From Canon To Rule—Academie Royal De Peinture Et Peinture Et De Sculpture In The Second Half Of The Seventeenth Century

From the beginning of the 17 th century,when Armand Jean du Plessis de Richelieu began to rectify the French ideology and culture,to the time when Louis xiv died in 1715,it was a very special period in French history when art and politics were closely integrated unprecedentedly.The school advocated by the government dominates the mainstream.At that time,the state’s interference in the art field was mainly realized through a cultural institution——Academie Royal de Peinture et Peinture et de Sculpture.This academy was the first art academy in the history of western art education to realize the dual functions of ‘organizational structure’and ‘educational institution’in the modern sense.The academy elevated painting,sculpture and other activities,which were classified as purely artistic at that time,into a cultural cause valued by the state.The highly nationalized art effectively solves the needs of artists to improve their social status and helps the rise of modern nation-states.But it also shows the defects and drawbacks of the highly controlled art system.Finding the "Canon" of ideal beauty in the world of ideas turning to the absolute "Rule" of producing beauty.Under the strict statutes of classicism were born the factors of revolution.Based on the establishment background,system construction,educational concept and influence of the academy,the author divides the paper into four parts: The first chapter discusses the reasons why the first academy of art in the modern sense was founded in France that without any foundation of academy by sorting out the background of the establishment of the academy.In the second chapter,three methods of art control proposed by Kavolis,V: ‘sponsorship’,‘education’ and‘inspection’are used as clues to sort out the institutional construction of the Academie Royal de Peinture et Peinture et de Sculpture.The third chapter analyzes the transformation of the educational concept inherited from disegno academy in the Renaissance after combining the political purpose.The fourth chapter sorts out the internal debates of the Academie Royal de Peinture et Peinture et de Sculpture and discusses the delicate relationship between the highly controlled cultural system with the development of art.