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Mécénat

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Taste, like fashion, is usually thought to be capricious, but it is the outstanding feature of this book that it shows the extent to which artistic taste, the vogue for certain masters and the accomanying prejudice against others, is dependent on specific, clearly traceable factors. During much of the eighteenth century there was a very widespread acceptance of well defined standards of excellence in the Old Masters, but these were gradually eroded throughout the nineteenth century. Painters such as Piero della Francesca, Botticelli and other Italian pre-Raphaelites, Vermeer and El Greco, who had long been ignored or despised, were "rediscovered" with extreme enthusiasm ; others, such as Guido Reni, once numbered among thre greatest masters, were scornfully eliminated from the canon. Why ? This book sets out to investigate the causes of this phenomenon by looking at the process in strictly historical terms. Ruskin made a deliberate practice of "knocking down and putting up", but there were other more subtle influences : the parts played by dealers and financial speculation ; by scholars and collectors ; by religious, political and social affiliations ; by the organization of museums and exhibitions, and by the accidental accessibility of certain types of pictures as a result of wars and revolutions. Although "Rediscoveries in art" is concerned primarily with the hundred years between about 1780 and 1880, its implications are much wider. It is disturbing to realize the extent to which public appreciation is moulded by circumstance, and this thought-provoking book opens many important questions in its examination of these perennial fluctuations in taste.

Mécénat --- Mécénat --- Esthétique --- Esthétique

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Mécénat -- France

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Antwerpen --- Art --- Mécénat