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...

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Main Author: Elisa Rodríguez Castresana
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
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author Elisa Rodríguez Castresana
author_facet Elisa Rodríguez Castresana
author_sort Elisa Rodríguez Castresana
collection DOAJ
description 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.
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institution Kabale University
issn 2262-208X
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publishDate 2017-10-01
publisher École du Louvre
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series Les Cahiers de l'École du Louvre
spelling doaj-art-e17a021231d84aa68efe2a01c507e3102025-01-30T14:00:05ZfraÉcole du LouvreLes Cahiers de l'École du Louvre2262-208X2017-10-011110.4000/cel.731Le Musée européen des copies de Charles Blanc comme « pendant » du LouvreElisa Rodríguez CastresanaThe 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.https://journals.openedition.org/cel/731LouvreSalonMusée des copiesCharles Blancmasterpiececopy
spellingShingle Elisa Rodríguez Castresana
Le Musée européen des copies de Charles Blanc comme « pendant » du Louvre
Les Cahiers de l'École du Louvre
Louvre
Salon
Musée des copies
Charles Blanc
masterpiece
copy
title Le Musée européen des copies de Charles Blanc comme « pendant » du Louvre
title_full Le Musée européen des copies de Charles Blanc comme « pendant » du Louvre
title_fullStr Le Musée européen des copies de Charles Blanc comme « pendant » du Louvre
title_full_unstemmed Le Musée européen des copies de Charles Blanc comme « pendant » du Louvre
title_short Le Musée européen des copies de Charles Blanc comme « pendant » du Louvre
title_sort le musee europeen des copies de charles blanc comme pendant du louvre
topic Louvre
Salon
Musée des copies
Charles Blanc
masterpiece
copy
url https://journals.openedition.org/cel/731
work_keys_str_mv AT elisarodriguezcastresana lemuseeeuropeendescopiesdecharlesblanccommependantdulouvre