(redirected from Academic art)
Also found in: Dictionary, Thesaurus, Wikipedia.



a trend in painting formulated in the art academies of the 16th through 19th centuries and founded on dogmatic adherence to the importance of external forms in classical art.

Academism made possible the systemization of artistic education and the strengthening of classical tradition, which were transformed into a system of “eternal” canons and instructions. Considering contemporary reality unworthy of “exalted” art, academism presented instead timeless and nonnational norms of beauty, idealized images, and subjects remote from reality (from ancient mythology, the Bible, and ancient history), which it emphasized by conventionality and abstraction in modeling, color, and drawing and theatricality of composition, gesture, and pose. As the official school accepted by most monarchies and bourgeois states, academism turned its idealistic aesthetics against progressive national realistic art.

Academism arose at the end of the 16th century in Italy. The Bologna school—which formulated rules for the imitation of the art of antiquity and the Renaissance as well as the French academism of the second half of the 17th and 18th centuries (C. Le Brun and others)—mastered a group of the principles and methods of classicism and served as a model for many European and American academies of fine arts. During the 19th century, the leaders of academism—such as A. Canova in Italy, D. Ingres in France, and F. A. Bruni in Russia—insisted on the emasculated tradition of classicism and fought against the romantics, the realists, and the naturalists but accepted some of the outer aspects of their methods, reducing academism to eclectic salon art. Academism declined under the blows of the realists, including the Russian peredvizhniki (members of the Society of Wandering Exhibitions), and bourgeois individualistic opposition; it was retained only in part at the end of the 19th century and in the 20th century in a group of countries, for the most part in the renovated forms of neoclassicism. The term “academism” is also understood more broadly to mean any canonization or transformation of the ideals and principles of the art of the past into immutable norms. In this sense one speaks of the academism of several schools of Hellenistic and Roman sculpture, which canonized the heritage of the ancient Greek classics, or of a group of modern artists who have tried to revive the concepts of schools and currents which have become historically outdated.


References in periodicals archive ?
This may seem narrow enough, yet when listening to many of the speakers at the conference it was easy to believe that the prime audience for academic art historians today is in fact the assessors of the Research Assessment Exercise.
THE ELECTIVE AFFINITY between French and American thought that Nesbit detects may be no more than a shared coolness toward the German philosophical tradition that has dominated academic art history since the nineteenth century.
The Artwork Shop is a pure academic art school, with teachers from AUB and St.
Glass and Ceramics 2014, marking the culmination of three years' practical and academic art study and an intended vehicle for student experience and recognition - will run for two weeks until Sunday, June 15.
A group of five artists (Dusan Mandic, Miran Mohar, Andrej Savski, Roman Uranjek and Borut Vogelnik) from the Academy of Fine Arts in Slovenia's capital, Ljubljana, founded IRWIN in 1983, when the academic art training in Communist-era Yugoslavia largely copied or imitated what had already existed.
of Creative Arts, Farnham, UK) and Natasha Caruana (lecturer, same), are academic art school photographers.
The ideas are out there, spread here and there across academic art history and the specialist press, but we pop critics seem content to ignore them.
Gedo describes Camille Monet's theatrical costume as a prop in an elaborately constructed modernist conceit in which Monet and his spouse capitalized on the fad for Japonisme to poke fun at the coy eroticism of French academic art.
Though its reputation in the United Kingdom improved as it was rebroadcast, it continued to be regarded with suspicion by academic art historians.
With contributions by potters, artists, curators and scholars, the book offers a history that has been previously overlooked by the academic art world.
Amira Zahid, founder of Dahesh Museum of Art, on the perfection of 19th-century academic art

Full browser ?