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The Physiognomy of a Collection: Arc...

Donnelly, Jennifer Erin.

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The Physiognomy of a Collection: Architectural Legibility and Historical Expression at the Musee des monuments francais, 1795-1816.

Record Type:	Electronic resources : Monograph/item
Title/Author:	The Physiognomy of a Collection: Architectural Legibility and Historical Expression at the Musee des monuments francais, 1795-1816./
Author:	Donnelly, Jennifer Erin.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2018,
Description:	525 p.
Notes:	Source: Dissertations Abstracts International, Volume: 80-07, Section: A.
Contained By:	Dissertations Abstracts International80-07A.
Subject:	European history. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=13819764
ISBN:	9780438774858

The Physiognomy of a Collection: Architectural Legibility and Historical Expression at the Musee des monuments francais, 1795-1816.
Donnelly, Jennifer Erin.

The Physiognomy of a Collection: Architectural Legibility and Historical Expression at the Musee des monuments francais, 1795-1816. - Ann Arbor : ProQuest Dissertations & Theses, 2018 - 525 p.

Source: Dissertations Abstracts International, Volume: 80-07, Section: A.

Thesis (Ph.D.)--University of Pittsburgh, 2018.

This item must not be added to any third party search indexes.

The Musee des monuments francais (1795-1816) began as a depot for newly nationalized property during the first years of the French Revolution. The depot rapidly filled with tomb monuments, sculptures, and architectural fragments from the former churches and palaces of the ancien regime in Paris and its environs. The growing cache of historic artifacts and art objects inspired Alexandre Lenoir to shape the storehouse into a collection for public display. The Musee des monuments francais subsequently developed into a site of historical discourse. Previous scholarship has predominately framed the museum as an institution central to the growth of ideas about French patrimony in the nineteenth century. My dissertation traces the development of Lenoir's complex system of art and architectural classification and examines the theoretical implications of the museum within contemporaneous dialogues about architectural legibility and historical interpretation. Lenoir integrated physiognomy, formal artistic analysis, and the theoretical potential of the body to navigate uncertain meanings in a period of political and social upheaval. Each gallery of the Musee des monuments francais engaged the visitor in a new and different relationship with time and history. The Introduction Hall presented a hieroglyphic overview of French art, the five century rooms temporalized the ancien regime into a historical taxonomy based on the body of the king, the three courtyards revealed a history of architecture that transcended the vocabulary of the legible body, and the garden, called the Elysee, celebrated universal human virtue and genius. In the Elysee, Lenoir buried the remains of the honored dead where their presence activated the senses of the living. The sequence of spaces presented competing interpretations of the relationship between history, material culture, and the individual in which no single historical system dominated. Museum visitors judged the progress of artistic achievements, admired the clarity of scientific classification, mused over the tangible remains of distant centuries, and even conversed with the dead. The Musee des monuments francais engaged the sensation and judgment of an emerging museum-going public in the practice of coding temporal and historical relationships onto objects, architectural spaces, and historical bodies.

ISBN: 9780438774858Subjects--Topical Terms:

1972904
European history.
Subjects--Index Terms:

18th-century France

The Physiognomy of a Collection: Architectural Legibility and Historical Expression at the Musee des monuments francais, 1795-1816.
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500 $a Source: Dissertations Abstracts International, Volume: 80-07, Section: A.
500 $a Publisher info.: Dissertation/Thesis.
500 $a Advisor: Armstrong, Christopher Drew.
502 $a Thesis (Ph.D.)--University of Pittsburgh, 2018.
506 $a This item must not be added to any third party search indexes.
506 $a This item must not be sold to any third party vendors.
520 $a The Musee des monuments francais (1795-1816) began as a depot for newly nationalized property during the first years of the French Revolution. The depot rapidly filled with tomb monuments, sculptures, and architectural fragments from the former churches and palaces of the ancien regime in Paris and its environs. The growing cache of historic artifacts and art objects inspired Alexandre Lenoir to shape the storehouse into a collection for public display. The Musee des monuments francais subsequently developed into a site of historical discourse. Previous scholarship has predominately framed the museum as an institution central to the growth of ideas about French patrimony in the nineteenth century. My dissertation traces the development of Lenoir's complex system of art and architectural classification and examines the theoretical implications of the museum within contemporaneous dialogues about architectural legibility and historical interpretation. Lenoir integrated physiognomy, formal artistic analysis, and the theoretical potential of the body to navigate uncertain meanings in a period of political and social upheaval. Each gallery of the Musee des monuments francais engaged the visitor in a new and different relationship with time and history. The Introduction Hall presented a hieroglyphic overview of French art, the five century rooms temporalized the ancien regime into a historical taxonomy based on the body of the king, the three courtyards revealed a history of architecture that transcended the vocabulary of the legible body, and the garden, called the Elysee, celebrated universal human virtue and genius. In the Elysee, Lenoir buried the remains of the honored dead where their presence activated the senses of the living. The sequence of spaces presented competing interpretations of the relationship between history, material culture, and the individual in which no single historical system dominated. Museum visitors judged the progress of artistic achievements, admired the clarity of scientific classification, mused over the tangible remains of distant centuries, and even conversed with the dead. The Musee des monuments francais engaged the sensation and judgment of an emerging museum-going public in the practice of coding temporal and historical relationships onto objects, architectural spaces, and historical bodies.
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