Volume 16, Issue 1 | Spring 2017
Buenos Aires: An Art Metropolis in the Late Nineteenth Century
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This article focuses on the emergence of private art collecting and the art market in Buenos Aires from the late 19th century up to the 1910s. In the absence of artistic institutions, like museums or academies, the Buenos Aires case is unique in Latin-America. Its art system was driven by art dealers and collectors. Local art commerce was developed in the city first through “bazaars” (unspecialized stores) and, at the end of the 19th century, through the installation of the first professional art galleries. Local art buyers favored European contemporary paintings and sculptures and made numerous purchases in renowned art galleries like the Paris-based Boussod, Valadon & Cie Gallery. At the same time, foreign dealers and particularly the French State planned international exhibitions in order to profit from the acquisition power of the upper class in Buenos Aires and to develop a receptive market in the city.
Made to Measure: Eugène Guillaume’s Michelangelo
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In the first decade of the Third Republic, sculptor Eugène Guillaume could be numbered among those men who sought to uphold the conservative traditions of official French art in the face of inevitable change. This article examines Eugène Guillaume’s essay, “Michel-Ange, sculpteur,” the first major French study of Michelangelo’s sculpture published in a special edition of the Gazette des Beaux-Arts in 1876. It demonstrates the strategies employed by Guillaume to bring Michelangelo into the Academic fold as part of the conservative “call to order” in the fine arts in the first decade of the Third Republic.