ABSTRACT
Schools of art represent one of the building blocks of art history. The notion of a school of art emerged in artistic discourse and disseminated across various countries in Europe during the early modern period. Whilst a school of art essentially denotes a group of artists or artworks, it came to be configured in multiple ways, encompassing different meanings of learning, origin, style, or nation, and mediated in various forms via academies, literature, collections, markets and galleries. Moreover, it contributed to competitive debate around the hierarchy of art and artists in Europe. The ensuing fundamental instability of the notion of a school of art helped to create a pluriform panorama of both distinct and interconnected artistic traditions within the European art world. This edited collection brings together 20 articles devoted to selected case studies from the Italian peninsula, the Low Countries, France, Spain, England, the German Empire, and Russia.
TABLE OF CONTENTS
part |28 pages
Introduction
part |66 pages
Academies of Art, Churches, and Collective Artistic Identities
chapter 1|24 pages
Notions of Nationhood and Artistic Identity in Sixteenth- and Seventeenth-Century Rome
chapter 2|18 pages
A Failed Attempt to Establish a Spanish Art Academy in Rome (1680): A New Reading of Archival Documents
part |60 pages
Art Literature, Artists, and Transnational Identities
chapter 4|22 pages
Conceptualising Schools Of Art
chapter 5|20 pages
Claimed By All Or Too Elusive To Include
part |62 pages
Drawings, Connoisseurship, and Geography
chapter 8|20 pages
Connoisseurship Beyond Geography
chapter 9|20 pages
Arthur Pond'sArthur pond after Annibale (1705–1758) Prints In Imitation Of Drawings (1734–1736)
part |40 pages
Taste and Genius of Nations
chapter 10|22 pages
‘Taste of Nations'
chapter 11|16 pages
How Do Great Geniuses Appear in a Nation? A Political Problem for the Enlightenment Period
part |62 pages
Prints, Collecting, and Classification
chapter 12|22 pages
Dezallier d'Argenville's (1680–1765) Concept of a Print Collection: By Topic or by School?
chapter 13|22 pages
Michael Huber's (1727–1804) Notices (1787) and Manuel (1797–1808)
chapter 14|16 pages
Chronology and School
part |64 pages
Art Markets
chapter 15|20 pages
The Eighteenth–Century Art Market and the Northern and Southern Netherlandish Schools of Painting
chapter 16|22 pages
The Print Collector Pieter Cornelis van Leyden (1717–1788)
chapter 17|20 pages
The Problem of European Painting Schools in the Context of the Russian Enlightenment
part |68 pages
On Public Display in Picture Galleries
