Le Musée européen des copies de Charles Blanc comme « pendant » du Louvre
The present article proposes to analyse the ideological construction of the Musée européen des copies related to the appropriation with the Musée du Louvre. The Musée européen des copies is relatively little-known because of its short life. The project, mainly imagined by the French art historian an...
Saved in:
| Main Author: | |
|---|---|
| Format: | Article |
| Language: | fra |
| Published: |
École du Louvre
2017-10-01
|
| Series: | Les Cahiers de l'École du Louvre |
| Subjects: | |
| Online Access: | https://journals.openedition.org/cel/731 |
| Tags: |
Add Tag
No Tags, Be the first to tag this record!
|
| Summary: | The present article proposes to analyse the ideological construction of the Musée européen des copies related to the appropriation with the Musée du Louvre. The Musée européen des copies is relatively little-known because of its short life. The project, mainly imagined by the French art historian and director of the École des beaux-arts Charles Blanc, was opened in April 1873 and remained open barely nine months. Charles Blanc conceived it as an institution that was to be attached to the Musée du Louvre. The relationship between the two institutions was profound and touched upon not only the constitution of the collection, but also the appropriation of the model of the room of masterpieces established in the Louvre by Philippe-Auguste Jeanron in 1851 at the Salon carré, and the recuperation of the system of emulation between ancient and modern painter that existed at the Louvre until 1848 when the Salon des artistes vivants was definitively evited from the Parisian museum. |
|---|---|
| ISSN: | 2262-208X |