Photographic Credits

Crow, Thomas E.

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Photographic Credits

Thomas E. Crow

Painters and Public Life in Eighteenth-Century Paris

Photographic Credits

Author

Thomas E. Crow

PublisherYale University Press

Stable URL: https://aaeportal.com/?id=-23042

Photographic Credits

Amboise, Ville, 93

Amiens, Musées d’Amiens, 63, 68

Angers, Musée de Peinture et de Sculpture, 92

Berlin, Jörg P. Anders, 17

Boston, Museum of Fine Arts. Purchased, Maria Antoinette Evans Fund, 1923, 16

Brussels, Institut Royal du Patrimoine Artistique (Copyright A.C.L., Brussels), 41, 123

Copenhagen, Statens Museum for Kunst, 76, 116

Dijon, Musée des Beaux-Arts, 44, 90

Edinburgh, National Galleries of Scotland, 62; Color Plate 1

Grenoble, Cliché IFOT, 88

Langres, Cliché Canonge, 19

Lille, Musée des Beaux-Arts, 70, 71

London, The Wallace Collection, reproduced by permission of the Trustees, 31, 49, 79

Madrid, Museo del Prado, 29

Marseilles, Musée des Beaux-Arts, 98

Minneapolis, Institute of Arts, The William Hood Dunwoody Fund, 76

Montpellier, Claude O’Sughrue, 94, 95

Moscow, Pushkin Museum of Fine Arts, 58

Munich, Bayer. Staatsgemäldesammlungen, 50

Nantes, Studio MADEC, 46

New York, courtesy of The Frick Collection, 56, 57

New York, Metropolitan Museum of Art, The Elisha Whittelsey Collection, The Elisha Whittelesey Fund, 1959, 35, 72; Gift of Harry N Abrams and Joseph Pulitzer Bequest, Pfeiffer, Fletcher, and Rogers Funds, 1970, 73; Mr. & Mrs. Charles Wrightsman Gift, 1977, 109; Wolf Fund, 1931, 117

Paris, Arch Phot. S.P.A.D.E.M., 53, 91

Paris, Bibliothèque Nationale, Cabinet des Estampes, 1, 3, 4, 5, 6, 9, 11, 13, 24, 25, 26, 27, 28, 42, 43, 45, 55, 65, 107

Paris, Bulloz, 32, 34, 52, 66, 67, 86, 87, 101, 122

Paris, Durand-Ruel et Cie, 75

Paris, Ecole National Superieure des Beaux-Arts, 104, 111

Paris, Giraudon, 114

Paris, Musée Carnavalet, 36

Paris, Réunion des Musées Nationaux, 7, 8, 10, 18, 30, 51, 54, 59, 61, 69, 72, 74, 78, 80, 81, 82, 83, 84, 89, 90, 97, 103, 104, 105, 106, 108, 109, 110, 111, 113, 115, 118, 120, 122; Color Plate 3

Philadephia, Museum of Art (Gift of John Cadwalader), 33

Potsdam, Sanssouci, 48

Pierre Rosenberg, Chardin, Cleveland, 1979, 37, 38

Princeton University Art Museum, 119

Stockholm, Nationalmuseum, 14, 20, 21, 22, 23, 39, 47

Duke of Sutherland Collection, on loan to the National Gallery of Scotland, 105

Toulouse, Mairie, A.M.P., 96

Vienna, Graphische Sammlung Albertina, 102

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Book details

BOOKPainters and Public Life in Eighteenth-Century Paris

Thomas E. Crow

https://doi.org/10.37862/aaeportal.00329

Stable URL: https://aaeportal.com/?id=-23029

It was at the free, open Salon exhibitions of the French Academy that artists were first consistently confronted by a "public"—a large and broadly based audience encouraged to look on works of art in an attitude of aesthetic contemplation. This book discusses the growth of public opinion about the arts in eighteenth-century France and the reciprocal effect of that opinion on official institutions and differing styles of painting.

As he analyzed the history of the Salon under the Old Regime, Crow discovers that it encompassed a complex process in which a number of groups of very different social character and political outlook sought to enlist painting as an expressive vehicle for their various agendas. Even the art of Watteau—seemingly so private in character—was decisively informed by new urban forms of artistic culture. The most important artists of the later eighteenth century—Greuze and David—were initially useful to the state in their common ability to grasp official priorities and embody them in a narrative art that was accessible to a broad public audience. But both artists, stimulated by the vigorous, new interest being shown in the Salons by Painters and public alike, also broke new ground with works that announced the advent of modernism.

Tracing the patterns and interplays between the ambitions of the artist and the wishes and tastes of the authorities, collectors, and crowds of salon visitors, Crow makes a fascinating and highly original contribution to art history.

*This eBook is available exclusively on the A&AePortal.*

Author

Thomas E. Crow

PublisherYale University Press

Print publication date February 1985 (out of print)

Print ISBN 9780300033540

EISBN 9780300272376

Illustrations 125

Print Status out of print

Publisher (out of print)

WorldCat

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