Jana Wijnsouw
National Identity and Nineteenth-Century Franco-Belgian Sculpture
Jana Wijnsouw
National Identity and Nineteenth-Century Franco-Belgian Sculpture
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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.
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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.
Produktdetails
- Produktdetails
- Routledge Research in Art History
- Verlag: Taylor & Francis Ltd
- Seitenzahl: 284
- Erscheinungstermin: 12. Juli 2022
- Englisch
- Abmessung: 246mm x 174mm x 15mm
- Gewicht: 494g
- ISBN-13: 9781032339474
- ISBN-10: 1032339470
- Artikelnr.: 69898488
- Routledge Research in Art History
- Verlag: Taylor & Francis Ltd
- Seitenzahl: 284
- Erscheinungstermin: 12. Juli 2022
- Englisch
- Abmessung: 246mm x 174mm x 15mm
- Gewicht: 494g
- ISBN-13: 9781032339474
- ISBN-10: 1032339470
- Artikelnr.: 69898488
Jana Wijnsouw holds a PhD from the Department of Art History, Music, and Theatre Studies at Ghent University.
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
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
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
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