Léonce Bénédite - Knowledge (XXG)

171:. This connection provided Léonce with privileged access to practising contemporary artists. He trained in law and art history. Very early on, Bénédite became involved in the artistic world as a member of the Salon des Artistes Français from 1880 to 1881. In contact with artists, he developed a network of close relationships that he maintained throughout his life, particularly through his active involvement in various art societies such as the Society of French Orientalist Painters, the Society of French Engraving Painters, the Society of Lithographic Painters or the Society of Painters of Paris. 336: 190: 295:, Rodin's assistant and the curator's rival, who took advantage of a case on fake Rodin and used it to discredit Léonce Bénédite. The lawsuits surrounding this affair tarnished the reputation of the curator. Benedite, nevertheless, concentrated his interest on the requirements of this museum of a new type, founded at the initiative of an artist whose will he was obliged to respect. As had become his practice in Luxembourg, he reported on his work as a curator through the publication of a catalog in which he describes the museum's facilities, the 198:

development of non-existent sections or works that predecessors have not managed to organize sustainably. He did neglected neither sculpture nor lithography nor print-making and encouraged the collection of art objects, including medals. He also encouraged museums to display one representative work of all major artists in an attempt to encourage younger painters.

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One of Bénédite's aims was to situate Orientalist art within French colonial history. To that end, he organised a number of exhibitions to display Orientalist art alongside traditional Islamic art. His writing also emphasised Orientalist art as a legitimate genre in its own right as well as its role

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Bénédite established his career at Luxembourg, where he developed a conservation policy, acquisitions policy and insisted on the exhibition of all artistic techniques. He rejected hierarchies between the art forms and refused to favour painting only. Thus, the acquisition policy focussed on the

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For Bénédite, writing was inseparable from his function as curator. He was a prolific contributor to art publications, writing in introductions to exhibition catalogs, in magazines and journals as well as publishing works of circumstance during an exhibition or following an artist's death. His

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Nottingham French studies: Volumes 29-31 University of Nottingham - 1990 "When Leonce Bénédite was preparing the opening of the museum. Mauclair sent him a copy of his book: 'Je tiens beaucoup à ce que le plus de témoignages que possible de mon amitié combative pour Rodin

182:; an art museum primarily devoted to French painting. He was appointed director in 1892 and set about defining a conservation policy that evolved little over time and which he outlined in the catalogs of the collection. In 1919, he became the first curator of the 273:. He popularised analyses of nineteenth-century art in major syntheses supporting his studies on artist biographies. His works are notable in that they seek to analyse "the evolutions of artistic inspiration." 213:

in 1892 and was largely responsible for giving Orientalist art recognition as a distinct art movement. He became the Society's inaugural President and remained in that role until his death in 1925.

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until 1892 when he became the director. For Bénédite, writing was inseparable from his function as curator. He was a prolific writer, contributing to books, catalogs and art journals.

287:. He saw this appointment as an opportunity to implement his museographic ambitions and ordered the installation of works by the sculptor, Rodin, in an effort to combine both the 615: 202: 118: 766: 754: 742: 691: 642: 528:

1906, janvier, pp 39–48, novembre, pp 393–406 ; 1907, octobre, pp 315–332 et novembre, pp 408–423; 1908, janvier, pp 35–58, mars, pp 237–264 and août, pp 137–166.

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between 1882 and 1886; the assistant curator at the Chateau de Versailles between 1886; and from 1886 he was the first assistant director at Étienne Arago at the

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in colonialism. Benjamin has argued that Bénédite was unusual in terms of combining art and history within a colonial frame of reference. He also founded the

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Bénédite's zest for his curatorial duties along with his privileged contact with practising artists were determining factors for the sculptor,

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Histoire des Beaux-Arts 1800-1900: peinture, sculpture, architecture, médaille et glyptique, gravure, art décoratif en France et à l’étranger,

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