Bernard Picart (1673-1733)
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Key to the People and Art in Samuel F. B. Morse's Gallery of the Louvre
15 21 26 2 13 4 8 32 35 22 5 16 27 14 33 1 9 6 23 17 28 34 3 36 7 10 24 18 29 39 C 19 31 11 12 G 20 25 30 38 37 40 D A F E H B Key to the People and Art in Samuel F. B. Morse’s Gallery of the Louvre In an effort to educate his American audience, Samuel Morse published Descriptive Catalogue of the Pictures. Thirty-seven in Number, from the Most Celebrated Masters, Copied into the “Gallery of the Louvre” (New York, 1833). The updated version of Morse’s key to the pictures presented here reflects current scholarship. Although Morse never identified the people represented in his painting, this key includes the possible identities of some of them. Exiting the gallery are a woman and little girl dressed in provincial costumes, suggesting the broad appeal of the Louvre and the educational benefits it afforded. PEOPLE 19. Paolo Caliari, known as Veronese (1528–1588, Italian), Christ Carrying A. Samuel F. B. Morse the Cross B. Susan Walker Morse, daughter of Morse 20. Leonardo da Vinci (1452–1519, Italian), Mona Lisa C. James Fenimore Cooper, author and friend of Morse 21. Antonio Allegri, known as Correggio (c. 1489?–1534, Italian), Mystic D. Susan DeLancy Fenimore Cooper Marriage of St. Catherine of Alexandria E. Susan Fenimore Cooper, daughter of James and Susan DeLancy 22. Peter Paul Rubens (1577–1640, Flemish), Lot and His Family Fleeing Fenimore Cooper Sodom F. Richard W. Habersham, artist and Morse’s roommate in Paris 23. -
Information to Users
INFORMATION TO USERS This manuscript bas been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, sorne thesis and dissertation copies are in typewriter face, while others May be from any type ofcomputer printer. The quality ofthis reproduction is dependent upoo the quality ofthe copy submitted. Broken or indistinct print, eolored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignrnent ean adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. AJso, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, eharts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Eaeh original is also photographed in one exposure and is included in redueed form at the baek ofthe book. Photographs included in the original manuscript have been reprodueed xerographieally in this eopy. Higher quality 6" x 9" black and white photographie prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to arder. UMI A Bell & Howell Information Company 300 North Zeeb Raad, AnD Arbor MI 48106-1346 USA 313n61-4700 800/521-0600 .1 '- CHARLES LEBRUN: PAINTING THE KING AND THE KING OF PAINTING SY MATTHEW DUPUIS DEPARTMENT OF ART HISTORY MCGILL UNIVERSITY, MONTREAL A THESIS SUSMITTED TO THE FACULTY OF GRADUATE STUDIES AND RESEARCH IN PARTIAL FULFILMENT OF THE REQUIREMENTS OF THE DEGREE OF MASTER OF ARTS. -
Montalbetti Le Sueur-5Mars2012
Les publications du GHAMU Valérie Montalbetti Valérie Montalbetti Le Sueur « Raphaël de la France » L’ambiguïté de la référence italienne dans l’invention d’un maître de l’art français 1 Fig. 1. Jean-Jacques Lagrenée (1739-1821), Allégorie relative à l’établissement du Museum , 1783, papier marouflé sur toile, H. 52 ; L. 68 cm, signé, signé et daté en bas à gauche, Paris, Musée du Louvre (RF 1998-6) – Droits d’image : © Musée du Louvre/A. Dequier - M. Bard. Résumé Eustache Le Sueur (1616-1655), représentant éminent de l’atticisme parisien au milieu du XVII e siècle avec Laurent de la Hyre, doit sa reconnaissance actuelle à Alain Mérot et à un marché de l’art qui continue de s’arracher ses tableaux. Quant à la réputation qu’il eut au XVIII e siècle, elle est principalement due à l’analogie entre lui et Raphaël que la littérature critique mit en scène à partir des années 1680, en le présentant comme le « Raphaël de la France ». Mort à trente-huit ans quand l’illustre Italien auquel on le comparait était décédé dans sa trente-septième année, Le Sueur avait montré, dans quelques chefs-d’œuvre comme le cycle de La Vie de Saint Bruno dont le comte d’Angiviller fit de véritables trésors nationaux, une maîtrise de toutes les parties de la peinture gouvernée par la clarté et la simplicité. Toutefois, au-delà du caractère tout rhétorique de la comparaison, l’entreprise d’assimilation des deux peintres relève avant tout d’un habile montage idéologique, dont l’enjeu est bien l’existence de cette école française qui, au XVIII e siècle, gage les prétentions nationales à incarner la Nouvelle Rome, tant artistiquement que politiquement. -
Morse-Gallery Wall Key Copy(Eith Terra Logo)
KEY TO THE PEOPLE AND ART IN SAMUEL F. B. MORSE’S GALLERY of the LOUVRE 15 21 26 13 2 4 8 32 35 5 16 22 27 1 14 9 33 6 23 17 28 3 34 7 10 36 18 24 29 39 C G 11 12 19 20 25 30 31 38 40 37 D A F E H B ART 1. Veronese (1528–1588, Italian), Wedding Feast at Cana 27. Raphael (1483–1520, Italian), Madonna and Child with the 2. Bartolomé Estebán Murillo (1618–1682, Spanish), Infant Saint John the Baptist Immaculate Conception 28. Anthony van Dyck (1599–1641, Flemish), 3. Jean Jouvenet (1644–1717, French), Portrait of a Man in Black (the artist Paul de Vos?) Descent from the Cross 29. Guido Reni (1575–1642, Italian), 4. Tintoretto (1518–1594, Italian), Self-Portrait e Union of Design and Color 5. Nicolas Poussin (1594–1665, French), Deluge (Winter) 30. Peter Paul Rubens (1577–1640, Flemish), Portrait of Suzanne Fourment 6. Caravaggio (ca. 1571–1610, Italian), Fortune Teller 31. Simone Cantarini (1612–1648, Italian), 7. Titian (ca. 1485/90–1576, Italian), Rest on the Flight into Egypt Christ Crowned with orns 32. Rembrandt Harmensz van Rijn (1606–1669, Dutch), 8. Anthony van Dyck (1599–1641, Flemish), Head of an Old Man Venus at the Forge of Vulcan 33. Anthony van Dyck (1599–1641, Flemish), 9. Claude Lorrain (ca. 1602–1682, French), Jesus with the Woman Taken in Adultery Disembarkation of Cleopatra at Tarsus 34. Joseph Vernet (1714–1789, French), 10. Bartolomé Estebán Murillo (1618–1682, Spanish), Holy Family Marine View by Moonlight 11. -
* * * Diploma Lecture Series 2012 Absolutism to Enlightenment: European Art and Culture 1665-1765 History Painting from Le Brun
Diploma Lecture Series 2012 Absolutism to enlightenment: European art and culture 1665-1765 History painting from Le Brun to rococo Mark Ledbury 4 / 5 April 2012 Lecture summary: History Painting might be broadly defined as the painting of multi-figure narrative scenes from myth, history, biblical narrative or fable: Its theoretical history in modern times goes back to Leon Battista Alberti, and previous lectures in this series have discussed how, through the example of Poussin, it was codified and championed in the French Academy of Painting and Sculpture, particularly through discussions and debates known as Conférences and through the work of the early Academy’s most powerful director and champion, the Painter Charles Le Brun. This lecture will take as its subject the less well-charted history of history painting as both theoretical entity and actual painterly genre from the death of Charles Le Brun to the ascension of Francois Boucher in the mid 1740s. The lecture will take a fresh look at a generation of painters who may not be familiar, such as Jean Jouvenet, François Lemoyne, Jean François de Troy and the Coypel dynasty, and will look at key moments in the history of history painting, including the competitions organized by the Duc D’Antin in 1727 and by Lenormant de Tournehem twenty years later. The lecture will propose an alternative to the usual tale of decline from the philosophical glories of Poussin and the manly magnificence of Le Brun to the insipid pastel pastorals of Francois Boucher. Instead, I will propose in this lecture that we focus on History painting as a centre of experiment, innovation and variety in the period. -
17Th Century
Louis XIII and Cardinal Richelieu • Became king at age 8, and gained authority of the throne at age 13 • Louis’s mother, Queen Marie de Medici, held the power until Louis could assume the thrown • Cardinal Richelieu was her advisor • Louis was a weak King and always needed advice which he reserved for Richelieu who ultimately was the ruler of France • Richelieu helped expand trade and the navy as well as broadened French art and education Cardinal Mazarin and the Beginnings of Louis XIV • Louis XIV became king upon his father’s death at age 4 • His mother, Anne of Austria, had her late husband’s will annulled and received full power of the throne, which she gave to Cardinal Mazarin • Mazarin ruled France until Louis (the Sun King) assumed the throne • Mazarin lead France through the Thirty Year’s War and the French civil war “The Fronde” The Fronde • A civil war between the aristocrats who wanted a greater influence in the say of French rule and the King and royal power which included the new advisor Cardinal Mazarin • Louis was threatened by the aristocracy, the monarchy wanted a louder voice in politics, and the people were burdened by too many taxes • Mazarin and Louis XIV won the dispute and from this absolutism was established and trust in the aristocracy with Louis fell Jean-Baptiste Colbert • Jean-Baptiste Colbert continued after Mazarin and lead France to expand in Richelieu’s ideas of a powerful navy and international trade • He developed the idea of mercantilism: an economic theory that holds the prosperity of nation is dependent upon its supply of capital, and that global volume of international trade is unchangeable. -
Versailles and Antiquity Exhibition from 13 November 2012 to 17 March 2013
versailles and Antiquity Exhibition from 13 November 2012 to 17 March 2013 versailles was a new rome in several ways : in its impressive size, its ambition to endure through the centuries, and its many references to the great models of antiquity. in the 17 th century, antiquity was an impassable absolute, with which the most ambitious monarchs wished to rival : louis xiv created versailles as the seat of power to revive that ancient greatness. antiquity is first and foremost a collection of works, material and artistic evidence, relics of a lost glorious civilisation that all the powerful rulers of the 17 th century coveted. more than any other european monarch, louis xiv sought to acquire the most prestigious ancient pieces or have them copied. versailles was their sanctuary: statues and busts in the state apartments and gardens, cameos and medals and small bronzes in the king’s study. the collection at versailles provides the vision of antiquity recreated for the glory of the king. the exhibition will mark the return to versailles of nearly fifty ancient pieces where they were originally displayed during the ancien régime. the interpretation of antiquity and ancient mythology will be evoked by approximately two hundred works from major french and foreign collections: sculptures, paintings, drawings, engravings, tapestries, furniture pieces and objets d’art. through this exhibition, the public will be able to discover how antiquity influenced all areas of art, as well as the fascination for the gods and heroes of mythology and ancient history. 1 versailles, A NEW rOME 1. Lower Stone Gallery 2 Presence of Antiquity at Versailles For the first time since the French Revolution, the most prestigious The showpieces are grouped together ancient sculptures which adorned the at the foot of the staircase: the Diana palace and gardens during the Ancien of Versailles, part of the royal Régime will return to Versailles. -
1 Pierre MARTY École Pratique Des Hautes Études Édition Critique Des
Référence électronique MARTY Pierre, « Édition critique des catalogues des Salons de l'école royale gratuite de dessin de Troyes, 1784, 1786, 1788 », Les papiers d'ACA-RES, 2021. Pierre MARTY École Pratique des Hautes Études Édition critique des catalogues des Salons de l’École royale gratuite et publique de dessein, de mathématique, d’architecture et des arts, de la ville de Troyes en Champagne Principes d’édition La présente édition reproduit le plus fidèlement possible le texte des trois livrets des expositions tenues par l’École de dessin de Troyes en 1784, 1786 et 1788, et conservés à la médiathèque Jacques-Chirac de cette même ville1. Nous sommes resté fidèle à la forme souhaitée par les rédacteurs. À cet effet, une distinction a été opérée entre les titres des œuvres et leurs explications. La taille de police pour les intitulés est de 12, celle des explications et autres commentaires, de 11. L’orthographe a été rigoureusement respectée. Quand une phrase reste inachevée, ou quand un mot vient à manquer, nous l’indiquons par la mention [blanc]. Les livrets, rédigés et imprimés dans la précipitation, présentent parfois des erreurs, des coquilles, qui sont systématiquement indiquées en note par la mention (sic) suivie d’une proposition. Nous avons cherché à former l’appareil critique en documentant les œuvres quand cela était possible, en corrigeant ou précisant des identifications, ainsi qu’en proposant des attributions. Nous avons présenté au mieux leurs caractéristiques. Les dimensions des œuvres sont données en mètres, à commencer par la longueur, puis par la largeur. De même, nous avons tenté d’identifier les personnalités impliquées, tant collectionneurs qu’artistes, professeurs ou élèves. -
Annual Report 1979
1979 ANNUAL REPORT National Gallery of Art ' *411111 . r .An* ." All rights reserved. No part of this publication may he reproduced without the written permission of the National Gallery of Art, Washington, D.C. 20565 Copyright © 1980, Board of Trustees, National Gallery of Art This publication was produced by the Editors Office National Gallery of Art, Washington Printed by Schneidereith & Sons, Baltimore, Maryland. The type is Bodoni Book, set by Hodges Typographers, Inc.. Silver Spring, Maryland Designed by Susan Lehmann, Washington CONTENTS 6 PREFACE 8 ORGANIZATION 11 DIRECTOR'S REVIEW OF THE YEAR 24 DONORS AND ACQUISITIONS 45 LENDERS 49 NATIONAL PROGRAMS 49 Department of Extension Programs 50 National Gallery Loans to Temporary Exhibitions 52 Loans from the Gallery's Collections 55 EDUCATIONAL SERVICES 59 OTHER DEPARTMENTAL REPORTS 59 Curatorial Departments 61 Library 62 Photographic Archives 63 Conservation Department 65 Editors Office 65 Exhibitions and Loans 66 Registrar's Office 66 Department of Installation and Design 68 Photographic Laboratory Services 69 STAFF ACTIVITIES 74 ADVANCED STUDY AND RESEARCH AND SCHOLARLY PUBLICATIONS 77 MUSIC AT THE GALLERY 79 PUBLICATIONS SERVICE 80 BUILDING MAINTENANCE, SECURITY, AND ATTENDANCE 81 PLANNING OFFICE 83 FINANCIAL STATEMENTS 93 ROSTER OF EMPLOYEES PREFACE The forty-second report of the National Gallery of Art reflects major changes involving the board of trustees and contains the trustees' first public report on the Gallery's finances. Early this year, the chief justice of the United States, citing the press of judicial business and other official activity, asked the board of trustees to accept his resignation as its chairman, in which capacity he had served since 1969. -
For the First Time, the Château De Versailles
1 For the first time, the Château LOUIS XIV, 2 2 plan 10 de Versailles devotes a large-scale the man and the king room 1 rooms 5-1 # 5-2 exhibition to Louis XIV The glory of the king Th e portrait of the king Th e taste of the king 4 room 2 room 6 Th e royal manufactories were associated Th e glory of the king Music, dance and room 3 festivities 1 with the creation and dissemination 2 7 A diplomatic gift from the Republic of The Very Christian 14 Th e king of peace room 7 of masterpieces designed to immortalise Venice, the exceptional coat of arms king and the king’s and the king of war Architecture, the art directed by Nicolas Milovanovic and Alexandre Maral, The portrait the glory of Louis XIV. Unfortunately, presented here is decorated with episodes physical body room 4 of the garden curators of the Château de Versailles, EXHIBITION CUrATOrSHIP. of the king a large part of their products has and the king’s animals 3 from the fi rst military campaign under- Th e Very Christian disappeared: in particular, only two of king and the king’s rooms 8-1 # 8-2 taken by Louis XIV in person, during Since the Middle Ages, the king of With Louis XIV, the portrait of the monumental cabinets made by physical body Th e myth Colbert, the great servitor of the State, In contrast, we can admire a much greater The king of peace of the War of Devolution (1667-1668). -
DP Louis XIV EN Ok.Indd
the mAn $ the King 20 october 2009 – 7 february 2010 2 CONTENTS foreword by jean-jacques aillagon 3 a word from the curators 5 press release 6 GUIDE TO THE EXHIBITION 7 plan of the exhibition 8 the king’s portrait 9 the king’s glory 11 the king of peace and the king of war 13 the very christian king and the king’s physical body 15 the king’s taste 17 louis xiv, music and dance 19 architecture, the art of gardens and the king’s animals 21 the myth 23 publications 25 exhibition catalogue 26 related publications 27 APPENDICES 30 timeline 31 around the exhibition 35 practical information 42 list of illustrations available for the press 43 EXHIBITION partners 46 3 foreword by jean-jacques aillagon AS SOON AS I WAS APPOINTED PRESIDENT of the Public Est ablishment of the Museum and National Est ate of Versailles, I regarded it as necessary for this est ablishment, through all the expressions of its programming policy, to devote very sp ecial attention to the person and work of Louis XIV as the concentration of the genius of all the men who created Versailles. And that is why I decided to settle quickly and properly the longst anding quest ion on what to do with the st atue by Pierre Cartellier and Louis Petitot that Louis-Philippe erect ed in honour of his ancest or in the royal courtyard of the Château. Th is st atue henceforth welcomes the visitor on the Place d’Armes and thus signals to all that among the “kings who made Versailles”, this one, Louis le Grand, was by far the most outst anding fi gure. -
JEAN JOUVENET Voir Pages 14-17
AINTINGS P RENCH / F ABLEAUX FRANÇAIS T FINE ART FINE – BOQUET & MARTY DE CAMBIAIRE DE MARTY & BOQUET BOQUET & MARTY DE CAMBIAIRE FINE ART BOQUET & MARTY DE CAMBIAIRE 16 place Vendôme – Paris 1er II Tél. +(33) 1 49 26 05 01 – [email protected] 2011 FINE ART tableaux Français du xviie au xixe siècle French Paintings From the 17th to the 19th century Nous tenons à remercier pour leur aide et leur soutien les personnes suivantes : Our thanks to the following for their help and support: Stanislas d’Alburquerque, Colin Bailey, Jean-Luc et Cristina Baroni, Katrin Bellinger, Claude et Christiane Bervié, Guillaume Bouchayer, Yvonne Tan Bunzl, Benoît Dagron, Dorothée Dubus, Jean-Bernard Elzières, Pascal Fourcamprey, Christine Gouzi, Martin Grässle, Guillaume Kazerouni, Édouard Kopp, Guy de Latour-Jarllier, Isabelle Leegenhoek, Nicolas et Albertine Lesur, Jane MacAvock, Bruno Marty, Bertrand Moulins, Yan Ortman, Lorraine Ouvrieu, Georges Pebereau, Jean Penent, Stéphan Perreau, Alberto Ricci, Édouard Sebline, Delia Sobrino, Olivier Thomas, Enrique Valdivieso, Olimpia Valdivieso, Daniel de Villeneuve-Pinel et Alan Wintermute. Traductions en anglais à la fin du catalogue. Les dimensions des œuvres sont données en centimètres et en inches en indiquant la hauteur puis la longueur. Rapport d’état et prix sur demande. English translations at the end of the catalogue. Dimensions are given in centimeters and inches, with height before width. Condition reports and prices on request. Couverture JEAN JOUVENET voir pages 14-17 Quatrième de couverture MARIE-ANNE-JULIE FORESTIER (détail) voir pages 40-49 Page précédente HYACINTHE RIGAUD (détail) voir pages 26-29 Cet ouvrage accompagne l’exposition « Tableaux français du XVIIe au XIXe siècle », 16 place Vendôme à Paris, du vendredi 4 au mardi 8 novembre 2011, tous les jours de 10 heures à 19 heures.