Royal Collections transferred to more public domains (1 окт 1700 г. – 24 фев 1799 г.)

Описание:

"When, in the eighteenth century, royal collections were translated into more public domains, this [transformed] their functioning for the objects they contained then assumed the function of embodying a representative publicness of and for the power of the king. This was what royal art galleries made visible: addressing their visitors as subjects of the king, they comprised part of a semi-technique of power through which the sovereign's power was to be augmented by making it publicly visible. However, as Carol Duncan and Alan Wallach have observed, the royal art gallery also served as a context for organizing a new set of relations between the fields of the visible and invisible. The development of display principles in which paintings were grouped by national schools and art historical periods conferred a new codified visibility on the history of the nation and the history of art. This aspect of the royal art gallery allowed the form to be subsequently adapted, with relatively little refashioning, in the service of a democratic citizenry. Thus the administration of the Louvre during the French Revolution required no fundamental change in its iconographic programme... Strategic replacements of images of royalty with allegorical and depersonalize representations of the state permitted a recodification of the works of art exhibited such that the nation they now made manifest was not 'the nation as the king's realm' but the 'nation as the state--an abstract entity in theory belonging to the people' (Duncan and Wallach 1980: 454).

Source: Tony Bennett. The Birth of the Museum: History, Theory, Politics (1995). Pg. 36-37.

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