Overview
The turn of the eighteenth century was a period of transition in France, a time when new but contested concepts of modernity emerged in virtually every cultural realm. The rigidity of the state’s consolidation of the arts in the late seventeenth century yielded to a more vibrant and diverse cultural life, and Paris became, once again, the social and artistic capital of the wealthiest nation in Europe. In Sheltering Art, Rochelle Ziskin explores private art collecting, a primary facet of that newly decentralized artistic realm and one increasingly embraced by an expanding social elite as the century wore on. During the key period when Paris reclaimed its role as the nexus of cultural and social life, two rival circles of art collectors—with dissonant goals and disparate conceptions of modernity—competed for preeminence. Sheltering Art focuses on these collectors, their motivations for collecting art, and the natures of their collections. An ambitious study, it employs extensive archival research in its examination of the ideologies associated with different strategies of collecting in eighteenth-century Paris and how art collecting was inextricably linked to the shaping of social identities.
Full Product Details
Author: Rochelle Ziskin (Associate Professor of Art History, University of Missouri-Kansas City)
Publisher: Pennsylvania State University Press
Imprint: Pennsylvania State University Press
Dimensions:
Width: 22.90cm
, Height: 3.40cm
, Length: 25.40cm
Weight: 1.656kg
ISBN: 9780271037851
ISBN 10: 0271037857
Pages: 392
Publication Date: 16 August 2012
Audience:
Professional and scholarly
,
Professional & Vocational
Format: Hardback
Publisher's Status: Active
Availability: To order
Stock availability from the supplier is unknown. We will order it for you and ship this item to you once it is received by us.
Reviews
Rochelle Ziskin's Sheltering Art: Collecting and Social Identity in Early Eighteenth-Century France is a tour de force of scholarship, exhaustively researched and lucidly presented. Not surprising for this scholar, she has written an admirable book comprising larger historical narratives and theoretical frameworks, but full of fascinating details, drilling down through the layers of family histories, amorous entanglements, webs of friendship, and political alliances. . . . Impressive in its scope and depth, Ziskin's book is a must-read. -JoLynn Edwards, H-France This impressive work of scholarship examines the origins of collecting in Paris at the start of the 18th century. Ziskin outlines the new social and political spheres that characterised the period, and the shift away from the King's court as the nexus of cultural life. Two rival circles of art collectors emerged as the century progressed, and Ziskin's ambitious study explores their ideologies and motivations, as well as the nature of their collections. -Off the Shelf, Apollo Magazine Rochelle Ziskin provides a much-needed study of private collecting in Paris in the first two decades of the eighteenth century, and of the domestic settings and ways in which the works of art were displayed in the interiors. Sheltering Art is not only a history of collecting; it also gives insight into the role that private collections played for major artists thirty years before the public display of the Royal Collection at the Luxembourg Palace in 1750 and the emergence of the public museum at the end of the century. -Alden R. Gordon, Trinity College In this significant and absorbing book, Rochelle Ziskin deftly considers the migration of leadership in taste from Louis XIV's court to Paris. `Ancients' were challenged by `Moderns,' known for their embrace of Watteau. Ziskin examines the social codes embedded in collecting in great depth and subtlety, especially at the houses of the leaders of two rival factions, Pierre Crozat and the comtesse de Verrue. -Robert Neuman, Florida State University In her impressively researched and engaging new study, Rochelle Ziskin deftly explores the moment when leadership in taste migrated from Louis XIV's court to newly fashionable Paris. She persuasively argues that two rival circles competed, endowing collectibles with distinct social meanings. More traditional `Ancients' were challenged by `Moderns,' best known today for embracing the paintings of Watteau. Ziskin examines the social codes embedded in collecting and the interactions between art objects and the spaces they adorned. She does so with greatest depth and subtlety when she treats the houses of the leaders of each group, Pierre Crozat and the comtesse de Verrue. -Robert Neuman, Florida State University Rochelle Ziskin brings to life the world of art collecting and its role in defining political and personal allegiances in early eighteenth-century Paris. With rich details mined from archival research, Ziskin reconstructs the collections of prominent Parisian art collectors-including those of Pierre Crozat, the comtesse de Verrue, Philippe II d'Orleans, and Jean de Jullienne. Further, she includes much previously unpublished information on the provenance of artworks and on the configuration and function of particular architectural spaces. As she offers an intimate glimpse into the lives of these collectors and their households, Ziskin also connects their collecting patterns to larger cultural and political transformations. Sheltering Art is lucidly written and well illustrated and is an important contribution to our understanding of the dynamics of collecting, identity, and ideology during this period. -Julie-Anne Plax, University of Arizona Rochelle Ziskin brings to life the world of art collecting and its role in defining political and personal allegiances in early eighteenth-century Paris. With rich details mined from archival research, Ziskin reconstructs the collections of prominent Parisian art collectors-including those of Pierre Crozat, the comtesse de Verrue, Philippe II d'Orleans, and Jean de Jullienne. Sheltering Art is lucidly written and well illustrated and is an important contribution to our understanding of the dynamics of collecting, identity, and ideology during this period. -Julie-Anne Plax, University of Arizona In her extraordinary new study of collecting, Rochelle Ziskin deftly explores the moment when leadership in taste migrated from the court of Louis XIV to newly fashionable Paris. She persuasively argues that two rival circles competed, endowing collectibles with distinct social meanings. Ziskin's examination is developed in greatest depth and subtlety when she treats the houses of the leaders of each group, Pierre Crozat and the comtesse de Verrue. While Crozat established a circle of erudite art connoisseurs, Verrue created a sanctuary for art lovers. In assessing the significance of these social practices, Ziskin turns to the social codes embedded in collections and the public and private uses of the spaces that showcased them, and she examines the relationships between collecting, contemporary art criticism, and the literary Quarrel of the Ancients and Moderns. She assesses the importance of the regent and his collections at the Palais-Royal and draws new conclusions about the roles played by contemporary artists-especially Watteau and Rosalba Carriera but also Claude Audran, Charles de La Fosse, the Boullogne brothers, the Coypels, and the architects Cartaud and Oppenord. Blending original research carried out in Paris, Stockholm, Turin, London, Munich, and Monaco with new questions regarding the ideological foundations of social and gender constructions, she has written an original work of high quality that will, like her book on the Place Vendome, have a substantial impact on the field. -Robert Neuman, Florida State University Rochelle Ziskin's learned study brings to vibrant life the extensive social and political networks out of which two major early eighteenth-century Parisian art collections grew, and it reveals how the practices that built each collection were decisively shaped by the ideals of these overlapping networks-as well as by the conflicts that sometimes divided them. In this way, Ziskin elegantly enriches our understanding of what was at stake in the subtle distinctions that characterized the varieties of contemporary elite taste, and she significantly enlarges our knowledge of the intricate cultural politics of Louis XV's Regency. -Richard Wittman, University of California, Santa Barbara
Rochelle Ziskin brings to life the world of art collecting and its role in defining political and personal allegiances in early eighteenth-century Paris. With rich details mined from archival research, Ziskin reconstructs the collections of prominent Parisian art collectors--including those of Pierre Crozat, the comtesse de Verrue, Philippe II d'Orl ans, and Jean de Jullienne. Further, she includes much previously unpublished information on the provenance of artworks and on the configuration and function of particular architectural spaces. As she offers an intimate glimpse into the lives of these collectors and their households, Ziskin also connects their collecting patterns to larger cultural and political transformations. Sheltering Art is lucidly written and well illustrated and is an important contribution to our understanding of the dynamics of collecting, identity, and ideology during this period. --Julie-Anne Plax, University of Arizona In her extraordinary new study of collecting, Rochelle Ziskin deftly explores the moment when leadership in taste migrated from the court of Louis XIV to newly fashionable Paris. She persuasively argues that two rival circles competed, endowing collectibles with distinct social meanings. Ziskin's examination is developed in greatest depth and subtlety when she treats the houses of the leaders of each group, Pierre Crozat and the comtesse de Verrue. While Crozat established a circle of erudite art connoisseurs, Verrue created a sanctuary for art lovers. In assessing the significance of these social practices, Ziskin turns to the social codes embedded in collections and the public and private uses of the spaces that showcased them, and she examines the relationships between collecting, contemporary art criticism, and the literary Quarrel of the Ancients and Moderns. She assesses the importance of the regent and his collections at the Palais-Royal and draws new conclusions about the roles played by contemporary artists--especially Watteau and Rosalba Carriera but also Claude Audran, Charles de La Fosse, the Boullogne brothers, the Coypels, and the architects Cartaud and Oppenord. Blending original research carried out in Paris, Stockholm, Turin, London, Munich, and Monaco with new questions regarding the ideological foundations of social and gender constructions, she has written an original work of high quality that will, like her book on the Place Vend me, have a substantial impact on the field. --Robert Neuman, Florida State University Rochelle Ziskin's Sheltering Art: Collecting and Social Identity in Early Eighteenth-Century France is a tour de force of scholarship, exhaustively researched and lucidly presented. Not surprising for this scholar, she has written an admirable book comprising larger historical narratives and theoretical frameworks, but full of fascinating details, drilling down through the layers of family histories, amorous entanglements, webs of friendship, and political alliances. . . . Impressive in its scope and depth, Ziskin's book is a must-read. --JoLynn Edwards, H-France Rochelle Ziskin provides a much-needed study of private collecting in Paris in the first two decades of the eighteenth century, and of the domestic settings and ways in which the works of art were displayed in the interiors. Sheltering Art is not only a history of collecting; it also gives insight into the role that private collections played for major artists thirty years before the public display of the Royal Collection at the Luxembourg Palace in 1750 and the emergence of the public museum at the end of the century. --Alden R. Gordon, Trinity College In this significant and absorbing book, Rochelle Ziskin deftly considers the migration of leadership in taste from Louis XIV's court to Paris. 'Ancients' were challenged by 'Moderns, ' known for their embrace of Watteau. Ziskin examines the social codes embedded in collecting in great depth and subtlety, especially at the houses of the leaders of two rival factions, Pierre Crozat and the comtesse de Verrue. --Robert Neuman, Florida State University In her impressively researched and engaging new study, Rochelle Ziskin deftly explores the moment when leadership in taste migrated from Louis XIV's court to newly fashionable Paris. She persuasively argues that two rival circles competed, endowing collectibles with distinct social meanings. More traditional 'Ancients' were challenged by 'Moderns, ' best known today for embracing the paintings of Watteau. Ziskin examines the social codes embedded in collecting and the interactions between art objects and the spaces they adorned. She does so with greatest depth and subtlety when she treats the houses of the leaders of each group, Pierre Crozat and the comtesse de Verrue. --Robert Neuman, Florida State University Rochelle Ziskin's learned study brings to vibrant life the extensive social and political networks out of which two major early eighteenth-century Parisian art collections grew, and it reveals how the practices that built each collection were decisively shaped by the ideals of these overlapping networks--as well as by the conflicts that sometimes divided them. In this way, Ziskin elegantly enriches our understanding of what was at stake in the subtle distinctions that characterized the varieties of contemporary elite taste, and she significantly enlarges our knowledge of the intricate cultural politics of Louis XV's Regency. --Richard Wittman, University of California, Santa Barbara This impressive work of scholarship examines the origins of collecting in Paris at the start of the 18th century. Ziskin outlines the new social and political spheres that characterised the period, and the shift away from the King's court as the nexus of cultural life. Two rival circles of art collectors emerged as the century progressed, and Ziskin's ambitious study explores their ideologies and motivations, as well as the nature of their collections. --Off the Shelf, Apollo Magazine
This impressive work of scholarship examines the origins of collecting in Paris at the start of the 18th century. Ziskin outlines the new social and political spheres that characterised the period, and the shift away from the King s court as the nexus of cultural life. Two rival circles of art collectors emerged as the century progressed, and Ziskin s ambitious study explores their ideologies and motivations, as well as the nature of their collections. Off the Shelf, Apollo Magazine
This impressive work of scholarship examines the origins of collecting in Paris at the start of the 18th century. Ziskin outlines the new social and political spheres that characterised the period, and the shift away from the King's court as the nexus of cultural life. Two rival circles of art collectors emerged as the century progressed, and Ziskin's ambitious study explores their ideologies and motivations, as well as the nature of their collections. --Off the Shelf, Apollo Magazine
Rochelle Ziskin brings to life the world of art collecting and its role in defining political and personal allegiances in early eighteenth-century Paris. With rich details mined from archival research, Ziskin reconstructs the collections of prominent Parisian art collectors--including those of Pierre Crozat, the comtesse de Verrue, Philippe II d'Orleans, and Jean de Jullienne. Further, she includes much previously unpublished information on the provenance of artworks and on the configuration and function of particular architectural spaces. As she offers an intimate glimpse into the lives of these collectors and their households, Ziskin also connects their collecting patterns to larger cultural and political transformations. Sheltering Art is lucidly written and well illustrated and is an important contribution to our understanding of the dynamics of collecting, identity, and ideology during this period. --Julie-Anne Plax, University of Arizona In her extraordinary new study of collecting, Rochelle Ziskin deftly explores the moment when leadership in taste migrated from the court of Louis XIV to newly fashionable Paris. She persuasively argues that two rival circles competed, endowing collectibles with distinct social meanings. Ziskin's examination is developed in greatest depth and subtlety when she treats the houses of the leaders of each group, Pierre Crozat and the comtesse de Verrue. While Crozat established a circle of erudite art connoisseurs, Verrue created a sanctuary for art lovers. In assessing the significance of these social practices, Ziskin turns to the social codes embedded in collections and the public and private uses of the spaces that showcased them, and she examines the relationships between collecting, contemporary art criticism, and the literary Quarrel of the Ancients and Moderns. She assesses the importance of the regent and his collections at the Palais-Royal and draws new conclusions about the roles played by contemporary artists--especially Watteau and Rosalba Carriera but also Claude Audran, Charles de La Fosse, the Boullogne brothers, the Coypels, and the architects Cartaud and Oppenord. Blending original research carried out in Paris, Stockholm, Turin, London, Munich, and Monaco with new questions regarding the ideological foundations of social and gender constructions, she has written an original work of high quality that will, like her book on the Place Vendome, have a substantial impact on the field. --Robert Neuman, Florida State University Rochelle Ziskin's Sheltering Art: Collecting and Social Identity in Early Eighteenth-Century France is a tour de force of scholarship, exhaustively researched and lucidly presented. Not surprising for this scholar, she has written an admirable book comprising larger historical narratives and theoretical frameworks, but full of fascinating details, drilling down through the layers of family histories, amorous entanglements, webs of friendship, and political alliances. . . . Impressive in its scope and depth, Ziskin's book is a must-read. --JoLynn Edwards, H-France This impressive work of scholarship examines the origins of collecting in Paris at the start of the 18th century. Ziskin outlines the new social and political spheres that characterised the period, and the shift away from the King's court as the nexus of cultural life. Two rival circles of art collectors emerged as the century progressed, and Ziskin's ambitious study explores their ideologies and motivations, as well as the nature of their collections. --Off the Shelf, Apollo Magazine Rochelle Ziskin provides a much-needed study of private collecting in Paris in the first two decades of the eighteenth century, and of the domestic settings and ways in which the works of art were displayed in the interiors. Sheltering Art is not only a history of collecting; it also gives insight into the role that private collections played for major artists thirty years before the public display of the Royal Collection at the Luxembourg Palace in 1750 and the emergence of the public museum at the end of the century. --Alden R. Gordon, Trinity College In this significant and absorbing book, Rochelle Ziskin deftly considers the migration of leadership in taste from Louis XIV's court to Paris. 'Ancients' were challenged by 'Moderns, ' known for their embrace of Watteau. Ziskin examines the social codes embedded in collecting in great depth and subtlety, especially at the houses of the leaders of two rival factions, Pierre Crozat and the comtesse de Verrue. --Robert Neuman, Florida State University In her impressively researched and engaging new study, Rochelle Ziskin deftly explores the moment when leadership in taste migrated from Louis XIV's court to newly fashionable Paris. She persuasively argues that two rival circles competed, endowing collectibles with distinct social meanings. More traditional 'Ancients' were challenged by 'Moderns, ' best known today for embracing the paintings of Watteau. Ziskin examines the social codes embedded in collecting and the interactions between art objects and the spaces they adorned. She does so with greatest depth and subtlety when she treats the houses of the leaders of each group, Pierre Crozat and the comtesse de Verrue. --Robert Neuman, Florida State University Rochelle Ziskin's learned study brings to vibrant life the extensive social and political networks out of which two major early eighteenth-century Parisian art collections grew, and it reveals how the practices that built each collection were decisively shaped by the ideals of these overlapping networks--as well as by the conflicts that sometimes divided them. In this way, Ziskin elegantly enriches our understanding of what was at stake in the subtle distinctions that characterized the varieties of contemporary elite taste, and she significantly enlarges our knowledge of the intricate cultural politics of Louis XV's Regency. --Richard Wittman, University of California, Santa Barbara
Author Information
Rochelle Ziskin is Professor of Art History at the University of Missouri–Kansas City.
