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Extractions: Cabanel, Alexandre, Birth of Venus Image URL for use on other sites: http://images25.fotki.com/v898/photos/1/1012/599684/CabanelAlexandreBirthofVenus-vi.jpg Link to send via email/instant messenger: http://public.fotki.com/splint/art/nude_in_art/cabanel_alexandre.html Code for a Fotki Journal: [photo id=bdsgsrswtqqdgxdgtgqtfkk type=vi style=1 align=no link=photo] More sharing options Close as a Fotki member login as a Guest Name: Email: Anonymously Attention! As the IP logging is turned on, your IP address will be visible to the photo's owner.
Extractions: Cabanel was born in Montpellier, Hérault. He painted historical, classical and religious subjects in the academic style. He was also well-known as a portrait painter. According to Diccionario Enciclopedico Salvat, Cabanel is the best representative of the L'art pompier and Napoleon III's preferred painter. Cabanel entered the École des Beaux-Arts in Paris at the age of seventeen. He studied with François-Édouard Picot and exhibited at the Paris Salon for the first time in 1844, and won the Prix de Rome scholarship in 1845 at the age of twenty two. Cabanel was elected a member of the Institute in 1863 and appointed professor at the École des Beaux-Arts in the same year. Cabanel won the Grande Médaille d'Honneur at the Salons of 1865, 1867, and 1878. He was closely connected to the Paris Salon: "He was elected regularly to the Salon jury and his pupils could be counted by the hundred at the Salons. Through them, Cabanel did more than any other artist of his generation to form the character of belle époque French painting". His refusal together with William-Adolphe Bouguereau to allow the impressionist painter Édouard Manet and other painters to exhibit their work in the Salon of 1863 lead to the establishment of the Salon des Refusés.
The Dahesh Museum Of Art: Collections And Research Artists such as Barye, Benouville, Bouguereau, Bonheur, cabanel, Gérôme, Leighton, Picou, Troyon, and Vernet explored the subjects preferred by their fellow http://www.daheshmuseum.org/collection/index.php
Extractions: Exploring the Collection In this section, the Museum's curators present an in-depth look at one work of art in the permanent collection. Here Lisa Small explores why the Dahesh has embraced 19th-century academic art, the challenges of such an endeavor, and the aesthetic pleasure and intellectual insights that result. Dahesh Museum of Art, 1995.117 Today, modernism's staunchest adherents continue to protest that anyone seeking works of aesthetic merit or scholarly value will find that academic art offers neither, and can only be regarded as an unfortunate footnote in art history. While this position is founded on old assumptions, for many it remains unexamined, and is repeated as if it were the truth. There is another story to tell about the 19th century. It does not perpetuate misleading dichotomies, but rather acknowledges the complex practices, theories, and relationships that defined the art world in Europe, providing not only a fuller appreciation of those academic artists whose work has been marginalized, but also a broader context within which to understand the entire period. A new generation of scholars and a growing public now understand that the history of art in the 19th century was a unified one in which conservative and advanced artists interacted both in the academy and the marketplace. Eventually today's art critical establishment will be forced to rethink their own, fundamentally
