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https://www.thoughtco.com/art-history-definition-academy-french-182900
Mar 08, 2017 · The French Academy was a national institution that oversaw the training of artists as well as the artistic standards for France. It controlled what French artists studied, what French art could look like and who could be entrusted with such a noble …
https://arthistoryunstuffed.com/french-academy-painting/
Dec 25, 2009 · Although Manet was academically trained, by mid-century, artists trained outside of the Academy, like Gustave Courbet, could become successful and prominent. In the clash between the Romantics and the Classicists, Courbet’s bourgeois realism and naturalism was a compromise between the polarities of line and color.
http://www.visual-arts-cork.com/history-of-art/french-academy.htm
Note: Arguably the artist with the most interesting relationship with the French Academy was J.A.D. Ingres. Read about it in these articles analyzing his greatest works: The Valpincon Bather (1808), La Grand Odalisque (1814), Portrait of Monsieur Bertin (1832), …
https://arthistoryunstuffed.com/french-academy/
Dec 04, 2009 · The original model for artistic education and supervision, the French Academy, was established in 1648 for the purpose not just of controlling art in terms of its content but also in terms of its quality. For those in the hinterlands, the Academy obligingly extended a network of provincial schools in Rouen, Marseilles, Dijon, and Tours ...
https://www.britannica.com/topic/French-Academy
Its membership has also included prominent people such as Jacques Cousteau and Claude Lévi-Strauss. Among numerous European literary academies, the French Academy has consistently retained the highest prestige over the longest period of time.
https://www.theartstory.org/definition/the-academy-of-art/
Saint-Aubin was, in fact, the first artist ever to produce panoramic representations of the exhibitions of the French Royal Academy of Painting and Sculpture". …
https://www.metmuseum.org/toah/hd/sara/hd_sara.htm
While artists in England, like Frederic Leighton and George Frederick Watts, simultaneously showed at the Royal Academy (RA) and Grosvenor Gallery, in France the Impressionist exhibit constituted a dissenting and independent gambit—participants were not allowed to submit works to that year’s Salon (although this was not such a risk—the Salon jury had rejected most of the submissions by artists like …
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