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Musée des Beaux-Arts de Reims in Reims |
Palais du Tau in Reims |
Musée des Beaux-Arts de Rennes in Rennes |
Musée des Beaux-Arts de Rouen in Rouen |
Musée d'art moderne de Saint-Étienne in Saint-Étienne |
Fondation Maeght in Saint-Paul, Alpes-Maritimes |
Musée des Beaux-Arts de Strasbourg in Strasbourg |
Musée d'art moderne et contemporain of Strasbourg in Strasbourg |
Musée de l’Œuvre Notre-Dame in Strasbourg |
Musée des Arts décoratifs, Strasbourg in Strasbourg |
Musée des Augustins in Toulouse |
Musée Saint-Raymond in Toulouse |
Fondation Bemberg in Toulouse |
Other museums |
(alphabetically by city) |
Musée des Beaux-Arts de Brest in Brest |
Musée Théodore Deck et des pays du Florival in Guebwiller |
Musée historique de Haguenau in Haguenau |
Musée Eugène Boudin in Honfleur |
Musée Crozatier in Le Puy-en-Velay |
Musée des Beaux-Arts de Libourne in Libourne |
Musée Girodet in Montargis |
Musée des Beaux-Arts de Mulhouse in Mulhouse |
Musée des Beaux-Arts de Nîmes in Nîmes |
Musée des Beaux-Arts de Pau in Pau |
Musée Hyacinthe Rigaud in Perpignan |
Musée des Beaux-Arts de Pont-Aven in Pont-Aven |
La Piscine Museum in Roubaix |
Musée Paul-Dupuy in Toulouse |
Musée des Beaux-Arts de Valenciennes in Valenciennes |
Textile and tapestry museums |
(alphabetically by city) |
Musée des tapisseries in Aix-en-Provence |
Château d'Angers in Angers |
Musée de la tapisserie de Bayeux in Bayeux |
Musée des Tissus et des Arts décoratifs in Lyon |
Musée de l'impression sur étoffes in Mulhouse |
Musée Galliera in Paris |
Gobelins Manufactory in Paris |
Musée du papier peint in Rixheim |
Vocabulary |
French words and expressions dealing with the arts: |
peintre — painter |
peinture à l'huile — oil painting |
tableau — painting |
toile — canvas |
gravure — print |
dessin — drawing |
aquarelle — watercolor |
croquis — sketch |
ébauche — draft |
crayon — pencil |
paysage — landscape |
nature morte — still life |
la peinture d'histoire — History painting, see Hierarchy of genres |
tapisserie – tapestry |
vitrail – stained glass |
See also |
List of French artists |
For information about French literature, see: French literature |
For information about French history, see: History of France |
For other topics on French culture, see: French culture |
References and further reading |
Anthony Blunt: Art and Architecture in France 1500–1700. ISBN 0-300-05314-2. |
André Chastel. French Art Vol I: Prehistory to the Middle Ages. ISBN 2-08-013566-X. |
André Chastel. French Art Vol II: The Renaissance. ISBN 2-08-013583-X. |
André Chastel. French Art Vol III: The Ancient Régime. ISBN 2-08-013617-8. |
French Art at the Saint Louis Art Museum |
Specific |
German art has a long and distinguished tradition in the visual arts, from the earliest known work of figurative art to its current output of contemporary art. |
Germany has only been united into a single state since the 19th century, and defining its borders has been a notoriously difficult and painful process. For earlier periods German art often effectively includes that produced in German-speaking regions including Austria, Alsace and much of Switzerland, as well as largely German-speaking cities or regions to the east of the modern German borders. |
Although tending to be neglected relative to Italian and French contributions from the point of view of the English-speaking world, German art has played a crucial role in the development of Western art, especially Celtic art, Carolingian art and Ottonian art. From the development of Romanesque art, France and Italy began to lead developments for the rest of the Middle Ages, but the production of an increasingly wealthy Germany remained highly important. |
The German Renaissance developed in rather different directions to the Italian Renaissance, and was initially dominated by the central figure of Albrecht Dürer and the early German domination of printing. The final phase of the Renaissance, Northern Mannerism, was centred around the edges of the German lands, in Flanders and the Imperial capital of Prague, but, especially in architecture, the German Baroque and Rococo took up these imported styles with enthusiasm. The German origins of Romanticism did not lead to an equally central position in the visual arts, but German participation in the many broadly Modernist movements following the collapse of Academic art has been increasing important. |
Prehistory to Late Antiquity |
The area of modern Germany is rich in finds of prehistoric art, including the Venus of Hohle Fels, found in the Swabian Alps. This appears to be the oldest undisputed example of Upper Paleolithic art and figurative sculpture of the human form in general, from over 42,000 years BP, which was only discovered in 2008; the better-known Venus of Willendorf (24–22,000 BP) comes from a little way over the Austrian border. The spectacular finds of Bronze Age golden hats are centred on Germany, as was the "central" form of Urnfield culture, and Hallstatt culture. |
In the Iron Age the "Celtic" La Tène culture centred on Western Germany and Eastern France, and Germany has produced many major finds of Celtic art like the elite burials at Reinheim and Hochdorf, and oppida towns like Glauberg, Manching and Heuneburg. |
After lengthy wars, the Roman Empire settled its frontiers in Germania with the Limes Germanicus to include much of the south and west of modern Germany. The German provinces produced art in provincial versions of Roman styles, but centres there, as over the Rhine in France, were large-scale producers of fine Ancient Roman pottery, exported all over the Empire. Rheinzabern was one of the largest, which has been well-excavated and has a dedicated museum. |
Non-Romanized areas of the later Roman period fall under Migration Period art, notable for metalwork, especially jewellery (the largest pieces apparently mainly worn by men). |
Middle Ages |
Carolingian art |
German medieval art really begins with the Frankish Empire of Charlemagne (d. 814), the first state to rule the great majority of the modern territory of Germany, as well as France and much of Italy. Carolingian art was restricted to a relatively small number of objects produced for a circle around the court and a number of Imperial abbeys they sponsored, but had a huge influence on later Medieval art across Europe. The most common type of object to survive is the illuminated manuscript; wall paintings were evidently common but, like the buildings that housed them, have nearly all vanished. The earlier centres of illumination were located in modern France, but later Metz in Lorraine and the Abbey of Saint Gall in modern Switzerland came to rival them. The Drogo Sacramentary and Folchard Psalter are among the manuscripts they produced. |
No Carolingian monumental sculpture survives, although perhaps the most important patronage of Charlemagne was his commissioning of a life-size gold figure of Christ on a crucifix for his Palatine Chapel in Aachen; this is only known from literary references and was probably gold foil around a wooden base, probably modelled with a gesso layer, like the later and rather crumpled Golden Madonna of Essen. Early Christian art had not featured monumental sculptures of religious figures as opposed to rulers, as these were strongly associated by the Church Fathers with the cult idols of Ancient Roman religion. Byzantine art and modern Eastern Orthodox religious art have maintained the prohibition to the present day, but Western art was apparently decisively influenced by the example of Charlemagne to abandon it. Charlemagne's circle wished to revive the glories of classical style, which they mostly knew in its Late Antique form, and also to compete with Byzantine art, in which they appear to have been helped by refugee artists from the convulsions of the Byzantine iconoclasm. As Charlemagne himself does not appear to have been very interested in visual art, his political rivalry with the Byzantine Empire, supported by the Papacy, may have contributed to the strong pro-image position expressed in the Libri Carolini, which set out the position on images held with little variation by the Western Church for the rest of the Middle Ages, and beyond. |
Ottonian art |
Under the next Ottonian dynasty, whose core territory approximated more closely to modern Germany, Austria, and German-speaking Switzerland, Ottonian art was mainly a product of the large monasteries, especially Reichenau which was the leading Western artistic centre in the second half of the 10th century. The Reichenau style uses simplified and patterned shapes to create strongly expressive images, far from the classical aspirations of Carolingian art, and looking forward to the Romanesque. The wooden Gero Cross of 965–970 in Cologne Cathedral is both the oldest and the finest early medieval near life-size crucifix figure; art historians had been reluctant to credit the records giving its date until they were confirmed by dendrochronology in 1976. As in the rest of Europe, metalwork was still the most prestigious form of art, in works like the jewelled Cross of Lothair, made about 1000, probably in Cologne. |
Romanesque art |
Romanesque art was the first artistic movement to encompass the whole of Western Europe, though with regional varieties. Germany was a central part of the movement, though German Romanesque architecture made rather less use of sculpture than that of France. With increasing prosperity massive churches were built in cities all over Germany, no longer just those patronized by the Imperial circle. |
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