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Painting as Social Conversation: The petit sujet in the Ancien Regime by Ryan Lee Whyte A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Fine Art University of Toronto © by Ryan Lee Whyte 2008 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-39835-7 Our file Notre reference ISBN: 978-0-494-39835-7 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation. reproduced without the author's permission. In compliance with the Canadian Conformement a la loi canadienne Privacy Act some supporting sur la protection de la vie privee, forms may have been removed quelques formulaires secondaires from this thesis. ont ete enleves de cette these. While these forms may be included Bien que ces formulaires in the document page count, aient inclus dans la pagination, their removal does not represent il n'y aura aucun contenu manquant. any loss of content from the thesis. Canada Abstract Painting as Social Conversation: The petit sujet in the Ancien Regime by Ryan Lee Whyte A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Fine Art University of Toronto © by Ryan Lee Whyte 2008 This dissertation analyzes the petit sujet, a type of painting and printmaking whose subjects were popular and non-literary in origin, low in social status, contemporary, French, and anonymous, and that developed through and in response to the eighteenth- century Paris Salon du Louvre, the public exhibition of the more or less contemporary works of the Academie royale de peinture et de sculpture. The dissertation contextualizes the petit sujet by analyzing the structures of the social and artistic world of the Salon, focusing on the circulation of reproductive prints and of interpretive texts, to argue that the petit sujet was a,public art form in both structural and interpretive terms: just as its artists adapted their practice to a newly public artworld, critics crafted a new means of interpreting their works. The dissertation conceptualizes the petit sujet, and the new ii interpretive model it generated, through comparative, hermeneutic readings of artworld documentation: criticism, print Annonces, print letters, etc., and treats reproductive prints, or rather their non-letter component, as both pictorial and conceptual interpretations of the paintings or drawings they reproduced. This dissertation conceives of the petit sujet as a vehicle of transmission of social and aesthetic ideals, and relies on a semiotic model of the art object while understanding the art object as circulating and in contact with a heterogeneous audience. This dissertation argues that, although the elite controlled the textual interpretation of the petit sujet, the mode of engagement they crafted for it was public in that it treated the petit sujet as a catalyst for the refinement of a vision of society. Through comparative, hermeneutic, semiotic, stylistic, social- contextual and iconographic readings of the work of J.-F. de Troy, J.-B.-S. Chardin, J.-B. Greuze, E. Jeaurat, P.-A. Baudouin, their reproductive printmakers, and dozens of other academic and non-academic artists, the dissertation argues that the productive freedom and interpretive ease of the petit sujet ran counter to academic principles that aimed to stabilize both iconography and interpretation. iii Acknowledgments It was my great fortune to find a dissertation advisor who treated me as a colleague. W. McAllister Johnson's care, patience, generosity, and tireless devotion to this project, and more importantly, to my intellectual development through it, was more than I could have hoped for and a testament to his profoundly ethical conception of scholarship and pedagogy. Whatever richness and solidity this dissertation possesses are due to him. I would like to thank Marc Gotlieb, whose rigour and clarity of vision saved the dissertation more than once. For his dynamic and stimulating read and the very productive critical dialogue that arose from it, thanks to Todd Porterfield. For her careful and challenging critique of the text, and for her excellent advice, I owe thanks to Alison Syme. I would like to thank Philip Sohm, Elizabeth Legge and Yannick Portebois for their very helpful engagements with the text. For readings of early chapter drafts my thanks goes to Alexander Nagel and Michael Koortbojian. For their very generous assistance I would like to thank Mikael Ahlund, Curator, Paintings and Sculpture, Nationalmuseum, Stockholm; Rickard Becklen, Conservator of Painting, Nationalmuseum; Veronique Royet, Bibliothecaire au Departement des Estampes et de la Photographie, Bibliotheque nationale de France; Sophie Join-Lambert, Conservateur au musee des Beaux-Arts de Tours; Marshall Pynkoski, Opera Atelier; Francois Rouget, Queens University; and Renata Schellenberg, Mount Allison University. At the University of Toronto Libraries I owe thanks to Robin Healy and to the peerless Margaret English. Thanks not least to the heart and soul of the Department of Art: Rohini Witke, Use Wister, Gaby Sparks and Joanne Wainman. For endless support and advice and for reigniting my love of art history, I owe a debt to Jenny Purtle. This dissertation is dedicated to my parents. v Table of Contents I Title i Abstract... ii Acknowledgements iv Table of Contents vi List of Plates viii List of Appendices xiii Abbreviations xiv Epigraph xvi Introduction 1 1. Prehistory of the petit sujet. Jean-Francois de Troy's tableau de mode 22 2. The Emergence of the petit sujet: Chardin in the Salons and in Prints 36 3. Icono graphic Limits of'the petit sujet: Depictions of Public Space at Mid-Century 92 4. Greuze's Transformation of the petit sujet 127 5. In the Shadow of Greuze: The Decline ofthe petit sujet 166 Conclusion 188 Appendix I: Iconographic, Thematic and Formal Influences of Fashion Plates on de Troy's tableau de mode 192 Appendix II: Chardin's Repetitions and the Engravings after Them 198 Appendix III: Table: Chardin's Repetitions 205 Appendix IV: Annonce for Laurent Cars after J.-B.-S. Chardin, Une Dame variant ses amusements!La Serinette 206 Appendix V: Chronology of Etienne Jeaurat's Street Scenes 207 vi Bibliography 209 Plates 225 vii List of Plates 1. Jean Dieu de Saint-Jean, Femme de qualite s 'habillantpour Coure le Bal. BnF Est. 2. Louis Surugue after J.-F. De Troy, L 'Ornement de I 'Esprit et du Corps. BnF Est. 3. J.-F. Beauvarlet after J.-F. de Troy, Toillette pour le bal. BnF Est. 4. J.-F. Beauvarlet after J.-F. de Troy, Retour du bal. BnF Est. 5. Robert Bonnart, Dame en deshabille sur un lit de gazon. Musee Carnavalet, Paris 6. C.-N. Cochin pere after J.-F. de Troy, Le rendez-vous a lafontaine ou VAlarme. BnF Est. 7. Jean Mariette, L 'Eau. BnF Est. 8. Jean Mariette, Dame de Qualite en Echarpe. BnF Est. 9. J.-F. de Troy, Assemblee dans unparc ou la Declaration d'amour. Sansouci Palace, Potsdam 10. Jean Dieu de Saint-Jean (?), Femme de qualitez a sa Toillette. BnF Est. 11. Jean Mariette, Le Matin: Dame de Qualite a sa Toilette. BnF Est. 12. J.-F. de Troy, La declaration d'amour. Williams College Museum of Art, Williamstown, Mass. 13. J.-F. de Troy, Lajarretiere detachee. Williams College Museum of Art, Williamstown, Mass. 14. Jean Dieu de Saint-Jean, Femme a la Mode. BnF Est. 15. Jean Dieu de Saint-Jean, Femme de Qualite en Deshabille sortant du Lit. BnF Est. 16. N. Bazin after J.-D. de Saint-Jean, Femme de qualite deshabillee pour le bain (1685). BnF Est.. 17. N. Bazin after J.-D. de Saint-Jean, Femme de qualite deshabillee pour le bain (1686). BnF Est. 18. F. Guerard, Le Jeu a deviner. BnF Est. 19. C.-N. Cochin pere after J.-F. De Troy, Lejeu de pied-de-boeuf. BnF Est. 20. J.-F. de Troy, Vertumne etPomone. The Ball State University Museum of Art, Muncie, IN 21. J.-F. de Troy, Lecture de Moliere. Private Collection, U.K. viii 22. J.-B.-S. Chardin, La Gouvernante. National Gallery of Canada, Ottawa 23. F.-B. Lepicie after J.-B.-S. Chardin, La Mere laborieuse. BnF Est. 24. J.-B.-S. Chardin, Le Benedicite. Louvre, Paris 25. J.-B.-S. Chardin, Le Benedicite. Museum Boijmans Van Beuningen, Rotterdam 26. R.-E.-M.. Lepicie after J.-B.-S. Chardin, Le Benedicite. BnF Est. 27. J.-B.-S. Chardin, Une petite fille jouant au volant. Private Collection 28. C.-N. Cochin pere after J.-B.-S. Chardin, La Blanchisseuse. BnF Est. 29. C.-N. Cochin pere after J.-B.-S. Chardin, Le gargon cabaretier.
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  • The Wonders of Engraving

    The Wonders of Engraving

    ) THE WONDERS OF ENGEAVING. BY GEORGES DUPLESSIS. ILLUSTRATED WITFI TIIIKTY-FOUB WOOD-ENGBAVING8. NEW YOKE: CHARLES SCRIBN^ER & CO, 1871. illustrated library of Wonders. PUBLISHED BT , (parks 654 BROADWAY, NEW YOEK. Bach one volume 12mo. Price per volume, 11.50. Titles of Books. No. of Illustrations THUNDER AND LIOHTNINO, .... 39 WONDERS OP OPTICS, . 70 WONDERS OF HEAT, ..... 90 INTELLIGENCE OP ANIMALS, . 54 GBEAT HUNTS, ...... 22 EGTPT 3,300 YKARS AGO, . 40 WONDERS OP POMPEII, .... 28 THE SUN, BT A. GUILLEMIN, . 63 SUBLIME IN NATURE, ..... SO WONDERS OP GLASS-MAKING, . 63 WONDERS OP ITALIAN ART, .... 28 WONDERS OP THE HUMAN BODY, 46 WONDERS OP ARCHITECTURE, LIGHTHOUSES AND LIGHTSHIPS, 60 BOTTOM OP THE OCEAN, 68 WONDERS OP BODILY STRENGTH AND HKILL, 70 WONDERFUL BALLOON ASCENTS, 30 ACOUSTICS. ..... 114 WONDERS OP THE HEAVENS, . 48 THE MOON, BY A. GUILLKMIN, 60 WONDERS OP SCULPTURE .... 61 WONDERS OP ENGRAVING, 32 WONDERS OP VEGETATION, .... 45 WONDERS OP THE INVISIBLE WORLD, 97 CELEBRATED ESCAPES, .... 26 WATER, ...... 77 HYDRAULICS, .... 40 ELECTRICITY, ..... 71 SUBTERRANEAN WORLD, .... 27 * In Press for early Publication. The above works sent to any address, post-paid, upon receipt of the price 6j> the publishers. CONTENTS. CHAPTER L PAGB THE ORIGIN OF ENGRAVING 9 CHAPTER H. ENGRAVING IN ITALY. Engravers on Wood Nielli Copperplate Engraving at Florence, in the Northern Cities, at Milan, Parma, Bologna, and Rome 13 CHAPTER HI. ENGRAVING IN SPAIN. Giuseppe Ribera and Francesco Goya 83 CHAPTER IV. ENGRAVING IN THE Low COUNTRIES. Engravers on Wood in the loth Century Early Engravers on Metal Holland : Rem- brandt, Ruysdael, and Paul Potter Belgium : Rubens, Bols- wert, Paul Pontius, and Anthony Vandyck 88 CHAPTER V.
  • National Gallery of Art

    National Gallery of Art

    National Gallery of Art FOR IMMEDIATE RELEASE: Deborah Ziska April 27, 2001 Press and Public Information Officer PRESS PREVIEW Publicist: May 30, 2001 Lisa Knapp, (202) 842-6804 10 am -2 pm "THE UNFINISHED PRINT" EXAMINES CREATIVE STRATEGY IN PRINTMAKING THROUGH WORKS BY REMBRANDT. PIRANESI. DEGAS. MUNCH. AND OTHERS Washington, D.C. -The National Gallery of Art's exhibition, The Unfinished Print, investigates the question of aesthetic resolution in European printmaking from the 15th- to the early 20th century. Approximately 100 works in various stages of completion by such artists as Hendrik Goltzius, Rembrandt van Rijn, Giovanni Battista Piranesi, Edgar Degas, Mary Cassatt, Paul Gauguin, and Edvard Munch reveal the importance of artistic process in the history of printmaking. The exhibition is on view in the West Building, Prints and Drawings Galleries, from June 3 through October 7, 2001. The exhibition opens in conjunction with Jasper Johns: Prints from Four Decades and American Naive Paintings, which will be on view during the same period in adjacent galleries. "The breadth and depth of the Gallery's rich collection of prints is wonderfully explored in this installation, which follows the evolution of printed images by major European artists from the Renaissance onward," said Earl A. Powell III, director, National Gallery of Art. The question of when a work of art achieves aesthetic resolution is central to the history of art and has special implications for printmaking. An artist working on plate will normally take "proof impressions along the way to check its progress, allowing the viewer to trace the thinking and rethinking involved in the making of any work of art.