The piece is normally representative of the artist's work, and the organization's judgement of its skill may or may not form part of the criteria for accepting a new entrant. The work itself is usually retained by the academy, and many academies have large and valuable collections acquired in this way. Alternative terms include diploma work at the Royal Academy in London (where some 18th and 19th century examples are on display), diploma piece, and in France at the Académie royale de peinture et de sculpture, tableau de réception or morceau de réception. The term masterpiece originated in the same way under the earlier system of guilds, including those for artists.
The requirement to submit a reception or diploma piece is closely related to the practice in the medieval period and later of requiring a craftsman to submit one or more virtuoso or test-pieces to a guild to demonstrate his skill before he was granted membership.[2]
Joining an academyedit
Membership of an academy may be by genre or technique and limited by numbers or age. The Royal Academy, London, for instance, at one time limited the number of engravers who could join, and where artistic styles and tastes change, new categories of membership may be created as necessary.
When Antoine Watteau applied to join the Académie Royale de Peinture et de Sculpture, there was no suitable category for his fête galante works, so the academy simply created one rather than reject his application, describing him as a "peintre des festes galantes".[3][4] While this acknowledged Watteau as the originator of the genre, it also prevented him being recognised as a history painter, the highest class of painter, and the only one from which the academy's professors were drawn. Charles-Antoine Coypel, the son of its then director, later said: "The charming paintings of this gracious painter would be a bad guide for whoever wished to paint the Acts of the Apostles."[5]
In 1728, when Jean-Baptiste-Siméon Chardin was admitted to the same academy for The Ray, it was as a "painter of animals and fruits".[6]
^Chavannes, Meta. "masterpiece" in The Oxford Companion to Western Art. Oxford University Press, 2001. Online edition, Oxford Reference. 2003. Retrieved 8 November 2013
^Kleiner, Fred, S. (Ed.) (2011) Gardner's Art Through the Ages: A global history. Enhanced 13th edn. Boston: Wadsworth, p. 755. ISBN978-0-495-79986-3
^Clarke, M. & D. (2010) "fête galante" in The Concise Oxford Dictionary of Art Terms. oxfordreference.com, Oxford University Press. Retrieved 8 November 2013.
^Humphrey Wine and Annie Scottez-De Wambrechies. "Watteau" in Grove Art Online. oxfordartonline.com Oxford University Press. Retrieved 8 February 2014.
^Getlein, Mark. (2005) Gilbert's living with art. 7th edition. New York: McGraw-Hill, p. 422. ISBN0072859342
^Henry Fuseli, R.A. 1741 - 1825. Thor battering the Midgard Serpent, 1790. Royal Academy of Arts Collections, 3 February 2014. Retrieved 3 February 2014.
External linksedit
Wikimedia Commons has media related to Reception pieces.
Reception pieces visitor trail at the Louvre.
April 15, 2024
reception, piece, reception, piece, work, submitted, artist, academy, approval, part, requirements, admission, membership, embarkation, cythera, 1717, jean, antoine, watteau, reception, piece, académie, royale, peinture, sculpture, piece, normally, representat. In art a reception piece is a work submitted by an artist to an academy for approval as part of the requirements for admission to membership 1 The Embarkation for Cythera 1717 was Jean Antoine Watteau s reception piece for the Academie Royale de Peinture et de Sculpture The piece is normally representative of the artist s work and the organization s judgement of its skill may or may not form part of the criteria for accepting a new entrant The work itself is usually retained by the academy and many academies have large and valuable collections acquired in this way Alternative terms include diploma work at the Royal Academy in London where some 18th and 19th century examples are on display diploma piece and in France at the Academie royale de peinture et de sculpture tableau de reception or morceau de reception The term masterpiece originated in the same way under the earlier system of guilds including those for artists Contents 1 Origins 2 Joining an academy 3 Gallery 4 See also 5 References 6 External linksOrigins editThe requirement to submit a reception or diploma piece is closely related to the practice in the medieval period and later of requiring a craftsman to submit one or more virtuoso or test pieces to a guild to demonstrate his skill before he was granted membership 2 Joining an academy editMembership of an academy may be by genre or technique and limited by numbers or age The Royal Academy London for instance at one time limited the number of engravers who could join and where artistic styles and tastes change new categories of membership may be created as necessary When Antoine Watteau applied to join the Academie Royale de Peinture et de Sculpture there was no suitable category for his fete galante works so the academy simply created one rather than reject his application describing him as a peintre des festes galantes 3 4 While this acknowledged Watteau as the originator of the genre it also prevented him being recognised as a history painter the highest class of painter and the only one from which the academy s professors were drawn Charles Antoine Coypel the son of its then director later said The charming paintings of this gracious painter would be a bad guide for whoever wished to paint the Acts of the Apostles 5 In 1728 when Jean Baptiste Simeon Chardin was admitted to the same academy for The Ray it was as a painter of animals and fruits 6 nbsp Le Buffet Jean Baptiste Simeon ChardinGallery edit nbsp Mars and Rhea Silvia by Nicolas Colombel 1694 for the Academie Royale de Peinture et de Sculpture nbsp Chardin s The Ray for the Academie Royale de Peinture et de Sculpture 1728 nbsp Rinaldo and Armida by Francois Boucher for the Academie Royale de Peinture et de Sculpture 1734 7 nbsp Francois Boucher by Gustav Lundberg 1741 One of two works by Lundberg presented to the Academie Royale de Peinture et de Sculpture 1742 nbsp Henry Fuseli s Thor battering the Midgard Serpent was his Diploma Work for the Royal Academy accepted 1790 8 See also editMasterpieceReferences edit reception pieces Art amp Architecture Thesaurus Online Getty Museum 2013 Archived here Chavannes Meta masterpiece in The Oxford Companion to Western Art Oxford University Press 2001 Online edition Oxford Reference 2003 Retrieved 8 November 2013 Kleiner Fred S Ed 2011 Gardner s Art Through the Ages A global history Enhanced 13th edn Boston Wadsworth p 755 ISBN 978 0 495 79986 3 Clarke M amp D 2010 fete galante in The Concise Oxford Dictionary of Art Terms oxfordreference com Oxford University Press Retrieved 8 November 2013 Humphrey Wine and Annie Scottez De Wambrechies Watteau in Grove Art Online oxfordartonline com Oxford University Press Retrieved 8 February 2014 Getlein Mark 2005 Gilbert s living with art 7th edition New York McGraw Hill p 422 ISBN 0072859342 Levey Michael 1993 Painting and sculpture in France 1700 1789 New Haven Yale University Press p 164 ISBN 0300064942 Henry Fuseli R A 1741 1825 Thor battering the Midgard Serpent 1790 Royal Academy of Arts Collections 3 February 2014 Retrieved 3 February 2014 Archived here External links edit nbsp Wikimedia Commons has media related to Reception pieces Reception pieces visitor trail at the Louvre Retrieved from https en wikipedia org w index php title Reception piece amp oldid 1182314245, wikipedia, wiki, book, books, library,
