Rassemble des contributions sur la place des collections d'art dans la société, la pratique artistique et le marché de l'art au XVIIIe siècle au nord de la France et dans les Flandres, ainsi que sur la réception et le commerce de l'art flamand en France.

"Explores the role of private art collections in the cultural, social, and political life of early eighteenth-century Paris. Examines how two principal groups of collectors, each associated with a different political faction, amassed different types of treasures and used them to establish social identities and compete for distinction"--Provided by publisher.

Art Crossing Borders offers a thought-provoking analysis of the internationalisation of the art market during the long nineteenth century. Twelve experts, dealing with a wide variety of geographical, temporal, and commercial contexts, explore how the gradual integration of art markets structurally depended on the simultaneous rise of nationalist modes of thinking, in unexpected and ambiguous ways. By presenting a radically international research perspective Art Crossing Borders offers a crucial contribution to the field of art market studies.

Piracy and Captivity in the Mediterranean explores the early modern genre of European Barbary Coast captivity narratives from the sixteenth to the nineteenth century. During this period, the Mediterranean Sea was the setting of large-scale corsairing that resulted in the capture or enslavement of Europeans and Americans by North African pirates, as well as of North Africans by European forces, turning the Barbary Coast into the nemesis of any who went to sea. Through a variety of specifically selected narrative case studies, this book displays the blend of both authentic eye witness accounts and literary fictions that emerged against the backdrop of the tumultuous Mediterranean Sea. A wide range of other primary sources, from letters to ransom lists and newspaper articles to scientific texts, highlights the impact of piracy and captivity across key European regions, including France, Italy, Germany, the Netherlands, Portugal, Spain, Scandinavia, and Britain, as well as the United States and North Africa. Divided into four parts and offering a variety of national and cultural vantage points, Piracy and Captivity in the Mediterranean addresses both the background from which captivity narratives were born and the narratives themselves. It is essential reading for scholars and students of early modern slavery and piracy.

One of the most forward-looking artists of the eighteenth century, Jean Honoré Fragonard (1732–1806) was a virtuoso draftsman whose works on paper count among the great achievements of his time. This book showcases Fragonard's mastery and experimentation in a range of media, from vivid red chalk to luminous brown wash, as well as etching, watercolor, and gouache. With essays that focus on the role of drawing in his creative process and provide a modern reevaluation of his graphic work, the book offers fresh perspectives on this innovative and independent artist, who began his career in the Rococo era but lived through and adapted to changing times in France, and who chose to leave the more defined path of official patronage in order to work for private clients. Unlike many earlier painters who used drawings primarily as preparatory tools, Fragonard explored their potential as works of art in their own right, ones that permitted him to work with great freedom and allowed his genius to shine. The 100 featured works come from New York collections, public and private, balancing a mix of well-loved masterpieces, new discoveries, and works that have long been out of the public eye. Fragonard: Drawing Triumphant illuminates the approach of a ceaselessly inventive artist whose draftsmanship was at the core of his remarkable body of work.

The question of whether seventeenth-century painters such as Rembrandt and Rubens were exclusively responsible for the paintings later sold under their names has caused many a heated debate. Despite the rise of scholarship on the history of the art market, much is still unknown about the ways in which paintings were produced, assessed, priced, and marketed during this period, which leads to several provocative questions: did contemporary connoisseurs expect masters such as Rembrandt to paint works entirely by their own hand? Who was credited with the ability to assess paintings as genuine? The contributors to this engaging collection—Eric Jan Sluijter, Hans Van Miegroet, and Neil De Marchi, among them—trace these issues through the booming art market of the seventeenth and eighteenth centuries, arriving at fascinating and occasionally unexpected conclusions.

Seventeenth-century Dutch and Flemish paintings were aesthetic, intellectual, and economic touchstones in the Parisian art world of the Revolutionary era, but their importance within this framework, while frequently acknowledged, never attracted much subsequent attention. Darius A. Spieth’s inquiry into Revolutionary Paris and the Market for Netherlandish Art reveals the dominance of “Golden Age” pictures in the artistic discourse and sales transactions before, during, and after the French Revolution. A broadly based statistical investigation, undertaken as part of this study, shows that the upheaval reduced prices for Netherlandish paintings by about 55% compared to the Old Regime, and that it took until after the July Revolution of 1830 for art prices to return where they stood before 1789.