ARTS & SOCIETIES
 

LETTER OF SEMINAR 38

Centre d’Histoire de Sciences Po

 
 
 

THE EQUAL OF HISTORY


Paul Chenavard, Self-Portrait, Lyon, école des Beaux-Arts.


Thomas Schlesser
Paul Chenavard, The Equal of History



Editorial Director: Laurence Bertrand Dorléac
Editorial Staff: Carole Gautier and Cécile Pichon-Bonin
Translator: David Ames Curtis

PREVIOUS LETTERS

THE INFLUENCE OF THE SAINT-SIMONIANS AND THE IDEA OF ART IN THE VANGUARD OF THE SOCIAL REFORM

BODY MORALITY

DANDIES

The Model Child

THE BEAUTIFUL AND THE USEFUL

Photographs by amateurs

The market, at the start

art in the republic

the voyage of the avant-gardes

Major exhibitions

WHAT IS SOCIAL ART ?

PRIMITIVISMS

realisms

JOSEPH BEUYS : A SHAMAN's FACTORY ?

the Artist and the philosopher

appropriations

THE OPACITIES OF THE TECHNOLOGY

Alternatives to the art market in new york

genius

PREHISTORIES

POSTWAR

MONEY

Icons

THE POWER OF ARTISTS

values in formation

nominalism

ANCIENT ROME

ON EVALUATION

NEW SOVIET FASHIONS

KLEINIAN ECONOMICS

POLICIES OF THE REAL

TOCQUEVILLE AND THE ARTS IN DEMOCRACY

an elitist aesthetic for everyone

The artist as teacher




 
EDITORIAL

 

    In art, the question of equality is posed in many different ways.  Thomas Schlesser, whose excellent books on the nineteenth century we are familiar with, returns here to the artist’s propensity to vie with history.  Through the case of Paul Chenavard, he offers us an example of an egalitarian and spiritual dreamer who wanted everything to be on the same level and in harmony in his work, though nothing, or next to nothing, in real life.  What in particular he allows us to grasp is the extent to which it can be dangerous to want equality while also retaining a special status for the artist as a prophet--unless, that is, one also invents new objects, new statuses.



Laurence Bertrand Dorléac


       

Letter published with the support of the Foundation of France

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