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Viollet-Le-Duc And Solntsev: Publishing Patrimony In France And Russia

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Chapter Summary

In his 1877 monograph on the history and future of Russian art, French architect Eugène Emmanuel Viollet-le-Duc, an advocate for the study and preservation of national heritage, points admiringly to the publication efforts of a like-minded artist in Russia, Fedor Solntsev. With his focus on architectural monuments, Alexandre de Labordes work closely anticipates that of Viollet-le-Duc. Unlike the later Laborde, who sought to provide artistic models for contemporary artists, Bernard de Montfaucons interests were primarily historical and antiquarian. Viollet-le-Duc is best known for his association with Frances medieval monuments. Given the strong conceptual solidarity between Viollet-le-Duc and Solntsev, the interplay and direct borrowing are not at all surprising, in particular given the larger forces at play in the political environment both of nineteenth-century France and Russia.

Keywords: Alexandre de Laborde; Bernard de Montfaucon; Eugène Emmanuel Viollet-le-duc; Fedor Solntsev; France; Patrimony; Russia



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