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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.
"Since 2004, the Dallas Museum of Art has been the repository of the renowned collection of eighteenth-century French art assembled by the late Michael Rosenberg. The long-term loan of these masterpieces greatly enhances the collection of European art at the Museum, and the series of scholarly lectures funded by the Foundation, the Michael L. Rosenberg Lecture Series, gives a powerful boost to its European art program. Those lectures, presented by top scholars in the field of European art history, are re-presented in this volume"--
"The exhibition is organized by the National Gallery of Art, Washington."
Catalog of an exhibition held at the Metropolitan Museum of Art, New York, October 1, 2013-January 5, 2014.
"This illustrated book, written by leading scholars and the result of years of research and technical analysis, catalogues nearly one hundred paintings, from works by Francois Clouet in the sixteenth century to paintings by Elisabeth Louise Vigee Le Brun in the eighteenth. All these works are explored in detailed, readable entries that will appeal as much to the general art lover as to the specialist." --Book Jacket.
Exploring how the discrediting of Boucher and his school intersected with cultural debates about gender and class, this account of Boucher's art should persuade critics and admirers alike to take another, more considered look.
Join the curators of the Frick as they present engaging histories of works of art paired with creatively inspired cocktails—a crash course in art history and a delightful introduction to the treasures of the esteemed New York collection. Based on the critically acclaimed video series of the same name, Cocktails with a Curator is a collection of lively and informative essays. Paintings, sculpture, furniture, and porcelain—from medieval times through the glorious Renaissance to the early twentieth century—are discussed for their exemplary status. The creators are some of the greatest artists and include Rembrandt, Vermeer, Whistler, Manet, Velázquez, and Veronese, and the stories (of both artists and subjects) are tantalizing. Cocktails, with recipes, are thematically paired with the works: a Jaded Countess (absinthe, vodka, lemon juice, and simple syrup) with Ingres’s portrait Comtesse d’Haussonville; a classic Pimm’s Cup with Gainsborough’s depiction of English beauty Grace Dalrymple Elliott; and a Bloody Mary (named after the last Catholic regnant queen of England) with Holbein’s painting of Sir Thomas More, who opposed the Reformation of Mary’s father, Henry VIII. The perfect addition to any art connoisseur’s library, this book is an innovative and intoxicating way to enjoy the treasures of a world-renowned art collection.
This first book in English to focus on Boucher for nearly twenty years is an invaluable contribution to the study of eighteenth-century art. Boucher has cried out for reassessment, and here, at last, his work is seen at its very best in numerous beautiful reproductions. Jo Hedley brings new insights into Boucher's art, explaining both his stylistic development and his cultural context; she also examines his legacy, both in a survey of the influence of his imagery in many media and in a deconstruction of the myth of his libidinous personality, based on his art, not his life. Boucher's artistic legacy is also analyzed, demonstrating how the mythology surrounding the painter's so-called libidinous private life have continued to undermine serious consideration of his ability. "Splendidly written and lavishly illustrated, Jo Hedley's book on Fran§ois Boucher is a pioneering publication . . . Hedley's book abounds in new information, fresh insights, and suggestive analysis."--Colin B. Bailey, The Burlington Magazine