Abstract

The article is dedicated to research of sources and documents linked with recollection of Parisian painters of 1650–1800 by contemporaries and scholars. Since the origin of the Royal Academy of Painting and Sculpture appeared regularly a sum of biographical essays devoted to French academic masters. The texts were created by historiographer of Academy until the middle of the 18th century. Later it were connoisseurs of fine art who continued to produce these writings. The authors were recruited from members of Academy as well as friends and relatives of an artist. After research of such sources and documents, the author strives to define a role of memory and posthumous glory for the most eminent artists and representatives of artistic milieu. The author takes in consideration an image of a Parisian painter displayed before his descendants. The article also treats an idea of personal glory connected with artists’ aim to make the Academy and its pictorial school flourish and rule throughout Europe. The research novelty is based on the lack of fundamental publications on the topic in Russian and Western historiography. The relevance of this study is caused by recent trends of social art history interested in everyday life and worldview of a real artist in the real world. Author’s careful work with authentic documents helped to trace a certain scheme used in such biographical writings. They contain biographical data, a tribute to personal qualities of the late artist and, finally, a scrupulous description of his works. The texts written by artist’s friends and relatives are usually more sentimental and have a touch of biographical novel. Virtually, both of these genres were intended not only to keep memory of artist’s creative heritage but also to represent his individuality. In doing so the biographers of any artist not only aimed to compose several individual vitae but also to create a panoramic view of French school of painting as the leader of artistic progress of the time.

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