When the French bourgeoisie plays the patron
Loncle, Stéphanie
When the French bourgeoisie plays the patron - 2022.
21
Since the adoption of the Aillagon law in 2003, the French state has strongly encouraged artistic sponsorship from private companies, thus offering a new social stage for the French bourgeoisie. This new way of sponsoring the arts takes its outdated name from the early modern practice of “mécénat,” (patronage) conveying rather unrepublican values in the contemporary context. Building on the works of Sabine Rozier and Alain Viala, this article highlights the contradictions of this new mode of financing, both for the French bourgeoisie itself and for public services.
When the French bourgeoisie plays the patron - 2022.
21
Since the adoption of the Aillagon law in 2003, the French state has strongly encouraged artistic sponsorship from private companies, thus offering a new social stage for the French bourgeoisie. This new way of sponsoring the arts takes its outdated name from the early modern practice of “mécénat,” (patronage) conveying rather unrepublican values in the contemporary context. Building on the works of Sabine Rozier and Alain Viala, this article highlights the contradictions of this new mode of financing, both for the French bourgeoisie itself and for public services.
Réseaux sociaux