Index
Note: Page numbers in italics indicate figures, bold indicate tables in the text, and references following “n” refer notes.
Académie des Beaux-Arts, 112, 114, 120–21; appointments, 120; artistic aristocracy, 206; central role, 120; during July Monarchy 197, 199, 206–7; members, 135–37; Prix de Rome, 135–36. See also École des Beaux-Arts (EBA)
Académie royale de peinture et de sculpture, 9, 11, 23, 44, 45, 50, 62, 69, 71; administrative structures, 32; as an anti-frondeur measure, 31; d’Angivillier and, 37; and artistic suppression, 205; Déclaration royale, 35; disbanding, 119; factions, 78–79, 99; founding and early struggles, 31–35; as gate keeper, 78; goals, 33; July Monarchy, 205–6; jurisdiction, 119; liberal arts, 32, 33, 34–35; membership, 32–33, 78, 110; monopoly, 34, 35, 119–20; officiers, 78, 119; progrès des arts, 33; semi-autonomy, 32. See also Corporation des maîtres peintres
Alberti, Leon Battista, 9
Album Classico-Romantique lithography (1828): “Encore La Mort d’Hector,” 142, 145; “La Mort d’Hector,” 140, 144
ancien régime: 20, 37, 40, 77, 95, 154, 185, 205; art critics and criticism, 48–56, 49, 51–55; connoisseurs, 63–71, 65, 66–67, 70, 184; fairs, 36; poverty of artists, 56–63, 57–58, 60; printed images, 36; privilege system, 31–37; social status of artists, 39–48, 42–43, 46–47; theaters, 35–36
Anciens et Modernes, 184
Arnauldet, Thomas, 16
artiste libre, 38, 39, 48, 57, 59, 135, 187, 223, 232, 245, 256; charlatan painters, 87; and licensing laws, 85, 127; poverty and, 62, 64; Revolutionary restructuring, 75, 76, 99–103, 120; Turgot reforms, 23, 34–35
art market, 6–7, 20, 21–22, 24, 38, 39; clientele, 120; genres mineures, 118; Revolutionary, 115, 117–19. See also private market
art world: 6; anti-economic nature, 21; Becker on, 7; democratic processes, 252–53; liberalization, 7; pre-capitalist notion, 24; as a satirical target, 7
Aubert, Gabriel, 198
avant-garde art, 12
Baridon, Laurent, 17
Barincou, A., 159, 203, 235; Les arts et la décence, 184; Les Arts et la Misère, 170; Restoration lithographs, 235; Vive la Peinture!!, 124, 125–26, 143, 146
Barré, Pierre-Yves, 80
Barrière, Théodore, 191
Bartolini, Lorenzo, 128
Bätschmann, Oskar, 12
Battle of Hernani, 237
Beaumarchais, Pierre, 131
Becker, Howard S., 7
Bellangé, Hippolyte, 153, 158; Dejeunez avec la Classique, et dinez avec le Romantique . . ., 194, 196; Les Importuns, 218, 221; “Lithographantoccini,” 155, 156; Mon cher! . . c’est cha’mant! . . , 147, 149
Bibliothèque de l’Arsenal, 16
Bibliothèque nationale de France (BnF), 16
biographies of artists, 11; Alexis Grimou and Simon-Mathurin Lantara, 176–77
Blanc, Charles, 247
de la Blancherie, Pahin, 38, 177; Salon de la Correspondance, 37
Blum, André-Salomon, 16
bohemians, 12, 19, 20, 188, 211, 237, 261n16; and bourgeois patrons, 213, 218; Gavarni’s portrayal, 223, 235, 237, 238; Les Génies méconnus, 237, 239; in July Monarchy, 191–92, 199, 241, 253–54, 256; as marginalized figure, 241. See also Murger, Henry
Boilly, Julien-Léopold, 153; Les amateurs de tableaux, 147, 151
Bonnet, Alain, 11
Borel, Pétrus, 206
Boucher, François, 42, 51; Painting mocked by Envy, Stupidity and Drunkenness, 48, 49
Bouchot, Fréderic, 153
Bourdet, Jules-Joseph-Guillaume: C’est un Morceau Capital, 147, 150; Les Bigarrures de l’esprit humain, 218, 219
Bunbury, Henry, 146
Campagnia di San Luca, 32
caricatures, 14, 17, 45, 94, 118, 155, 162, 188, 198; private, 14; satirical mode, 14
Carte Vivante du Restaurateur (Grandville), 192
“Causerie Artistique” novel, (Alhoy), 237
cénacles, 11
censorship: ancien régime, 35, 36; Revolutionary period, 76; Empire and Restoration, 152–53; July Monarchy, 197–98
Cham: Citoyens représentants, 247, 248; Joie et ravissement du public dans la dernière travée, 247, 249; L’avenir des artistes, 247, 251; Le nouveau livret du salon en 15 vol., 247, 250
Champfleury, Jules, 162
charlatan(s), 20, 39, 155, 158–59, 187, 241, 242, 252; bourgeois connoisseurs as, 147; painters, 80, 85–94, 95, 98, 158
Charle, Christophe, 38
Charles X, 197
Charlet, Nicolas-Toussaint, 153, 155, 213; J’aime la couleur, 170, 174; La Vieille Aristocratie, 211, 212; Un Mécène, 223, 224
Chennevières, Philippe de, 16
Cochin, Charles-Nicolas, 48; art critic for, 51, 54–56; Les Misotechnites aux enfers, 50, 53–55
Collection de Vinck, 131
Comédie-Italienne, 36
Commission des Sciences et des Arts, 114
community of Artists (corps entier des Artistes), 247, 252, 256, 258
competitive individualism, 6, 13, 24, 72, 223, 257, 259; ideological investment, 252; liberty and, 252; patente and, 121
Comte de Caylus, A., 48; Assemblée de Brocanteurs, 66, 67; La Fon Taine de St. Innocent, 48, 51, 52
connoisseurs: 20; ancien régime, 64–72, 65; bourgeois, 23, 147, 170, 180, 184, 218; critic, 48–50, 49; deus ex machina (Revolutionary period), 94–98, 95, 98; Empire and Restoration, 142, 146–47, 170, 180, 184
Corporation des maîtres peintres (Corporation of Master Painters), 9, 33–35, 42, 78, 111, 126. See also Académie royale de peinture et de sculpture
Corporation of marchand-merciers, 33
cultural industry, 257
Daumier, Honoré, 14, 205, 213, 231, 232; Celebrrrrrre Jury de peinture, 206–7, 209; Désillusion!, 192–94, 193, 245; La Dame qui cultive les arts, 240, 241–42; Le Dernier Jour de la Réception des Tableaux, 234, 235; Le Rapin, 243; Les Illusions d’Artistesles Grands Prix, 235, 236; Voter tableau me plairait assez . . . , 222, 223
Davis, Ben, 258
Décade Philosophique, 114
“Declaration of the Rights of Man and the Citizen,” 76
Decree Not-Attempted on the Arts (Decret Pas-Tenté sur les Arts), 74, 75, 108
de Ghuy, Marcenay, 38
Dejeunez avec la Classique, et dinez avec le Romantique . . . (Bellangé), 194, 196
Delacroix, Eugène, 247
De l’oppression dans les arts et de la composition d’un nouveau jury d’examen pour les ouvrages présentés au Salon de 1847 (pamphlet), 206
Desenne, Alexandre-Joseph: Le Peintre Classique, 139, 140; Le Peintre Romantique, 142, 141
Désillusion! (Daumier), 192–94, 193, 231 deus ex machina, 20, 94–96, 142, 235, 237
Director of Museums (Directeur des Musées), 126, 127–28, 135–37, 146, 197, 199, 206
Directory and Consulate, 11, 23, 126; painter types in, 85; theaters in, 80
Dorbec, Prosper, 16
Dorvigny et Lantara (play), 225
École des Beaux-Arts (EBA), 120, 127, 135, 197, 206, 211, 242
École gratuite du Dessin (Free school for Drawing), 59
economies of symbolic goods, 21, 22, 94, 111, 247, 253, 256, 257
Empire and Restoration, 20, 23, 37, 40, 65, 77, 126–27, 154, 203, 229, 256; academic and corporate system, 135–37; arts administrators, 127–37; censorship, 152–53; charlatan painter type, 158; connoisseurs, 95, 140, 146–47, 169–70, 176, 184; crédit est mort (image type), 162–65, 163–64; noble artists, 159, 176–80, 178–79, 181–83; popular culture, 152–59; poverty of artists, 159, 162–65, 163–64, 166–67; private market, 126, 137, 139, 146–52, 148–51; privilege system, 153; Salon, 136–46, 205; shop sign painters, 168–76, 171–75; women artists, 184–87, 185, 185, 186
“Encore La Mort d’Hector” (Album Classico-Romantique), 142, 145
Encore Une, Encore Une, 91
encouragements (encouragement system), 80, 120, 137, 139, 142, 146, 203
Engelmann, Charles, 226
A Family Piece (Bunbury), 146
Flahaut, Charles Claude. See d’Angivillier
Foire Saint-Germain, 36
free artist. See artiste libre
Free society for fine arts. See Société libre des Beaux-Arts
French National Library. See Bibliothèque nationale de France (BnF)
French Revolution, 6, 11, 13–14, 20, 37, 40, 65, 75–76, 77, 80, 87, 95, 99, 126–27, 154, 165, 185, 205, 223
Gavarni, Paul, 223, 235, 286n27, 288n71; Disciplines des Maîtres, 242, 244; “Les Artistes,” 213, 216–17; Musée Pour Rire, 237, 238
genre painting, 118
Geography of the Parisian Art Market interctive map (Geographie du marché de l’art parisien, Artl@s), 211
Gersaint, Edmé, 33
Gihaut brothers, 155
Gill, André, 191
Gilles, garçon peintre (Anséaume), 39
Gluck, Mary, 11
Goethe, Johann Wolfgang von, 105
Greuze, Jean-Baptiste, 38, 70–72; Septimius Severus and Caracalla, 71
Guédron, Martial, 17
Image of France, 1795-1880 (McKee), 18
industrial fiction, 198
inglorious artists, 7–8, 19, 46, 80; as anti-economic, 21–22, 100, 121–22, 188, 225, 256–57; nobility (See noble artists); social status (See social status). See also poverty; specific political period/regime
Ingres, Auguste-Dominique, 247
Institut de France, 102, 114, 120, 126, 127, 158, 197, 235, 241, 252; Consulate reshuffling, 135; membership, 136
Ivens, Maria, 194
Jeanron, Auguste, 206
Joie et ravissement du public dans la dernière travée (Cham), 247, 249
Joullain, François Charles, 70
Journal des Artistes, 197
July Monarchy, 6, 12, 13, 20, 23, 37, 40, 64, 65, 77, 95, 147, 154, 188, 192–94, 256; aristocracy in arts, 206–7; artistic institutions in, 136, 246; bohemian artist in, 237, 241; censorship law, 197–98; charlatans, 241; cursus honorum, 231–37; deus ex machina, 235, 237; periodicals, 197–99; poverty of artists, 224–30; private market, 207, 211, 218, 223; rapin (lazy art student) 241–42; Salon system, 197, 199, 203, 205; satire ambivalence in, 223, 225, 253–54; shop sign painters, 231–32; women artists, 184, 185, 241
Kiefer, Klaus, 105
Lady-Formité et Fidele en séance chez Mr. Crouton (Flandrin), 146, 168, 169
La Fon Taine de St. Innocent (attributed to Comte de Caylus), 48, 51, 52
La Font de Saint Yenne, E., 48–51, 207, 268n38; as art critic, 48, 50; as connoisseur, 48, 50; incendiary writings, 51; L’Ombre du grand Colbert, 48, 51
Laisney, Vincent, 237
La maison de campagne à la mode (Watelet), 39
La Mansarde des artistes (Scribe), 159
L’amateur chez Crouton, 168
“La Mort d’Hector” (lithography in Album Classico-Romantique), 142, 144
Langlumé, Pierre, 184
Lantara, ou Le peintre au cabaret, 177
Lantara, Simon-Mathurin, 176–77; gourmandise, 179, 180; posthumous representation, 177–80, 178–79
Laterrade, Jacques, 16
Laugée, Thierry, 11
L’Avant Coureur, 27
La vie d’un Artiste, 180; Le feu de la Composition, 180, 181; Misère et Famine, 180, 182; “Personne ne m’a vu,” 165, 166; Premiers amours, 159, 160; une Blanchisseuse, 159, 161
Le Brun, Charles, 32
Le Brun, Élisabeth-Vigée, 67
Le Brun, Jean-Baptiste-Pierre, 67
Le Chapelier law, 101
Le Corsaire-Satan, 191
Le Lithographe, ou les Scènes populaires, 162
Le Mercure de France, 51
Le Modèle, Croquis d’atelier, 226
Le Nouvel Homme gris, 199
Le peintre amoureux de son modéle (Anséaume), 39
Le Peintre de Portraits tourmenté par ses Creanciers, 81, 82, 119
Le Peintre Lantara, 177
Les arts et la décence (Barincou), 184
Les Arts et la Misère (Barincou), 170
Les Bons Bourgeois series, 223
Les débardeurs ou L’Atelier, le bal et l’étude (play), 225
Les Inspirés du Musée, 184
Le Tableau de Famille (Basset), 146
Le Tableau de Paris (Mercier), 59
Levitine, George, 11
L’Homme de l’art dans l’embarras de son métier, 170
licensing system (patente), 75–76, 79, 87, 99–111, 257; competitive individualism, 120; conservative faction, 100; exemption from, 100–103, 127; logistical difficulties, 100; Mercier’s report, 101–7; Quincy’s report, 100–102, 109–11; Renou on, 100–102; revisions, 99, 100
L’Illustration, 247
lithographer, 226
lithography, 6, 13, 23, 153–59, 199, 281–82n54; albums, 155–58, 156–57; benefits, 153; brevets, 153, 199; intaglio vs., 153, 154; invention, 153
Louis-Philippe, 197–98, 285n19. See also July Monarchy
Louvre Museum, 96, 111-15, 146, 184, 203, 211, 235, 242; administration, 111–15; collecting practices, 128; satirical treatment, 111; spoliation, 96, 111–12, 117, 127–28
M. Dupinceau, 187
M. Sans-Souci, 158
Marchand, Jean Henri, 27; “Abjuration d’un Vieux Peintre,” 62–63
Martinet, Aaron, 91, 94, 118, 153, 170, 180, 198, 213; Petite Galerie Dramatique, 84, 155; Suprême Bon Ton, 155
McKee, George, 18
Mercier, Louis-Sébastien, 81, 84, 85, 232, 235; critiques, 59; “Les Greniers,” 59, 62; Le Tableau de Paris, 59; patente law and, 102–8; portraiture for, 62
minor genres (genres mineures), 112, 118, 121, 126, 139, 146. See also grand genre
Mongez, Angélique, 184
monkey artisans and artists, 41
Monnier, Henry, 153
Monsieur Crouton (play), 142–43, 168; Crouton, chef d’école (play) 229, 231, 237, 245
Musée Carnavalet, 16
Musée historique de Versailles, 203
Museum Commission (1792), 112
Painting mocked by Envy, Stupidity and Drunkenness (Boucher), 48, 49
panoramic fiction, 198
Parizeau, Philippe Louis, 62; L’Abjuration d’un vieux peintre, 27, 28
patente. See licensing system (patente)
path to success (cursus honorum): 99, 111, 135, 143, 199, 229, 246; during Empire and Restoration 127; during Revolutionary period 119–21; and shop-sign painters 231–37
Paying Artists, UK, 258
Pellerin, Nicolas, 162
de Peters, Jean Antoine, 38
peuple. See common people (peuple)
physiologies pamphlets, 198
Picart, Bernard, 119
Pigal, Edmé-Jean, 153; Ça veut raisonner peinture, 147, 148, 218; Chien de métier!, 27, 29, 165
Piron, Alexis, 165
Platier, Jules, 213, 218; Croquis d’Expression, 218, 220; Le Jury de Peinture, 207, 208; Revue Comique, 232, 233
Poinsinet, Antoine-Alexandre-Henri, 39
“Political Economy of Art” (Ruskin), 257
Pommier, Édouard, 99
Popular and Republican Society for the Arts. See Société Populaire et républicaine des arts
Portraits inédits d’artistes français (Chennevières), 16
poverty: ancien régime, 57–63, 58, 60–61, 94; Empire and Restoration, 159, 162, 163–64, 166–67, 169–80; July Monarchy, 225–26; Les Portraits à la Mode, 109, 110; satirical imagery depicting artist, 87–88; starving artist stereotype, 119, 192, 225–26, 254, 258
Press office (Bureau de la presse), 152
Print office (Bureau de l’Imprimerie), 152
printed images, 16–17, 36. See also lithography
private market, 7, 256; ancien régime, 38–39, 70; Empire and Restoration, 126, 137, 139, 146–47, 148–51; July Monarchy, 207, 211–13
privilege system: 79, 80; abolishment, 99; ancien-régime, 31–37; Empire and Restoration, 153
Raffet, Auguste, 153, 155; Album 1832, 226, 228, 229; Ces Croutes là en font monger d’autres, 180, 183; Gâres les Albums, 157, 158
rapin. See “lazy art student” (rapin)
“Rapport à M. l’Intendant général sur l’exposition” (Cailleux), 203
Réflexions sur la peinture et la gravure (Joullain), 70
Restoration of the Bourbons. See Empire and Restoration
Restout, Jean-Bernard, 78
Revolutionary period, 75–76, 127, 136; art market, 117–19; art world changes during, 118–21; charlatan painters, 85–94; deus ex machina, 94–99; encourage ments, 80; institutional accolades, 99; licensing laws (patente), 99–111; Louvre Museum, 112–17; Salon crisis, 76–81; struggling artist stereotype, 81–85; theaters, 80.
Reybaud, Louis, 253
Romantic painter, 139
Royal Academy of Painting and Sculpture. See Académie royale de peinture et de sculpture
de la Rue, Philibert-Benoist, 27
Saint-Aubin, Gabriel de, 69
“Salle de la Victoire” (sculpture), 128
Salon/Salon exhibitions, 8, 23, 48, 61, 75, 235; Académie royale, 33, 35, 38; admission 94, 96, 99, 206–7; caricatural, 17; emergence, 135–46; Empire and Restoration, 135–46; favoritism, 137; as gatekeepers to artistic success 135–36; July Monarchy, 197, 199, 203; reforms, 78–81; in Revolutionary period, 85–87, 118, 121, 246–48; works submitted vs. admitted to, 137–39, 138, 202, 203
sans souci. See care-free artist
satire, 6–8, 24, 253, 256–57; ambivalence, 21–22; cultural production, 15–16; intermedial explorations, 13–15; material lives, 22. See also specific political period/regime
satirical periodicals. See periodicals
Schneider, Erika, 261n16
Scribe, Eugène, 159
Second, Albéric, 191
Senefelder, Aloys, 153
Septimius Severus and Caracalla (Greuze), 72
Singe Peintre (Watteau), 41
Singe Sculpteur (Watteau), 41
Société Populaire et républicaine des arts (Popular and Republican Society for the Arts, SPRA), 79, 87, 112, 121, 258
Sofio, Séverine, 35
Songe Flatteur d’un peintre Romantique (Malenfant), 199, 200
Souvenirs d’Atelier, 218
starving artists. See inglorious artists
struggling artists. See inglorious artists
Suprême Bon Ton (Martinet), 155
taxation, 101
Teniers, David, 91
theater(s), 15; ancien régime, 35–36; audience, 15; Empire and Restoration, 152–53, 159, 162, 168, 170, 176–77, 180, 198, 225–26; Revolutionary period, 81–85; women, 184, 187
Théâtre de l’Impératrice, 152
Théâtre de Mlle Montansier, 80
Théâtre des Jeunes Artistes, 80
Théâtre des Variétés, 80
Théâtre de Vaudeville, 80
Théâtre-Français. See Académie royale de musique
Théâtre Français Comique et Lyrique. See Théâtre des Jeunes Artistes
Theseus and Pirithous (Mongez), 184
Traviès, Charles Joseph, 165, 211, 285n19; Habitué des ventes publiques, 213, 214; Le droit de visite, 199, 201; Tableau de Paris, 175, 176
Turgot, Anne Robert Jacques, 34; reforms, 23, 30, 38; Six Edicts, 34
Warnke, Martin, 12
Watelet, Claude-Henri, 45, 48; La maison de campagne à la mode, 39, 64; L’art de peindre, 41–42
Watteau, Antoine: 242; Singe Peintre, 41; Singe Sculpteur, 41
Why Are Artists Poor? (Abbing), 258
women artists, 8; Daumier’s portrayal, 240, 241; Empire and Restoration, 184–87, 185, 186; July Monarchy and, 184, 241
Working Artists and the Greater Economy (WAGE), 258
Zix, Benjamin, 128