art in the service of absolutism: “the sun king” ruled for over 72 years
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Art in the service of Absolutism: “The Sun King” Ruled for over 72 years. HYACINTHE RIGAUD (French, 1659-1743) Louis XIV (1638 – 1715), 1701. Oil on canvas, approx. 9’ 2” x 6’ 3”. Louvre, Paris. - PowerPoint PPT PresentationTRANSCRIPT
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HYACINTHE RIGAUD (French, 1659-1743) Louis XIV (1638 – 1715), 1701. Oil on canvas, approx. 9’ 2” x 6’ 3”. Louvre, Paris.
Art in the service ofAbsolutism: “The Sun King”Ruled for over 72 years
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Aerial view of palace at Versailles, France, begun 1669, and a portion of the gardens and surrounding area.
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Plan of the park, palace, and town of Versailles, France, (after a seventeenth-century engraving).
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JULES HARDOUIN-MANSART and CHARLES LE BRUN, Galerie des Glaces (Hall of Mirrors), palace of Versailles, Versailles, France, ca. 1680.
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Making nature into art – Gardens of Versailles
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Rococo
In architecture, last of the great pre-modern period styles. Ornament supercedes structure
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GERMAIN BOFFRAND (French Rococo architect, 1667-1754) Salon de la Princesse, with painting by CHARLES-JOSEPH NATOIRE and sculpture by J. B. LEMOINE, Hôtel de Soubise, Paris, France, 1737–1740.
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Decoration by Francois Boucher (1703-1770) Pastorale, oil on canvas, Salon de la Princesse, Hotel de Soubise, Paris, 1736-9
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FRANÇOIS DE CUVILLIÉS, Hall of Mirrors, the Amalienburg, Nymphenburg Palace park, Munich, Germany, early 18th century. A hunting lodge for Maria Amalia, Archduchess of Austria, the wife of Charles VII, Bavarian Rococo
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FRANÇOIS DE CUVILLIÉS, Detail of the Hall of Mirrors, the Amalienburg, showing silver decorative elements in floral and hunting motifs
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Bedroom, The Amalienburg, Munich, Bavarian Rococo, with detail of ornamental ceiling narratives in stucco and fresco.
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Exterior, The Amalienburg, Munich
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A soup tureen on view in 2008 exhibition, “Rococo: The Continuing Curve, 1730-2008,” at the Cooper Hewitt, National Design Museum. Made entirely of silver, it takes the form of a giant clamshell. On the fluted lid are the ingredients for a stew.
Created between 1735 and 1740 by craftsmen under the direction of Juste-Aurèle Meissonier (1695-1750) a French goldsmith, sculptor, painter, architect, and furniture designer, Dessinateur de la chambre et du cabinet du roi; the post of designer for Louis VX
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ANTOINE WATTEAU (Flemish-French, 1684-1721: 37 years) L’Indifférent (The Nonchalant Man), ca. 1716. Oil on canvas, approx. 10” x 7”. Louvre, Paris. “Rubéniste” A fashionable man of leisure playing castanetes at a Fête Galante
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ANTOINE WATTEAU, L’Indifférent (The Nonchalant Man), ca. 1716 / Rococo.
HYACINTHE RIGAUD (French) Louis XIV, 1701 / Baroque
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ANTOINE WATTEAU, Return from Cythera, 1717–1719. Oil on canvas, approx. 4’ 3” x 6’ 4”. Louvre, Paris. Also known as the Pilgrimage to Cythera.
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(left) Peter Paul Rubens, The Arrival of Marie de Medici in France, 1622-25. Baroque (right) Antoine Watteau, Return from Cythera, 1717-19. Rococo
Rubens (Baroque) was a primary influence on Watteau (Rococo).
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FRANÇOIS BOUCHER (French Rococo painter and decorative artist, 1703-1770), Cupid a Captive, 1754. Oil on canvas, approx. 5’ 6” x 2’ 10”. The Wallace Collection, London.
For Boucher, the natural world was "too green and badly lit.”
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FRANÇOIS BOUCHER, Madame de Pompadour, circa 1750The famous mistress of King Louis XV of France.
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Sèvres Porcelain Manufactory, painting attributed to Charles-Nicolas Dodin, porcelain worker, French, Sèvres, about 1760, soft-paste porcelain, polychrome enamel decoration, gilding. Chinese figures on the sides, copied by Dodin from Chinese woodcuts of about 1700. Chinoiseries
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JEAN-HONORÉ FRAGONARD (French, 1732-1806), The Swing, 1766. Oil on canvas, approx. 2’ 11” x 2’ 8”. The Wallace Collection, London.An “intrigue” picture
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Jean-Honoré Fragonard, The Secret Meeting, from The Progress of Love series, 1771-3, oil on canvas, 10’5” x 8’, Frick Collection, New York
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Enlightenment18th century French Philosophes – the power of the pen
Voltaire (Francois Marie Arouet,1694-1778) – attacked both stateand church of the “old regime.”
Denis Diderot (1713-1784) created the first encyclopedia to promote democratizationof knowledge.
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Pin making, illustration from Diderot’s Encyclopédie (1762), engraving
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JOSEPH WRIGHT OF DERBY (English painter, 1734-1797), A Philosopher Giving a Lecture at the Orrery (in which a lamp is put in place of the sun), ca. 1763–1765. Oil on canvas, 4’ 10” x 6’ 8”. Derby Museums and Art Gallery, Derby, Derbyshire, England. EMPIRICISM – ENLIGHTENMENT SCIENCE AND REASON
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A small orrery fromthe mid-18th century. Solar system conceived as a giant clock
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ABRAHAM DARBY III (English, 1750-1789) and THOMAS F. PRITCHARD (English, 1723-1777), iron bridge at Coalbrookdale, England (first cast-iron bridge), 1776–1779. 100’ span.
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JEAN-BAPTISTE CHARDIN (French, 1699-1779), Grace at Table, 1740. Oil on canvas, 1’ 7” x 1’ 3”. Louvre, Paris. Urban (Parisian) middle class interior.
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(left) Jean-Baptiste Chardin, Saying Grace, 1740. Oil on canvas (right) Bernard Lépicié, engraving after Chardin’s Saying Grace, 1744. Who were the buyers for these works? Why is there a caption under the print?
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JEAN-BAPTISTE-SIMÉON CHARDIN (French, 1699-1779), Grace at Table, 1740. Oil on canvas, 1’ 7” x 1’ 3”.
FRANÇOIS BOUCHER (French, 1703-1770), Cupid a Captive, 1754. Oil on canvas, approx. 5’ 6” x 2’ 10”.
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William Hogarth (English, 1697-1764), Breakfast Scene, from Marriage à la Mode, ca. 1745. Oil on canvas, approx. 2’ 4” x 3’. National Gallery, London. Social Satire – artist as moralist. English Rococo
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William Hogarth (English, 1697-1764), The Death of the Countess, from The Marriage-a-la-mode series, 1743-5, oil and engraving . Series was painted to be reproduced and sold to a large middle-class audience.
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Jean-Baptiste Greuze, Filial Piety (The paralytic) 1763, oil on canvas, 43X57”, The State Hermitage Museum, St. Petersburg, Russia
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JEAN-BAPTISTE GREUZE (French, 1725- 1805), The Village Bride, 1761. Oil on canvas, 3’ x 3’ 10 1/2”. Louvre, Paris. Rousseau’s exaltation of the peasant’s simple life. Bourgeois (middle class) patronage
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Gabriele Jacques de Saint Aubin (French 1724-1780) Salon of 1767, pen and ink, watercolor, and gouache
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Sir Joshua Reynolds (English, 1723-1792), Mrs Siddons as the Tragic Muse, 1789. Oil on canvas, 7’11” X 4’ 10,” Dulwich Picture Gallery, London.
Michelangelo, Prophet Isaiah,Ceiling of the Sistine Chapel, the Vatican. Inspiration for Reynolds