Pierre Julien
Pierre Julien

Author: Michael Worley

Publisher: iUniverse

Published: 2003-09-29

Total Pages: 205

ISBN-13: 9781469792538

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Pierre Julien: Sculptor to Queen Marie-Antoinette is a scholarly study of the artist (1731?1804) who rose from humble beginnings, the son of an illiterate carpenter, to become professor at the Paris Académie and director of the sculptural decoration at Marie-Antoinette's dairy at Rambouillet (1785?87), a surprise gift from Louis XVI. A moderate during the Revolution, Julien became one of the original members of the Institut National (1795). He executed life-size marble statues, part of the Great Men series, small works in terra cotta, and mythological figures such as Ganymede, Narcissus, and Cupid. His masterpieces are Amalthea, or Girl with Goat, the centerpiece at Rambouillet, and two statues in the Louvre: the Dying Gladiator, his reception-piece to the Académie, and Jean de La Fontaine, a statue of the author of Fables. The first major study of Pierre Julien in a hundred years, Pierre Julien: Sculptor to Queen Marie-Antoinette celebrates the 200th anniversary of the sculptor's death and coincides with the exhibition in Le Puy, France (Spring 2004). This volume is indispensable to art historians and anyone interested in the colorful period in French history between the age of Louis XV and the rise of Napoleon.

Representing Belief
Representing Belief

Author: Michael Paul Driskel

Publisher: Penn State Press

Published: 2010-11-01

Total Pages: 248

ISBN-13: 9780271042701

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Representing Belief provides a detailed discussion and analysis of the forms and meanings in religious art of nineteenth-century France. This genre, usually assigned minimal importance by writers on the period, turns out to occupy a central place in the cultural history of the era, touching the core of the century's conflict between tradition and modernity, science and faith, ultramontanism and naturalism. Although it was generally assumed that this kind of art was of little importance in the evolution of modern painting, Driskel demonstrates that in reality it played a crucial role. Many of the artists discussed are firmly installed in the present canon (Delacroix, Ingres, Manet, Gauguin), while others (Flandrin, Orsel, Gleyre, Cazin) were major figures in their own time, though largely forgotten today. Writing from an interdisciplinary perspective and employing concepts derived from structuralist and poststructuralist theory, Driskel moves beyond simple formalism to restore a category of once-important works to a meaningful context, thereby offering others a model by which to discuss and interpret these paintings. Carefully charting the genealogies of hieraticism and naturalism, he demonstrates that a dramatic shift occurred in the 1860s and 1870s as naturalism gained acceptance among ultramontanes and the hieratic mode began to attract the interest of adherents to the belief system of modernism. Representing Belief is the first book to situate this art in its social and historical contexts and to approach it from this point of view.

Getty Research Journal, No. 13
Getty Research Journal, No. 13

Author: Gail Feigenbaum

Publisher: Getty Publications

Published: 2021-03-09

Total Pages: 226

ISBN-13: 1606067168

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The Getty Research Journal features the work of art historians, museum curators, and conservators around the world as part of Getty’s mission to promote the presentation, conservation, and interpretation of the world’s artistic legacy. Articles present original scholarship related to Getty collections, initiatives, and broad research interests. This issue features essays on a Parthian stag rhyton and new epigraphic and technical discoveries; gendered devotion and owner portraits in illuminated manuscripts from northern France around 1300; a technical analysis of heraldic devices in a missal from Renaissance Bologna; a new social and collective practice of drawing among French architect pensionnaires of the 1820s and 1830s at Pompeii; artist Malvina Hoffman’s representations of race during her travels to Southeastern Europe as part of her work with the American Yugo-Slav Relief; Raimundo de Madrazo y Garreta’s painting Reverie—The Letter and the small-world sensation as a methodology for global art history; arguments that disprove the attribution of the J. Paul Getty Museum’s sculpture Head with Horns to artist Paul Gauguin; Head with Horns and Gauguin’s creative appropriation of objects; and the unpublished first draft of critic Clement Greenberg’s essay "Towards a Newer Laocoon."

Artists and Amateurs
Artists and Amateurs

Author: Perrin Stein

Publisher: Metropolitan Museum of Art

Published: 2013

Total Pages: 246

ISBN-13: 1588394980

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Catalog of an exhibition held at the Metropolitan Museum of Art, New York, October 1, 2013-January 5, 2014.

Ingres and the Studio
Ingres and the Studio

Author: Sarah E. Betzer

Publisher: University of Pennsylvania Press

Published: 2012

Total Pages: 332

ISBN-13: 9780271048758

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An exploration of the portrait art of Jean Auguste Dominique Ingres, focusing on his studio practice and his training of students.

Luxury After the Terror
Luxury After the Terror

Author: Iris Moon

Publisher: Penn State Press

Published: 2022-03-25

Total Pages: 239

ISBN-13: 0271093099

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When Louis XVI was guillotined on January 21, 1793, vast networks of production that had provided splendor and sophistication to the royal court were severed. Although the king’s royal possessions—from drapery and tableware to clocks and furniture suites—were scattered and destroyed, many of the artists who made them found ways to survive. This book explores the fabrication, circulation, and survival of French luxury after the death of the king. Spanning the final years of the ancien régime from the 1790s to the first two decades of the nineteenth century, this richly illustrated book positions luxury within the turbulent politics of dispersal, disinheritance, and dispossession. Exploring exceptional works created from silver, silk, wood, and porcelain as well as unrealized architectural projects, Iris Moon presents new perspectives on the changing meanings of luxury in the revolutionary and Napoleonic periods, a time when artists were forced into hiding, exile, or emigration. Moon draws on her expertise as a curator to revise conventional accounts of the so-called Louis XVI style, arguing that it was only after the revolutionary auctions liquidated the king’s collections that their provenance accrued deeper cultural meanings as objects with both a royal imprimatur and a threatening reactionary potential. Lively and accessible, this thought-provoking study will be of interest to curators, art historians, scholars, and students of the decorative arts as well as specialists in the French Revolution.

Inessential Colors
Inessential Colors

Author: Basile Baudez

Publisher: Princeton University Press

Published: 2021-12-21

Total Pages: 288

ISBN-13: 0691213569

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"Today, architectural plans and drawings are always signposted with colors: pink for poché, or exterior walls, yellow for certain interior elements, and blue for details and ornament. How and why did this practice begin? The craft of architectural drawing-plans, sections, and details-was originally developed during the Italian Renaissance under the influence of engravers. The results were correspondingly monochromatic, relying on representation through line and perspective. But in the 1800s, an influx of painters-turned-architects in Holland and Germany brought color into their designs. This innovation eventually spread throughout Europe, inspiring French architectural engineers to adopt a common color system in order to more clearly communicate their designs across the kingdom, and giving architects another tool with which to impress academic juries and the public. In this book, author Basile Baudez argues that color was not an essential feature of architectural drawing until European architects adopted a precise system of representation in response to political and artistic rivalry between countries, as well as the needs of public exhibitions. He shows that French engineers learned to use color from the Dutch colleagues they worked with and then fought against during the Dutch War (1672-78), demonstrating that a color-based system was published in French manuals for military engineers and used by royal architects, and that architects who wanted to compete with paintings for the public's attention needed to use the familiar language of color. This history reveals that color came to have three functions: to imitate architectural materials, to establish concise representational conventions that could span large geographic distances, and to seduce the public, including tourists. The book will feature a large number of fascinating, previously unpublished archival drawings, and will contribute to growing interest in the origins and professionalization of architecture, as well as the history of drawing as a medium"--