National identity and nineteenth-century Franco-Belgian sculpture / Jana Wijnsouw.

Author
Wijnsouw, Jana [Browse]
Format
Book
Language
English
Published/​Created
  • New York ; London : Routledge, 2018.
  • ©2018
Description
xiii, 265 pages : illustrations ; 26 cm.

Availability

Copies in the Library

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Marquand Library - Remote Storage (ReCAP): Marquand Library Use OnlyNB667 .W555 2018 Browse related items Request

    Details

    Subject(s)
    Series
    Routledge research in art history [More in this series]
    Summary note
    This book elaborates on the social and cultural phenomenon of national schools during the nineteenth century, via the less-studied field of sculpture and using Belgium as a case study. The role, importance of and emphasis on certain aspects of national identity evolved throughout the century, while a diverse array of criteria were indicated by commissioners, art critics, or artists, that supposedly constituted a 'national sculpture.' By confronting the role and impact of the four most crucial actors within the artistic field (politics, education, exhibitions, public commissions) with a linear timeframe, this book offers a chronological as well as a thematic approach. Artists covered include Guillaume Geefs, Eugene Simonis, Charles Van der Stappen, Julien Dillens, Paul Devigne, Constantin Meunier, and George Minne.
    Bibliographic references
    Includes bibliographical references and index.
    Contents
    • Part I 1830-1850: Belgium's 'Big Bang' and the Emergence of Its Sculpture School 15
    • 1 Politics 17
    • 1.1 Sculpture for a New Country: Art as a Unifier 17
    • 2 Education 22
    • 2.1 Defying 'Enemies of Our True Nationality': The Academy of Antwerp 22
    • 2.2 Enemies within the Borders of the Nation: Antwerp vs. Brussels 25
    • 2.3 Out with the Old, in with the New: The Academy of Brussels 26
    • 2.4 Outside the Classroom, into the Studio 30
    • 3 Exhibitions 35
    • 3.1 The Belgian Salons: An Exclusive Party 35
    • 4 Public Commissions 37
    • 4.1 Guillaume Geefs, 'le seul sculpteur belge' 37
    • 4.1.1 General Augustin Belliard, 'plus Beige que Français'? 52
    • 4.1.2 Geefs' Peter Paul Rubens: 'King of the Flemish Painter School' 57
    • 4.1.3 A Battle of Heroes: Rubens vs. Belliard 62
    • 4.2 Louis-Eugène Simonis, 'père de la sculpture belge moderne' 62
    • 4.2.1 Simon Stevin, an Ambiguous Choice 68
    • 4.2.2 Godfrey of Bouillon, a Belgian Hero Ahorse 71
    • 4.3 A Battle of Sculptors: Geefs vs. Simonis 73
    • Part II 1850-1880: A Foreign Prevalence and Non-Belgian Sculpture 77
    • 5 Politics 79
    • 5.1 Sculpture Midway through the Century: Art as a Sign of Unity 79
    • 6 Education 83
    • 6.1 The Academies: Expansion and Consolidation 83
    • 6.2 Beyond Academies and Borders: The Private Studio 86
    • 7 Exhibitions 90
    • 7.1 Sculpture at the Salons: The Road to National and International Fame and Claim 90
    • 7.2 'National Schools' at the International Exhibitions: Constructed (or) Reality? 95
    • 7.2.1 Cultural Shards and Patches 95
    • 7.2.2 The 'boulangerie nationale' 97
    • 7.3 Jean Baptiste Carpeaux in Belgium: Visiting, Exhibiting, Inspiring 99
    • 8 Public Commissions 102
    • 8.1 'Une question d'art ou une question de nationalité?' 102
    • 8.2 French Sculptors in Belgium 103
    • 8.2.1 A Clash at the Bourse of Brussels 103
    • 8.2.2 'A Good-for-Nothing [Who] Will Soon Be Disposed of': Auguste Rodin in Belgium 114
    • 8.2.3 Carrier-Belleuse in Belgium: The Sequel 118
    • 8.2.4 Jules Bertin: 'enfant adoptif de Tongres', or a Frenchman? 124
    • 8.3 Sculpture at the Palace of Justice: A Lesson Learned? 127
    • 8.4 Une Question d'Art et une Question de Nationalité 130
    • Part III 1880-1895: A Renaissance of Belgian Sculpture 133
    • 9 Politics 135
    • 9.1 Artistic Prosperity and Economic Distress 135
    • 9.2 Building for King and Country 140
    • 10 Education 146
    • 10.1 Antwerp: The 'Flemish' Academy 146
    • 10.2 Van der Stappen's Reign at the Academy of Brussels 148
    • 10.3 Finding Native Heritage Abroad 150
    • 11 Exhibitions 157
    • 11.1 The Old Ways: The Salons 157
    • 11.2 Alternative Stages: L'Essor, Les XX, and La Libre Esthétique 159
    • 11.3 National Success on an International Stage: The Paris Salons 165
    • 11.4 Sculpture at the International Exhibitions: Yesterday's 'National Schools'? 168
    • 12 Public Commissions 171
    • 12.1 'Dans l'esprit des sculptures du grand Opéra de Paris': Two Statues for the Royal Museums of Fine Arts 171
    • 12.2 The Renaissance of Sculpture in Belgium 180
    • 12.3 Sculpting a(n) (Inter)National and Local Identity 184
    • Part IV 1895-1916: International Belgian Sculpture 187
    • 13 Politics 189
    • 13.1 King Leopold II, Belgian Chryselephantine Sculptures, and a French Garden 189
    • 13.2 A New Political Movement, a New Sculpture 191
    • 14 Education 197
    • 14.1 Ever Looking Back: The Antwerp Academy 197
    • 14.2 'La nature, c'est moi qui l'enseignel': Van der Stappen vs. Dillens in Brussels 198
    • 14.3 A Need for Change: The Education Abroad 201
    • 15 Exhibitions 203
    • 15.1 Salons: The Old and the New 203
    • 15.2 'La France aux Français!': The Paris Salons 207
    • 15.3 Contradicting Storylines: Belgians at the International Exhibitions 208
    • 15.3.1 Paris-1900 208
    • 15.3.2 Ghent-1913 211
    • 15.4 Meunier and Minne Exhibiting Abroad 215
    • 15.5 Sculpture in Exile: Later Exhibitions 219
    • 16 Public Commissions 221
    • 16.2 Public Identity: Locality vs. Nationality 221
    • 16.1.1 Le Débardeur, a Local Hero 221
    • 16.1.2 Art Criticism Revised: Walloon Sculpture? 223
    • 16.2 'Qu'importe la nationalité de l'artiste?': Meunier's Zola 226
    • 16.3 Multiple Identities 230.
    ISBN
    • 9781138712515 ((hbk))
    • 1138712515 ((hbk))
    OCLC
    990032764
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