La sculpture française aux États-Unis : une avancée historiographique d’ampleur
The article explores the considerable impulses that have been generated by paintings which had come to Paris in the wake of the confiscations of works of art during the Napoleonic Empire. At the centre of the contribution is a revealing case study that shows how, around 1814, the French painter Geor...
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| Médium: | Article ou chapitre numérique |
| Jazyk: | Français |
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2023
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| On-line přístup: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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cairn-RDA_221_0044RDARevue de l'art https://shs.cairn.info/revue-de-l-art-2023-3-page-44?lang=fr https://doi.org/10.3917/rda.221.0044 La sculpture française aux États-Unis : une avancée historiographique d’ampleur Chevillot, Catherine2023 fre Revue de l'art | 221 | 3 | 2023-12-22 | p. 44-47 | 0035-1326 RDA_22165 The article explores the considerable impulses that have been generated by paintings which had come to Paris in the wake of the confiscations of works of art during the Napoleonic Empire. At the centre of the contribution is a revealing case study that shows how, around 1814, the French painter Georges Michel responded to a landscape by Rembrandt and used it as inspiration for his own painting. Based on this example, two questions are addressed : On the one hand, Michel’s painting exemplifies how much contemporary landscape painting in Paris benefited from the unusually good presence of Rembrandt’s landscapes in the years up to 1815. On the other hand, the case study could allow to determine the chronology of Michel’s oeuvre more precisely.Cairn restricted access |
| language |
Français |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/Cairn/ |
| description |
The article explores the considerable impulses that have been generated by paintings which had come to Paris in the wake of the confiscations of works of art during the Napoleonic Empire. At the centre of the contribution is a revealing case study that shows how, around 1814, the French painter Georges Michel responded to a landscape by Rembrandt and used it as inspiration for his own painting. Based on this example, two questions are addressed : On the one hand, Michel’s painting exemplifies how much contemporary landscape painting in Paris benefited from the unusually good presence of Rembrandt’s landscapes in the years up to 1815. On the other hand, the case study could allow to determine the chronology of Michel’s oeuvre more precisely. |
| author |
Chevillot, Catherine |
| spellingShingle |
Chevillot, Catherine La sculpture française aux États-Unis : une avancée historiographique d’ampleur |
| author_facet |
Chevillot, Catherine |
| author_sort |
Chevillot, Catherine |
| title |
La sculpture française aux États-Unis : une avancée historiographique d’ampleur |
| title_short |
La sculpture française aux États-Unis : une avancée historiographique d’ampleur |
| title_full |
La sculpture française aux États-Unis : une avancée historiographique d’ampleur |
| title_fullStr |
La sculpture française aux États-Unis : une avancée historiographique d’ampleur |
| title_full_unstemmed |
La sculpture française aux États-Unis : une avancée historiographique d’ampleur |
| title_sort |
la sculpture française aux états-unis : une avancée historiographique d’ampleur |
| publishDate |
2023 |
| container_title |
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| container_issue |
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| url |
https://ezproxy.univ-orleans.fr/login?url=https://shs.cairn.info/revue-de-l-art-2023-3-page-44?lang=fr https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.3917/rda.221.0044 |
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