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Olivier Bonfait, Aix-en-Provence
How Paris stole the idea of Painting. Louis XIV, Le Brun and Large
Scale Painting
Vortrag am 20. Mai 2009, 18 Uhr c.t.
Vortragsraum 242, II. OG, Meiserstraße 10, 80333 München
Though the history of painting has generally been conceived in terms
of artists, such as Poussin, genres, such as history painting, or
stylistic schools, such as “French classicism”, recent developments in
art, above all with Clement Greenberg and Jackson Pollock, have
sensitized us to the notion of easel painting as an object unique to
western civilization.
This presentation seeks to demonstrate how, during the reign of Louis
XIV, the French state appropriated the art of painting for the French
nation, not through Poussin, nor through the debate opposing drawing and
colour, but by imposing a new object: the large-scale canvas. This type
of painting, replacing the fresco, became the standard reference in the
visual arts, from Le Brun’s Stories of Alexander to Picasso’s Les
Demoiselles d’Avignon, dominating important official commissions and
exhibitions in Europe until the oversized paintings and performances of
today.
Prof. Olivier Bonfait
Born in 1961, is Professor of Art History at the University of
Aix-Marseille I. He has studied the relationship between painting and
society in Bologna during the early modern period, the historiography of
Poussin from the 17th century to the most recent studies, and is
currently working on a critical edition of Félibien’s Entretiens de la
vie des plus excellens peintres (5 vol., Paris, 1666-1688), the founding
text of the art history in France, written during the reign of Louis
XIV.
Former Chair of the Art History Department at the Villa Medici, where he
organized several exhibitions (Le Dieu caché, 2000; Maestà di Roma,
2003), he has founded two journals: Studiolo, la revue d’histoire de
l’art de l’Académie de France à Rome and Perspective, actualités de la
recherche at the Institut national d’histoire de l’art in Paris. He is
now the acting scientific director for Perspective.
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2009
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