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First director of the Académie royale d'architecture, François Blondel established a lasting model for architectural education that helped transform a still largely medieval profession into the one we recognize today. Most well known for his 1676 urban plan of Paris, Blondel is also celebrated as a mathematician, scientist, and scholar. Few figures are more representative of the close affinity between architecture and the "new science" of the seventeenth century. The first full-length study in English to appear on this polymath, this book adds to the scholarship on early modern architectural history and particularly on French classicism under Louis XIV and his minister Jean-Baptiste Colbert. It studies early modern science and technology, Baroque court culture, and the development of the discipline of architecture.
Antiquarianism and the Visual Histories of Louis XIV: Artifacts for a Future Past provides a new interpretation of objects and images commissioned by Louis XIV (1638-1715) to document his reign for posterity. The Sun King's image-makers based their prediction of how future historians would interpret the material remains of their culture on contemporary antiquarian methods, creating new works of art as artifacts for a future time. The need for such items to function as historical evidence led to many pictorial developments, and medals played a central role in this. Coin-like in form but not currency, the medal was the consummate antiquarian object, made in imitation of ancient coins used to study the past. Yet medals are often elided from the narrative of the arts of ancient r?me France, their neglect wholly disproportionate to the cultural status that they once held. This revisionary study uncovers a numismatic sensibility throughout the iconography of Louis XIV, and in the defining monuments of his age. It looks beyond the standard political reading of the works of art made to document Louis XIV's history, to argue that they are the results of a creative process wedded to antiquarianism, an intellectual culture that provided a model for the production of history in the grand si?e.
First published in 1946, this book contains selections from the writings of Jean de la Bruyère in the original French.
Once considered the golden age of French printmaking, Louis XIV’s reign saw Paris become a powerhouse of print production. During this time, the king aimed to make fine and decorative arts into signs of French taste and skill and, by extension, into markers of his imperialist glory. Prints were ideal for achieving these goals; reproducible and transportable, they fueled the sophisticated propaganda machine circulating images of Louis as both a man of war and a man of culture. This richly illustrated catalogue features more than one hundred prints from the Getty Research Institute and the Bibliothèque nationale de France in Paris, whose print collection Louis XIV established in 1667. An esteemed international group of contributors investigates the ways that cultural policies affected printmaking; explains what constitutes a print; describes how one became a printmaker; studies how prints were collected; and considers their reception in the ensuing centuries. A Kingdom of Images is published to coincide with an exhibition on view at the Getty Research Institute from June 18 through September 6, 2015, and at the Bibliothèque nationale de France in Paris from November 2, 2015, through January 31, 2016.