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Sheltering Art
"Explores the role of private art collections in the cultural, social, and political life of early eighteenth-century Paris. Examines how two principal groups of collectors, each associated with a different political faction, amassed different types of treasures and used them to establish social identities and compete for distinction"--Provided by publisher.
Private Salons and the Art World of Enlightenment Paris
Rochelle Ziskin explores two remarkable private gatherings generating significant art criticism during the middle of the eighteenth century, assessing how the sites harboring them embodied and disseminated their judgments.
The Oxford Handbook of the Ancien Régime
An exploration of current scholarly thinking about the wide and surprisingly complex range of historical problems associated with the study of Ancien Régime Europe
Decorative Games
This book features an extraordinary album of ornament designs by the French architect Gilles-Marie Oppenord (1672-1742). For the first time, this publication reproduces in their initial state the embellishments Oppenord drew over the first French edition of Cesare Ripa's Iconologia. In lieu of a haphazard succession of sketches, it reveals Oppenord's fascinating interplay between text, engraved and drawn images, one patterned on the art of conversation and the linguistic games cultivated in elite Parisian circles.
The Place Vendôme
In this book the author explores the sociological foundations of domestic design in eighteenth-century France, the acknowledged leader of domestic architecture in this period. Focusing on the Place Vendôme, which was developed by the financiers of Paris, she examines the representational strategies and dilemmas of French elites, which were crucial to the formation of a French mode of design. Through analyses of social distinctions and ambitions, Ziskin explores the manner in which the dwellings of the Place Vendôme embodied beliefs about the nature of society and the appropriate relations among social groups.
A God Or a Bench
Taking a new approach to consideration of the sculpture created in France during the seventeenth and eighteenth centuries, this book is concerned with its societal roles and the ways in which it was received. The author draws on an extensive range of texts by artists, critics, art theoreticians and other writers as well as on images, setting contemporary conceptions of the nature and purposes of sculpture and individual works into the contexts of the elite and popular cultures of the time. Among topics included are investigations of the employment of statuary for political and religious communication, pictorial representations of sculpture, the comparative roles of painting and sculpture, and the social status of various kinds of sculptors. Previous treatments have dealt with these productions primarily in terms of stylistic developments or of the accomplishments of individual sculptors. This study however approaches its subject thematically rather than chronologically or biographically, while nevertheless acknowledging developments and variations that occurred during the period.
Nicolas Lancret
In a garden glade before a grand fountain, surrounded by a musical party, an elegant woman in a lustrous white gown dances as part of a foursome, raising her eyes to the viewer as if extending an invitation to the dance. This is the enticing scene in the J. Paul Getty Museum's painting "Dance before a Fountain" by Nicolas Lancret (1690-1743), an excellent example of the fete galante, a genre that was created and reached the peak of its popularity in France during the first half of the eighteenth century. This monograph seeks to familiarize American audiences with Lancret, a master of this genre, who was a revered painter in his own time, rivalling his contemporaries Antoine Watteau and Franc...
Artists and Amateurs
Catalog of an exhibition held at the Metropolitan Museum of Art, New York, October 1, 2013-January 5, 2014.
Mariette and the Science of the Connoisseur in Eighteenth-Century Europe
Celebrated connoisseur, drawings collector, print dealer, book publisher and authority on the art of antiquity, Pierre-Jean Mariette (1694-1774) was a pivotal figure in the eighteenth-century European art world. Focusing on the trajectory of Mariette?s career, this book examines the material practices and social networks through which connoisseurs forged the idea of art as an object of empirical and historical analysis. Drawing on significant unpublished archival material as well as on histories of science, publishing, collecting and display, this book shows how Mariette and his colleagues? practices of classification and interpretation of the graphic arts gave rise to new conceptions of artistic authorship and to a history of art that transcended the biographies of individual artists. To follow Mariette?s career through the eighteenth century is to see that art was consolidated as a specialized category of intellectual inquiry-and that style emerged as its structuring analytic device-in the overlapping spaces of the collector?s cabinet, the connoisseur?s portfolio and the dealer?s shop.
