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引用次数: 2
摘要
摘要Léonce Bénédite于1895年出版的《卢森堡博物馆》(Le Musée du Luxembourg,实际上,它规定了一个未来的艺术史,将在墙上讲述。然而,Caillebotte Bequest及其印象派绘画和纸上作品直到1897年才在博物馆展出。这篇文章质疑了卢森堡博物馆是如何先发制人地将印象派引入官方艺术史的,研究了贝内特对这门艺术的热情与法国政府呼吁以公正和折衷主义等共和原则为基础的美术政策之间的交叉点。
Writing impressionism into the Musée du Luxembourg’s history of nineteenth-century art
ABSTRACT Published in 1895, Léonce Bénédite’s Le Musée du Luxembourg interceded in debates around Caillebotte Bequest, by elevating Impressionism as a style critical to the French state’s official history of nineteenth-century art. As the first fully illustrated catalogue dedicated to this institution, Le Musée du Luxembourg not only described the museum’s extant collection but, in effect, prescribed a future history of art to be narrated on its walls. Yet, the Caillebotte Bequest and its Impressionist paintings and works on paper were only installed at the museum in 1897. This article interrogates how Le Musée du Luxembourg preemptively ushered Impressionism into official art history, studying the intersections between Bénédite’s enthusiasm for this art and the French state’s calls for fine-arts policies predicated on such republican principles as impartiality and eclecticism.