Spanish Painting and the French Romantics

For a decade following its inauguration in 1838, the Musée Espagnol was billed as one of Paris’s main attractions. Created by Louis-Philippe d’Orléans, the Galerie Espagnole was emblematic of the continuities and contradictions that informed the rise of the bourgeois collector and the modern notion of patrimoine . In its attempt to blur distinctions between private collecting and public nation-building, the Musée Espagnol reveals crucial aspects of the July Monarchy’s political strategies. This analysis also reveals how the King’s strategic collection was met with tactical resistance by artists whose experiences as spectators read new meanings into the gallery and its paintings.

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Haskell,

Mencfel

2023

10.14746/aq

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The article is a Polish translation of a chapter from a book titled Rediscoveries in Art. Some Aspects of Taste, Fashion and Collecting in England and France. The Wrightsman Lectures delivered under the auspices of the New York University Institute of Fine Arts (Cornell University Press: Ithaca, New York 1980; first edition: Phaidon Press Limited 1976) by Francis Haskell (1928–2000), a renowned art historian, the author of classic studies on artistic patronage, the history of taste, and collecting. The subject of the essay is changes in tastes, particularly the increased interest in Italian and Northern European painting at the turn of 18th and 19th centuries and the consequences of this phenomenon for the British and French collections of painting created at that time (as well as the diverse political and social turbulences that occurred in the wake of the French Revolution and the Napoleonic wars).

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Spanish Painting and the French Romantics

Cited by 4 publications

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II. The context of exoticism in Fanny Elssler'sCachucha

II. The context of exoticism in Fanny Elssler'sCachucha

Collecting for Clio: Louis-Philippe’s Musée Espagnol or the Louvre as National History

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