The Florentine Revival of Late Nineteenth-Century French Sculpture

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Campo DC	Valore
dc.identifier	ECF_article_6176
dc.title	The Florentine Revival of Late Nineteenth-Century French Sculpture. Perspectives from the Gazette des Beaux-Arts (1861-81)
dc.contributor.author	Vermot Federica
dc.publisher	Edizioni Ca’ Foscari - Digital Publishing, Fondazione Università Ca’ Foscari
dc.type	Articolo
dc.language.iso	en
dc.identifier.uri	http://edizionicafoscari.it/it/edizioni4/riviste/mdccc-1800/2021/1/the-florentine-revival-of-late-nineteenth-century/
dc.description.abstract	The aim of this paper is to show how French sculpture briefly resumed the impasse in which it was stuck in the middle of the nineteenth century thanks to the reliance on fifteenth-century Florentine sculpture. An analysis of the commentaries made by the critics of the Gazette des Beaux-Arts, which was the first journal to assess and promote neo-Florentine sculptors in the 1860s and 1870s, allows to better grasp the evolution and failure of the trend, as well as the various issues that were at stake, such as originality and naturalism in sculpture. This revival provided French art with a new generation of successful sculptors and inspiring works that eventually lead to the unprecedented – and short-lived – triumph of sculpture at the Exposition Universelle of 1878.
dc.relation.ispartof	MDCCC 1800
dc.relation.ispartof	Vol. 10 \| Luglio 2021
dc.issued	2021-07-26
dc.dateAccepted	2021-04-12
dc.dateSubmitted	2021-02-08
dc.identifier.issn
dc.identifier.eissn	2280-8841
dc.rights	Creative Commons Attribution 4.0 International Public License
dc.rights.uri	http://creativecommons.org/licenses/by/4.0/
dc.identifier.doi	10.30687/MDCCC/2280-8841/2021/10/009
dc.peer-review	yes
dc.subject	Alexandre Falguière
dc.subject	Alexandre Falguière
dc.subject	Antonin Mercié
dc.subject	Antonin Mercié
dc.subject	Donatello
dc.subject	Donatello
dc.subject	Florence
dc.subject	Florence
dc.subject	Gazette des Beaux-Arts
dc.subject	Gazette des Beaux-Arts
dc.subject	Giambologna
dc.subject	Giambologna
dc.subject	Neo-Florentine
dc.subject	Neo-Florentine
dc.subject	Nineteenth-century sculpture
dc.subject	Nineteenth-century sculpture
dc.subject	Paul Dubois
dc.subject	Paul Dubois
dc.subject	Paul Mantz
dc.subject	Paul Mantz
dc.subject	Quattrocento
dc.subject	Quattrocento
dc.subject	Renaissance
dc.subject	Renaissance
dc.subject	Revival
dc.subject	Revival
dc.subject	Salon
dc.subject	Salon
dc.subject	Tradition
dc.subject	Tradition

Articolo
open access peer reviewed

Perspectives from the Gazette des Beaux-Arts (1861-81)

Federica Vermot Université de Lausanne, Suisse

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abstract

The aim of this paper is to show how French sculpture briefly resumed the impasse in which it was stuck in the middle of the nineteenth century thanks to the reliance on fifteenth-century Florentine sculpture. An analysis of the commentaries made by the critics of the Gazette des Beaux-Arts, which was the first journal to assess and promote neo-Florentine sculptors in the 1860s and 1870s, allows to better grasp the evolution and failure of the trend, as well as the various issues that were at stake, such as originality and naturalism in sculpture. This revival provided French art with a new generation of successful sculptors and inspiring works that eventually lead to the unprecedented – and short-lived – triumph of sculpture at the Exposition Universelle of 1878.

Pubblicato

26 Luglio 2021

Accettato

12 Aprile 2021

Presentato

08 Febbraio 2021

Lingua

Keywords: Donatello • Nineteenth-century sculpture • Paul Dubois • Gazette des Beaux-Arts • Paul Mantz • Tradition • Revival • Quattrocento • Giambologna • Renaissance • Antonin Mercié • Salon • Florence • Neo-Florentine • Alexandre Falguière

permalink http://doi.org/10.30687/MDCCC/2280-8841/2021/10/009

Copyright: © 2021 Federica Vermot. This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.

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