Academic art is a style of painting Painting is the practice of applying paint, pigment, color or other medium to a surface . The application of the medium is commonly applied to the base with a brush but other objects may be used. In art the term describes both the act and the result which is called a painting. Paintings may have for their support such surfaces as walls, paper, and sculpture Sculpture is three-dimensional artwork created by shaping or combining hard materials, typically stone such as marble, metal, glass, or wood, or plastic materials such as clay, textiles, polymers and softer metals. The term has been extended to works including sound, text and light produced under the influence of European academies An academy is an institution of higher learning, research, or honorary membership. The name traces back to Plato's school of philosophy, founded approximately 385 BC at Akademia, a sanctuary of Athena, the goddess of wisdom and skill, north of Athens, Greece or universities.

Specifically, academic art is the art and artists influenced by the standards of the French Académie des beaux-arts The Académie des Beaux-Arts is a French learned society. It is one of the five academies of the Institut de France, which practiced under the movements of Neoclassicism Neoclassicism is the name given to quite distinct movements in the decorative and visual arts, literature, theatre, music, and architecture that draw upon Western classical art and culture . These movements were dominant during the mid 18th to the end of the 19th century[citation needed] and Romanticism Romanticism or Romantic Era is a complex artistic, literary, and intellectual movement that originated in the second half of the 18th century in Europe, and gained strength in reaction to the Industrial Revolution. In part, it was a revolt against aristocratic social and political norms of the Age of Enlightenment and a reaction against the, and the art that followed these two movements in the attempt to synthesize both of their styles, and which is best reflected by the paintings of William-Adolphe Bouguereau William-Adolphe Bouguereau was a French academic painter. William Bouguereau (pronounced vill-yam boo-guh-roe) was a staunch traditionalist whose realistic genre paintings and mythological themes were modern interpretations of Classical subjects with a heavy emphasis on the female human body. Although he created an idealized world, his almost, Suzor-Coté He was born in Arthabaska, Quebec in 1869. He studied at the École des Beaux-Arts in Paris with Léon Bonnat during the 1890s. After his return to Quebec in 1908, he produced many impressionist paintings of the Quebec landscape, as well as portraits, nudes, historical paintings and later sculptures, Thomas Couture He was born at Senlis Oise, France and at age 11, Thomas Couture's family moved to Paris where he would study at the industrial arts school and later at the École des Beaux-Arts. He failed the prestigious Prix de Rome competition at the École six times, but he felt the problem was with the École, not himself. Couture finally did win the prize, and Hans Makart Hans Makart was a 19th century Austrian academic history painter, designer, and decorator; most well known for his influence on Gustav Klimt and other Austrian artists, but in his own era considered an important artist himself and was a celebrity figure in the high culture of Vienna, attended with almost cult-like adulation. In this context it is often called "academism", "academicism", "L'art pompier L'art pompier, literally "Fireman Art", is a derisory late nineteenth century French term for large "official" academic art paintings of the time, especially historical or allegorical ones. It derives from the fancy helmets, with horse-hair tails, worn at the time by French firemen - now only for parades - which are fatally", and "eclecticism", and sometimes linked with "historicism Historicism refers to artistic styles that draw their inspiration from copying historic styles or artisans. After neo-classicism, which could itself be considered a historicist movement, the 19th century saw a new historicist phase marked by a return to a more ancient classicism, in particular in architecture and in the genre of history painting" and "syncretism Syncretism is the attempt to reconcile disparate or contrary beliefs, often while melding practices of various schools of thought. The term means "combining," but see below for the origin of the word. Syncretism may involve attempts to merge and analogise several originally discrete traditions, especially in the theology and mythology of".

The art influenced by academies and universities in general is also called "academic art". In this context as new styles are embraced by academics, the new styles come to be considered academic, thus what was at one time a rebellion against academic art becomes academic art.

The academies in history

The first academy of art was founded in Florence Florence (Italian: Firenze listen , pronounced [fiˈrɛntse]; alternative obsolete spelling: Fiorenza, Latin: Florentia) is the capital city of the Italian region of Tuscany and of the province of Florence. It is the most populous city in Tuscany, with 367,569 inhabitants (1,500,000 in the metropolitan area) in Italy by Cosimo I de' Medici Cosimo I de' Medici was Duke of Florence from 1537 to 1574, reigning as the first Grand Duke of Tuscany from 1569, on 13 January 1563, under the influence of the architect Giorgio Vasari Giorgio Vasari was an Italian painter, writer, historian and architect, who is today famous for his biographies of Italian artists, considered the ideological foundation of art-historical writing who called it the Accademia e Compagnia delle Arti del Disegno (Academy and Company for the Arts of Drawing) as it was divided in two different operative branches. While the Company was a kind of corporation which every working artist in Tuscany could join, the Academy comprised only the most eminent artistic personalities of Cosimo’s court, and had the task of supervising the whole artistic production of the medicean state. In this medicean institution students learned the "arti del disegno" (a term coined by Vasari) and heard lectures on anatomy Anatomy is a branch of biology and medicine that is the consideration of the structure of living things. It is a general term that includes human anatomy, animal anatomy (zootomy) and plant anatomy (phytotomy). In some of its facets anatomy is closely related to embryology, comparative anatomy and comparative embryology, through common roots in and geometry Geometry "Earth-measuring" is a part of mathematics concerned with questions of size, shape, relative position of figures, and the properties of space. Geometry is one of the oldest sciences. Initially a body of practical knowledge concerning lengths, areas, and volumes, in the 3rd century BC geometry was put into an axiomatic form by. Another academy, the Accademia di San Luca (named after the patron saint of painters, St. Luke), was founded about a decade later in Rome Rome (English pronunciation: /ˈroʊm/; Italian: Roma listen , pronounced [ˈroːma]; Latin: Rōma) is the capital of Italy and the country's largest and most populated municipality (central area), with over 2.7 million residents in 1,285.3 km2 (496.3 sq mi). While the population of the urban area was estimated by Eurostat to have been 3.46. The Accademia di San Luca served an educational function and was more concerned with art theory Aesthetics is a branch of philosophy dealing with the nature of beauty, art, and taste, and with the creation and appreciation of beauty. It is more scientifically defined as the study of sensory or sensori-emotional values, sometimes called judgments of sentiment and taste. More broadly, scholars in the field define aesthetics as "critical than the Florentine one. In 1582 Annibale Carracci Annibale Carracci was born in Bologna, and in all likelihood first apprenticed within his family. In 1582, Annibale, his brother Agostino, and his cousin Ludovico Carracci opened a painters' studio, initially called by some the Academy of the Desiderosi and subsequently the Incamminati (progressives; literally "of those opening a new way" opened his very influential Academy of Desiderosi in Bologna Bologna listen (Italian pronunciation: [boˈloɲːa], from the Latin Bononia, Bulåggna; pronounced [buˈlʌɲːa] in Bolognese dialect) is the capital city of Emilia-Romagna, in the Po Valley (Pianura Padana in Italian) of Northern Italy. The city lies between the Po River and the Apennine Mountains, more specifically, between the Reno River and without official support; in some ways this was more like a traditional artist's workshop, but that he felt the need to label it as an "academy" demonstrates the attraction of the idea at the time.

Accademia di San Luca later served as the model for the Académie royale de peinture et de sculpture The Académie royale de peinture et de sculpture , Paris, was founded in 1648, modelled on Italian examples, such as the Accademia di San Luca in Rome founded in France France (pronounced /ˈfrænts/ frantss or /ˈfrɑːnts/ frahnts; French pronunciation (help·info): [fʁɑ̃s]), officially the French Republic (French: République française, pronounced: [ʁepyblik fʁɑ̃sɛz]), is a state in Western Europe with several of its overseas territories and islands located on other continents and in the Indian, in 1648, and which later became the Académie des beaux-arts The Académie des Beaux-Arts is a French learned society. It is one of the five academies of the Institut de France. The Académie royale de peinture et de sculpture was founded in an effort to distinguish artists "who were gentlemen practicing a liberal art" from craftsmen, who were engaged in manual labor. This emphasis on the intellectual component of artmaking had a considerable impact on the subjects and styles of academic art.

After the Académie royale de peinture et de sculpture was reorganized in 1661 by Louis XIV Louis XIV , known as the Sun King (French: le Roi Soleil), was King of France and of Navarre. His reign, from 1643 to his death in 1715, began at the age of four and lasted seventy-two years, three months, and eighteen days, and is the longest documented reign of any European monarch whose aim was to control all the artistic activity in France, a controversy occurred among the members that dominated artistic attitudes for the rest of the century. This "battle of styles" was a conflict over whether Peter Paul Rubens Sir Peter Paul Rubens was a prolific seventeenth-century Flemish Baroque painter, and a proponent of an extravagant Baroque style that emphasized movement, color, and sensuality. He is well-known for his Counter-Reformation altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects or Nicolas Poussin Nicolas Poussin was a French painter in the classical style. His work predominantly features clarity, logic, and order, and favors line over color. His work serves as an alternative to the dominant Baroque style of the 17th century. Until the 20th century he remained the major inspiration for such classically-oriented artists as Jacques-Louis was a suitable model to follow. Followers of Poussin, called "poussinistes", argued that line (disegno) should dominate art, because of its appeal to the intellect, while followers of Rubens, called "rubenistes", argued that color (colore) should dominate art, because of its appeal to emotion.

The debate was revived in the early 19th century, under the movements of Neoclassicism Neoclassicism is the name given to quite distinct movements in the decorative and visual arts, literature, theatre, music, and architecture that draw upon Western classical art and culture . These movements were dominant during the mid 18th to the end of the 19th century[citation needed] typified by the artwork of Jean Auguste Dominique Ingres Jean Auguste Dominique Ingres (29 August 1780 – 14 January 1867) was a French Neoclassical painter. Although he considered himself a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, by the end of his life it was Ingres's portraits, both painted and drawn, that were recognized as his greatest legacy, and Romanticism Romanticism or Romantic Era is a complex artistic, literary, and intellectual movement that originated in the second half of the 18th century in Europe, and gained strength in reaction to the Industrial Revolution. In part, it was a revolt against aristocratic social and political norms of the Age of Enlightenment and a reaction against the typified by the artwork of Eugène Delacroix Ferdinand Victor Eugène Delacroix was a French Romantic artist regarded from the outset of his career as the leader of the French Romantic school. Delacroix's use of expressive brushstrokes and his study of the optical effects of colour profoundly shaped the work of the Impressionists, while his passion for the exotic inspired the artists of the. Debates also occurred over whether it was better to learn art by looking at nature, or to learn by looking at the artistic masters of the past.

Academies using the French model formed throughout Europe, and imitated the teachings and styles of the French Académie. In England The area now called England has been settled by people of various cultures for about 35,000 years, but it takes its name from the Angles, one of the Germanic tribes who settled during the 5th and 6th centuries. England became a unified state in AD 927, and since the Age of Discovery, which began during the 15th century, has had a significant, this was the Royal Academy The Royal Academy of Arts is an art institution based in Burlington House on Piccadilly, London, England. The Royal Academy of Arts has a unique position in being an independent, privately funded institution led by eminent artists and architects whose purpose is to promote the creation, enjoyment and appreciation of the visual arts through. The Royal Danish Academy of Fine Arts founded in 1754, may be taken as a successful example in a smaller country, which achieved its aim of producing a national school and reducing the reliance on imported artists. The painters of the Danish Golden Age of roughly 1800-1850 were nearly all trained there, and many returned to teach and the history of the art of Denmark Danish art goes back thousands of years with significant artifacts from the 2nd millennium BC, such as the Trundholm sun chariot. Art from modern Denmark forms part of the art of the Nordic Bronze Age, and then Norse and Viking art. Danish medieval painting is almost entirely known from church frescos such as those from the 16th century artist is much less marked by tension between academic art and other styles than is the case in other countries.

One effect of the move to academies was to make training more difficult for women artists Women have been involved in making art in most times and places, despite difficulties in training and trading their work, and gaining recognition. "For about three thousand years, the women - and only the women - of Mithila have been making devotional paintings of the gods and goddesses of the Hindu pantheon. It is no exaggeration, then, to, who were excluded from most academies until the last half of the nineteenth century (1861 for the Royal Academy). This was partly because of concerns over the propriety of life classes with nude models' special arrangements were often made for female students until the 20th century.

Development of the academic style

Since the onset of the poussiniste-rubiniste debate many artists worked between the two styles. In the 19th century, in the revived form of the debate, the attention and the aims of the art world became to synthesize the line of Neoclassicism Neoclassicism is the name given to quite distinct movements in the decorative and visual arts, literature, theatre, music, and architecture that draw upon Western classical art and culture . These movements were dominant during the mid 18th to the end of the 19th century[citation needed] with the color of Romanticism Romanticism or Romantic Era is a complex artistic, literary, and intellectual movement that originated in the second half of the 18th century in Europe, and gained strength in reaction to the Industrial Revolution. In part, it was a revolt against aristocratic social and political norms of the Age of Enlightenment and a reaction against the. One artist after another was claimed by critics to have achieved the synthesis, among them Théodore Chassériau, Ary Scheffer Ary Scheffer , French painter of Dutch extraction, was born in Dordrecht, Francesco Hayez Francesco Hayez was an Italian painter, the leading artist of Romanticism in mid-19th-century Milan, renowned for his grand historical paintings, political allegories and exceptionally fine portraits, Alexandre-Gabriel Decamps, and Thomas Couture He was born at Senlis Oise, France and at age 11, Thomas Couture's family moved to Paris where he would study at the industrial arts school and later at the École des Beaux-Arts. He failed the prestigious Prix de Rome competition at the École six times, but he felt the problem was with the École, not himself. Couture finally did win the prize. William-Adolphe Bouguereau William-Adolphe Bouguereau was a French academic painter. William Bouguereau (pronounced vill-yam boo-guh-roe) was a staunch traditionalist whose realistic genre paintings and mythological themes were modern interpretations of Classical subjects with a heavy emphasis on the female human body. Although he created an idealized world, his almost, a later academic artist, commented that the trick to being a good painter is seeing "color and line as the same thing." Thomas Couture promoted the same idea in a book he authored on art method — arguing that whenever one said a painting had better color or better line it was nonsense, because whenever color appeared brilliant it depended on line to convey it, and vice versa; and that color was really a way to talk about the "value" of form.

Another development during this period included adopting historical styles in order to show the era in history that the painting depicted, called historicism Historicism refers to artistic styles that draw their inspiration from copying historic styles or artisans. After neo-classicism, which could itself be considered a historicist movement, the 19th century saw a new historicist phase marked by a return to a more ancient classicism, in particular in architecture and in the genre of history painting. This is best seen in the work of Baron Jan August Hendrik Leys, a later influence on James Tissot. It's also seen in the development of the Neo-Grec Neo-Grec is a term referring to late manifestations of Neoclassicism, early Neo-Renaissance now called the Greek Revival style, which was popularized in architecture, the decorative arts, and in painting during France's Second Empire, or the reign of Napoleon III, a period that lasted approximately between 1848 and 1865. It was one of many " style. Historicism is also meant to refer to the belief and practice associated with academic art that one should incorporate and conciliate the innovations of different traditions of art from the past.

The art world also grew to give increasing focus on allegory Allegory is a figurative mode of representation conveying meaning other than the literal. Allegory communicates its message by means of symbolic figures, actions or symbolic representation. Allegory is generally treated as a figure of rhetoric, but an allegory does not have to be expressed in language: it may be addressed to the eye, and is often in art. Both theories of the importance of line and color asserted that through these elements an artist exerted control over the medium to create psychological effects, in which themes, emotions, and ideas can be represented. As artists attempted to synthesize these theories in practice, the attention on the artwork as an allegorical or figurative vehicle was emphasized. It was held that the representations in paintings and sculpture should evoke Platonic forms Platonic realism is a philosophical term usually used to refer to the idea of realism regarding the existence of universals after the Greek philosopher Plato , a student of Socrates, and the teacher of Aristotle. As universals were by Plato considered ideal forms this stance is confusingly also called Platonic idealism, or ideals, where behind ordinary depictions one would glimpse something abstract, some eternal truth. Hence, Keats' John Keats was the last born of the English Romantic poets and, at 25, the youngest to die. Along with Lord Byron and Percy Bysshe Shelley, he was one of the key figures in the second generation of the Romantic movement, despite the fact that his work had been in publication for only four years before his death. During his life, his poems were not famous musing "Beauty is truth, truth beauty". The paintings were desired to be an "idée", a full and complete idea. Bouguereau is known to have said that he wouldn't paint "a war", but would paint "War". Many paintings by academic artists are simple nature-allegories with titles like Dawn, Dusk, Seeing, and Tasting, where these ideas are personified by a single nude figure, composed in such a way as to bring out the essence of the idea.

The trend in art was also towards greater idealism, which is contrary to realism Realism in the visual arts and literature refers to the general attempt to depict subjects "in accordance with secular empirical rules," as they are considered to exist in third person objective reality, without embellishment or interpretation. As such, the approach inherently implies a belief that such reality is ontologically, in that the figures depicted were made simpler and more abstract—idealized—in order to be able to represent the ideals they stood in for. This would involve both generalizing forms seen in nature, and subordinating them to the unity and theme of the artwork.

Because history and mythology were considered as plays or dialectics Dialectic is a method of argument, which has been central to both Eastern and Western philosophy since ancient times. The word "dialectic" originates in Ancient Greece, and was made popular by Plato's Socratic dialogues. Dialectic is based on a dialogue between two or more people who hold different ideas and wish to persuade each other of ideas, a fertile ground for important allegory, using themes from these subjects was considered the most serious form of painting. A hierarchy of genres In literature, the epic was traditionally considered the highest form, for the reason expressed by Dr. Johnson in his Life of John Milton: "By the general consent of criticks, the first praise of genius is due to the writer of an epick poem, as it requires an assemblage of all the powers which are singly sufficient for other compositions.&, originally created in the 17th century, was valued, where history painting—classical, religious, mythological, literary, and allegorical subjects—was placed at the top, next genre painting, then portraiture, still-life, and landscape. History painting was also known as the "grande genre". Paintings of Hans Makart are often larger than life historical dramas, and he combined this with a historicism in decoration to dominate the style of 19th century Vienna culture. Paul Delaroche is a typifying example of French history painting.

All of these trends were influenced by the theories of the philosopher Hegel, who held that history was a dialectic of competing ideas, which eventually resolved in synthesis.

Towards the end of the 19th century, academic art had saturated European society. Exhibitions were held often, and the most popular exhibition was the Paris Salon and beginning in 1903, the Salon d'Automne. These salons were sensational events that attracted crowds of visitors, both native and foreign. As much a social affair as an artistic one, 50,000 people might visit on a single Sunday, and as many as 500,000 could see the exhibition during its two-month run. Thousands of pictures were displayed, hung from just below eye level all the way up to the ceiling in a manner now known as "Salon style." A successful showing at the salon was a seal of approval for an artist, making his work saleable to the growing ranks of private collectors. Bouguereau, Alexandre Cabanel and Jean-Léon Gérôme were leading figures of this art world.

During the reign of academic art, the paintings of the Rococo era, previously held in low favor, were revived to popularity, and themes often used in Rococo art such as Eros and Psyche were popular again. The academic art world also idolized Raphael, for the ideality of his work, in fact preferring him over Michelangelo.

Academic art not only held influence in Europe and the United States, but also extended its influence to other Western countries. This was especially true for Latin American nations, which, because their revolutions were modeled on the French Revolution, sought to emulate French culture. An example of a Latin American academic artist is Ángel Zárraga of Mexico.

Academic training

Young artists spent years in rigorous training. In France, only students who passed an exam and carried a letter of reference from a noted professor of art were accepted at the academy's school, the École des Beaux-Arts. Drawings and paintings of the nude, called "académies", were the basic building blocks of academic art and the procedure for learning to make them was clearly defined. First, students copied prints after classical sculptures, becoming familiar with the principles of contour, light, and shade. The copy was believed crucial to the academic education; from copying works of past artists one would assimilate their methods of art making. To advance to the next step, and every successive one, students presented drawings for evaluation.

If approved, they would then draw from plaster casts of famous classical sculptures. Only after acquiring these skills were artists permitted entrance to classes in which a live model posed. Interestingly, painting was not actually taught at the École des Beaux-Arts until after 1863. To learn to paint with a brush, the student first had to demonstrate proficiency in drawing, which was considered the foundation of academic painting. Only then could the pupil join the studio of an academician and learn how to paint. Throughout the entire process, competitions with a predetermined subject and a specific allotted period of time measured each students' progress.

The most famous art competition for students was the Prix de Rome. The winner of the Prix de Rome was awarded a fellowship to study at the Académie française's school at the Villa Medici in Rome for up to five years. To compete, an artist had to be of French nationality, male, under 30 years of age, and single. He had to have met the entrance requirements of the École and have the support of a well-known art teacher. The competition was grueling, involving several stages before the final one, in which 10 competitors were sequestered in studios for 72 days to paint their final history paintings. The winner was essentially assured a successful professional career.

As noted, a successful showing at the Salon was a seal of approval for an artist. The ultimate achievement for the professional artist was election to membership in the Académie française and the right to be known as an academician. Artists petitioned the hanging committee for optimal placement "on the line," or at eye level. After the exhibition opened, artists complained if their works were "skyed," or hung too high.

Criticism and legacy

Academic art was first criticised for its use of idealism, by Realist artists such as Gustave Courbet, as being based on idealistic clichés and representing mythical and legendary motives while contemporary social concerns were being ignored. Another criticism by Realists was the "false surface" of paintings—the objects depicted looked smooth, slick, and idealized—showing no real texture. The Realist Théodule Ribot worked against this by experimenting with rough, unfinished textures in his paintings.

Stylistically, the Impressionists, who advocated quickly painting outdoors exactly what the eye sees and the hand puts down, criticized the finished and idealized painting style. Although academic painters began a painting by first making drawings and then painting oil sketches of their subject, the high polish they gave to their drawings seemed to the Impressionists tantamount to a lie. After the oil sketch, the artist would produce the final painting with the academic "fini," changing the painting to meet stylistic standards and attempting to idealize the images and add perfect detail. Similarly, perspective is constructed geometrically on a flat surface and is not really the product of sight, Impressionists disavowed the devotion to mechanical techniques.

Realists and Impressionists also defied the placement of still-life and landscape at the bottom of the hierarchy of genres. It is important to note that most Realists and Impressionists and others among the early avant-garde who rebelled against academism were originally students in academic ateliers. Claude Monet, Gustave Courbet, Édouard Manet, and even Henri Matisse were students under academic artists.

As modern art and its avant-garde gained more power, academic art was further denigrated, and seen as sentimental, clichéd, conservative, non-innovative, bourgeois, and "styleless". The French referred derisively to the style of academic art as L'art Pompier (pompier means "fireman") alluding to the paintings of Jacques-Louis David (who was held in esteem by the academy) which often depicted soldiers wearing fireman-like helmets. The paintings were called "grandes machines" which were said to have manufactured false emotion through contrivances and tricks.

This denigration of academic art reached its peak through the writings of art critic Clement Greenberg who stated that all academic art is "kitsch". References to academic art were gradually removed from histories of art and textbooks by modernists, who justified doing this in the name of cultural revolution^{[citation needed]}. For most of the 20th century, academic art was completely obscured, only brought up rarely, and when brought up, done so for the purpose of ridiculing it and the bourgeois society which supported it, laying a groundwork for the importance of modernism.

Other artists, such as the Symbolist painters and some of the Surrealists, were kinder to the tradition^{[citation needed]}. As painters who sought to bring imaginary vistas to life, these artists were more willing to learn from a strongly representational tradition. Once the tradition had come to be looked on as old-fashioned, the allegorical nudes and theatrically posed figures struck some viewers as bizarre and dreamlike.

With the goals of Postmodernism in giving a fuller, more sociological and pluralistic account of history, academic art has been brought back into history books and discussion, though many postmodern art historians hold a bias against the "bourgeois" nature of the art^{[citation needed]}. Nevertheless, since the early 1990s, academic art has experienced a limited resurgence through the Classical Realist atelier movement.^[1] Still, the art is gaining a broader appreciation by the public at large, and whereas academic paintings once would only fetch a few hundreds of dollars in auctions, they now command millions.

Major artists

Austria

• Hans Canon, painter
• Hans Makart, painter
• Viktor Tilgner, sculptor

Belgium

• Jan August Hendrik Leys, painter
• Alfred Stevens, painter

Brazil

• Victor Meirelles, painter
• Pedro Américo, painter
• Rodolfo Amoedo, painter
• Rodolpho Bernardelli, sculptor

Czech

• Václav Brožík, painter

Canada

• William Brymner, painter
• Robert Harris, painter
• Paul Kane, painter
• Cornelius Krieghoff, painter
• Suzor-Coté, painter

France

• Alfred Agache, painter
• Louis-Ernest Barrias, sculptor
• Paul Baudry, painter
• Albert-Ernest Carrier-Belleuse, sculptor
• William-Adolphe Bouguereau, painter
• Charles Edward Boutibonne,
• Charles Joshua Chaplin, painter
• Pierre Auguste Cot, painter
• Thomas Couture, painter
• Alexandre Cabanel, painter
• Alexandre-Gabriel Decamps, painter
• Paul Delaroche, painter
• Delphin Enjolras, painter
• Alexandre Falguière, sculptor
• Jean-Léon Gérôme, painter and sculptor
• Jean-Jacques Henner, painter
• Paul Jamin, painter
• Jean-Paul Laurens, painter and sculptor
• Jules Joseph Lefebvre, painter
• Marius Jean Antonin Mercie, sculptor
• Emile Munier, painter
• Léon Bazile Perrault, painter
• Georges Rochegrosse, painter
• Guillaume Seignac, painter
• Auguste Toulmouche, painter

See also: Lyon School

Germany

• Anselm Feuerbach, painter
• Wilhelm von Kaulbach, painter
• Franz von Lenbach, painter
• Karl von Piloty, painter

Italy

• Eugene de Blaas, painter
• Francesco Hayez, painter
• Domenico Morelli, painter

India

• Raja Ravi Varma, painter
• Hemendranath Majumdar, painter. He was a follower of Raja Ravi Varma.

Netherlands

• Ary Scheffer, painter

Poland

• Henryk Siemiradzki painter

Hungary

• Károly Lotz
• Gyula Benczúr

Russia

• Karl Briullov, painter
• Alexander Ivanov, painter
• Konstantin Makovsky, painter

Spain

• Mariano Fortuny y Marsal, painter

Switzerland

• Charles Gleyre, painter

United Kingdom

• Sir Lawrence Alma-Tadema, painter
• Sir Alfred Gilbert, sculptor
• Frederic Leighton, 1st Baron Leighton, painter/sculptor
• Albert Moore, painter
• Sir Edward John Poynter, painter
• Alfred Stevens, sculptor
• George Frederic Watts, painter

Uruguay

• Juan Manuel Blanes, painter

See also: Pre-Raphaelite Brotherhood

Books

• Art and the Academy in the Nineteenth Century. (2000). Denis, Rafael Cordoso & Trodd, Colin (Eds). Rutgers University Press. ISBN 0-8135-2795-3
• L'Art-Pompier. (1998). Lécharny, Louis-Marie, Que sais-je?, Presses Universitaires de France. ISBN 2-13-049341-6
• L'Art pompier: immagini, significati, presenze dell'altro Ottocento francese (1860-1890). (1997). Luderin, Pierpaolo, Pocket library of studies in art, Olschki. ISBN 88-222-4559-8

References

1. ^ Panero, James: "The New Old School", The New Criterion, Volume 25, September 2006, page 104.

External links

• The Ravenswood Atelier-- Classical Atelier Training, Chicago, IL
• The Ashland Academy of Art Academic training in drawing and painting
• [1] Suzor-Coté Académique
• Academic art Academic art Movement
• Art Renewal Center dedicated to reappraisal of Academic art
• Dahesh Museum, NY foremost museum on Academic Art
• Mims Studios School of Fine Art classical training in drawing and painting
• Bridgeview School of Fine Art, New York emphasizes academic training
• Nineteenth-Century Art Worldwide a journal of nineteenth century visual culture
• École des Beaux-Arts informative page from John Singer Sargent Gallery
• Grand Central Academy, New York Art school emphasizing the academic method

Categories: Academic art | Art movements

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