DOCSLIB.ORG

9783039105434 Intro 002.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
9783039105434 Intro 002.Pdf Introduction Within the past few decades a number of scholars have expressed dismay at the minimal amount of interest now stimulated by sculpture, particularly the sculpture created in France during the ancien régime. In a study on Houdon published posthumously, Louis Réau observed that “in the twentieth century sculpture is no longer esteemed at its true value.”1 François Souchal, in an editorial in the Gazette des beaux-arts in 1992, lamented that “sculpture is the poor relative in research as well as in public exhibitions.”2 The first half of James Hall’s study, The World as Sculpture, subtitled The Changing Status of Sculpture from the Renaissance to the Present Day, is devoted to demonstrating the many manifestations of sculpture’s subordination to painting from the late Middle Ages through the nineteenth century.3 Hall’s work is wide-ranging, covering six centuries and several west- ern European countries, but focuses in particular on the situation in Italy during the Renaissance, Baroque and Neoclassic periods. Specialized studies of post-medieval western sculpture exist, but there are still large gaps that need filling. Souchal’s superb four- volume compilation of sculpture from the era of Louis XIV does not extend to work produced after the early eighteenth century and is limited to cataloguing.4 In From Pigalle to Préault, Alison West viv- idly described the present-day downplaying or ignoring of sculpture not only on the part of museum and church officials, but also by the 1 Louis Réau, Houdon: sa vie et son oeuvre (Paris: F. de Nobèle, 1964), 17. Except where noted, all translations from the French included in this study are my own. French quotations translated into English in the main text are listed in French in an appendix at the end of this study. 2 “Editorial: Clodion,” Gazette des beaux-arts, VIe pér., 120, 1992, 1. 3 James Hall, The World as Sculpture (London: Chatto and Windus, 1999), 1–171. 4 François Souchal, French Sculptors of the 17th and 18th centuries: The Reign of Louis XIV (Oxford: Cassirer, 1977–93). 20 A God or a Bench majority of scholars.5 West’s investigation is concerned specifically with production from the mid-eighteenth century through the mid- nineteenth, particularly in France. The neglect that she signaled is in fact generally discernible in connection with seventeenth-century and pre-Revolutionary eighteenth-century French sculpture.6 Confirmation is found in a catalogue published in connection with the exhibition of Chardin’s paintings held in 1999–2000, where it is observed that more investigation should be made of the sculpture of his time.7 It is nevertheless the case that during the same recent decades a number of major exhibitions devoted to the productions of sculptors of the ancien régime have been organized, accompanied by exemplary scholarly catalogues. Among them are exhibitions of works by Sara- zin (1992), Clodion (1992), Pajou (1997), Houdon (2003) and a dis- play of sculpture by Pigalle belonging to the collections of the Louvre (1998).8 Important studies of particular topics connected with the sculptural production of the time have been published; these include Gerold Weber’s Brunnen und Wasserkünste in Frankreich im Zeital- ter von Louis XIV and Betsy Rosasco’s The Sculptures of the Château of Marly During the Reign of Louis XIV.9 Aline Magnien, in La nature 5 Alison West, From Pigalle to Préault (Cambridge, U.K.: Cambridge UP, 1998), 1. 6 To cite the case of a specific sculptor, Julia Dabbs, Embodying Ethos: Anguier, Poussin, and the Concept of Corporal Expression in the French Academy (Ann Arbor, MI: UMI Press, 1999), 8, nn. 23 and 24, and 9, n. 28 points out the lack of thorough study of Michel Anguier’s work. 7 Pierre Rosenberg and Renaud Temperini, Chardin: suivi du catalogue des oeuvres (Paris: Flammarion, 1999), 155: “la sculpture française du XVIIIe siècle, qui aujourd’hui encore reste très méconnue et ne bénéficie pas de la popularité qu’elle mérite.” 8 Barbara Brejon de Lavergnée, Geneviève Bresc-Bautier, Françoise de La Moureyre, Jacques Sarazin, sculpteur du roi, 1592–1660; Anne Poulet and Guilhem Scherf, Clodion; James D. Draper and Guilhem Scherf, Augustin Pajou, Royal Sculptor 1730–1809; Anne Poulet, Jean-Antoine Houdon: Sculptor of the Enlightenment; Jean-René Gaborit, Jean-Baptiste Pigalle 1714– 1785. 9 Gerold Weber, Brunnen und Wasserkünste in Frankreich im Zeitalter von Louis XIV (Worms: Werner’sche Verlagsgesellschaft, 1985); Betsy Rosasco, The Sculptures of the Château of Marly During the Reign of Louis XIV (New York: Garland, 1986). Introduction 21 et l’antique, la chair et le contour, delved into theoretical bases for sculptural representation of anatomy during the period.10 Despite this promising upsurge of interest in the subject, studies of the total body of sculptural production during the ancien régime in relation to its political, social, and cultural context have yet to be produced. Texts providing overviews of the high arts of the period, such as Anthony Blunt’s Art & Architecture in France 1500–1700 and Michael Levey’s Painting and Sculpture in France 1700–1789 as well as Luc Benoist’s coverage in La sculpture française primarily focus on formal and stylistic characteristics of the works.11 While of essential importance, those accounts should be supplemented by in- vestigations of the roles assumed by various kinds of sculpture within the culture of the time. One area of this subject, the political advertis- ing for which royal monuments were employed and reactions to those promotional campaigns, has been addressed in specialized studies by N. R. Johnson, Jeffrey Merrick, Peter Burke, Chandra Mukerji, and Andrew McClellan,12 but further examination of the multiple, often charged, meanings and implications accompanying sculpture during this period remains to be made. Significant sculptural activity was also being carried on in other territories during the era under consideration, and some of the con- cerns surrounding its production in France are to be found elsewhere 10 Aline Magnien, La nature et l’antique, la chair et le contour, Studies on Voltaire and the Eighteenth Century 2004.2 (Oxford: Voltaire Foundation, 2004). 11 Anthony Blunt, Art & Architecture in France 1500–1700 (Harmondsworth, Middlesex: Penguin, 1953); Michael Levey, Painting and Sculpture in France 1700–1789 (New Haven: Yale UP, 1993); Luc Benoist, La sculpture française (Paris: Presses universitaires de France, 1963). 12 N. R. Johnson, Louis XIV and the Age of the Enlightenment, Studies on Voltaire and the Eighteenth Century, CLXXII (Oxford: Voltaire Foundation, 1978); Jeffrey Merrick, “Politics on Pedestals: Royal Monuments in Eighteenth- Century France,” French History, V, 1991, 234–64; Peter Burke, The Fabrication of Louis XIV (New Haven: Yale UP, 1992); Chandra Mukerji, Territorial Ambitions and the Gardens of Versailles (Cambridge, U.K.: Cambridge UP, 1997); Andrew McClellan, “The Life and Death of a Royal Monument: Bouchardon’s Louis XV,” Oxford Art Journal, XXIII, 2000, 1–27. 22 A God or a Bench as well.13 Yet despite the appearance of similar issues in the art of other countries, it is nevertheless true that examination of the situation in France at the time of the ancien régime provides the most complete and multi-faceted picture of attitudes toward sculpture. France main- tained a noteworthy degree of political continuity and unity during this period. Although there were unquestionably changes in the nature and flux in the policies of Bourbon rule over the course of its duration, it nevertheless constitutes a temporal unit encompassing a number of political, social, and cultural constants. Among them are the gradual achievement and maintenance of a centralized absolutist government accompanied by a highly stratified social system. At the same time, as is generally recognized, during the course of this era France became the source of elite culture and of intellectual and political ferment many elements of which influenced or were adopted by much of the western world. Another reason for the focus on artistic production in France during this era is furnished by the high level of organization of the arts maintained there, accompanied by an extensive surviving documenta- tion. These circumstances provide a wealth of information that serves as a valid basis for interpretations of the sort put forward in this book. There exist financial accounts, records of proceedings, official and 13 For example in England, its sculpture of this period most recently discussed in Malcolm Baker, Figured in Marble: the Making and Viewing of Eighteenth- Century Sculpture (Los Angeles: Getty Museum, 2000), and in Italy; see Christopher M. S. Johns, Papal Art and Cultural Politics: Rome in the Age of Clement XI (Cambridge, U.K.: Cambridge UP, 1993). As an instance, the continuation of the rivalry between the arts (paragone) is also an underlying theme in the Allegory of the Arts (c. 1730; Ottowa, National Gallery of Canada) by the Bolognese painter Giuseppe Maria Crespi. Its personification of Painting is working on a canvas of Pygmalion carving his statue of the ideal woman. The entire painting on the easel is in grisaille and thus colorless, like the art of sculpture it represents, while the vivid hues in the rest of Crespi’s portrayal proclaim painting’s greater interest and vitality. The representation of the sculptor and his work is only an image of an image, and as such one degree further from reality, and much smaller, than the figure of Painting whose ability to materialize it proclaims her superior powers: Painting’s triumph is completed by her leading the viewer to the realization that she can create the illusion of sculpture but the reverse is not possible. Introduction 23 personal correspondence, treatises, biographies, and memoirs. The records of the Royal Academy of Painting and Sculpture and its satellite institutions such as the French Academy in Rome, along with those of the surintendance des bâtiments (Royal Buildings Admin- istration), furnish information of a completeness and detail that facilitate investigation of the art produced and also of the conditions bearing on much of its creation and reception.
Load more

Recommended publications
  • ONE HUNDRED DRAWINGS and WATERCOLOURS Dating from the 16Th Century to the 21St Century
    O N E H U N D R E D ONE HUNDRED D R A W I N DRAWINGS G S & W A AND T E R C O L O WATERCOLOURS U R S S T E P H E N O N G P I N G U Y P E P P I A T T Stephen Ongpin Fine Art Ltd. Guy Peppiatt Fine Art Ltd. 2 0 1 7 Riverwide House - 2 0 6 Mason’s Yard 1 Duke Street, St James’s 8 London SW1Y 6BU 100 drawings PART 1.qxp 13/11/2017 09:10 Page 1 GUY PEPPIATT FINE ART STEPHEN ONGPIN FINE ART ONE HUNDRED DRAWINGS AND WATERCOLOURS dating from the 16th Century to the 21st Century WINTER CATALOGUE 2017–2018 to be exhibited at Riverwide House 6 Mason’s Yard Duke Street, St. James’s London SW1Y 6BU Stephen Ongpin Fine Art Guy Peppiatt Fine Art Tel.+44 (0) 20 7930 8813 Tel.+44 (0) 20 7930 3839 or + 44 (0)7710 328 627 or +44 (0)7956 968 284 [email protected] [email protected] www.stephenongpin.com www.peppiattfineart.co.uk 1 100 drawings PART 1.qxp 14/11/2017 11:23 Page 2 We are delighted to present our tenth annual Winter catalogue of One Hundred Drawings and Watercolours, which includes a wide range of British and European drawings and watercolours, placed more or less in chronological order, ranging in date from the 16th century to nearly the present day. Although the areas of Old Master drawings, early British drawings and watercolours, 19th Century and Modern drawings have long been regarded as disparate fields, part of the purpose of this annual catalogue is to blur the distinction between these collecting areas.
    [Show full text]
  • The Petite Commande of 1664: Burlesque in the Gardens of Versailles Thomasf
    The Petite Commande of 1664: Burlesque in the Gardens of Versailles ThomasF. Hedin It was Pierre Francastel who christened the most famous the west (Figs. 1, 2, both showing the expanded zone four program of sculpture in the history of Versailles: the Grande years later). We know the northern end of the axis as the Commande of 1674.1 The program consisted of twenty-four Allee d'Eau. The upper half of the zone, which is divided into statues and was planned for the Parterre d'Eau, a square two identical halves, is known to us today as the Parterre du puzzle of basins that lay on the terrace in front of the main Nord (Fig. 2). The axis terminates in a round pool, known in western facade for about ten years. The puzzle itself was the sources as "le rondeau" and sometimes "le grand ron- designed by Andre Le N6tre or Charles Le Brun, or by the deau."2 The wall in back of it takes a series of ninety-degree two artists working together, but the two dozen statues were turns as it travels along, leaving two niches in the middle and designed by Le Brun alone. They break down into six quar- another to either side (Fig. 1). The woods on the pool's tets: the Elements, the Seasons, the Parts of the Day, the Parts of southern side have four right-angled niches of their own, the World, the Temperamentsof Man, and the Poems. The balancing those in the wall. On July 17, 1664, during the Grande Commande of 1674 was not the first program of construction of the wall, Le Notre informed the king by statues in the gardens of Versailles, although it certainly was memo that he was erecting an iron gate, some seventy feet the largest and most elaborate from an iconographic point of long, in the middle of it.3 Along with his text he sent a view.
    [Show full text]
  • L 'Œuvre Du Mois
    Les Enfants à la chèvre ème Groupe en terre cuite du XIX LA SOURCE D’INSPIRATION Les Enfants à la chèvre réalisé par Jacques SARAZIN (1592-1660). Ce groupe en marbre, est signé et daté par Sa- razin en 1640. Le roi Louis XIV s’en rend acqué- reur en 1667. Placé aux Tuileries en 1668 puis à Versailles, il est envoyé dans les jardins du parc de Marly vers 1693 (bosquet de Marly, place des Enfants). Aujourd’hui il est exposé dans la Cour Marly du Musée du Louvre. Le groupe a été posé sur un riche piédestal de marbre, en forme de table ornée de pampres, commandé en 1702 aux ornema- nistes Ar- mand-Louis Solignon, dit Armand (1654-1715) et Nicolas Montéant (1688-1723). Cette œuvre sculptée peut être considérée comme une des pre- mières ex- pressions du ème baroque en Les Enfants à la chèvre - XIX L’ŒUVRE DU MOIS France. mais témoigne de plusieurs mythes). En effet dans la mythologie la chèvre joue un rôle important dans le destin de ces deux dieux. Rhéa, la mère de Jupiter, afin d'éviter que celui-ci ne soit dévoré par son père Sa- turne, l'envoie en Crète où il sera élevé par la L'œuvre de Jacques SARAZIN - 1640 chèvre Amalthée. De son coté Bacchus, fruit des amours adultères de Jupiter avec Sémélé, une mortelle, est sauvé de la fu- LE MYTHE reur d'une Junon outragée. Celle-ci, selon une version, Pourquoi deux enfants jouant avec une chèvre ? l'aurait livré aux Titans pour être découpé et mis à La mythologie et diverses traditions ont fait de la bouillir dans une marmite.
    [Show full text]
  • Les Réseaux Des Sculpteurs Parisiens Sous Henri IV Et Louis XIII
    Jacques Verger (dir.) La forme des réseaux : France et Europe (Xe-XXe siècle) Éditions du Comité des travaux historiques et scientifiques Les réseaux des sculpteurs parisiens sous Henri IV et Louis XIII Geneviève Bresc-Bautier DOI : 10.4000/books.cths.657 Éditeur : Éditions du Comité des travaux historiques et scientifiques Lieu d'édition : Éditions du Comité des travaux historiques et scientifiques Année d'édition : 2017 Date de mise en ligne : 13 novembre 2018 Collection : Actes des congrès nationaux des sociétés historiques et scientifiques ISBN électronique : 9782735508747 http://books.openedition.org Référence électronique BRESC-BAUTIER, Geneviève. Les réseaux des sculpteurs parisiens sous Henri IV et Louis XIII In : La forme des réseaux : France et Europe (Xe-XXe siècle) [en ligne]. Paris : Éditions du Comité des travaux historiques et scientifiques, 2017 (généré le 20 novembre 2020). Disponible sur Internet : <http:// books.openedition.org/cths/657>. ISBN : 9782735508747. DOI : https://doi.org/10.4000/books.cths. 657. Les réseaux des sculpteurs parisiens sous Henri IV et Louis XIII Geneviève Bresc-Bautier Conservateur général honoraire du patrimoine Extrait de : Verger Jacques (dir.), La forme des réseaux : France et Europe (xe-xxe siècle), éd. électronique, Paris, Éd. du Comité des travaux historiques et scientifiques (Actes des congrès nationaux des sociétés historiques et scientifiques), 2017. Cet article a été validé par le comité de lecture des Éditions du Comité des travaux historiques et scientifiques dans le cadre de la publication des actes du 140e Congrès national des sociétés historiques et scientifiques tenu à Reims en 2015. Après le choc des guerres de Religion, de la Ligue et de la reconquête du royaume par Henri IV, le renouveau artistique à Paris se mit difficilement en place.
    [Show full text]
  • The Young Descartes
    The Young Descartes The Young Descartes Nobility, Rumor, and War Harold J. Cook The University of Chicago Press Chicago and London The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2018 by The University of Chicago All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission, except in the case of brief quotations in critical articles and reviews. For more information, contact the University of Chicago Press, 1427 E. 60th St., Chicago, IL 60637. Published 2018 Printed in the United States of America 27 26 25 24 23 22 21 20 19 18 1 2 3 4 5 ISBN- 13: 978- 0- 226- 46296- 7 (cloth) ISBN- 13: 978- 0- 226- 54009- 2 (e- book) DOI: https://doi.org/10.7208/chicago/9780226540092.001.0001 Published with support of the Susan E. Abrams Fund. Library of Congress Cataloging- in- Publication Data Names: Cook, Harold John, author. Title: The young Descartes : nobility, rumor, and war / Harold J. Cook. Description: Chicago : The University of Chicago Press, 2018. | Includes bibliographical references and index. Identifiers: LCCN 2017025412 | ISBN 9780226462967 (cloth : alk. paper) | ISBN 9780226540092 (e- book) Subjects: LCSH: Descartes, René, 1596–1650. | Philosophers—France—Biography. Classification: LCC B1873 .C66 2018 | DDC 194 [B]—dc23 LC record available at https://lccn.loc.gov/2017025412 ♾ This paper meets the requirements of ANSI/NISO Z39.48–1992 (Permanence of Paper). Dedicated to former President Ruth Simmons, Provost David Kertzer, and Dean
    [Show full text]
  • Portraits of Artists and the Social Commerce of Friendship in Eighteenth-Century France by Jessica Lynn Fripp a Dissertation
    Portraits of Artists and the Social Commerce of Friendship in Eighteenth-Century France by Jessica Lynn Fripp A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History of Art) in the University of Michigan 2012 Doctoral Committee: Professor Susan L. Siegfried, Chair Professor Celeste A. Brusati Professor Dena Goodman Professor Patricia Simons © Jessica Lynn Fripp 2012 Acknowledgements Over the last few years I have received assistance from a number of institutions, colleagues, and friends, without whom this dissertation would not have been completed. Funding for this project came from several sources. The International Institute at the University of Michigan provided funding for both pre-dissertation and dissertation research in Paris. A Travel Fellowship from the Samuel H. Kress Foundation allowed me to conduct research in Rome and Sweden. A Bourse Chateaubriand provided funding for an extended stay in Paris and research outside the capital. I am especially grateful to Philippe Bordes, the former Director of Research at the Institut national d’histoire de l’art (INHA), for acting as my sponsor during that crucial year of initial research. This project benefitted greatly from conversations with him as well as his support. The staff and researchers at INHA provided a stimulating environment for dissertating. I thank everyone there for being so welcoming and supportive. A Rackham Predoctoral Fellowship and a Rackham Humanities Candidacy Fellowship provided support for final dissertation writing. I would like to thank the staffs of the Fine Arts Library at the University of Michigan, the Kungliga Bibliothek in Stockholm, the Bibliothèque nationale de France, the Centre de documentation and the Département des arts graphiques at the Musée du Louvre, and the library of the Institut national d’histoire de l’art in Paris.
    [Show full text]
  • Saint-Denis Abbey: Stained Glass
    Swarthmore College Works Art & Art History Faculty Works Art & Art History 1996 Saint-Denis Abbey: Stained Glass Michael Watt Cothren Swarthmore College, [email protected] Follow this and additional works at: https://works.swarthmore.edu/fac-art Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons Let us know how access to these works benefits ouy Recommended Citation Michael Watt Cothren. (1996). "Saint-Denis Abbey: Stained Glass". The Dictionary Of Art. Volume 27, 548-549. https://works.swarthmore.edu/fac-art/103 This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in Art & Art History Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. 548 Saint-Denis Abbey, §11, 2(ii): Tomb sculpture, after c. 1500 (LiUich). Despite the effects of the Revolution and a series of 19th-century restorations, more glass, and better doc­ umentation, survive from the ambulatory of Suger’s 12th- century church, enabling some evaluation of Ae signifi­ cance of this glazing within the history of medieval art. Glazing played an unprecedentedly influential role in the design of Suger’s church, especially in the ambulatory. Here for the first time stained glass became an important feature, perhaps the most important feature, of an archi­ tectural environment. In Suger’s record of his administra­ tion, some of his most rhapsodic commentary praises the pervasiveness of coloured light in the building. He de­ scribes the manner in which the choir shone ‘with the wonderful and uninterrupted light of most sacred win­ dows, pervading the interior beauty’ (Panofsky, p.
    [Show full text]
  • Annual Report 1987
    NATIONAL GALLERY OF ART 1987 ANNUAL REPORT \ 1987 ANNUAL REPORT National Gallery of Art All rights reserved. No part of this publication may be reproduced without the written permission of the National Gallery of Art, Washington, D.C. 20565 Copyright © 1988. Board of Trustees, National Gallery of Art This publication was produced by the Editors Office, National Gallery of Art, Washington Edited by Tarn L. Curry Designed by Susan Lehmann, Washington Printed by Schneidereith & Sons, Baltimore, Maryland The type is Bodoni Book, set by VIP Systems, Inc., Alexandria, Virginia Photo credits: James Pipkin, cover Lucian Perkins, The Washington Post, p. 10 Kathleen Buckalew, pp. 2-3, 98, 102, 104, 106, 148-149 Philip Charles, pp. 97, 122 Ann Hageman, p. 124 Mary Ellen Wilson, p. 65 William Wilson, pp. 74, 77, 92, 100 ISBN 0-89468-116-8 Pages 2-3: Sculpture from the Patsy and Raymond Nasher Collection CONTENTS 6 PREFACE 8 ORGANIZATION 11 DIRECTOR'S REVIEW OF THE YEAR 32 DONORS AND ACQUISITIONS 50 LENDERS 56 LOANS TO EXHIBITIONS 64 EDUCATIONAL SERVICES 64 Department of Public Programs 71 Department of Extension Programs 73 CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS 81 OTHER DEPARTMENTAL REPORTS 81 Curatorial Division 89 Division of Records and Loans 90 Changes of Attribution 91 Library 95 Photographic Archives 95 Conservation Division 101 Editors Office 102 Exhibitions Office 103 Department of Installation and Design 106 Gallery Archives 107 Photographic Services 109 STAFF ACTIVITIES AND PUBLICATIONS 121 MUSIC AT THE GALLERY 123 ADMINISTRATOR'S REPORT 123 Publications Service 123 Facilities, Security, and Attendance 124 Office of Planning and Construction 126 FINANCIAL STATEMENTS 141 ROSTER OF EMPLOYEES AND DOCENTS PREFACE The National Gallery's fiscal year ending 30 September 1987 con- tinued the busy but rewarding pace that has characterized the past few years.
    [Show full text]
  • Corinne THEPAUT-CABASSET Art Historian Specializing in Decorative Arts, Fashion and Textile Historian of Europe and Internation
    Corinne THEPAUT-CABASSET Art historian specializing in Decorative arts, Fashion and Textile Historian of Europe and International Relations Research associate Château de Versailles Founder of ART & LUXE Marie Sklodowska-Curie Fellow (Horizon 2020) [email protected] ; [email protected] www.fashioningtheearlymodern.ac.uk ; https://dressworld.hypotheses.org Competencies Curatorial knowledge and experience in Museum displays and exhibitions Archival Research for museums and International academic research projects Exhibitions, Conferences and Publications coordination Public lectures and museum talks Peer reviewed publications Member of learned societies, international museum community and academic networks Academic background 1982-83: BA in art History, Paris University of Paris-Sorbonne. 2002: M. Ph. Diplôme of Ecole Pratique des Hautes Etudes (EPHE) - IVth section Historical Sciences and Philology. Title of Dissertation: A relation of Topkapi Palace ... written in 1687, Supervisor Prof. Bruno Neveu. 2004: Diplôme d’Etudes Approfondies (DEA) in Modern History & History of International Relationships in Europe, Paris University of Paris-Sorbonne, Roland Mousnier Centre, Histoire des mondes modernes et contemporains. Title of Dissertation: The King’s Gifts (1662-1721), Supervisor Prof. Lucien Bély. First class with Honors. Employment history 2015: University of Copenhagen, Centre for Textile Research/SAXO Institute: Marie Sklodowska-Curie Research fellow “DRESSING THE NEW WORLD” ctr.hum.ku.dk/marie- sklodowska-curie-projects/dressing_the_new_world 2014-2015: Château de Versailles Publication department/Head of Cultural Management. 2010- 2013: Post-doctoral research fellow at the Victoria & Albert museum London (UK) “Fashioning the Early Modern: Creativity and Innovation in Europe 1500-1800”, a €1 million project funded 1 by Humanities in the Research Area, investigating creativity and innovation that lay behind the creation and spread of fashionable goods in Early Modern Europe.
    [Show full text]
  • Focus Noyon Trésors Cachés Dix Années De Restauration À Noyon
    FOCUS NOYON TRÉSORS CACHÉS DIX ANNÉES DE RESTAURATION À NOYON EXPOSITION GALERIE DU CHEVALET DU 18 JANVIER AU 18 MAI 2019 ÉDITO SOMMAIRE À quoi servent nos musées ? Bien sûr, les musées de Noyon exposent des œuvres afin de susciter curiosité, admiration, émotion et de permettre de comprendre notre histoire. Mais dans les coulisses des salles d’exposition emplies de quiétude, bruisse l’activité des équipes des musées, affairées à remplir de nombreuses autres missions. L’une d’entre elles est fondamentale : veiller à la bonne 4 RESTAURER LE PATRIMOINE NOYONNAIS conservation des œuvres. Si celles-ci sont fragiles ou trop abîmées, elles doivent être restaurées. 5 LEXIQUE Notre équipe municipale est fière de notre précieux patrimoine. Nous 6 LES ŒUVRES DE L’EXPOSITION nous sommes donc engagés depuis 10 ans dans de nombreux projets Fragments du lapidaire de la cathédrale de restauration. Nous avons sollicité l’aide de nos partenaires (État Le brasero et Département) afin de préserver tous ces trésors qui participent à La Vierge adorant l’Enfant endormi de Jacques Sarazin l’histoire de notre ville. Nous avons souhaité par cette exposition, vous Le Christ « sans croix » en présenter quelques-uns des plus emblématiques. La Charité attribuée à Giacinto de Popoli La Nativité et l’Adoration des Mages d’après Giambattista de Pittoni Vous pourrez ainsi apprécier le travail des restaurateurs, comprendre la Sainte Godeberthe déontologie, les problématiques et les techniques de restauration. Nous espérons que la mise en lumière de ces œuvres qui ont repris vie, vous 15 MUSÉE DU NOYONNAIS permettra de redécouvrir la richesse de notre patrimoine noyonnais.
    [Show full text]
  • Vingt Ans De Recherches Sur La Sculpture Française Des Xvie Et Xviie Siècles
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by HAL Université de Tours Vingt ans de recherches sur la sculpture fran¸caisedes XVIe et XVIIe si`ecles Marion Boudon-Machuel To cite this version: Marion Boudon-Machuel. Vingt ans de recherches sur la sculpture fran¸caisedes XVIe et XVIIe si`ecles.Histoire de l'Art, 2005, pp.3-13. <halshs-00980571> HAL Id: halshs-00980571 https://halshs.archives-ouvertes.fr/halshs-00980571 Submitted on 26 Jun 2014 HAL is a multi-disciplinary open access L'archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destin´eeau d´ep^otet `ala diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publi´esou non, lished or not. The documents may come from ´emanant des ´etablissements d'enseignement et de teaching and research institutions in France or recherche fran¸caisou ´etrangers,des laboratoires abroad, or from public or private research centers. publics ou priv´es. Version auteur (Texte publié dans Histoire de l'art, 57 (2005) 3-13) Vingt ans de recherches sur la sculpture française des XVIe et XVIIe siècles. Marion Boudon-Machuel Au milieu des années 1980, F. Souchal estimait que « le manque d’intérêt pour l’histoire de la sculpture se traduit d’abord par l’absence de mises au point des problèmes et des travaux »1. Quelques vingt années plus tard2, un état des lieux est nécessaire pour comprendre où en est la recherche sur la sculpture française des XVIe et XVIIe siècles3 et quelles sont les perspectives qui s’offrent à elle.
    [Show full text]
  • Hôtel Séguier
    XXI – hôtel Séguier XXI – Hôtel Séguier précédemment hôtel de Bellegarde, puis hôtel des Fermes du roi Disparu [rue de Grenelle-Saint-Honoré ; emplacement de l’actuel 15, rue du Louvre (1er arr.)] Historique de la construction : L’hôtel habité par Pierre Séguier à partir de 1634, puis par sa veuve, est une demeure édifiée en 1612 pour le duc de Bellegarde par l’architecte Jacques II Androuet du Cerceau, et agrandie en 1617. Immédiatement après avoir reçu la garde des sceaux, le chancelier entreprend d’importants travaux d’agrandissement et de modernisation de l’hôtel (1636-1647). Aux trois corps de logis disposés en U autour de la cour d’honneur, il fait ajouter au sud un pavillon et une longue aile aboutissant à la rue du Bouloi. Ce nouveau corps de bâtiment, destiné à abriter deux galeries superposées, divise le grand jardin en deux. L’ensemble des bâtiments conserve sans doute l’élévation indiquée par la gravure de Jean Marot de la façade sur rue, c’est-à-dire un rez-de-chaussée, un étage carré et un étage sous les combles droits. Ce sont les travaux de décoration intérieure qui ont fait la renommée de l’hôtel Séguier, ainsi que la célèbre bibliothèque du protecteur de l’Académie et les collections qui y furent déployées. Pour diriger l’exécution des grands décors des appartements, le chancelier fait appel à Simon Vouet et à Jacques Sarrazin qui réalisent notamment le décor de la galerie et de la chapelle qui sont aujourd’hui documentés. Le détail de la distribution n’est malheureusement pas connu et la remarque de Yannick Nexon en 1980 est toujours d’actualité : « Ce que nous savons de la distribution intérieure peut […] se résumer ainsi : une masse de renseignements, très difficiles à exploiter, extraits des inventaires, un plan très peu fiables, enfin des informations complémentaires tirées de Sauval ou de la correspondance et qui souvent contredisent les autres données… […] Autant de problèmes dont la solution n’est pas livrée.
    [Show full text]