DOCSLIB.ORG

The Aeneas Gallery

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

The Aeneas Gallery ... Ever since Primaticcio’s creation of the Gallery of François I at the Chateau of Fontainebleau, in France painted galleries have become an ostentatious political or social statement for those who commission them. There was a wealth of examples in the seventeenth century, many of which have now disappeared. These include the Gallery of the Life of Marie de Medici painted by Rubens (1622-25), the Hall of Mirrors by Charles Le Brun at Versailles (1679-84) and private galleries such as the one in the Hotel Lambert (c.1650-58). In the early eighteenth century examples include the Mississippi Gallery of the Royal Bank (1720) by the Italian painter The Gallery Giovanni Antonio Pellegrini (1675-1741) and the gallery by Charles de La Fosse (1636- of 1716) for financier and collector Pierre Crozat (1705-07). As the century progressed, the fashion waned. Highlights of this historical episode include the Aeneas gallery at the Palais-Royal Columns in Paris, home to the three large canvases by Coypel and distinguished by its artistic value that was acknowledged by its contemporaries : indeed the duke of Orleans soon had an ... engraving made of it. European Art After the death in 1701 of the brother of Louis XIV, his son Philippe, duke of Orleans who from the Fourteenth would become regent when the king died in 1715, asked his chief painter, Antoine Coypel to Eighteenth Century (1661-1722), who was already a celebrity, to decorate a large gallery that he had had built by Jules Hardouin-Mansart in 1698-1700 at the Palais-Royal overlooking the rue de Richelieu. The chosen theme was the story of Aeneas, a Trojan prince who escaped the Greek sack of Troy and wandered through the Mediterranean lands, Sicily and Carthage before arriving in Italy at the behest of Jupiter. He founded Rome, bringing together the local inhabitants and ... the Trojans who had left with him. Virgil recounts this story (29-19 BC) in the form of an epic that defines the mythical and legendary origin of Rome. In the late seventeenth century, Aeneas was often associated with princes and their merits, while Hercules and Apollo represented the figures of kings. The fact the duke of Orleans chose this subject may be due to his political ambitions, although it is difficult to draw a parallel between the episodes in Virgil’s story and events in the duke’s life ; the painted ceilings that celebrate Louis XIV are much more explicit in their associations and symbolic import. At first Coypel adorned the vaulted ceiling between spring 1703 and the end of 1705 with 1 seven paintings, including the central piece Venus imploring Jupiter. Then between 1714 and 8 1717, the duke of Orleans asked him to paint a further seven large canvases to decorate the wall. Among them were the three works dating to the beginning of this period, around 1714- 15, which are now in the Musée Fabre and are well preserved. The other four that were painted later have suffered untimely deterioration as a result of unfortunate experimentations with unstable colours that Coypel had selected for their vibrancy. In 1778, the works were deposited prior to the gallery’s destruction in 1781-83, and then transferred to the Chateau of Saint-Cloud. During the French Revolution they were incorporated into national collections. Three were deposited by the Louvre in museums in the provinces : Aeneas and Anchises* and the Death of Dido* in Montpellier in 1803 ; Aeneas and Achates appearing to Dido* in Arras in 1938 and transferred to Montpellier in 2005 during the refurbishment of the Musée Fabre. The other works are still in the Louvre’s reserve collection or, as in the case of the ceiling, English translation by Susan Schneider translation English destroyed. The study held by the Musée des Beaux-arts in Angers is therefore the only reminder of the vaulted ceiling (fig.1). The set brought together in the Musée Fabre is illustrative of a major decorative element from the end of the reign of Louis XIV and the beginning of the Regency, a period well represented in works by artists including Jean Ranc, Jean Raoux, Louis de Silvestre and Jean-François de Troy. Coypel designed the vaulted ceiling in the tradition of Le Brun following an interplay of false openings in the architecture and added pictures, incorporated like easel paintings. The 1702 sketch of this no longer existent ensemble reveals the illusionistic effect of this call * An asterisk indicates that the work mentionned is displayed in the room fig.1- Antoine Coypel Vénus Imploring Jupiter (study) © Angers museum. Photograph Pierre David for light (fig.1). On the walls, paintings are alternated vertically and horizontally. Coypel made many preparatory drawings of detail and of the overall effect (fig.2). His is a synthesis of the grace of Correggio, particularly in his female figures and the warm tones and dynamic compositions of Rubens. He also uses very bold and lyrical colour combinations of green, violet, red and yellow. In Aeneas and Anchises* (Aeneid, II), the Trojan prince flees from the sack and burning fig.2- Antoine Coypel Study for Aeneas and Anchises of Troy with his Paris, Musée du Louvre, Cabinet des dessins son Ascanius All rights reserved and bearing his elderly father Anchises who is holding the Penates. Wedged between the architectural elements, the group combines a sense of solidity and an upwardly spiralling movement. Coypel brings together the Baroque dynamism of Rubens and Le Brun’s resolute drawing. Aeneas and Achates appearing to Dido in the Temple* shows the hero in Carthage after his shipwreck. A cloud obscures his arrival, along with his loyal Achates, in the Temple of Juno, where Dido was already receiving the other Trojans begging for her help. The cloud disappears to reveal Aeneas to an astonished Dido, who was already in love. The highly theatrical attitudes and composition are reminiscent of Coypel’s Athalie in the Louvre (1696) and his Susanna accused of Adultery in the Prado (1695). The composition of the Death of Dido* (Aeneid, IV) is equally dramatic and effective, with curved lines matching in rising arabesques. Having pierced her breast, Dido on her funeral pyre is attended by maidservants and her sister Anna, while Iris sent by the Gods cuts a lock of her hair thus severing her link to life. Reception Pieces for the Royal Academy of Painting and Sculpture ... The museum created in Montpellier during the French Revolution to preserve artworks that had been seized in churches and convents found its collections considerably enriched with the State loan of thirty paintings in 1803, including a coherent ensemble of eleven reception pieces for the Royal Academy of Painting and Sculpture. Founded in 1648, the Academy taught artistic practice based on drawing, the study of nudes, antiquity and classical Italians, as well as courses in art theory. A painter who wished to enter the Academy had to present his work to its members for approval. If the work was The Gallery accepted, the next step was to execute a painting on a chosen subject – the reception piece of – in a given format to determine whether the artist was worthy of admittance to the Academy. This was done via a system of votes. The work then became the property of the Academy and Columns this important collection was seized during the Revolution and dispersed among provincial ... museums, including that of Montpellier. Around 1700 European Art from the Fourteenth When Antoine Coypel (1661-1722) was admitted to the Academy with his Louis XIV in Glory to Eighteenth Century After the Peace of Nijmegen in 1678*, the debate between the Academy, in favour of Poussin (1594-1665) and the primacy of drawing, and Roger de Piles (1635-1709), who strove for recognition of Rubens (1577-1640), the Venetians and the importance of colour, was finally won by the latter. Coypel painted in attractive warm tonalities with broad brushwork and compositions brought to life through dynamic curves. He was to impose a revival of history ... painting marked by the art of Rubens. Corneille van Clève (1644-1735), a sculptor who worked on the decoration of the Palace at Versailles, used terracotta for the model of his 1681 marble reception piece, Polyphemus*, now at the Louvre. The classical reference in the Academy brief lies in the reworking of the Cyclops’ pose as painted by Annibale Carracci (1560-1609) in the Farnese Gallery in Rome. Along with these innovations drawn from Flemish art, the French style born of Le Brun (1619-1690) was to endure, gaining in grace often taken from the Italian models of Albani 1 (1578-1660) and Corregio (1489/94 ? -1534). Evidence of this is Bon Boullogne (1649-1717), who was employed by Le Brun in Versailles, the director of a large studio in which Louis de 8 Silvestre (1675-1760) worked. Silvestre applied to the Academy with his Prometheus Making Man aided by Minerva* in 1702. Silvestre was adept at peopling the landscape with figures, whose suave elegance was inspired by his master. He was to make his career at the Court of Dresden in Germany, as was Jacob van Schuppen (1670-1751), the son of a Flemish engraver and trained under Largillière (1656-1746). His 1704 reception piece, The Hunt of Meleager and Atalanta* with the emphatic lines of its drawing, is captivating in the smoothness of its workmanship that does justice to the materials and its vigorous depiction of the face of the horn-blower and the animals reminiscent of those of the Antwerp painters, Jacob Jordaens (1593-1678) and Frans Snyders (1579 ? -1657).
Recommended publications
  • Illuminating the Old Masters and Enlightening the British Public

    Illuminating the Old Masters and Enlightening the British Public

    Illuminating the Old Masters and Enlightening the British Public: Anna Jameson and the Contribution of British Women to Empirical Art History in the 1840s Susanna Avery-Quash Within the Victorian art world, the wind of change was signalled early on in a very visible way when, in April 1838, the Queen opened the National Gallery in its new, purpose-built home on Trafalgar Square. The relocation from its original cramped quarters at 100 Pall Mall, where the gallery had been since its foundation in 1824, would have brought to mind the recent debates addressed by a select committee of 1835 concerning the public util- ity of art institutions including the adequacy of the national collection and its future purpose.1 Numerous other governmental inquiries would pursue these matters in the 1840s and 1850s, culminating in the select committee of 1853, which led to the gallery’s reconstitution in 1855. Outside Parliament a host of voices was also lobbying for change, among them Anna Jameson, a well-known figure in her day.2 Her contribution is notable because she was a woman in a male-dominated arena and because her message was heard early on and by a wide audience. With the recent interest in women’s con- tributions to scholarship, her work has been re-evaluated, especially in rela- tion to what she published on early Italian art and religious iconography.3 1 On this topic, see Nicholas M. Pearson, The State and the Visual Arts: A Discussion of State Intervention in the Visual Arts in Britain, 1760–1981 (Milton Keynes: Open University, 1982); Christopher Whitehead, The Public Art Museum in Nineteenth Century Britain: The Development of the National Gallery (Aldershot: Ashgate, 2005).
  • Charles De La Fosse (Or Delafosse) Occasionally 1; New Haven 2009

    Charles De La Fosse (Or Delafosse) Occasionally 1; New Haven 2009

    Neil Jeffares, Dictionary of pastellists before 1800 Online edition LA FOSSE, Charles de J.442.106 Allégorie de Louis XIV, cr. clr/ppr, Paris 15.VI.1636–13.XII.1716 26.5x31.5 (British Museum 1962,0714.41. Iolo Primarily a history painter (agréé 1671, reçu 1673), Williams; legs 1962). Exh.: London 1962c, no. Charles de La Fosse (or Delafosse) occasionally 1; New Haven 2009. Lit.: Hedley 2001, p. 23, executed heads in pastel (although most of the fig. 11, as pstl, by Lafosse; Gustin-Gomez sheets so described are in trois crayons with 2006, II, no. D.R. 46, rejected, as ?Laguerre. touches of pastel), some of which are studies for Olim attr. Louis Laguerre, as study for tapestry figures in his compositions while others are of Queen Anne’s victories ϕ?α portraits. There is little consistency in the technique of the few known examples, and attributional errors seem likely. Bibliography Bellier de La Chavignerie & Auvray; Bénézit; Grove 1996; Clementine Gustin-Gomez, Charles de La Fosse 1636–1716, Dijon, 2006; Hedley 2001; New York 1999c; Prat 2013; Rambaud 1965–71, I, p. 171; II, p. 307f; Ratouis de Limay 1946; Sanchez 2004; Toledo 1975; Washington J.442.108 Huit têtes, la plûpart en pastel (Pierre 2009 Crozat; vente p.m., Paris, Mariette, 10.IV.– 13.V.1741, Lot 1056, 18 livres 15; Tessin) Pastels J.442.109 Un beau sujet de composition, pstl J.442.101 Tête d’un agréable jeune homme, pstl/ppr gr., 33x26.3 (Julllienne; Paris, Martin, (Cottin; Paris, salle des Grands Augustins, Grignard, Helle & Glomy, 27.XI.1752 & seq., Remy, 30.III.–22.V.1767, Lot 763, 24 livres; Liancourt) Lot 263, 17 livres; d’Argenville) J.442.11 Tête, pstl (Julllienne; Paris, Martin, Remy, J.442.102 Jeune femme, la tête inclinée et regardant à g.
  • Charles De La Fosse, L'automne, Figuré Par Bacchus Et Ariane

    Charles De La Fosse, L'automne, Figuré Par Bacchus Et Ariane

    musée des beaux-arts dijon lumière sur… Charles de la Fosse L’Automne, figuré par Bacchus et Ariane En 1679, Louis XIV, «lassé à la fin du beau et de la foule, se persuada qu’il voulait quelquefois du petit et de la solitude», raconte le célèbre mémorialiste Saint-Simon. Le roi décide alors de créer à Marly, non loin de Versailles, un château d’agrément consacré à ses invités personnels, d’où provient L’Automne de Charles de la Fosse. 1 Aujourd’hui disparu car détruit peu après la Révolution, le septembre : « il faut faire travailler à quatre tableaux comme château de Marly eut une grande importance et fut même, à vous le proposez, il faut bien choisir les peintres et ne pas la fin de la vie du roi, le lieu où celui-ci passait le plus clair de les presser pour qu’ils soient beaux. » son temps, au cours des « marlys », les séjours qu’il réservait à ses invités, pendant lesquels l’étiquette était allégée. Cette Le choix des quatre saisons est particulièrement adapté au faveur fut très recherchée, ce qui fut moqué par Saint-Simon, décor d’une résidence royale, car l’alternance des saisons citant une réplique faite par le cardinal de Polignac au roi : « Ce n’est rien, Sire, la pluie de Marly ne mouille point. » Le château de Marly suivait une conception radicalement différente de celle de Versailles : au lieu d’un immense bâtiment 2 construit au plus haut point d’un parc, Marly était constitué de treize pavillons (un par signe du Zodiaque et un pour la famille royale) nichés au sein d’un vallon (fig.
  • Of Painting and Seventeenth-Century

    Of Painting and Seventeenth-Century

    Concerning the 'Mechanical' Parts of Painting and the Artistic Culture of Seventeenth-CenturyFrance Donald Posner "La representation qui se fait d'un corps en trassant making pictures is "mechanical" in nature. He understood simplement des lignes, ou en meslant des couleurs, est proportion, color, and perspective to be mere instruments in consider6e comme un travail m6canique." the service of the painter's noble science, and pictorial --Andre F61ibien, Confirences de l'Acadimie Royale de Pezn- elements such as the character of draftsmanship or of the ture et de Sculpture, Paris, 1668, preface (n.p.). application of paint to canvas did not in his view even warrant notice-as if they were of no more consequence in les Connoisseurs, ... avoir veus "... apr6s [les Tableaux] judging the final product than the handwriting of an author d'une distance s'en en raisonnable, veiiillent approcher setting out the arguments of a philosophical treatise.3 Paint- suite pour en voir l'artifice." ers who devoted their best efforts to the "mechanics of the de Conversations sur connoissance de la -Roger Piles, la art" were, he declared, nothing more than craftsmen, and 300. peinture, Paris, 1677, people who admired them were ignorant.4 Judging from Chambray's text, there were a good many A of Champion French Classicism and His Discontents ignorant people in France, people who, in his view seduced ca. 1660 by false fashion, actually valued the display of mere craftsman- In Roland Freart de his 1662 Chambray published IdMede la ship. Chambray expresses special
  • Maurice-Quentin De La Tour

    Maurice-Quentin De La Tour

    Neil Jeffares, Maurice-Quentin de La Tour Saint-Quentin 5.IX.1704–16/17.II.1788 This Essay is central to the La Tour fascicles in the online Dictionary which IV. CRITICAL FORTUNE 38 are indexed and introduced here. The work catalogue is divided into the IV.1 The vogue for pastel 38 following sections: IV.2 Responses to La Tour at the salons 38 • Part I: Autoportraits IV.3 Contemporary reputation 39 • Part II: Named sitters A–D IV.4 Posthumous reputation 39 • Part III: Named sitters E–L IV.5 Prices since 1800 42 • General references etc. 43 Part IV: Named sitters M–Q • Part V: Named sitters R–Z AURICE-QUENTIN DE LA TOUR was the most • Part VI: Unidentified sitters important pastellist of the eighteenth century. Follow the hyperlinks for other parts of this work available online: M Matisse bracketed him with Rembrandt among • Chronological table of documents relating to La Tour portraitists.1 “Célèbre par son talent & par son esprit”2 – • Contemporary biographies of La Tour known as an eccentric and wit as well as a genius, La Tour • Tropes in La Tour biographies had a keen sense of the importance of the great artist in • Besnard & Wildenstein concordance society which would shock no one today. But in terms of • Genealogy sheer technical bravura, it is difficult to envisage anything to match the enormous pastels of the président de Rieux J.46.2722 Contents of this essay or of Mme de Pompadour J.46.2541.3 The former, exhibited in the Salon of 1741, stunned the critics with its achievement: 3 I.
  • BON BOULLOGNE Paris, 1649 – Paris, 1717 UN CHEF D’ÉCOLE AU GRAND SIÈCLE

    BON BOULLOGNE Paris, 1649 – Paris, 1717 UN CHEF D’ÉCOLE AU GRAND SIÈCLE

    Aide à la visite BON BOULLOGNE Paris, 1649 – paris, 1717 UN CHEF D’ÉCOLE AU GRAND SIÈCLE Musée national Magnin, Dijon du 5 décembre 2014 au 5 mars 2015 présentation de l’exposition Actif à la n du règne de Louis XIV, Bon Boullogne fut de son vivant et tout au long du XVIIIe siècle l’un des peintres d’histoire français les plus admirés. Doué pour illustrer les sujets mythologiques et bibliques, l’artiste fut sollicité pour décorer résidences royales et édices religieux. Auteur de grands décors comme de petits tableaux recherchés par les collectionneurs, Bon Boullogne était également apprécié comme portraitiste. Il avait surtout la rare capacité de peindre selon diérentes manières et de réaliser des pastiches susceptibles de tromper les amateurs. Passée la Révolution, Bon Boullogne et les meilleurs peintres d’histoire de sa génération - Louis de Boullogne (son frère cadet), Charles de La Fosse, Antoine Coypel, Jean Jouvenet et Nicolas Colombel - furent l’objet d’une désaection. Ces artistes connaissent depuis quelques années un regain d’intérêt à l’exception de Bon Boullogne. Aussi la rétrospective qui s’ouvre au musée Magnin est-elle l’occasion de lui rendre justice: les tableaux, dessins et gravures d’interprétation qui ont été réunis restituent les multiples facettes d’un art qui a souvent déjoué l’avis des connaisseurs. Les œuvres présentées évoquent tantôt l’art des peintres bolonais du XVIIe siècle (Le Dominiquin, L’Albane), tantôt l’art amand (Van Dyck). L’exposition est également l’occasion de présenter certaines « contrefaçons ». Conservée pendant près de deux siècles au musée des beaux-arts d’Orléans sous des noms italiens, la petite Assomption est l’une d’elles.
  • Open Access Version Via Utrecht University Repository

    Open Access Version Via Utrecht University Repository

    Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka Philosopher on the throne Magdalena Grądzka Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka 3930424 March 2018 Master Thesis Art History of the Low Countries in its European Context University of Utrecht Prof. dr. M.A. Weststeijn Prof. dr. E. Manikowska 1 Philosopher on the throne Magdalena Grądzka Index Introduction p. 4 Historiography and research motivation p. 4 Theoretical framework p. 12 Research question p. 15 Chapters summary and methodology p. 15 1. The collection of Stanisław August 1.1. Introduction p. 18 1.1.1. Catalogues p. 19 1.1.2. Residences p. 22 1.2. Netherlandish painting in the collection in general p. 26 1.2.1. General remarks p. 26 1.2.2. Genres p. 28 1.2.3. Netherlandish painting in the collection per stylistic schools p. 30 1.2.3.1. The circle of Rubens and Van Dyck p. 30 1.2.3.2. The circle of Rembrandt p. 33 1.2.3.3. Italianate landscapists p. 41 1.2.3.4. Fijnschilders p. 44 1.2.3.5. Other Netherlandish artists p. 47 1.3. Other painting schools in the collection p. 52 1.3.1. Paintings by court painters in Warsaw p. 52 1.3.2. Italian paintings p. 53 1.3.3. French paintings p. 54 1.3.4. German paintings p.
  • Gemälde Galerie Alte Meister Gemäldegalerie Alte Meister Gemäldegalerie Alte Gemälde Galerie Alte Meister

    Gemälde Galerie Alte Meister Gemäldegalerie Alte Meister Gemäldegalerie Alte Gemälde Galerie Alte Meister

    Museumsführer Museumsführer GEMÄLDE GALERIE ALTE MEISTER GEMÄLDEGALERIE ALTE MEISTER GEMÄLDEGALERIE ALTE GEMÄLDE GALERIE ALTE MEISTER Herausgegeben von den Staatlichen Kunstsammlungen Dresden, Stephan Koja Stephan Koja Eine derart groß angelegte Sammeltätigkeit war möglich, weil das Kurfürsten tum Sachsen zu den wohlhabendsten Gebieten des Heiligen Römischen Reiches Deut- »Ich wurde ob der Masse des scher Nation gehörte. Reiche Vorkommen wertvoller Erze und Mineralien, die Lage am Schnittpunkt wichtiger Handelsstraßen Europas sowie ein ab dem 18. Jahrhun- Herrlichen so konfus« dert hochentwickeltes Manufakturwesen ermöglichten den Wohlstand des Landes. Die Dresdner Gemäldegalerie Neuordnung der Sammlungen unter August dem Starken 1707 ließ August der Starke die Gemäldesammlung aus den allgemeinen Beständen der Kunstkammer herauslösen und die besten Bilder in einem eigenen Raum im Schloss unterbringen. 1718 zogen sie weiter in den Redoutensaal, schließlich 1726 in den »Riesensaal« und dessen angrenzende Zimmer. Die übrigen Objekte der »Die königliche Galerie der Schildereien in Dresden enthält ohne Zweifel einen Kunstkammer bildeten den Grundstock für die anderen berühmten Sammlungen Schatz von Werken der größten Meister, der vielleicht alle Galerien in der Welt Dresdens wie das Grüne Gewölbe, die Porzellansammlung, das Kupferstich-Kabinett, übertrifft«, schrieb Johann Joachim Winckelmann 1755.1 Schon 1749 hatte er be- den Mathematisch-Physikalischen Salon oder die Skulpturensammlung. Denn schon eindruckt seinem Freund Konrad Friedrich Uden mitgeteilt: »Die Königl. Bilder um 1717 hatte August der Starke, wohl inspiriert durch dementsprechende Eindrü- Gallerie ist […] die schönste in der Welt.«2 cke auf Reisen, eine Funktionsskizze4 für die Aufteilung der Sammlung entworfen, In der zweiten Hälfte des 18. Jahrhunderts war die Dresdner Gemäldegalerie nach der das Sammlungsgut und nicht die historische Klassifizierung das Ordnungs- bereits ein Anziehungspunkt für Künstler, Intellektuelle und kulturaffine Reisende kriterium darstellte.
  • Reflecting the Sun: Mirrors, Masculinity, and Monarchy Under Louis Xiv

    Reflecting the Sun: Mirrors, Masculinity, and Monarchy Under Louis Xiv

    REFLECTING THE SUN: MIRRORS, MASCULINITY, AND MONARCHY UNDER LOUIS XIV By ALEC MOORE A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF THE ARTS UNIVERSITY OF FLORIDA 2018 1 © 2018 Alec Moore 2 To my dear sweet Lou-Lou Bae 3 ACKNOWLEDGMENTS I would like to thank my committee members Melissa Hyde, Elizabeth Ross, and Rori Bloom for their time, attention and patience in the completion of this thesis. I owe Melissa Hyde a particular debt of gratitude for advising me over the course of my time here at the University of Florida. Additionally, I would like to thank all those who supported me during my time here in Gainesville: Jennaca Taipulus, Sarah Sloan, Ivy Margosian, Mark Hodge, Chase Machado — and few I know I am forgetting — your comradery meant the world to me. Jennifer Jurgens is due a special “thank you” for her eternal commitment to keeping me sane. As always I would not have made it this far without the support of my family whose continued investment in my success made all the difference. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS .................................................................................................. 4 LIST OF FIGURES .......................................................................................................... 6 ABSTRACT ..................................................................................................................... 8 CHAPTER 1 INTRODUCTION .........................................................................................................
  • O Mito De Apolo E Dafne

    O Mito De Apolo E Dafne

    o mito de apolo e dafne Sobre o autor LouiS de SiLveStre (1675-1760) Louis de Silvestre nasceu em Sceaux, cidade ao sul de Paris, França, no dia 23 de junho de 1675. Filho de Israel Silvestre, pintor e gravador oficial do Delfim Luís da França. Teve suas primeiras lições de pintura com o pai, sendo depois treinado por Charles Le Brun e Bon Boullogne. Parte para Roma, a fim de terminar seus estudos, onde é acolhido por Carlo Maratta, que terá imensa influência em sua pintura. Especializa-se na pintura histórica e de retratos. Retorna a Paris em 1702, sendo aceito na Academia Real de Pintura e Escultura logo em seguida. Torna-se professor dessa instituição em 1706. Destacam-se desse período a cena bíblica do paralítico do templo e o retrato do rei francês Luís XV, de 1715, mantido na Galeria de Dresden (Duissieux, 1876). Recebe convite do príncipe Frederico Augusto da Saxônia para trabalhar em Dresden, na corte de seu pai, o rei Augusto II da Polônia.1 Silvestre aceita a oferta e recebe dispensa da corte francesa, chegando em Dresden em 1718. Tanto Augusto II, quanto seu filho, admiravam o trabalho de Silvestre sobremaneira, concedendo-lhe as maiores honras disponíveis para o artista. Foi escolhido pintor oficial da corte, depois diretor da Academia de Dresden, em 1727. O príncipe Frederico, agora Augusto III da Polônia, concede-lhe um título nobiliárquico em 1741, fazendo o mesmo com 1 Entre os séculos XVI e XVIII, a Polônia e a Lituânia formavam uma monarquia dual e eletiva, chamada de Comunidade Polaco-Lituana.
  • Porcelain Acquisitions Through Private Networks for Augustus the Strong, Heidelberg: Arthistoricum.Net, 2020

    Porcelain Acquisitions Through Private Networks for Augustus the Strong, Heidelberg: Arthistoricum.Net, 2020

    1. Introduction Ever since the discovery of the maritime routes to America by Christopher​ Columbus in 1492, and to India by Vasco da Gama in 1498, the global expansion of trade and trade routes influenced European culture in an unprecedented man- ner. Knowledge about geography and foreign nations expanded, and the intro- duction of new consumables such as tea and chocolate transformed European table culture. Silk and fine cottons from China and India, once brought to the West via the Silk Roads, now arrived in large quantities at the European courts. The European global expansion had its downsides, of course. The conquest of the Americas led to the expulsion, exploitation and eradication of its indigenous peoples. The trade in sugar cane products became the linchpin of colonial rule on the Caribbean islands. After the extinction of almost the entire native pop- ulation, large areas became available for cultivation. Millions of Africans were deported and enslaved over the course of 400 years to work on the plantations under inhuman conditions. One trade item, which also found its way to Europe with the growing maritime traffic, was Chinese porcelain. Still a mysterious substance in the 16th century, vessels made from the luxurious-looking material quickly gained wide popularity with the intensification of the export trade by the Dutch. Millions of East Asian porcelains reached Europe in the 17th and 18th centuries, partly through the professional East Asia trading companies and partly through private enterprise. Chinese and – later – Japanese porcelain soon became deeply anchored in European culture, where it was used for its intended purpose as tableware, as gifts exchanged between royal courts, or as decorative and useful items in the households of even the general public.
  • Les Peintures De L'église Notre-Dame-De-La Nativité De Bercy

    Les Peintures De L'église Notre-Dame-De-La Nativité De Bercy

    Peintures et décor du siècle des Lumières dans les églises parisiennes sous la direction de Christophe HENRY (GHAMU) et Laetitia PIERRE (UNIVERSITÉ PARIS-1 PANTHÉON-SORBONNE) LES PEINTURES DE L'ÉGLISE NOTRE-DAME-DE-LA NATIVITÉ DE BERCY NOTE DE VISITE Place Lachambeaudie – 75012 Paris Lundi 25 mars 2013 EFFECTUÉE SOUS LA CONDUITE DE : Laëtitia PIERRE (Université Paris-1 Panthéon-Sorbonne) & Christophe HENRY (Ghamu) GROUPE HISTOIRE ARCHITECTURE MENTALITÉ URBAINES - 2013 1 Notre-Dame-de-la-Nativité de Bercy Ghamu 2013 Présentation de l'église En 1677, les Pères de la Doctrine Chrétienne ouvrent à Bercy un couvent dédié en 1679 à « Notre-Dame du Bon Secours ». Le 19 octobre 1790, suite à la création de la commune de Bercy qui compte près de 1400 âmes, l’église du couvent des Pères de la Doctrine Chrétienne devient l’église paroissiale et est consacrée en 1792, sous le vocable de l’Assomption. La décision de reconstruire l’édifice devenu vétuste intervient en 1822. L’ouvrage est confié à l’architecte André Marie Chatillon (Paris, 1782-1859), premier grand Prix de 1809 et promis aux fonctions d'architecte-voyer de la ville de Paris. Il sera notamment chargé du palais de la Légion d'honneur à Paris et des travaux visant à permettre l'accueil au château d'Écouen de la maison d'éducation de la Légion d'honneur.. Le 8 juin 1823 est posée la première pierre de la nouvelle église, consacrée en octobre 1826 sous le vocable de Notre-Dame-de-la-Nativité. Sur ce chantier, Chatillon a pour collaborateur l'architecte J.-B.-A.