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| La Revue d'Art | |
|---|---|
| Title | La Revue d'Art |
| Country | France |
| Language | French |
La Revue d'Art is a French periodical devoted to visual arts, criticism, and scholarship that appeared in the late 19th and 20th centuries, engaging with painting, sculpture, architecture, and decorative arts. The journal served as a nexus for dialogues among figures from the Académie Julian, École des Beaux-Arts, Salon des Indépendants, and Salon d'Automne, publishing essays, reviews, and reproductions that intersected with debates surrounding Impressionism, Post-Impressionism, Cubism, and Surrealism. Contributors and subjects ranged from established figures such as Édouard Manet, Claude Monet, Paul Cézanne, and Pablo Picasso to critics and historians associated with Gustave Geffroy, André Breton, Roger Fry, and Wassily Kandinsky.
Launched amid the ferment of fin-de-siècle Paris, the periodical responded to currents that included exhibitions like the Exposition Universelle (1900), the activities of studios on Montparnasse, and institutional debates at the Musée du Louvre and Musée d'Orsay. Early issues engaged controversies tied to the Salon system and salons alternatifs such as the Salon des Refusés and the Société Nationale des Beaux-Arts. During the interwar years the magazine intersected with movements centered in Montmartre and Montparnasse and reacted to exhibitions at venues like the Galerie Bernheim-Jeune and Galerie Durand-Ruel. Wartime constraints under the German occupation of France affected production, while the postwar period saw exchanges with institutions including the Centre Pompidou and personalities involved in reconstruction debates like André Malraux.
The editorial board curated a mix of historians, critics, curators, and practitioners connected to institutions such as the Bibliothèque Nationale de France, Institut de France, and École du Louvre. Regular contributors included critics and historians in the orbit of Paul Valéry, Georges Bataille, and Lionel de Fonseka as well as artists from the Salon des Tuileries and circles around Henri Matisse, Georges Braque, and Fernand Léger. The magazine featured essays by museum professionals associated with the Musée Picasso, Musée Rodin, and the Victoria and Albert Museum networks, along with letters from conservators linked to the Institut national du patrimoine and curators who organized retrospectives for figures like Auguste Rodin, Gustav Klimt, and Marcel Duchamp.
Coverage ranged across monographic studies of painters such as Jean-Auguste-Dominique Ingres, Eugène Delacroix, Gustave Courbet, and Édouard Vuillard to examinations of sculptors like François Rude, Antoine Bourdelle, and Constantin Brâncuși. The journal published comparative analyses invoking architecture by Le Corbusier, Victor Horta, and Charles Garnier and design studies referencing Émile-Jacques Ruhlmann and William Morris. Essays addressed collecting practices associated with patrons like Paul Guillaume and institutions such as the Musée des Beaux-Arts de Lyon and Musée du Quai Branly. Critical dialogues considered theoretical positions from figures linked to Roger Fry and Clive Bell as well as psychoanalytic and Marxist inflections through references to Sigmund Freud and Karl Marx in relation to iconography and material culture.
Issued in French and occasionally featuring bilingual captions to reach international readers, the review circulated through Parisian booksellers on Boulevard Saint-Germain and was distributed to subscribers in cities like Lyon, Marseille, Brussels, Geneva, and London. The periodical's print runs varied with economic cycles and sponsorship from galleries such as Galerie Maeght and collectors’ circles including the Moulin Riche salons. Institutional subscriptions were maintained by libraries like the Bibliothèque municipale de Lyon and museums such as the Musée des Arts Décoratifs while exchanges placed copies in university collections at Sorbonne University and archives connected to the École normale supérieure.
Scholars, curators, and dealers cited the review in debates over provenance, attribution, and exhibition histories involving works by Jean-Baptiste-Siméon Chardin, Nicolas Poussin, Jacques-Louis David, and Eugène Delacroix. The journal influenced catalogues raisonnés and retrospective programming for artists like Paul Gauguin and Henri Rousseau, and its critical apparatus informed acquisition decisions at institutions such as the Musée Picasso and the Museum of Modern Art. Intellectuals from the circles of Gertrude Stein, Alice B. Toklas, and André Gide engaged with its pages, and the review figured in international correspondences connecting Parisian debates with exhibitions at the Royal Academy of Arts and the Museum of Fine Arts, Boston.
Special numbers devoted to movements and anniversaries focused on themes such as Impressionism anniversaries, retrospectives on Gustave Moreau, themed dossiers on African art and its reception in Parisian collections, and monographs honoring anniversaries of the École des Beaux-Arts. Collaborations with institutions produced plenary issues timed to major exhibitions at venues like Galerie nationale du Jeu de Paume and the Palais des Beaux-Arts de Lille. Commemorative editions assembled essays by leading voices including curators from the Musée d'Orsay, critics associated with Le Figaro, and historians from the Collège de France.
Category:French art magazines Category:Art history periodicals