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Summary
In what historical context, under what conditions, with which supporting social institutions and recipients are the artistic styles of classicism, rococo, and neoclassicism created and disseminated that characterize the production of visual artworks in France during the 17th and 18th centuries?
This book examines the role of positions in shaping the conditions of production and reception of painting, specifically in the formation of artistic education and the social identity of painters, in the function of art within the framework of the absolutist state, in the relationships of the artistic work with its recipients/viewers, in the formation of the public space of painting, and in the role of both the institutionalized discourse on art and the art criticism, which emerges as an independent literary genre during those years.
The shifts in theories and perceptions of the subject and object of artistic production, as well as the differentiations in the relationship of the public with the artwork during the historical period examined here, open directions that will lead to modern perceptions of art and the artist in the 19th century.
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Contents
Prolegomena || Introduction || The Royal Academy of Painting and Sculpture || The Theory of Art || The Audience of Painting || Art Criticism || Appendix ||
APPENDIX I. Tables of publications on painting in France in the 17th century ||
APPENDIX II. Letter from Nicolas Poussin to Fréart de Chambray (1665) ||
APPENDIX III. Philippe de Champaigne, Lecture at the Academy on the painting "Eliezer and Rebecca" by Nicolas Poussin (January 7, 1668) ||
APPENDIX IV. Denis Diderot, Introduction to the Salon of 1765 ||
Catalog and source of images || Index of main names
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