LEADER 04461 am 2200757 n 450 001 9910495775503321 005 20201120 010 $a2-7226-0559-7 024 7 $a10.4000/books.cdf.10192 035 $a(CKB)4100000011586229 035 $a(FrMaCLE)OB-cdf-10192 035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/87264 035 $a(PPN)267931778 035 $a(EXLCZ)994100000011586229 100 $a20201120j|||||||| ||| 0 101 0 $afre 135 $auu||||||m|||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aLouvre $eLe Collège de France et le musée du Louvre /$fJessica Desclaux 210 $aParis $cCollège de France$d2020 225 1 $aPassage des disciplines 330 $aThe fourth volume of the ?Passage des disciplines? collection looks at how the discipline of art history was established at the Collège de France by forging a special link with the Musée du Louvre. Georges Lafenestre, André Michel, Paul Vitry, and René Huyghe were curators in the Department of Paintings and Drawings and the Department of Medieval, Renaissance and Modern Sculptures, before holding the Chair of Aesthetics and Art History, created in 1878 and once renamed ?History of French Art? (1920-1925), or the municipal chair, ?Psychology of Visual Arts? (1951-1976), financed by the City of Paris. By electing several curators to its chairs in this way, does the Collège de France single itself out among the institutions at which aesthetics and art history are taught? What determines the recruitment of curators? To what extent does their museum experience weigh on their appointment? Once elected, what ties do they maintain with the Louvre? Do they integrate the museum?s debates on aesthetics or historical method into their teaching at the Collège de France? Such are some of the questions that the authors of this volume explore, drawing on the archives of various institutions. This volume ensues from a study day organised by Jessica Desclaux (Sorbonne Université-Musée du Louvre/Centre Dominique-Vivant Denon) on 4 April 2019, as part of the research programme ?Passage des disciplines: global history of the Collège de France, 19th-20th century?. The programme focuses on the selection process of chairs and fields of study at the Collège de France, including those that were not admitted to it and which formed a ?virtual college?, from the late 18th century to the 1960s. It is directed by Antoine Compagnon, with the collaboration of Céline Surprenant, and has received financial support from PSL (2016-2019) and the République des Savoirs. 606 $aTheory of art$2bicssc 606 $aConservation, restoration & care of artworks$2bicssc 606 $aHistory of art / art & design styles$2bicssc 606 $aArt styles not defined by date$2bicssc 606 $aExhibition catalogues & specific collections$2bicssc 606 $aLiterary studies: general$2bicssc 606 $aMuseology & heritage studies$2bicssc 606 $aModern history to 20th century: c 1700 to c 1900$2bicssc 610 $ahistory of art 610 $aCollège de France 610 $ahistory of research 610 $ahistory of high education 610 $amuseum 610 $afine arts 610 $aLouvre museum 610 $aeducational institutions 610 $aart school 610 $aesthetics 610 $ahigh education 615 7$aTheory of art 615 7$aConservation, restoration & care of artworks 615 7$aHistory of art / art & design styles 615 7$aArt styles not defined by date 615 7$aExhibition catalogues & specific collections 615 7$aLiterary studies: general 615 7$aMuseology & heritage studies 615 7$aModern history to 20th century: c 1700 to c 1900 700 $aBarbillon$b Claire$0733008 701 $aClaass$b Victor$01365394 701 $aDesclaux$b Jessica$01295751 701 $aDurey$b Philippe$01365395 701 $aJoly$b Cécile$01365396 701 $aMartin$b François-René$01285615 701 $aOléron Evans$b Émilie$01365397 701 $aRecht$b Roland$0215070 701 $aTchernia-Blanchard$b Marie$01365398 701 $aDesclaux$b Jessica$01295751 801 0$bFR-FrMaCLE 906 $aBOOK 912 $a9910495775503321 996 $aLouvre$93387267 997 $aUNINA