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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 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.
"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.
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.
Publisher description
Ce volume est issu du colloque "Histoire de l'art et anthropologie" qui s'est tenu du 21 au 23 juin 2007
'Luxury in the 18th Century' explores the political, economic, moral and intellectual effects of the production and consumption of luxury goods, and provides a broadly-based account from a variety of perspectives, addressing key themes of economic debate, material culture, the principles of art and taste, luxury as 'female vice' and the exotic.
Defines and depicts the arts and architecture of the rococo period in France and examines its relation to society
In 1969 the U.S. Air Force issued a statement that read' "No UFO reported, investigated and evaluated by the Air Force was ever an indication of threat to our national security." This statement is patently false. It has been proven untrue by the testimony of many military officers and airmen and documentation of incidents involving UFOs and nuclear weapons, testimonies of which the U.S. Air Force was fully aware. Unidentified details many of these testimonies, some for the first time. As partial justification for its position, the Air Force cites a University of Colorado study that was contracted and paid for by federal funds. Unidentified reveals how this study was actually just another part of the plan to cover up the reality of the UFO phenomenon. For the first time, Unidentified publishes evidence that the investigators for the Colorado study knew about the UFO-related missile shutdown incidents but did not investigate them or include them in their final report.
This collection brings together studies on the French decorative arts in the eighteenth century, extending from bookbinding, typography and engraving to those related specifically to the domestic interior: porcelain, upholstery and furniture. A collection of studies on the French decorative arts in the eighteenth century. Covers an extensive range of subjects from bookbinding, typography and engraving to porcelain, upholstery and furniture. Demonstrates how the advancement of knowledge in porcelain and loom technology resulted in new luxury goods to the glory of Absolutism. Looks at how Revolution demanded that political change be reflected in the details of everyday life, such as dress and furniture.