fernandez, académicien lui-même, dans un texte passionnant qui n’omet rien, réussites comme échecs, et invite à connaître de l’intérieur l’activité des « Immortels », notamment la rédaction de leur fameux Dictionnaire. L’Académie française est aussi l’un des plus beaux lieux de Paris, situé Quai Conti, dans l’ancien collège des Quatre-Nations construit par Mazarin. Les photographies de Ferrante Ferranti en font découvrir les multiples facettes – salle des séances, bibliothèque, salons, tableaux, marbres, collections – et décryptent les détails de sa somptueuse architecture, permettant ainsi au lecteur, à son tour, d’être « reçu sous la Coupole ». Le premier beau-livre sur l’Académie française : un lieu emblématique de notre patrimoine photographié de manière inédite.

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Describes the wines produced in each region of France, discusses grape varieties, and explains the French control system

In the 1790s and early 1800s, the art world experienced two big events: First came the military confiscation of masterpieces from Italy and northern Europe in order to build a universal museum in Paris’s Louvre. Then famous marble sculptures were prised from the Parthenon and sent to London. These events provoked reactions ranging from enthusiastic applause to enraged condemnation. The French art critic, architectural theoretician, and political conservative Quatremère de Quincy was at the center of the European debates. In his pamphlet Letters to Miranda, he condemns the revolutionary hubris of putting “Rome in Paris” and urges the return of the works. In the Letters to Canova, however, Quatremère celebrates the British Museum for making the Parthenon sculpture accessible.Quatremère’s writing was highly controversial and vigorously discussed in its time. This book offers the first English translation of the two series of letters, as well as a new critical introduction.  

The Académie Royale de Peinture et de Sculpture (French Academy of Painting and Sculpture)—perhaps the single most influential art institution in history—governed the arts in France for more than 150 years, from its founding in 1648 until its abolition in 1793. Christian Michel's sweeping study presents an authoritative, in-depth analysis of the Académie’s history and legacy.  The Académie Royale assembled nearly all of the important French artists working at the time, maintained a virtual monopoly on teaching and exhibitions, enjoyed a priority in obtaining royal commissions, and deeply influenced the artistic landscape in France. Yet the institution remains little understood today: all commentary on it, during its existence and since its abolition, is based on prejudices, both favorable and critical, that have shaped the way the institution has been appraised. This book takes a different approach. Rather than judging the Académie Royale, Michel unravels existing critical discourse to consider the nuances and complexities of the academy’s history, reexamining its goals, the shifting power dynamics both within the institution and in the larger political landscape, and its relationship with other French academies and guilds.   

Fol. Mit einer gefalt. Karte und zahlr. Abbildungen. 688; 494; 534 S. Vortitel von Bd. III mit vertikaler Falte. Insgesamt gutes, sauberes Exemplar aus der Bibliothek Prof. Dr. Willibald Sauerländer, mit deren Stempel. Sprache: Deutsch Gewicht in Gramm: 5000

Like New condition. Great condition, but not exactly fully crisp. The book may have been opened and read, but there are no defects to the book, jacket or pages. 1.98

Livre a L?etat de Neuf. Expedie Sous 3 Jours Ouvres. Numero de Suivi Communique Avant Envoi, Emballage Renforce. Ean:9782017160205

In 1752 Charles-Joseph Natoire, then a highly successful painter, assumed the directorship of the prestigious Académie de France in Rome. Twenty-three years later he was removed from office, criticised as being singularly inept. What was the basis for this condemnation that has been perpetuated by historians ever since? Reed Benhamou's re-evaluation of Natoire's life and work at the Académie is the first to weigh the prevailing opinion against the historical record. The accusations made against Charles-Joseph Natoire were many and varied: that his artistic work was increasingly unworthy of serious study; that he demeaned his students; that he was a religious bigot; that he was a fraudulent book-keeper. Benhamou evaluates these and other charges in the light of contemporary correspondences, critics' assessment of his work, legal briefs, royal accounts and the parallel experiences of his precursors and successors at the Académie. The director's role is shown to be multifaceted and no director succeeded in every area. What is arresting is why Natoire was singled out as being uniquely weak, uniquely bigoted, uniquely incompetent. The Charles-Joseph Natoire who emerges from this book differs in nearly every respect from the unflattering portrait promulgated by historians and popular media. His increasingly iconoclastic students rebelled against the traditional qualities valued by the French artistic elite; the Académie went underfunded because of the effects of war and a profligate king, and he was caught between two competing institutional regimes. In this book Reed Benhamou not only unravels the myth and reality surrounding Natoire, but also also sheds light on the workings of the institution he served for nearly a quarter of a century.

Unread book in perfect condition.

Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

xii, 134 p. 26 cm. 8 b&w figures. Colour frontispiece. Paperback. Ex library with labels on front, ink stamps on title page.

Overcoming All Obstacles: The Women of the Académie Julian is the first book to examine late nineteenth-century Paris's most famous training ground for the leading women artists of the period. The Académie Julian was founded in Paris in 1868, initially to prepare students for entry to the Ecole des Beaux-Arts, the nineteenth-century's preeminent art school. Because women could not study at the Ecole des Beaux-Arts until 1897, Julian itself became an international equivalent for many of the late nineteenth- and early twentieth-century's most important women artists.Not only does Overcoming All Obstacles introduce the reader to many works by women artists-both famous and lesser known-but the essays offer a cultural and historical context in which to appreciate their art. Gabriel Weisberg's essay concentrates on the rigorous training methods enforced by Rodolphe Julian and the teachers at the Academy. Jane Becker explores the competitive environment of the Julian Academy as it affected the Ukrainian painter Marie Bashkirtseff and the Swiss painter Louise-Catherine Breslau. Essays by Catherine Fehrer, the leading scholar of the Académie Julian, and Tamar Garb, an art historian who focuses on the training of women artists, give us a richer understanding of the Académie Julian's place in the sphere of art education in late nineteenth-century Paris.Generously illustrated with both color and black-and-white images, this volume includes documentary photographs and caricatures that have never before been reproduced. The core of the book draws on the large collection of the Académie Julian Del Debbio, the Académie Julian's successor institution in Paris. This publication accompanied an exhibition organized by the Dahesh Museum in New York that opened after its exhibition at the Sterling and Francine Clark Art Institute in Williamstown.  The exhibition subsequently continued to the Dixon Gallery and Gardens, Memphis.

The profession of sculpture was transformed during the eighteenth century as the creation and appreciation of art became increasingly associated with social interaction. Central to this transformation was the esteemed yet controversial body, the Académie royale de peinture et de sculpture. In this richly illustrated book, Tomas Macsotay focuses on the sculptor's life at the Académie, analysing the protocols that dictated the production of academic art. Arguing that these procedures were modelled on the artist's study journey to Rome, Macsotay discusses the close links between working practices introduced at the Académie and new notions of academic community and personal sensibility. He explores the bodily form of the morceau de réception on which the election of new members depended, and how this shaped the development of academic ideas and practices. Macsotay also reconsiders the early revolutionary years, where outside events exacerbated tensions between personal autonomy and institutional authority. The Profession of sculpture in the Paris Académie underscores the moral and aesthetic divide separating modern interpretations of sculpture based on notions of the individual artistic persona, and eighteenth-century notions of sociable production. The result is a book which takes sculpture outside the national arena, and re-focuses attention on its more subjective role, a narrative of intimate life in a modern world. Winner of the Prix Marianne Roland Michel 2009. Contains 90 illustrations.

Synthesis series. xv, 464 pp. Hardcover with DJ. Unread, as new. New list price: $45.00.

18 x 26cm 476pp near fine paperback containing 42 different lectures, some supplemented by colour reproductions.A heavy book, may need extra postage.

L'Académie des sciences célèbre ses 350 ans. À l'origine de cette institution créée en 1666, il y a une volonté politique, celle de Colbert qui, sous le règne du Roi-Soleil, affirmait que le savoir scientifique participerait pleinement au prestige de la nation et à son rayonnement. La Compagnie, comme elle est également appelée depuis sa fondation, est à la fois une vitrine de la pensée scientifique et un lieu d'échanges intenses entre disciplines. Huygens, Cassini, D'Alembert, Lavoisier, Monge, Arago, Pasteur, Curie, Jacob ou Charpak... Tous les grands savants ont été, chacun en son temps, les acteurs des avancées qui ont modifié en profondeur la société. Ils ont fait de cette académie un lieu unique, au patrimoine exceptionnel, témoin des grands débats au cur des enjeux de la science. L'Académie se raconte ainsi au rythme de l'histoire scientifique et politique, pour dessiner aujourd'hui le portrait d'une institution au rôle réaffirmé et aux missions redéfinies. Une Académie des s

The profession of sculpture was transformed during the eighteenth century as the creation and appreciation of art became increasingly associated with social interaction. Central to this transformation was the esteemed yet controversial body, the Académie royale de peinture et de sculpture. In this richly illustrated book, Tomas Macsotay focuses on the sculptor's life at the Académie, analysing the protocols that dictated the production of academic art. Arguing that these procedures were modelled on the artist's study journey to Rome, Macsotay discusses the close links between working practices introduced at the Académie and new notions of academic community and personal sensibility. He explores the bodily form of the morceau de réception on which the election of new members depended, and how this shaped the development of academic ideas and practices. Macsotay also reconsiders the early revolutionary years, where outside events exacerbated tensions between personal autonomy and institutional authority. The Profession of sculpture in the Paris Académie underscores the moral and aesthetic divide separating modern interpretations of sculpture based on notions of the individual artistic persona, and eighteenth-century notions of sociable production. The result is a book which takes sculpture outside the national arena, and re-focuses attention on its more subjective role, a narrative of intimate life in a modern world. Winner of the Prix Marianne Roland Michel 2009. Contains 90 illustrations.