National Identity and Nineteenth-Century Franco-Belgian Sculpture

<p>This book elaborates on the social and cultural phenomenon of national schools during the nineteenth century, via the less studied field of sculpture and using Belgium as a case study. The role, importance of, and emphasis on certain aspects of national identity evolved throughout the century, while a diverse array of criteria were indicated by commissioners, art critics, or artists that supposedly constituted a "national sculpture." By confronting the role and impact of the four most crucial actors within the artistic field (politics, education, exhibitions, public commissions) with a linear timeframe, this book offers a chronological as well as a thematic approach. Artists covered include Guillaume Geefs, Eugène Simonis, Charles Van der Stappen, Julien Dillens, Paul Devigne, Constantin Meunier, and George Minne.</p> <p><em>List of Tables </em> <i>List of Figures</i> <i>List of Abbreviations</i> <i>Acknowledgments </i> Introduction <strong>PART I 1830–1850: Belgium’s ‘Big Bang’ and the Emergence of Its Sculpture School</strong> 1 Politics 1.1 Sculpture for a New Country: Art as a Unifier 2 Education 2.1 Defying ‘<em>Enemies of Our True Nationality</em>’: The Academy of Antwerp 2.2 Enemies within the Borders of the Nation: Antwerp vs. Brussels 2.3 Out with the Old, in with the New: The Academy of Brussels 2.4 Outside the Classroom, into the Studio 3 Exhibitions 3.1 The Belgian Salons: An Exclusive Party 4 Public Commissions 4.1 Guillaume Geefs, ‘<em>le seul sculpteur belge</em>’ 4.1.1 General Augustin Belliard, ‘<em>plus Belge que Français</em>’?<em> </em>4.1.2 Geefs’ <em>Peter Paul Rubens</em>: ‘<em>King of the Flemish Painter School</em>’ 4.1.3 A Battle of Heroes: Rubens vs. Belliard 4.2 Louis-Eugène Simonis, ‘<em>père de la sculpture belge moderne</em>’ 4.2.1 Simon Stevin, an Ambiguous Choice 4.2.2 Godfrey of Bouillon, a Belgian Hero Ahorse 4.3 A Battle of Sculptors: Geefs vs. Simonis <b>PART II 1850–1880: A Foreign Prevalence Non-Belgian Sculpture </b>5 Politics<b> </b>5.1 Sculpture Midway through the Century: Art as a Sign of Unity 6 Education<b> </b>6.1 The Academies: Expansion and Consolidation 6.2 Beyond Academies and Borders: The Private Studio 7 Exhibitions 7.1 Sculpture at the Salons: The Road to National and International Fame and Claim 7.2 ‘National Schools’ at the International Exhibitions: Constructed (or) Reality? 7.2.1 Cultural Shards and Patches 7.2.2 The ‘<em>boulangerie nationale</em>’ 7.3 Jean Baptiste Carpeaux in Belgium: Visiting, Exhibiting, Inspiring 8 Public Commissions<b> </b>8.1 ‘<em>Une question d’art ou une question de nationalité?</em>’ 8.2 French Sculptors in Belgium 8.2.1 A Clash at the Bourse of Brussels 8.2.2 ‘<em>A Good-for-Nothing [Who] Will Soon Be Disposed Of</em>’: Auguste Rodin in Belgium 8.2.3 Carrier-Belleuse in Belgium: The Sequel 8.2.4 Jules Bertin: ‘<em>enfant adoptif de Tongres</em>’, or a Frenchman? 8.3 Sculpture at the Palace of Justice: A Lesson Learned? 8.4 Une Question d’Art et une Question de Nationalité <b>PART III 1880–1895: A Renaissance of Belgian Sculpture </b>9 Politics<b> </b>9.1 Artistic Prosperity and Economic Distress 9.2 Building for King and Country 10 Education 10.1 Antwerp: The ‘Flemish’ Academy 10.2 Van der Stappen’s Reign at the Academy of Brussels 10.3 Finding Native Heritage Abroad 11 Exhibitions<b> </b>11.1 The Old Ways: The Salons 11.2 Alternative Stages: <em>L’Essor, Les XX</em>, and <em>La Libre Esthétique</em> 11.3 National Success on an International Stage: The Paris Salons 11.4 Sculpture at the International Exhibitions: Yesterday’s ‘National Schools’? 12 Public Commissions<b> </b>12.1 ‘<em>Dans l’esprit des sculptures du grand Opéra de Paris</em>’: Two Statues for the Royal Museums of Fine Arts 12.2 The Renaissance of Sculpture in Belgium 12.3 Sculpting a(n) (Inter)National and Local Identity <strong>PART IV 1895–1916: International Belgian Sculpture</strong> 13 Politics 13.1 King Leopold II, Belgian Chryselephantine Sculptures, and a French Garden 13.2 A New Political Movement, a New Sculpture 14 Education<b> </b>14.1 Ever Looking Back: The Antwerp Academy 14.2 ‘<em>La nature, c’est moi qui l’enseigne!</em>’: Van der Stappen vs. Dillens in Brussels 14.3 A Need for Change: The Education Abroad 15 Exhibitions<b> </b>15.1 Salons: The Old and the New 15.2 ‘<em>La France aux Français!</em>’: The Paris Salons 15.3 Contradicting Storylines: Belgians at the International Exhibitions 15.3.1 Paris—1900 15.3.2 Ghent—1913 15.4 Meunier and Minne Exhibiting Abroad 15.5 Sculpture in Exile: Later Exhibitions 16 Public Commissions<b> </b>16.1 Public Identity: Locality vs. Nationality 16.1.1 Le Débardeur, a Local Hero 16.1.2 Art Criticism Revised: Walloon Sculpture? 16.2 ‘<em>Qu’importe la nationalité de l’artiste?</em>’: Meunier’s <em>Zola</em> 16.3 Multiple Identities <em>Bibliography</em> <i>Index</i> </p>