Academicism

La consideración cultural del academicismo en Colombia entre 1880 y 1930 ha estado
dominada por una forma de ‘esteticismo’ que, si bien ha revelado aspectos significativos, ha dejado de lado otros aspectos culturales igualmente significativos. Se ha tendido A reducir la significación cultural de las obras academicistas a lo estético privilegiando los procesos de creación, recepción y legitimación estética. Además se ha asumido reiterativamente una actitud progresista en los procesos evolutivos del arte que ha servido para descalificar estas obras etiquetándolas como unas obras reaccionarias, anacrónicas, tradicionalistas y conservaduristas que supuestamente retrasaron y/o impidieron los procesos de modernidad en Colombia. Se asume en este texto que la consideración de las significaciones culturales del academicismo local implica considerarlo como: primero, una práctica cultural que implicó tanto los procesos de producción como de consumo cultural; segundo, una representación sobre el supuesto ‘buen gusto’, sensibilidad estética y corrección moral tanto de las élites como de los artistas academicistas; y tercero, un efecto y un agente de los imaginarios culturales de estas élites y artistas. En primera instancia, se consideran lo que podría denominarse las ‘bases normativas’ del academicismo francés en términos morales, formales y conceptuales. Y en segunda instancia, se consideran obras específicas cuya interpretación cultural se basa tanto en los presupuestos culturales sobre el academicismo local antes mencionados como en el reconocimiento de que el mismo implicó una adaptación y apropiación cultural del academicismo europeo, en especial, el promovido por la academia francesa del siglo XIX.

Widely regarded as the most prestigious composition prize for young French composers, the Prix de Rome competition (1803-1968) has over the centuries become synonymous with academicism and conservatism. The diatribes of former
laureates such as Hector Berlioz and Claude Debussy, as well as the sensationalised ‘Ravel scandal’, have helped to perpetuate this unfavourable image of the award. As a long-running institution, the competition inevitably underwent periods of
stagnation and renewal, yet a paucity of studies devoted to examining the Prix de Rome as an institution has led to the common view of it being hidebound and immutable.

The current study identifies the period 1831-1854 as an important period of renewal within the history of the Prix de Rome. Following an experimental phase in the early decades of the nineteenth century during which the composition prize served as an appendix to the Prix de Rome in the visual arts, it began to establish its own identity and assert its importance as it responded to the new aesthetics of the Romantic movement. In particular, the dramatic cantata prescribed for the final
round of the competition followed closely the developments in the genre of grand opéra – both in the choice of libretto subjects and in the musical style. An analysis of the winning cantatas from 1831 to 1854 demonstrates not only the evolution of an institution, but also provides clues to the contents of the compositional curriculum at the Paris Conservatoire and the qualities most valued in French compositional practice. Drawing on a range of previously unseen archival materials, press reviews, and other secondary sources, this thesis raises questions about the values and aesthetics of the academician-jury, the inherent tensions between the aspects of science and art in composition, and re-evaluates the meaning of academicism in the context of a state-run institution.

Widely regarded as the most prestigious composition prize for young French composers, the Prix de Rome competition (1803-1968) has over the centuries become synonymous with academicism and conservatism. The diatribes of former
laureates such as Hector Berlioz and Claude Debussy, as well as the sensationalised ‘Ravel scandal’, have helped to perpetuate this unfavourable image of the award. As a long-running institution, the competition inevitably underwent periods of stagnation and renewal, yet a paucity of studies devoted to examining the Prix de Rome as an institution has led to the common view of it being hidebound and immutable.

The current study identifies the period 1831-1854 as an important period of renewal within the history of the Prix de Rome. Following an experimental phase in the early decades of the nineteenth century during which the composition prize served as an appendix to the Prix de Rome in the visual arts, it began to establish its own identity and assert its importance as it responded to the new aesthetics of the Romantic movement. In particular, the dramatic cantata prescribed for the final round of the competition followed closely the developments in the genre of grand opéra – both in the choice of libretto subjects and in the musical style. An analysis of the winning cantatas from 1831 to 1854 demonstrates not only the evolution of an institution, but also provides clues to the contents of the compositional curriculum at the Paris Conservatoire and the qualities most valued in French compositional practice. Drawing on a range of previously unseen archival materials, press reviews, and other secondary sources, this thesis raises questions about the values and aesthetics of the academician-jury, the inherent tensions between the aspects of science and art in composition, and re-evaluates the meaning of academicism in the context of a state-run institution.

A finales del siglo XVIII, el obispo ilustrado D. Antonio Caballero y Góngora fundó en Córdoba la Escuela de Bellas Artes, que fue dirigida por el pintor académico Francisco Agustín Grande. El presente artículo pone de relieve el apoyo que el pintor recibió del prelado, interesado en la difusión del gusto academicista, siendo prueba de ello el lienzo de La Piedad de la capilla sacramental de la parroquia de San Miguel.

Se trata de reflexión sobre los problemas  historiográficos que ha imposibilitado la construcción de la historia del crítica de arte en Colombia. Se caracterizan estos problemas mediante dos estados para entonces proponer un tercer estado, el de una historia-crítica de la crítica de arte en el país. Este tercer estado no se propone a partir de unos presupuestos historiográficos abstractos sobre lo que 'deber ser' la historia de la crítica de arte, sino a partir  de una investigación histórica concreta que sitúa la problemática mencionada en las prácticas y fenómenos específicos de la crítica de arte entre 1886 y 1922.

En 1922 est célébré le premier centenaire de l'indépendance du Brésil. À cette date, la peinture
d'histoire connaissait une renaissance tardive. L'événement a ainsi favorisé un certain nombre
de productions, les commandes publiques créant les conditions, entre autres, de la réalisation
de deux représentations de la princesse Léopoldine de Habsbourg, archiduchesse d'Autriche,
épouse de Pedro de Bragança, empereur du Brésil entre 1822 et 1831.
Cet article analyse ces œuvres – conservées dans des musées publics nationaux – lesquelles
sont considérées comme un mode de production de différents discours sur le genre, l'histoire
et le pouvoir. D'une part, la peinture Session du Conseil d'État, de Georgina de Albuquerque,
réalisée en 1922, peut être considérée comme le premier tableau d'histoire fait par une femme
au Brésil. Cette œuvre remet en cause une tradition de la peinture académique qui s´est
développée au cours du XIXe
siècle au Brésil, où les héros et les faits historiques étaient
présentés au masculin. D'autre part, en 1921, le peintre italien Domenico Faillutti a réalisé pour
le Museu Paulista de São Paulo, le Portrait de Dona Leopoldina Habsbourg et ses enfants où la
princesse est présentée selon une composition opposée à la précédente. Si la toile de Georgina
représente la princesse en train de diriger le processus de l'Indépendance, en soulignant son
rôle politique, la peinture de Failutti souligne le rôle maternel et domestique comme étant
Les portraits de l'Impératrice. Genre et politique dans la peinture d'histoire du Brésil 12
Nuevo Mundo Mundos Nuevos
sa plus importante contribution à la formation de la nation. Dans ce texte, on essaiera de
montrer comment ces deux toiles peuvent être considérées comme des prises de position dans
le contexte politique d'affirmation de la jeune République brésilienne (fondée en 1889), et en
quoi elles matérialisent des discours contradictoires sur la place des femmes dans ce nouvel
ordre politique

In a historiography context where literature has been primarily devoted to the analysis of the academic structure, the change from the guild system and the incidence of the Academy in the professional career of the artists need further studies. The impact of the institution in provincial towns and artists is still more unknown. Given these premises, this article aims to explore the incidence of the change of artistic system in the case study of the local painter from Córdoba Diego José Monroy y Aguilera (1786-1856). In order to do so,his training, work, institutional commitment, social strategies and policies of public image have been analyzed.Furthermore, some unpublished news about his academic training in Madrid have been provided

One of the most provocative remarks of Sextus Empiricus’ Outlines of Pyrrhonism is his quasi-prescription of a skeptical “Fourfold” indicating that skeptics (should?) follow the “guidance of nature.” But how can a skeptic both place dogmatic claims in abeyance through epochē (suspension of judgment) and also claim to grasp how nature guides or does not guide us? Should not skeptics who advocate aphasia (silence) about things dogmatic entirely refrain from making assertions about nature? More generally, how can skepticism be consistent with any form of naturalism? This essay undertakes to explore the possibility of a skeptical naturalism as it appears in the work of David Hume. The essay surveys the ways in which Hume himself may have appropriated skepticism as well as the extent to which his thought may be properly characterized as Academical or Pyrrhonian. The essay argues that skeptical naturalism is possible through the sort of reconceiving of “nature” found in Humean philosophy.

Cambios por reorganizaciones del academicismo en la sacristía mayor, sacristía de los Cálices y capillas de la catderal de Sevilla por actuacione sne retablos, mobiliario, escuktura  monumental, orfebrería y pinturas. Reorganización de colecciones Bienes Muebles.

This essay argues that Hume’s political and historical thought is well read as skeptical and skeptical in a way that roots it deeply in the Hellenistic traditions of both Pyrrhonian and Academical thought. It deploys skeptical instruments to undermine political rationalism as well as theologically and metaphysically political ideologies. (1) Hume’s is politics of opinion (doxa) and (2) appearance (phainomena). It labors to oppose faction and enthusiasm and generate (3) suspension (epochê), (4) balance (isosthenia), (5) tranquility (ataraxia), and (6) moderation (metriopatheia, moderatio). Because Hume advocate the use of reflectively generated but epistemically and metaphysically suspensive general rules, his political thought is not intrinsically conservative. While it valorizes stability and peace, Humean politics accepts a contested and open-ended (zetesis) political order, one that requires continuous maintenance and revision but does not pretend to any ultimate or final progres...

"Hyperangelism" among lower-ranking militarist elites (comparable to the Duty faction of Yanov) and "Kejriwalism" among leading professorial elites (~ Freedom faction of Yanov) in academic institutions: an informal case study on the social dynamics of the 4 (TN) Air Sqn (Tech) wing of the NCC in IIT Madras. This paper is closely related to the secular notion of scientism

It is worth noticing an irregular development of the Spanish artists’ training in Italy, just after the return to Spain of the San Fernando Royal Academy of Fine Arts’s pensioners, who went to Rome in 1758. This situation reached its peak in the 1820s, when many of the budding artists had no contact with the Madrilenian institution. Only by studying the archival funds of the Vicariate in Rome it become possible to trace many of these forgotten artists.