制造魔法:路易十四时期巴黎的安托万-贝努瓦(Antoine Benoist)蜡像廷臣

IF 0.3 3区 艺术学 0 ART Sculpture Journal Pub Date : 2023-12-01 DOI:10.3828/sj.2023.32.4.08
David Mark Mitchell
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引用次数: 0

摘要

安托万·贝诺伊斯特的《皇家圆圈》是路易十四时期巴黎展出的真人大小的蜡像展览。在展览本身没有现存物品的情况下,本文将重点放在证明其接受的来源语料库上。它集中于17世纪60年代开始的皇家圆圈最初的认可,当时展览以法国皇室的宫廷随从为中心。Benoist的蜡像或被誉为生动的奇迹,或被嘲笑为欺骗性的琐碎,为考虑这个时代的雕塑工艺和展示礼仪问题提供了一个信息问题的案例。在追踪蜡像接受的不和谐,这篇文章表明,手工地位的棘手问题是嵌入在美学辩论的幻觉真实性。
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Fabricating enchantment: Antoine Benoist’s wax courtiers in Louis XIV’s Paris
Antoine Benoist’s Cercle royal was an exhibition of life-size wax figures on display in Louis XIV’s Paris. In the absence of extant objects from the exhibition itself, this article focuses on the corpus of sources that attest to its reception. It concentrates on the Cercle royal’s initial recognition, beginning in the 1660s, when the exhibition centred on French royalty’s courtly entourage. Alternately celebrated as vivid miracles or derided as deceitful trivialities, Benoist’s wax figures provide an informatively problematic case for considering questions of sculptural craft and the decorum of its display in this era. In tracing the discord of wax portraiture’s reception, this article demonstrates that vexed questions of artisanal stature were embedded within aesthetic debates about illusionistic verisimilitude.
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Review Valuing sculpture in the long eighteenth century: materials and technology The Young Naturalist by Henry Weekes: intermediality, industry and international exhibitions Fabricating enchantment: Antoine Benoist’s wax courtiers in Louis XIV’s Paris Valuing ornament: Jean-Baptiste Plantar (1790–1879) between art, craft and industry
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