The love of art : European art museums and their public
Author(s)
Bibliographic Information
The love of art : European art museums and their public
Stanford University Press, 1990
- Other Title
-
L'amour de l'art : les musées d'art européens et leur public
Available at 23 libraries
  Aomori
  Iwate
  Miyagi
  Akita
  Yamagata
  Fukushima
  Ibaraki
  Tochigi
  Gunma
  Saitama
  Chiba
  Tokyo
  Kanagawa
  Niigata
  Toyama
  Ishikawa
  Fukui
  Yamanashi
  Nagano
  Gifu
  Shizuoka
  Aichi
  Mie
  Shiga
  Kyoto
  Osaka
  Hyogo
  Nara
  Wakayama
  Tottori
  Shimane
  Okayama
  Hiroshima
  Yamaguchi
  Tokushima
  Kagawa
  Ehime
  Kochi
  Fukuoka
  Saga
  Nagasaki
  Kumamoto
  Oita
  Miyazaki
  Kagoshima
  Okinawa
  Korea
  China
  Thailand
  United Kingdom
  Germany
  Switzerland
  France
  Belgium
  Netherlands
  Sweden
  Norway
  United States of America
Note
Bibliography: p. 174-176
Includes index
Translated from the French: "L'amour de l'art : les musées d'art européens et leur public"
Description and Table of Contents
Description
Everyone can visit the art treasures held in the great museums of the world yet, in fact, art museums are visited by only a small segment of the population. What are the characteristics of those who display their love of art by strolling through the galleries of museums? What distinguishes them from the majority of people who are effectively excluded, or exclude themselves, from their doors? This classic study addresses such questions on the basis of a wide-ranging survey of museums and museum visitors in France, Greece, Spain, Italy, The Netherlands, and Poland. Central to the analysis of Pierre Bourdieu and his associates is the elaboration of the theory of culture as a form of capital. This work shows that art is of great value in society as cultural capital, yet to a great extent the appreciation of art is considered intensely personal, an innate taste, an appurtenance of aristocracy, something ineffable.
Bourdieu challenges this idea, asserting that it is merely one aspect of the ideological underpinnings of social inequality; further, that the power of the idea is such that it has come to pervade the beliefs of even culturally deprived groups, so that they accept and become accomplices in their exclusion and subordination. He reveals those mechanisms of society that together produce our conceptions of art, the artist, the public, and the creation of cultural value through semi-autonomous processes and institutions.<
Table of Contents
- Translators' note
- Preface
- 1. Signs of the times
- 2. The research process
- 3. The social conditions of cultural practice
- 4. Cultural works and cultivated disposition
- 5. The rules of cultural diffusion
- 6. Conclusion
- Appendices
- Notes
- Select bibliography
- Index.
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