The Art Collection of the French Royal Academy of Painting and Sculpture - Data

Over the century and a half of its existence (1648–1793), the Académie royale de peinture et de sculpture amassed a collection of more than 15,000 artworks (paintings, sculptures, prints, drawings, casts, and medals). The core of this collection consisted of reception pieces (morceaux de réception) – works that young artists presented to an academic jury to become members of the institution. Additionally, the collection featured Prix-de-Rome-winning paintings and bas-reliefs, commissioned portraits of the Académie’s patrons, académie drawings by student and professors, plaster casts of classical sculptures, miscellaneous donated works of art, furniture, and unclassifiable objects (e.g., skeletons used in teaching human anatomy). As almost all the prominent artists of the old regime were members of the Académie royale, the Académie’s art collection brought together such iconic reception pieces as Watteau’s Pilgrimage to the Isle of Cythera (1717), Chardin’s Ray (1728) and Greuze’s Septimius Severus and Caracalla (1769). These and other examination works now offer valuable insights into the aesthetic values of the institution. Académies, plaster casts, and other objects used in teaching shed light on the educational process. While commissioned portraits of the Académie’s patrons and donated works of art illuminate the personal networks behind it. Collectively, these objects reveal how the most influential art institution in eighteenth-century Europe viewed and positioned itself. Together with the Académie, the collection changed its home numerous times, moving from the Saint-Eustache to the Hôtel Clisson, rue Sainte-Catherine, and the Palais-Royal, but for most of its history, from 1692 to 1793, was housed in the Louvre. The collection’s arrangement in the Louvre was a remarkable example of eighteenth-century curatorial work and an “internal” counterpart to the Académie’s public display, the Salon. Unlike the Salon Carré, the main rooms of the Académie were accessible only to exclusive visitors, yet the works they contained served as major reference points for students and members, many of whom not only worked but also lived in the Palace. After the French Revolution, the art collection of the Académie was dispersed and today is shared by the Louvre, the Versailles, the ENSBA, and many other museums in France and worldwide. In collaboration with the Centre Dominique-Vivant Denon (Louvre), the INHA, and the Beaux-Arts de Paris, we have initiated a project to reconstruct the Académie’s art collection using digital methods. The first phase involved building a database establishing what objects originally comprised the collection and where they are preserved now. To demonstrate the importance of the collection to understanding ancien régime art, we have also launched a book series, which will open with a volume on reception pieces (scheduled for publication in 2024). Our next step will be the creation of a 3D model digitally recreating the arrangement of the collection in the eighteenth-century Louvre. This is the data for the database. Please find the source code in the linked publication. Please note: DFK Paris does not hold the copyright for any reproductions included in this database. If you wish to use these images, please consult the guidelines of the respective holding institutions.皇家绘画与雕塑学院（Académie royale de peinture et de sculpture）自1648年创立至1793年解散的一个半世纪间，累计馆藏超过15000件艺术品，涵盖油画、雕塑、版画、素描、铸模及奖章。该馆藏的核心为入会作品（morceaux de réception）——即年轻艺术家为加入该学院，向学术评审团提交的考核作品。此外，馆藏还包括罗马大奖（Prix-de-Rome）获奖油画与浅浮雕作品、学院赞助人的定制肖像、师生的学院教学素描、古典雕塑石膏铸模、各类捐赠艺术品、家具及无法归类的物品（例如用于人体解剖教学的骨骼标本）。 由于旧制度时期几乎所有知名艺术家均为皇家绘画与雕塑学院成员，该学院的馆藏汇聚了诸多标志性入会作品，如华托的《发舟西苔岛》（1717年）、夏尔丹的《鳐鱼》（1728年）以及格勒兹的《塞普蒂米乌斯·塞维鲁与卡拉卡拉》（1769年）。此类及其他考核作品如今为了解该学院的审美价值提供了宝贵视角。学院教学用的素描、石膏铸模及其他教具则阐明了其教学流程；而学院赞助人的定制肖像与捐赠艺术品，则揭示了其背后的人际网络。整体而言，这些藏品展现了18世纪欧洲最具影响力的艺术机构如何看待自身并进行自我定位。 该馆藏与学院一同多次迁址，先后从圣厄斯塔什教堂迁至克里松公馆、圣凯瑟琳街的相关建筑以及皇家宫殿，但在其历史的大部分时段（1692年至1793年），馆藏均存放于卢浮宫。该馆藏在卢浮宫的陈列布置是18世纪策展工作的杰出范例，同时也是学院面向内部的对应展示形式，与其面向公众的沙龙（Salon）展相对应。与卡雷沙龙不同，学院的主要展厅仅对受邀访客开放，但其中的藏品却是学生与学院成员的重要参考范本——其中不少人不仅在卢浮宫内工作，甚至在此居住。 法国大革命后，皇家绘画与雕塑学院的馆藏被分散，如今分别由卢浮宫、凡尔赛宫（Versailles）、国立高等美术学院（École Nationale Supérieure des Beaux-Arts, 简称ENSBA）以及法国及全球众多其他博物馆收藏。 我们与多米尼克-维万·德农中心（Centre Dominique-Vivant Denon，隶属于卢浮宫）、法国国家艺术史研究所（Institut National d'Histoire de l'Art, 简称INHA）以及巴黎美术学院（Beaux-Arts de Paris）合作，启动了一项以数字化手段重建皇家绘画与雕塑学院馆藏的项目。项目第一阶段为搭建数据库，梳理馆藏原有的藏品清单及当前的保存机构。为阐明该馆藏对于理解旧制度时期艺术的重要性，我们还推出了一部丛书，首卷将围绕入会作品展开（预计2024年出版）。我们的下一步计划是创建三维模型，数字化还原18世纪卢浮宫内该馆藏的陈列布局。 本数据集即为该数据库的相关数据。相关源代码请参阅关联出版物。 请注意：本数据库中包含的所有复制品的版权均不归巴黎DFK所有。若您希望使用这些图像，请咨询各藏品保管机构的使用指南。