DE MARGERIE Laure, THE NORMAN ROMAN Antoinette.
French Sculpture: An American Passion.
Snoeck/INHA
Regular price
€49,00
| N° d'inventaire | 29411 |
| Format | 24 x 30 |
| Détails | 464 p. illustrated, publisher's hardcover. |
| Publication | Ghent, 2023 |
| Etat | Nine |
| ISBN | |
The extraordinary abundance of French sculptures in the United States is indicative of a specific taste for this area of French art, but also of the close historical and artistic ties between France and the United States. The United States is the country outside France with the largest number of French sculptures, and these represent by far the majority of foreign sculptures.
Once gathered, combined, and linked, they weave the story of a taste. Their study allows us to detect trends and periods, to identify the personalities of merchants, collectors, and curators, and to understand the supply channels of this transatlantic trade, from the place of production to the place of consumption, from the place of creation to the place of appreciation.
The purpose of this book is to give life and meaning to these works by placing them in their American context.
The first part highlights the eminently political and official role, a tool for political messaging when it comes to celebrating the heroes of American Independence, or for commercial and industrial propaganda when France exhibits at world fairs. From its inception, French sculptors have been associated with the development of the American nation and its society.
The second part is devoted to the role played by French sculptors in American urban design, as well as in the art of parks and gardens. They contributed greatly to the introduction of the Art Deco style in ornamental sculpture.
The third part celebrates sculpture as a collector's item, sought after no longer for the character it represents, nor for its role as a complement to architecture, but truly as an object whose formal beauty is its primary asset.
The fourth and final part is devoted to the sculptor Auguste Rodin. Rodin was everything at once: he represented the art of today, that of the Salon to which he regularly sent his works, sometimes the art of yesterday in his few creations in the taste of the art of tomorrow.
In conclusion, an assessment is made of the taste for French sculpture-
since the 1950s, which saw a change in the relative importance of the different actors, dealers, collectors, academics and curators.
Once gathered, combined, and linked, they weave the story of a taste. Their study allows us to detect trends and periods, to identify the personalities of merchants, collectors, and curators, and to understand the supply channels of this transatlantic trade, from the place of production to the place of consumption, from the place of creation to the place of appreciation.
The purpose of this book is to give life and meaning to these works by placing them in their American context.
The first part highlights the eminently political and official role, a tool for political messaging when it comes to celebrating the heroes of American Independence, or for commercial and industrial propaganda when France exhibits at world fairs. From its inception, French sculptors have been associated with the development of the American nation and its society.
The second part is devoted to the role played by French sculptors in American urban design, as well as in the art of parks and gardens. They contributed greatly to the introduction of the Art Deco style in ornamental sculpture.
The third part celebrates sculpture as a collector's item, sought after no longer for the character it represents, nor for its role as a complement to architecture, but truly as an object whose formal beauty is its primary asset.
The fourth and final part is devoted to the sculptor Auguste Rodin. Rodin was everything at once: he represented the art of today, that of the Salon to which he regularly sent his works, sometimes the art of yesterday in his few creations in the taste of the art of tomorrow.
In conclusion, an assessment is made of the taste for French sculpture-
since the 1950s, which saw a change in the relative importance of the different actors, dealers, collectors, academics and curators.
Once gathered, combined, and linked, they weave the story of a taste. Their study allows us to detect trends and periods, to identify the personalities of merchants, collectors, and curators, and to understand the supply channels of this transatlantic trade, from the place of production to the place of consumption, from the place of creation to the place of appreciation.
The purpose of this book is to give life and meaning to these works by placing them in their American context.
The first part highlights the eminently political and official role, a tool for political messaging when it comes to celebrating the heroes of American Independence, or for commercial and industrial propaganda when France exhibits at world fairs. From its inception, French sculptors have been associated with the development of the American nation and its society.
The second part is devoted to the role played by French sculptors in American urban design, as well as in the art of parks and gardens. They contributed greatly to the introduction of the Art Deco style in ornamental sculpture.
The third part celebrates sculpture as a collector's item, sought after no longer for the character it represents, nor for its role as a complement to architecture, but truly as an object whose formal beauty is its primary asset.
The fourth and final part is devoted to the sculptor Auguste Rodin. Rodin was everything at once: he represented the art of today, that of the Salon to which he regularly sent his works, sometimes the art of yesterday in his few creations in the taste of the art of tomorrow.
In conclusion, an assessment is made of the taste for French sculpture-
since the 1950s, which saw a change in the relative importance of the different actors, dealers, collectors, academics and curators.