Academies Of Art

Throughout the nineteenth century, academies functioned as the main venues for the teaching, promotion, and display of art. Contemporary scholars have, for the most part, denigrated academic art, calling it formulaic, unoriginal, and repetitious. The contributors to Art and the Academy in the Nineteenth Century challenge this entrenched notion and consider how academies worldwide have represented an important system of artistic preservation and transmission. Their essays eschew easy binaries that have reigned in academia for more than half a century and that simply oppose the avant-garde to academicism.

This edited volume’s chief aim is to bring together, in an English-language source, the principal histories and narratives of some of the most significant academies and national schools of art in South America, Mexico, and the Caribbean, from the late 18th to the early 20th centuries. The book highlights not only issues shared by Latin American academies of art but also those that differentiate them from their European counterparts. Authors examine issues including statutes, the influence of workshops and guilds, the importance of patronage, discourses of race and ethnicity in visual pedagogy, and European models versus the quest for national schools. It also offers first-time English translations of many foundational documents from several significant academies and schools. This book will be of interest to scholars in art history, Latin American and Hispanic studies, and modern visual cultures.

Originally published in 1940, this book charts the origins and evolution of academies of art from the sixteenth century to the first half of the twentieth century. Pevsner expertly explains the political, religious and mercantile forces affecting the education of artists in various countries in Western Europe, and the growing 'academisation' of artistic training that he saw is his own day. This book will be of value to anyone with an interest in the various historical schools of art instruction and the history of art more generally.

"This is the first of six books in the series Art and its Histories, which form the main texts of an Open University second-level course of the same name"--Preface.

Teaching Art is the first book to examine the history of art training from the Renaissance to the present. Addressing the question whether art can be taught, Carl Goldstein describes how the secrets of such masters as the Carracci, Rembrandt and David were passed on from generation to generation. Goldstein concludes with an overview of current methods for the teaching of art at the university level and their impact on contemporary art.

Anti-Academy examines the ideas, processes, workshops and legacies of three radical educational models in 1960s Japan, the USA and Denmark. Comprised of three sections, each relating to one of these school's programmes, Anti-Academy explores life at Bigakko, Tokyo, The Intermedia Programme at the University of Iowa, and Ex-School, Copenhagen. Anti-Academy is a comprehensive interpretation of how these three academies situated themselves on the peripheries of the art world, existing in opposition to the mainstream, and responding to the political and social climate, location and cultural context of the day.Published alongside an exhibition of the same name, 21 November 2013 - 18 February 2014.

The Académie Royale de Peinture et de Sculpture (French Academy of Painting and Sculpture)—perhaps the single most influential art institution in history—governed the arts in France for more than 150 years, from its founding in 1648 until its abolition in 1793. Christian Michel's sweeping study presents an authoritative, in-depth analysis of the Académie’s history and legacy. The Académie Royale assembled nearly all of the important French artists working at the time, maintained a virtual monopoly on teaching and exhibitions, enjoyed a priority in obtaining royal commissions, and deeply influenced the artistic landscape in France. Yet the institution remains little understood today: all commentary on it, during its existence and since its abolition, is based on prejudices, both favorable and critical, that have shaped the way the institution has been appraised. This book takes a different approach. Rather than judging the Académie Royale, Michel unravels existing critical discourse to consider the nuances and complexities of the academy’s history, reexamining its goals, the shifting power dynamics both within the institution and in the larger political landscape, and its relationship with other French academies and guilds.