Eighteenth International Conference on the Arts in Society

Abstract

Prints as multiples have the power to disseminate knowledge, ideals, and ideologies. The Musee Français print albums became instrumental in representing celebrated masterpieces from the National Museum in the Louvre Palace, reinforcing aesthetic debate on the European canon of art, glorifying French political leadership, and providing a didactic tool for European hegemony on a global scale. In early 19th century, Louvre Museum grew to unimaginable size and depth of European art through acquisition by annexation and loot. The collections brought together the most celebrated artworks and reproductions of the museum holdings in fine prints made the artworks accessible beyond the walls of the collection. The print albums Le Musée Français, produced by private initiative of the engraver Laurent and his investor Robbilard-Péronville, published c. 500 engravings after ‘masterpieces’ of the Louvre. The success of the publication was imminent and received governmental attention and support. The albums entered private and public art collections, libraries, trade schools throughout Europe and in collections of European colonies. The Portuguese monarchy, establishing political and cultural dominance in Brazil, invited a group of French artists to establish artistic studios in Rio de Janeiro. The Musée Français print albums, brought to Brazil in 1816, played an important new role. European art in prints became a tool of cultural repression and colonial glorification. The multiplicity and portability of prints allowed for the private print project to emerge as a political tool to reinforce ideas of cultural dominance.