One of the most imaginative and fascinating artists of eighteenth-century France, Edme Bouchardon (1698–1762) was instrumental in the transition from Rococo to Neoclassicism and in the artistic rediscovery of classical antiquity. Much celebrated in his time, Bouchardon created some of the most iconic images of the age of Louis XV. His oeuvre demonstrates a remarkable variety of themes (from copies after the antique to subjects of history and mythology, portraiture, anatomical studies, ornament, fountains and tombs), media (drawings, sculptures, medals, prints), and techniques (chalk, plaster, wax, terracotta, marble, bronze). With five essays by experts on Bouchardon’s sculpture and graphic arts, more than 140 catalogue entries, and a detailed chronology, this book aims to demonstrate the originality of Bouchardon’s art within the cultural and social context of the period, while suggesting the subtle relationship between, as well as the relative autonomy of, the artist’s two careers as a sculptor and a draftsman. This lavishly illustrated publication represents an unprecedented and thorough survey on this major and unique artist from the Age of Enlightenment, offering indepth scholarship based on unpublished material.

Bouchardon: Royal Artist of the Enlightenment

Arts & Photography

Trey, Juliette

Scherf, Guilhem

Kopp, Edouard

Desmas, Anne-Lise

History & Criticism

J.paul Getty Museum

La mode était au coeur de la vie de cour à Versailles. Rituels quotidiens et publics des levers du roi et de la reine, cérémonies de présentation à la cour, bals, baptêmes, deuils, parties de chasse... l'habit s'accordait aux événements et dictait leurs attitudes aux courtisans que corsets, paniers, culottes guindaient ou entravaient. Ces parures bruissaient de froissements de taffetas et de pékin de soie et donnaient ainsi vie aux appartements qu'elles coloraient d'une infinie variété de tons. Sous le règne de Louis XVI, la mode connut d'importantes mutations. Si, lors des cérémonies officielles, le costume restait strictement codifié, de nouvelles libertés apparurent autour de 1780, dans un cadre plus intime. Marie-Antoinette elle-même encouragea, voire initia, ce mouvement vers davantage de simplicité et de confort. À travers la richesse des costumes, journaux de mode, peintures et gravures de l'époque, cet ouvrage nous fait découvrir tout un monde de raffinement et d'élégance en nous rappelant que le choix d'un vêtement, loin d'être anodin ou futile, a toujours une valeur symbolique.

La mode à la cour de Marie-Antoinette (French Edition)

History

Europe

Gallimard]

- First reproduction (almost a facsimile) of this beautiful sketchbook- A must for all art lovers but also those who practice sketching en plein air- Important for scholars of 18th century RomeIn 1778 Pierre Henri de Valenciennes, a young landscape painter from Toulouse, found himself in Rome with many other foreign artists intent on studying not only the ancient monuments and the works of the modern masters, but also to encounter Italy's light and landscape. Contrary to most of his companions, Valenciennes rarely copied ancient or modern works of art, but instead he chose to sketch views of Rome, 'a mix of antique and of modern, an assemblage of irregularity and symmetry'. The 96 pages of the sketchbook, reproduced in their actual size and accompanied by a commentary, guide us through Rome, from the river port of Ripa Grande to the basilica of St. John Lateran, from the Ponte Salario bridge to the Vatican, from Piazza Barberini to the Villa Borghese and along the banks of the river Tiber. An advocate of en plein air painting, Valenciennes' sketches use two or three tints of the same color to trace the landscape of an ideal Rome, and to achieve this goal he did not hesitate to modify or move the surrounding architecture. Text in French.

Livre a dessiner de P. De Valenciennes (Carnets et albums. Dessins du musee du Louvre, no. 5) (French Edition)

Officina Libraria

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Books by Trey, Juliette