La formation des artistes pendant la Révolution: disséquer "dans la salle d´anatomie, près de celle des Antiques, cour du Louvre"

• Autores: Morwena Joly
• Localización: Revue de l'art, ISSN 0035-1326, Nº. 180, 2013, págs. 53-59
• Idioma: francés
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• Resumen

  • The study of the practical methods for the teaching of anatomy intended for artist has often left doubts about the question of dissection. Were artists actually present at dissections during the era of Jean-Joseph Sue, doctor and professor at the Academy?. His son, who took over his chair in 1792 never ceased to reclaim an obligatory course in dissection. Did this particular apprenticeship of the body leave its marks in their artistic practices?.

    The Royal Academy of Painting never demonstrated any enthusiasm for the subject of anatomical instruction, but the initiatives began to multiply beginning in 1793, at the Lycée des Arts, as well as at the Lycée Républicain. Within the Louvre, the ancient Academy finally accommodated a dissection room, where cadavers were regularly brought.

    While, in their studios, the painters David and Regnault exalted anatomical study, it only made sense in conjunction with the study of the Antique, as shown by the layout of the rooms in the Louvre. The dissection room was directly adjacent to the rooms known as "of the Antiques". The artists who practiced dissection manifestly freed themselves from this restricted esthetic framework, either to revalorize the model of Michelangelo (Girodet) or in order to promote a rigorous reproduction of the real (Gericault, Delacroix).