Occident Prestigieuse Collection Particulière -II- 2Ème Jour
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Portrait D'artiste
<--------------------------------------------------------------------------------------------------------------- 210 mm ---------------------------------------------------------------------------------------------------------------><- 15 mm -><--------------------------------------------------------------------------------------------------------------- 210 mm ---------------------------------------------------------------------------------------------------------------> 2020 PORTRAIT D’ARTISTE PORTRAIT D’ARTISTE 74, rue de Seine — 75006 Paris Tél. — + 33 (0)1 43 26 89 80 e-mail — [email protected] www.galeriepaulproute.com PAUL PROUTÉ GPP_Portaits_oct2020_CV.indd 1 30/10/2020 16:15:36 GPP_Portaits_oct2020_CV.indd 2 30/10/2020 16:15:37 1920 2020 GPP_Portaits_oct2020_CV.indd 2 30/10/2020 16:15:37 PORTRAIT D’ARTISTE 500 ESTAMPES 2020 SOMMAIRE AVANT-PROPOS .................................................................... 7 PRÉFACE ................................................................................ 9 ESTAMPES DES XVIe ET XVIIe SIÈCLES ............................. 15 ESTAMPES DU XVIIIe SIÈCLE ............................................. 61 ESTAMPES DU XIXe SIÈCLE ................................................ 105 ESTAMPES DU XXe SIÈCLE ................................................. 171 INDEX .................................................................................... 202 AVANT-PROPOS près avoir quitté la maison familiale du 12 de la rue de Seine, Paul Prouté s’instal- Alait au 74 de cette même rue le 15 janvier -
40 880 46 12 [email protected] ∙ Le Claire Kunst Seit 1982
LE CLAIRE KUNST SEIT 1982 MAGDALENENSTRASSE 50 ∙ 20148 HAMBURG ∙ TELEFON +49 (0)40 881 06 46 ∙ FAX +49 (0)40 880 46 12 [email protected] ∙ WWW.LECLAIRE-KUNST.DE LE CLAIRE KUNST SEIT 1982 JEAN-GUILLAUME MOITTE 1746 - Paris - 1810 a. An Empire style vegetable dish and cover on three paw feet, finished with attaches with swans’ neck, the plain body, the handles as snakes, the cover with a final as a ring on a foliage terrace b. An Empire style vegetable dish and cover on three paw feet, finished with lions’ heads, the plain body, the handles as snakes, the covers with a final as double snakes on foliage terrace Pen, black ink, with black and grey wash. Two framing lines in black ink. 282 x 425 and 243 x 420 mm PROVENANCE: Henri Auguste - J. B. C. Odiot and Maison Odiot, acquired in 1810. Bearing the Odiot stamp in red with the numbering 116 bis and 119 – With Galerie Fischer-Kiener, Paris – Adrien Ward- Jackson, London – Private collection The son of an engraver and pupil of the sculptors J.-B. Pigalle and J.-B. Lemoyne, Moitte won the Academy’s first prize for sculpture in 1768. The study of antique sculpture during his stay in Rome [1771-3] remained the decisive source for his art throughout his life. A friend of Jacques-Louis David and a committed participant in artistic enterprises during the Revolution and the Empire, Moitte had a successful career, receiving official commissions during the last decade of the eighteenth and the nineteenth centuries. -
Encyklopédia Kresťanského Umenia Heslo PARÍŽ – PAS Strana 1 Z 62
Marie Žúborová - Němcová: Encyklopédia kresťanského umenia Paríž - Geo v súvislosti s heslom Kelti: viac ako 500 rokov spoluvytvárali dejiny Európy; ich vlasť sa rozprestierala severne od Álp; neskôr roku 387 pr.Kr. dobyli Rím; okolo 400 pr.Kr. založili mesto s menom Miláno a v rovnakom období Paríž, mesto pomenované podľa keltských kmeňov Parisi pozri Bartolomejská noc; Eligius; boutique Simultananée; gobelín; iluminátori; parížska škola/École de Paris (Baleka), parížski umelci; bulvár, internacionálna gotika, impresionizmus, abstraktné umenie; jednorožec (Wensleydalová); jezuiti; kabaret; kaplnka, capella; kašmírový vzor, kabelka, kníhtlač; manifest A C-Numéro d'Introduction du Groupe et de la Revue Art; J. B. Jongind; las Tullerías, Montmartre, bazilika Sacre Coeur, Le Pont-au-Change, Louvre, Tuileries, Francúzsko http://it.wikipedia.org/wiki/Parigi http://www.webumenia.sk/web/guest/graphic/- /staticresults?orderBy=DATING_ASC&items=14&query=&layout=gridLayout&images=true&se archFor=data&page=19 http://viticodevagamundo.blogspot.sk/2011_02_01_archive.html Heslo PARÍŽ – PAS Strana 1 z 62 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia Attribution: Majster Getty Froissart: Kráľovná Isabella prichádza do Paríža (Historia Alexandri Magni, 1468-1475) Heslo PARÍŽ – PAS Strana 2 z 62 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia M. Merian st.: Mapa Paríža (topografická ilustrácia, rytina, 1615) M. Merian st.: Mapa Paríža (topografická ilustrácia, kolorovaná rytina, 1615) Heslo PARÍŽ – PAS Strana 3 z 62 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia C. Chastillon: Pohľad na Paríž (rytina, okolo 16.st.) Heslo PARÍŽ – PAS Strana 4 z 62 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia C. Chastillon: Slávnosti zahájenia činnosti na „Place Royale“ (pri príležitosti svadby príležitosti dvojitej svadby kráľa Ľudovíta XIII. -
Rome Vaut Bien Un Prix. an Artistic Elite in the Service of the State
Artl@s Bulletin Volume 8 Article 9 Issue 2 The Challenge of Caliban 2019 Rome vaut bien un prix. An Artistic Elite in the Service of the State: the Pensionnaires of the Académie de France in Rome, 1666-1968 Annie Verger Artl@s, [email protected] Follow this and additional works at: https://docs.lib.purdue.edu/artlas Part of the History of Art, Architecture, and Archaeology Commons, and the Music Commons Recommended Citation Verger, Annie. "Rome vaut bien un prix. An Artistic Elite in the Service of the State: the Pensionnaires of the Académie de France in Rome, 1666-1968." Artl@s Bulletin 8, no. 2 (2019): Article 9. This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. This is an Open Access journal. This means that it uses a funding model that does not charge readers or their institutions for access. Readers may freely read, download, copy, distribute, print, search, or link to the full texts of articles. This journal is covered under the CC BY-NC-ND license. Artl@s At Work Rome vaut bien un prix. An Artistic Elite in the Service of the State: the Pensionnaires of the Académie de France in Rome, 1666-1968 Annie Verger* Résumé The Dictionnaire biographique des pensionnaires de l’Académie de France à Rome serves as a register for the artists sent to Italy by the French state from the time of Louis XIV in 1666 up until the abolition of the Prix de Rome concours in 1968. -
Origins of Modernism in French Romantic Sculpture
2011 Florence Quideau ALL RIGHTS RESERVED ORIGINS OF MODERNISM IN FRENCH ROMANTIC SCULPTURE: DAVID D’ANGERS, DANTAN-JEUNE, DAUMIER AND PRÉAULT. by FLORENCE QUIDEAU A Dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in Art History written under the direction of Dr. Susan Sidlauskas and approved by ________________________ ________________________ ________________________ ________________________ New Brunswick, New Jersey January, 2011 ABSTRACT OF THE DISSERTATION ORIGINS OF MODERNISM IN FRENCH ROMANTIC SCULPTURE: DAVID D’ANGERS, DANTAN-JEUNE, DAUMIER AND PRÉAULT. By FLORENCE QUIDEAU Dissertation Director: Professor Susan Sidlauskas This dissertation repositions the place of four Romantic artists within the current discussion of Modern sculpture. Today, Jean-Baptiste Carpeaux has displaced Auguste Rodin’s paramount place as the first Modern sculptor. The dynamism, suppleness, truthful movements, appropriate gestures, and accuracy of Carpeaux’s sculptures are considered the epitome of Modernist sculpture. This analysis argues that the portrait- busts and sculpted caricatures of Jean-Pierre Dantan (called Dantan-Jeune), Pierre-Jean David (called David d’Angers), Auguste Préault, and Honoré Daumier exemplified audacious artistic changes made thirty years before Carpeaux. These four artists showed a distinct rejection of formal portraiture and the values of artistic decorum by creating an -
Roma-Parigi. Accademie a Confronto
L’Accademia di San Luca, fondata a Roma alla fine del Cinquecento, era un sodalizio di artisti che riconoscevano nel disegno il principio fondatore dell’unità delle tre arti: la pittura, la scultura e l’architettura; la partecipazione era aperta agli artisti di ogni nazionalità. A Parigi la creazione delle accademie fu invece, fin dall’inizio, un’impresa promossa direttamente dallo Stato allo scopo di formare gli artisti che avrebbero lavorato nelle commesse pubbliche: nel 1648 venne fondata l’Académie Accademie a confronto Royale de Peinture et Sculpture e nel 1671 l’Académie Royale d’Architecture. A complemento delle nuove scuole di Parigi, venne aperta nel 1666 anche PARIGI una sede a Roma, dove gli artisti francesi avrebbero potuto completare - la loro formazione studiando l’antico e i grandi capolavori moderni. L’apertura di una sede romana di una istituzione francese intensificò ROMA i rapporti, già vivaci, tra le tre accademie e tra gli artisti. ROMA-PARIGI La mostra Roma-Parigi. Accademie a confronto. L’Accademia di San Luca Accademie a confronto e gli artisti francesi. XVII-XIX secolo, organizzata a Palazzo Carpegna in L’Accademia di San Luca e gli artisti francesi concomitanza con l’esposizione allestita a Villa Medici, 350 ans de création, les artistes de l’Académie de France à Rome de Louis XIV à nos jours, intende illustrare lo sviluppo di questi rapporti. A N LUC A S I LE D A N IO Z A N ISBN 978-88-97610-17-5 MIA DE A CC ACCADEMIA NAZIONALE DI SAN LUCA A ACCADEMIA NAZIONALE DI SAN LUCA ROMA-PARIGI Accademie a confronto ROMA-PARIGI -
French Empire Silver Versus English Regency Silver
French Empire Silver versus English Regency Silver Dr Godfrey Evans Principal Curator of European Decorative Arts, National Museums Scotland, Edinburgh 17 Figure 1. Martin-Guillaume Biennais, The travelling service of Princess Pauline Borghese, c.1803. Silver-gilt, gold, glass and other materials in a mahogany chest with inlaid brass decoration. National Museums Scotland, Edinburgh. and numerous space-saving storage features. Some of the larger cases could even be screwed down to flooring, using internal, hidden rods, to reduce the risk of theft. Biennais imaginatively fitted out these cases with dozens of items in precious and base metals, glass, tortoiseshell and ivory for eating, drinking, washing, dressing, correspondence, maintenance and repairs. The selection was intended to make the owner virtually self-sufficient during his or her travels, and could even include multi-purpose tools and a tongue-scraper! In these early days, Biennais obtained the silver and gold items from independent goldsmiths, notably hollow-ware from Marie- Joseph-Gabriel Genu (master 1788, d.1810) and forks and spoons from the specialist flatware maker Pierre-Benoît Lorillon. Many pieces were made smaller than their normal equivalents. Some had handles or parts that unscrewed, like the handles on chocolate he early nineteenth century saw the production of pots or the stems and bases of chamber candlesticks. Teapots were enormous quantities of large, heavy silver items that were made with pull-off lids that enabled tea caddies to be placed inside a visual expression of power, status and wealth and were them, while glass tumblers were stored inside cylindrical silver-gilt Tintended to promote rulers, nations or individual aristocrats. -
PINOT DE MOIRA 1786 - 1855 Soldier, Cloth Manufacturer, Print Shop Proprietor, Commissaire De Police, Tax Collector
Jean Baptiste Paul Henry (“Henri-Paul”) PINOT DE MOIRA 1786 - 1855 Soldier, cloth manufacturer, print shop proprietor, commissaire de police, tax collector. Resident of Saint-Junien, Montauban, Rouen, Manneville-la-Goupil & Breaute AND HIS WIFE Marie Jeanne Felicité (“Féliés”) DE VILESTIVAUD DE LAPEYROUSE 1789 - 1864 Four-Times-Great-Grandparents to G D Audcent ID number: 111165 The Early Life of Jean Baptiste Paul Henry PINOT DE MOIRA: He was born in the town of Saint-Junien in the Limousin (Haute-Vienne), on 30 August 1786, the son of Paul PINOT (alias PINOT DE MOIRA) (entreposeur des tabacs at Saint-Junien, and former military engineer in South 1 America) and his wife Marguerite ESTIENNE DE LA RIVIERE. He was baptised the same day in the eglise de Notre-Dame-du-Moutier, at Saint Junien, by Canon Regent ESTIENNE DE LA RIVIERE with permission of the parish priest. For godparents he had Sieur Jean Baptiste SENEMAUD, entreposeur des tabacs (at Bellac, this would be his uncle-by-marriage), who was represented by Joseph PINOT, and Marguerite POUILLOT, wife of Sieur PINOT DE LAULERIE. He was baptised with the names of ‘Jean Baptiste Paul Henry’ although he was known to his 2 family as ‘Henri Paul’. His surname, according to his acte de baptême, was ‘PINOT’ - but he often added the particule “DE MOIRA”, such in 1825 when he was referred to as “Sieur Pinot de Moira”.3 The family were of bourgeois status but fiercely loyal to the King. Henri-Paul was born during the final years of the Ancien Regime, and despite his tender age he can scarcely have been untouched by the terrible events of the French Revolution - his father wrote to Louis XVI in 1790 expressing counter-revolutionary sentiments; one of his uncles was a physician to a brother of Louis XVI at the start of the revolution; another uncle was imprisoned by the National Assembly as a counter-revolutionary and then murdered by a mob in 1792 ; and one of his cousins (who later also became a brother-law) was injured fighting with the émigré armies.