ARTS & SOCIETIES
 

LETTER OF SEMINAR 40

Centre d’Histoire de Sciences Po

 
 
 

HARTUNG-BERGMAN FOUNDATION SEMINAR
JUNE 2011


Hartung-Bergman Foundation

Philip Nord
Democratic Art in Action



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

The equal of history

passion for philosophy and passion for equality in the age of the enlightenment




 
EDITORIAL

 
   

     We know of Philip Nord’s impressive work on twentieth-century France, but less well do we know of his interest in art.  Here, he takes two examples drawn from different eras–late nineteenth-century Impressionism and the post-1945 decentralization of French theater—in order to clarify the terms and conditions for “democratic art.” Such art, which broke with all that preceded it, was in turn to be overtaken by new, more elitist and revolutionary conceptions.

Laurence Bertrand Dorléac


       

Letter published with the support of the Foundation of France
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