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The first comprehensive catalogue of the Getty Museum’s significant collection of French Rococo ébénisterie furniture. This catalogue focuses on French ébénisterie furniture in the Rococo style dating from 1735 to 1760. These splendid objects directly reflect the tastes of the Museum’s founder, J. Paul Getty, who started collecting in this area in 1938 and continued until his death in 1976. The Museum’s collection is particularly rich in examples created by the most talented cabinet masters then active in Paris, including Bernard van Risenburgh II (after 1696–ca. 1766), Jacques Dubois (1694–1763), and Jean-François Oeben (1721–1763). Working for members of the French royal family and aristocracy, these craftsmen excelled at producing veneered and marquetried pieces of furniture (tables, cabinets, and chests of drawers) fashionable for their lavish surfaces, refined gilt-bronze mounts, and elaborate design. These objects were renowned throughout Europe at a time when Paris was considered the capital of good taste. The entry on each work comprises both a curatorial section, with description and commentary, and a conservation report, with construction diagrams. An introduction by Anne-Lise Desmas traces the collection’s acquisition history, and two technical essays by Arlen Heginbotham present methodologies and findings on the analysis of gilt-bronze mounts and lacquer. The free online edition of this open-access publication is available at www.getty.edu/publications/rococo/ and includes zoomable, high-resolution photography. Also available are free PDF, EPUB, and Kindle/MOBI downloads of the book, and JPG downloads of the main catalogue images.
This volume includes concise, illustrated entries on the more than 450 examples of furniture, porcelain, and silver from the Museum's collection. New to this expanded edition are sections devoted to maiolica and glass. An index of previous owners and updated bibliographies are of particular help to the scholar.
The J. Paul Getty Museum’s collection of European sculpture featured in this volume ranges in date from the late fifteenth century to the very early twentieth and includes a wide variety of media: marble, bronze, alabaster, terracotta, plaster, wood, ivory, and gold. The earliest sculpture represented is the mysterious Saint Cyricus by Francesco Laurana; the latest is a shield-like portrait of Medusa by the eccentric Italian sculptor Vincenzo Gemito. Among the more than forty works included in this handsomely illustrated volume are sculptures by Antico (Bust of a Young Man); Cellini (a Satyr designed for Fontainebleau); Giambologna (a Female Figure that may represent Venus); Bernini (Boy with a Dragon); and Carpeaux (Bust of Jean-Léon Gérôme). Well represented here is the Museum’s splendid collection of Mannerist and early Baroque bronzes, including such masterpieces as Johann Gregor van der Schardt’s Mercury and two superb works by Adriaen de Vries: Juggling Man and Rearing Horse. These works are indicative of the extraordinary quality of the J. Paul Getty Museum’s collection of post-Classical European sculpture.
This is the second edition of the original guidebook to the J. Paul Getty Museum’s collection. The book introduces the collection, as divided into Greek and Roman antiquities, European paintings, and French decorative arts.
The authors, Danielle Kisluk-Grosheide and Jeffrey Munger, are curators in the Metropolitan Museum's Department of European Sculpture and Decorative Arts. They oversaw the recent reinstallation of the Wrightsman Galleries --Book Jacket.
"Unequivocally a modern, Francois Boucher (1703-70) defined the French artistic avant-garde throughout his career. Yet the triumph of modernist aesthetics - with its focus on the self-critical, the autonomous, and the intellectually challenging - has long discouraged art historians and other viewers from taking Boucher's playful and alluring works seriously. Rethinking Boucher revisits the cultural meanings and reception of his diverse oeuvre, inviting us to revise the interpretive cliches by which we have sought to tame this artist and his epoch."--BOOK JACKET.
"In the royal and princely courts of Europe, artworks made of multicolored semiprecious stones were passionately coveted objects. Known as pietre dure, or hardstones, this type of artistic expression includes?paintings in stone,? which were composed of intricately cut separate pieces that were made into magnificent tabetops, cabinets, and wall decorations. Other works included vessels and ornaments carved with virtuosic skill from a single piece of rare and brilliant lapis lazuli, chalcedony, jasper, or similarly prized substance; exquisite objects such as boxes, clocks, and jewelry; and portraits of nobles sculpted in variously colored stones. Derived from ancient Roman decorative stonework, the art of pietre dure was developed in Renaissance Florence, where the manufacture of such objects was enthusiastically sponsored by Medici princes. Ideally suited for ostentatious display, the works sent an unmistakable message of wealth and political might that was understood in centers of power everywhere. From Italy the medium spread across Europeto Prague, Madrid, Naples, Paris, and later Saint Petersburg. Precious and fragile, pietre dure objects are rarely brought together in large numbers. This richly illustrated catalogue contains more than 150 masterworks from across Europe, dating from five centuries, including almost every artistic use of semiprecious stone during this time as well as some of the finest examples of the medium. Eight essays by European and American experts discuss the individualized development of pietre dure in every European region, the latest developments in scholarship, the interrelationships between art and dynastic politics and between cultures, and a variety of techniques used to produce these luxurious masterworks."--Metropolitan Museum of Art website.
Architectural Space in Eighteenth-Century Europe: Constructing Identities and Interiors explores how a diverse, pan-European group of eighteenth-century patrons - among them bankers, bishops, bluestockings, and courtesans - used architectural space and décor to shape and express identity. Eighteenth-century European architects understood the client's instrumental role in giving form and meaning to architectural space. In a treatise published in 1745, the French architect Germain Boffrand determined that a visitor could "judge the character of the master for whom the house was built by the way in which it is planned, decorated and distributed." This interdisciplinary volume addresses two key interests of contemporary historians working in a range of disciplines: one, the broad question of identity formation, most notably as it relates to ideas of gender, class, and ethnicity; and two, the role played by different spatial environments in the production - not merely the reflection - of identity at defining historical and cultural moments. By combining contemporary critical analysis with a historically specific approach, the book's contributors situate ideas of space and the self within the visual and material remains of interiors in eighteenth-century Europe. In doing so, they offer compelling new insight not only into this historical period, but also into our own.