National Identity and Nineteenth-Century Franco-Belgian Sculpture

ISBN-13: 9781032339474 / Angielski / Miękka / 2022 / 284 str.

Jana Wijnsouw

Opis

This book elaborates on the social and cultural phenomenon of national schools and national identity during the nineteenth century, via the less-studied field of sculpture and using Belgium as a case study.

Spis treści

List of Tables  List of Figures  List of Abbreviations  Acknowledgments  Introduction  PART I 1830–1850: Belgium’s ‘Big Bang’ and the Emergence of Its Sculpture School  1 Politics  1.1 Sculpture for a New Country: Art as a Unifier  2 Education  2.1 Defying ‘Enemies of Our True Nationality’: The Academy of Antwerp  2.2 Enemies within the Borders of the Nation: Antwerp vs. Brussels  2.3 Out with the Old, in with the New: The Academy of Brussels  2.4 Outside the Classroom, into the Studio  3 Exhibitions  3.1 The Belgian Salons: An Exclusive Party  4 Public Commissions  4.1 Guillaume Geefs, ‘le seul sculpteur belge’  4.1.1 General Augustin Belliard, ‘plus Belge que Français’?  4.1.2 Geefs’ Peter Paul Rubens: ‘King of the Flemish Painter School’  4.1.3 A Battle of Heroes: Rubens vs. Belliard  4.2 Louis-Eugène Simonis, ‘père de la sculpture belge moderne’  4.2.1 Simon Stevin, an Ambiguous Choice  4.2.2 Godfrey of Bouillon, a Belgian Hero Ahorse 4.3 A Battle of Sculptors: Geefs vs. Simonis  PART II 1850–1880: A Foreign Prevalence Non-Belgian Sculpture  5 Politics 5.1 Sculpture Midway through the Century: Art as a Sign of Unity  6 Education  6.1 The Academies: Expansion and Consolidation  6.2 Beyond Academies and Borders: The Private Studio  7 Exhibitions  7.1 Sculpture at the Salons: The Road to National and International Fame and Claim  7.2 ‘National Schools’ at the International Exhibitions: Constructed (or) Reality?  7.2.1 Cultural Shards and Patches  7.2.2 The ‘boulangerie nationale’  7.3 Jean Baptiste Carpeaux in Belgium: Visiting, Exhibiting, Inspiring  8 Public Commissions  8.1 ‘Une question d’art ou une question de nationalité?’ 8.2 French Sculptors in Belgium  8.2.1 A Clash at the Bourse of Brussels  8.2.2 ‘A Good-for-Nothing [Who] Will Soon Be Disposed Of’: Auguste Rodin in Belgium  8.2.3 Carrier-Belleuse in Belgium: The Sequel  8.2.4 Jules Bertin: ‘enfant adoptif de Tongres’, or a Frenchman?  8.3 Sculpture at the Palace of Justice: A Lesson Learned?  8.4 Une Question d’Art et une Question de Nationalité  PART III 1880–1895: A Renaissance of Belgian Sculpture  9 Politics 9.1 Artistic Prosperity and Economic Distress 9.2 Building for King and Country  10 Education  10.1 Antwerp: The ‘Flemish’ Academy  10.2 Van der Stappen’s Reign at the Academy of Brussels  10.3 Finding Native Heritage Abroad  11 Exhibitions 11.1 The Old Ways: The Salons 11.2 Alternative Stages: L’Essor, Les XX, and La Libre Esthétique  11.3 National Success on an International Stage: The Paris Salons  11.4 Sculpture at the International Exhibitions: Yesterday’s ‘National Schools’?  12 Public Commissions  12.1 ‘Dans l’esprit des sculptures du grand Opéra de Paris’: Two Statues for the Royal Museums of Fine Arts  12.2 The Renaissance of Sculpture in Belgium  12.3 Sculpting a(n) (Inter)National and Local Identity  PART IV 1895–1916: International Belgian Sculpture  13 Politics  13.1 King Leopold II, Belgian Chryselephantine Sculptures, and a French Garden  13.2 A New Political Movement, a New Sculpture  14 Education  14.1 Ever Looking Back: The Antwerp Academy  14.2 ‘La nature, c’est moi qui l’enseigne!’: Van der Stappen vs. Dillens in Brussels  14.3 A Need for Change: The Education Abroad  15 Exhibitions  15.1 Salons: The Old and the New  15.2 ‘La France aux Français!’: The Paris Salons  15.3 Contradicting Storylines: Belgians at the International Exhibitions  15.3.1 Paris—1900  15.3.2 Ghent—1913  15.4 Meunier and Minne Exhibiting Abroad 15.5 Sculpture in Exile: Later Exhibitions 16 Public Commissions  16.1 Public Identity: Locality vs. Nationality 16.1.1 Le Débardeur, a Local Hero  16.1.2 Art Criticism Revised: Walloon Sculpture?  16.2 ‘Qu’importe la nationalité de l’artiste?’: Meunier’s Zola  16.3 Multiple Identities Bibliography Index

O autorze

Jana Wijnsouw holds a PhD from the Department of Art History, Music, and Theatre Studies at Ghent University.