Attracting controversy as readily as they do crowds, art
museums--the Grand Louvre project and the new Orsay in Paris, or
the proposed Whitney and Guggenheim additions in New York, for
example--occupy a curious but central position in world culture.
Choosing the art museums of provincial France in the previous
century as a paradigm, Daniel Sherman reaches toward an
understanding of the museum's place in modern society by exploring
its past. He uses an array of previously unstudied archival sources
as evidence that the museum's emergence as an institution involved
not only the intricacies of national policy but also the political
dynamics and social fabric of the nineteenth-century city.
The author ascertains that while the French state played an
important role in the creation of provincial museums during the
Revolutionary era, for much of the next century it was content
simply to send works of art to the provinces. When in the 1880s the
new Republican regime began to devote more attention to the real
purposes and functions of provincial museums, officials were
surprised to learn that the initiative had already passed into the
hands of local elites who had nurtured their own museums from their
inception.
Sherman devotes particular attention to the museums of Bordeaux,
Dijon, Marseilles, and Rouen. From their origins as repositories
for objects confiscated during the Revolution, they began to
attract the attention of local governments, which started to add
objects purchased at regional art exhibitions. In the period
1860-1890, monumental buildings were constructed, and these museums
became identified with the cities' bourgeois leaders. This central
connection with local elites has continued to our own day, and
leads into the author's stimulating reflections on the art museum's
past, present, and future.
This original and highly readable account should attract those
with an interest in cultural institutions and art history in
general as well as those who study the history and sociology of
modern France.
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