Public Sponsorship And The Rise And Fall Of French Impressionism

The public patron Paul Durand-Ruel is one of the most famous art dealers and collectors in the 19 th and 20 th centuries in France.He cultivated international interest in French artists by establishing art galleries and exhibitions in London,New York,Berlin,Brussels and other places.He is famous for his innovation in the modern art market and his promotion of the Barbizon School and Impressionism.This paper is mainly based on the early development of Impressionism,taking the public patron Paul Durand-Ruel as the main research object.The public patron Paul Durand-Ruel is discussed in this paper under the background of French art history from the 19 th to the 20 th century.The influence on the development of early impressionism,and then explored the role of art dealers as a special form of public sponsorship in art history and the art market.The first chapter expounds the background and significance of the topic selection,the status quo of research at home and abroad,and the research ideas and methods through the investigation of the literature review.On this basis,it describes Paul Durand-Ruel as the first impressionist.The importance of a dealer to the development of Impressionism and the necessity of research.The second chapter expounds the background of public sponsorship through extensive literature research,that is,the social context,art environment and the development background of the art market itself in France from the beginning of the19 th century to the beginning of the 20 th century.The third chapter expounds the conceptual issues of art sponsorship,public sponsorship,and art dealers and their relationship.The main research and analysis theory of Popper’s “extroverted” situational analysis theory is expalined.Tring to analyze Paul Durand-Ruel’s accumulation and promotion of “market value” of Impressionism’s “art history value” from multiple contexts like historical context,social relations,socio-political environment,art criticism,and aesthetic taste in detail.The fourth chapter analyzes the difficult situation of the early Impressionists with general principles,which violated the doctrines and norms of traditional art,and was denied by the official salons and ridiculed by the public and critics.The origin of Paul Durand-Ruel as a public patron,and discusses Paul Durand-Ruel’s impressionism in the three stages from the difficult beginning of the 70 s,the crisis consolidation in the 80 s,the international 90 s,and the following three stages is explained.The management has been elaborated.The fifth chapter discusses two aspects of public patron Paul Durand-Ruel’s accumulation of the status of Impressionist art history and the enhancement of the value of artworks in detail.From the three aspects of the "reconstruction" of art criticism,the“leading” of the public’s aesthetic taste,and the “expansion” of the influence of art works,he made a detailed analysis of the accumulation of his status in art history.In terms of the enhancement of the value of the artwork,it summarizes the overall enhancement of the value of the impressionist artwork,and focuses on the analysis of the enhancement of the value of the artistic works of Pissarro and Monet under his influence.Finally,through the research of the whole paper,it is explored that the paint dealer Paul Durand-Ruel,as a special form of public sponsorship,broke through the traditional art sponsorship model in France in the 19 th century,respected the autonomy of artistic creation,and affirmed the artist’s academic value,helping to realize the market value and academic value of art works,has played a great role in promoting the development of art history and the art market.