Abstract
In this lecture the difficulties surrounding the newly installed Prix de Rome contests in the Netherlands in the nineteenth century will be treated by looking at the accompanying theoretical discussions. These concentrate on the questionable value of a stay in Italy and on which kind of artists to send there. Consequently the debate throws an revealing light on the difficulty of at the same time promoting an academic style and standard in the Netherlands and on the other hand rekindling the flame of the Dutch school of painting. The painters who were eventually sent to Italy had a problematic agenda: while studying in Italy they were required to keep their Dutch identity alive as well as pursue academic goals.
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