Author: Kristel Smentek Publisher: Routledge ISBN: 1351559206 Category : Art Languages : en Pages : 382
Book Description
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 Drawing on significant unpublished archival material as well as on histories of science, publishing, collecting and display, this book shows how Mariette and his colleagues?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.
Author: Kristel Smentek Publisher: Routledge ISBN: 1351559214 Category : Art Languages : en Pages : 343
Book Description
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 Drawing on significant unpublished archival material as well as on histories of science, publishing, collecting and display, this book shows how Mariette and his colleagues?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.
Author: Valérie Kobi Publisher: Walter de Gruyter GmbH & Co KG ISBN: 311098508X Category : Art Languages : en Pages : 254
Book Description
Das 18. Jahrhundert war das Zeitalter der Kunstkenner: in und zugleich Ära eines globalen Bewusstseins, das aus dem sich beschleunigenden Handel und imperialen Eroberungen hervorging. Diese Publikation bringt die Kennerschaft, die sich als empirische Methode der Kunstanalyse in Europa und Asien etablierte, in einen Dialog mit der zunehmenden Auseinandersetzung mit unterschiedlichen Formen des Kunstschaffens, die im Verlauf des langen 18. Jahrhunderts durch lokale und globale Netzwerke ermöglicht wurde. Die Autor: innen des Buches nehmen Wechselbeziehungen zwischen Indien, Japan, China und Europa in den Blick und untersuchen, wie sich Begegnungen mit Kunstwerken aus verschiedenen Regionen der Welt auf die Praxis der Kunstkennerschaft in Asien und Europa auswirkten. Praktiken und Netzwerke in Indien, Japan und Europa des 18. Jahrhunderts Komplexität und Asymmetrien der Kunstkennerschaft in einer expandierenden Welt
Author: Ewa Lajer-Burcharth Publisher: Princeton University Press ISBN: 0691170126 Category : Art Languages : en Pages : 312
Book Description
A new interpretation of the development of artistic modernity in eighteenth-century France What can be gained from considering a painting not only as an image but also a material object? How does the painter’s own experience of the process of making matter for our understanding of both the painting and its maker? The Painter’s Touch addresses these questions to offer a radical reinterpretation of three paradigmatic French painters of the eighteenth century. In this beautifully illustrated book, Ewa Lajer-Burcharth provides close readings of the works of François Boucher, Jean-Siméon Chardin, and Jean-Honoré Fragonard, entirely recasting our understanding of these painters’ practice. Using the notion of touch, she examines the implications of their strategic investment in materiality and sheds light on the distinct contribution of painting to the culture of the Enlightenment. Lajer-Burcharth traces how the distinct logic of these painters’ work—the operation of surface in Boucher, the deep materiality of Chardin, and the dynamic morphological structure in Fragonard—contributed to the formation of artistic identity. Through the notion of touch, she repositions these painters in the artistic culture of their time, shifting attention from institutions such as the academy and the Salon to the realms of the market, the medium, and the body. Lajer-Burcharth analyzes Boucher’s commercial tact, Chardin’s interiorized craft, and Fragonard’s materialization of eros. Foregrounding the question of experience—that of the painters and of the people they represent—she shows how painting as a medium contributed to the Enlightenment’s discourse on the self in both its individual and social functions. By examining what paintings actually “say” in brushstrokes, texture, and paint, The Painter’s Touch transforms our understanding of the role of painting in the emergence of modernity and provides new readings of some of the most important and beloved works of art of the era.
Author: Susan Dalton Publisher: Taylor & Francis ISBN: 1000886034 Category : History Languages : en Pages : 208
Book Description
Gender, Mediation, and Popular Education in Venice, 1760–1830 examines how women with enough cultural capital could turn their identity as representatives of "the public" – those on the receiving end of education – to their advantage, producing knowledge under the guise of relaying it. Author Susan Dalton looks at the question of how elite women turned their reputation for ignorance into an opportunity to establish themselves as authors at the dawn of the nineteenth century in Venice. Many literary figures saw women as a group in need of education. By deploying essentialist understandings of femininity, whereby women possessed superior moral virtue but deficient rationality, these women entered the world of print as cultural mediators, identified by contemporaries as key players in the social projects of public education and moral edification central to the European Enlightenment. Focussing on Isabella Teotochi Albrizzi and Giustina Renier Michiel, both renowned Venetian authors, Dalton introduces two well-known Italian women of letters to English-speaking scholars, re-evaluates the impact of their writing in Italy and raises questions about female authorship across Europe, broadens our conceptions of gender norms, and enriches our knowledge of a little-known period of women’s writing in Italy. This volume is an essential resource for students and scholars alike interested in women’s and gender history, early modern history and social and cultural history.
Author: Kristel Smentek Publisher: ISBN: 9780549925514 Category : Art, Modern Languages : en Pages : 386
Book Description
This dissertation analyzes the emergence of an art historical hermeneutic in Enlightenment Europe through an investigation of a celebrated, but poorly understood, eighteenth-century French print dealer, book publisher, and connoisseur of art and antiquities: Pierre-Jean Mariette (1694-1774). Mariette was active in commerce, in the highest circles of the French Royal Academy of Painting and Sculpture, and in the international Republic of Letters, and his praxis elucidates the historically specific meanings of collecting and connoisseurship as forms of knowledge and social distinction. His ambivalence about the art market he helped usher in also illuminates the emergence of 'art' and 'aesthetics' as categories of intellectual inquiry, and the ideological opposition of both to commerce in an era of consumer revolution. Mariette spent over three decades in commerce, working as a book publisher, printer and print dealer. His successes as a businessman made it possible for him to collect and eventually to acquire the trappings of gentility, but it was also the knowledge economy of the marketplace that formed the basis of his scholarly work. His compilation of "ready-made" historical survey collections of prints for illustrious clients, for instance, provided the foundational historical framework for his writing on art. His status as a connoisseur was secured in 1750 when he left trade and was appointed an honorary member of the Royal Academy of Painting and Sculpture. This was an unusual promotion for a former merchant, and it was made possible by eighteenth-century discourses on the empirical "science of the connoisseur" and the special status of drawings within them. Deemed to be purer, less mediated, examples of an artist's characteristic manner than paintings, drawings--a field in which Mariette's expertise was widely recognized--were the very foundation of a connoisseur's claims to knowledge. His ascension to the status of gentleman-connoisseur was, however, also the result of a discourse in which the skills of artists in matters of artistic judgment were demoted in favor of disinterested lay experts like Mariette. Mariette is most familiar today as a collector of drawings but his treatment of the old master drawings in his possession is radically at odds with modern norms. He cut them apart, reassembled them, and occasionally split recto-verso sheets into two separate papers. Far from being idiosyncratic, such interventions can be related to the widespread eighteenth-century preoccupation with ensuring the optimum conditions for the perception of works of art, a preoccupation conditioned by self-consciousness about the act of perception and the role of sensory experience in knowledge formation. Given the importance of sensory data in the acquisition of connoisseurial knowledge, the clarity of initial sense impressions was imperative; it was this clarity, I suggest, that Mariette sought to secure in the presentation of his drawings. Mariette's aim was to build an art historical and critical science from the object up. His methods and the historical, moral, and aesthetic goals of his connoisseurship are most completely articulated in his Traité des pierres gravées (Treatise on Engraved Gems), published in 1750. Far from ahistorical formalism, as connoisseurship is sometimes understood today, the Traité indicates that the ultimate ambition of Mariette's scholarly work was a developmental history of art grounded in stylistic analysis. Anchored by a belief, shared by many of his contemporaries, that he lived in a period when art had been demeaned by the effects of a too-extensive commercialization of artistic production, Mariette's goal was to regenerate contemporary art and taste through the establishment of an empirically-grounded canon of approved masters for artistic education and emulation. This agenda was shared by a pan-European network of scholars, collectors, and connoisseurs; from their efforts emerged the definitions of art ("Art" rather than "arts") and aesthetics that continue to structure art historical study today.
Author: Jessica Priebe Publisher: Routledge ISBN: 1000470385 Category : Art Languages : en Pages : 270
Book Description
While earlier studies have focused predominantly on artist François Boucher’s artistic style and identity, this book presents the first full-length interdisciplinary study of Boucher’s prolific collection of around 13,500 objects including paintings, sculpture, prints, drawings, porcelain, shells, minerals, and other imported curios. It discusses the types of objects he collected, the networks through which he acquired them, and their spectacular display in his custom-designed studio at the Louvre, where he lived and worked for nearly two decades. This book explores the role his collection played in the development of his art, his studio, his friendships, and the burgeoning market for luxury goods in mid-eighteenth-century France. In doing so, it sheds new light on the relationship between Boucher’s artistic and collecting practices, which attracted both praise and criticism from period observers. The book will appeal to scholars working in art history, museum studies, and French history.
Author: Rena M. Hoisington Publisher: Princeton University Press ISBN: 0691229791 Category : Art Languages : en Pages : 289
Book Description
How an ingenious printmaking technique became a cross-cultural phenomenon in Enlightenment Europe Driven by a growing interest in collecting and multiplying drawings, artists and amateurs in the eighteenth century sought a new technique capable of replicating the subtlety of ink, wash, and watercolor. They devised an innovative and versatile new medium—aquatint—which would spread in use across Europe within a few decades, its distinctive dark tones making possible a remarkable variety of ingenious imagery. In this illuminating book, Rena M. Hoisington traces how the aquatint technique flourished as a cross-cultural and cosmopolitan phenomenon that contributed to the rise of art publishing, connoisseurship, leisure travel, drawing instruction, and the popularity of neoclassicism. She offers new insights into sophisticated experiments by artists such as Francisco de Goya, Katharina Prestel, Paul Sandby, and Jean-Baptiste Le Prince. Marvelously illustrated with rare works from the National Gallery of Art’s collection of early aquatints, this engaging book provides a fresh look at how printmaking contributed to a vibrant exchange of information and ideas in Europe during the Enlightenment. Published in association with the National Gallery of Art, Washington, DC Exhibition Schedule National Gallery of Art, Washington, DC October 24, 2021–February 21, 2022
Author: Wendy Bellion Publisher: Bloomsbury Publishing ISBN: 1350259047 Category : Art Languages : en Pages : 294
Book Description
Things change. Broken and restored, reused and remade, objects transcend their earliest functions, locations, and appearances. While every era witnesses change, the eighteenth century experienced artistic, economic, and demographic transformations that exerted unique pressures on material cultures around the world. Locating material objects at the heart of such phenomena, Material Cultures of the Global Eighteenth Century expands beyond Eurocentric perspectives to discover the mobile, transcultural nature of eighteenth-century art worlds. From porcelain to betel leaves, Chumash hats to natural history cabinets, this book examines how objects embody imperialism, knowledge, and resistance in various ways. By embracing things both elite and everyday, this volume investigates physical and technological manipulations of objects while attending to the human agents who shaped them in an era of accelerating global contact and conquest. Featuring ten essays, the volume foregrounds diverse scholarly approaches to chart new directions for art history and cultural history. Ranging from California to China, Bengal to Britain, Material Cultures of the Global Eighteenth Century illuminates the transformations within and between artistic media, follows natural and human-made things as they migrate across territories, and reveals how objects catalyzed change in the transoceanic worlds of the early modern period.
Author: Édouard Kopp Publisher: Getty Publications ISBN: 1606065041 Category : Art Languages : en Pages : 314
Book Description
The celebrated French artist Edme Bouchardon (1698–1762) is primarily known as a sculptor today, but his contemporaries widely lauded him as a draftsman as well. Talented, highly innovative, and deeply invested in the medium, Bouchardon made an important contribution to the European art and culture of his time, and in particular to the history of drawing. Around two thousand of his drawings survive—most of which bear no relation, conceptual or practical, to his sculpture—yet, remarkably, little scholarly attention has been paid to this aspect of his oeuvre. This is the first book-length work devoted to the artist’s draftsmanship since 1910. Ambitious in scope, this volume offers a compelling narrative that effectively covers four decades of Bouchardon’s activity as a draftsman—from his departure for Rome in 1723 as an aspiring student to his death in Paris in 1762, by which time he was one of the most renowned artists in Europe. His accomplished and dynamic style is analyzed and copiously illustrated in a series of five interrelated chapters that serve as case studies, each of which focuses on a coherent group of drawings from a particular period of Bouchardon’s career.
Author: Kristel Smentek
Author: Kristel Smentek
Author: Valérie Kobi
Author: Ewa Lajer-Burcharth
Author: Susan Dalton
Author: Kristel Smentek
Author: Jessica Priebe
Author: Rena M. Hoisington
Author: Wendy Bellion
Author: Édouard Kopp