$ 7.95
EIGHTEENTH
CENTl RY PAINTI>r,
The changes
in society during
time explain all the
contrasts of an era that
embraced equally happily the
this
serious
real
spirit.
EIGHTEENTH
In
CENTURY PAINTING,
Clair
surveys this variety of
Europ>ean art and relates its
Gay
development to the
important social, cultural, and
political
upheavals that
influenced
it.
"Century of Enlightenment,"
European language, literature,
court and society art, and
etiquette were dominated
by France. It was taken for
granted that foreign rulers
would go to the studios of
French
artists
portraits, or to
for their
buy
and imitated.
Gay
explains. In fact,
it
master of decorative
painting and fresco, while
fresco was hardly used in
France after the death of
^-^
\
.
J
History of Painting
Title
page
illustration:
Jean-Honore Fragonard
Grasse 1732-Paris 1806
Fantasy Figure, called Inspiration
on canvas
Paris, Louvre
Oil
2'7' x 2'2"
Prehistoric Painting
Roman and
Romanesque Painting
Cover
illustration:
Gothic Painting
Gothic Painting
II
The Renaissance
The Renaissance
II
The Renaissance
III
Baroque Painting
Baroque Painting
II
Eighteenth Century
Antoine Watteau
Late
Romanticism
720
L'Enseigne de Gersaint
Impressionism
on canvas
Berlin,
5'5' x lO'O"
Charlottenburg Palace
Expressionism
Post Impressionism
Cubism
Futurism and Dadaism
Surreahsm
in
Modern Painting
Abstract Painting
Chinese Painting
Japanese Painting
Islamic and Indian Painting
American Painting
Eighteenth Century
Painting
Claire
Gay
Funk
&
Wagnalls,
New York
r:u
GcaU
/
Library
Series edited by
Claude Schaenner
Artistic Adviser:
Jean-Clarence Lambert
Illustrations
Assistant: Marline
Caputo
USSR
English edition:
Number: 75-I0053S
Funk
Published by
&
Wagnalls,
The colour
and on the
Lausanne,
except
and 50;
London: pages 65, 74
Courtauld
Institute,
(right), 75,
79 and 80;
R. B. Fleming, London: pages 73 and 88;
Brompton
Studio,
Giraudon,
Paris:
London: page
66;
page 70 (lower);
The black-and-white
91.
Giraudon,
156.
157,
159.
181.
183.
186.
160.
191,
161.
163.
165,
169,
177.
180.
and 200;
Andre Held, Lausanne: pages
150.
151.
and 202;
166;
154.
168.
Table of Contents
Introduction
The European
97
8th Century
118
Chronology
126
Museums
144
Principal Exhibitions
145
Dictionary
204
Bibliography
205
List
of Illustrations
F'ictro l.onghi
Venice 1702-85
//i'
Oil
Pen list
on canvas
Venice.
2'0"
Academy
><
I'?'
Introduction
that case
it
may
",
title
invention hut
well to the
itself
",
although
it
",
or " Century of
also
It is
known
as
French
the mountains
spontaneously accepts the pre-eminence of her language, her literature and her art and
It is
usages.
taken for granted that foreign .sovereigns go to the studios of French artists for
their portraits, or to
French
its .social
artists,
buy paintings
or those trained
in
to
France,
make
staying to carry out highly-paid commissions or to found academies and art factories
become established
to
in
more or
to
the type
less
"
all
national specialties
and
or the Bible.
But was that the whole of European art? Did the powerful wave of French art
submerge
answer:
...
"
"
and
traditions?
We pose
"
"
is
international, bu:
had no
effect
art. " It
must also be remembered that reservations about French expansion are manifest across the
from
" the
in
and in
of a national school whose
names
rivalry
"
In fact
it is
to the
of Louis XIV,
Ver.sailles
is
to the
new
is
hardly used
in
France. The
style
of interior architecture
which favours blank ceilings and leaves to the decorative painter only overmantels above
doors or panels. As for churches, France builds hardly any.
The
situation
is
different in
Germany and
War and
"
Imperial apartments
"
offer
a rich field
The
art
of displaying the
virtuosity
surfaces calls for a real science In which the basic ideas of ceiling perspective, laid
down
in
books by Andrea Pozzo and Paulus Decker, are combined with theological concepts or the
ideas of Cesare Ripa's Iconology (that "Artists' Bible" which drew the
condemnation of WInckelmann and which combines pagan mythology with Christian
commonplace
allegory).
Here, Indeed,
Is
stands aloof from a French Europe and the " Century of Enlightenment "
In the
same way,
the Italians
Europe produce a
Bellotio, throughout
Vienna, Dresden
If today
series
in
another form of
VedutlstI" Canaletto
,
vivid pictures
of particularly
and
of London,
and Warsaw.
to discover the "
we are
thirty years,
",
predecessors
for the IHih century andfind, near or far from the great Chardin and in France or elsewhere,
to naturalism.
the
Roman
all
pomp and
of Claude Lor rain towards opposite ideas which have no pretensions to a monopoly of
beauty: like Rulsdael and other Dutch painters of the 17 th century, the artist .^eeks to delve
of Chardin, shows scenes of dally
life far from the sophistication of the boudoir or the prowesses of the bedchamber.
directly Into nature. Finally, genre painting, not only that
"
Caravagglsts
"
i.solated
"
Is
found
in
and total change in aesthetic conception which puts an end to the reign of the
by now 2()()years old or very nearly, and installs neo-classlcism, which develops in
the sudden
Barocpie,
its
life
and
artists
from
In
all
over Europe.
spirit,
keeping within bounds, exist outside of imitation of the ancients. They are to be fouiul as
much
"
French Piuthcnon"
'.'
),
golden age of Gothic art (was not Amiens Cathedral called the
as
in the
it
is
to
he noted
in the
in
XV styles,
cuUed
"
kept
check,
and which
is
in
rocaille"
contrast with the frenzied exuherances of the Rococo of ItaUy-German Baroque, in their last
phases.
It is
and show
the richness
the
charm
Thomas Gainsborough
Sudbury 1727-London 1788
(
itnvcrsalUm in a Park
J'aris,
Louvre
m^
1^,7 "^i
:
'-^b-.-.-.v
\,
\
The European
From
18 th Century
Paris to St Petersburg, by
develops a European unity above national divisions. The essential mutations, those of
thought and
taste,
to the
its
feasting.
way
decadence that
is
to
push
England, welcoming
under the
it
all
intellectual
II
now
paves the way. with Montesquieu's Esprit des Lois and Rousseau's Social Contnui. for
the downfall of absolutism.
ment
at the
Enlighten-
hold respect for traditions. The repeal of the Edict of Nantes, hunting the
their country,
is
Anglicanism which has dethroned the Stuarts and driven English Catholics on to the
now on
premium on freedom of
thought and, agamst obscurantism, gives added influence to ideas which soon
new world. An
will rule a
From
thought.
itself to structural
transitory era in
It
is
the tumultuous
period where a civilisation enters into the precarious balance of the apogee, the stage of
fall.
contrasts of this epoch which embraces equally happily the serious and
real
pours out
its
in a vast liberation
in
of senses and
a coherent whole.
less
maintains
its
The
traditions.
move
It
the
its
decline
Proud of
spirit.
aristocracy,
all
their
economic prosperity,
and
bringing with them the lusty strength of their rationalism and faith
progress and
spreading profusely their religious scepticism, their curiosity and their culture. This
change takes place with the reassuring courtesy of the period. "They had manners, even
in the
street",
battlefields
sions
of
on the
revived.
charm.
There culture
is
What do
theatre,
Madame
the century,
An
this
on music. There
is
talents are
is
is
and matches
it
is
in
Geoffrin has given the lead to Europe, for the salon, at the beginning of
feminine.
From La Camargo
word
indicates that
it is
to Julie
Hyacinthe Rigaud
Pcrpignan 1659-Paris 1743
Artist,
c.
1695
Paris,
talent,
woman
reigns.
To meet
in all
in
voluptuousness."
science
and techniques
works
is
is
needed, learned
The progress of
Reach of
Everyone or Algarotti's Newtonianism for Women, or the Abbot NoUet's Essay on the
Electricity of Bodies. The passion for travel which grips Europe stems from the same
success of
like
Nicolas de Largillicrc
Paris 1656-1746
Portrait
<>t
Versailles
Voltaire
Museum
such famous collectors as Walpole. Crozat. Algarotti*. Bruhl and the extravagant
William Beckford,
who had
Hume,
first,
built to
house
in
his treasures.
which figure
At
Abbey
licentious in France
and
satirical in
towards the pool of sentimental naturalism, revealed by Richardson* and Rousseau. The
aristocratic taste for
show and
gaiety seizes
assumes an elegant
frivolity with
on the
itself
up
theatre.
to dale.
Manvaux*, becomes
realistic
it
mocking with Beaumarchais*. It transforms the Opera which, like it. came from that
Italy whose singers are eagerly sought by the European capitals. From elegant music to
pre-romantic drama it is the same progression that throws up the names of Campra.
Vivaldi. Couperin, Rameau, Handel, Bach, Haydn, Cimarosa, Mozart and Gluck in an
unprecedented creative rivalry. Again it is the theatre which marks the great Italian and
German decorative rehgious painting. The French painting of Watteau* and Greuze* is
full of it. The century is rich and innovationist and thus is busy building. All the
Jean-Marc Nattier
Paris 1685-1766
Peniii-nl in the Dcseri
Oil
on canvas
Louvre
2'4" x 2'6'
Paris,
sensualism
the
of"
epoch
is
Prosperity no longer
reflected
is
in
the
new conception of
way
The
followers of Rubens,
is
settled in
favour of the
latter
"'
Moderns",
gods are Flemish and Venetian: Rubens, Tintoretto, Veronese, Titian. Rome, which has
ruled over the arts since the Renaissance,
snakes round,
twirls,
winds
itself
up
bows down
to Venice
Under
and
Paris.
The
line
a transparent glaze,
colours become lighter. Fashionable and unfettered, the Baroque goes to the limit of
Rococo possibility. It
main centres: France,
art form,
Italian
and French
artists
capable
Rome, however, becomes the cosmopolitan haven where people gather round the
Mengs*, Winckelmann* and the Count de Caylus*. Reformers, assured
of their "good taste" and moral sense, mount an attack on the deplorable "French
taste ". About 1760 they are helped by historical and social evolution. The literary works
of Voltaire and Montesquieu* already have foreseen this turn of events. The Salons of
Diderot are devoted to it. Neo-classicism, style of the militant middle class, comes only a
short time before the French Revolution. It has the same significance.
erudite such as
art
has a breathing
spell.
opposed
It
is
to violent
change, brings a caution born of previous transitions. France slides slowly from the age
of Louis
XIV
plant
its
thought and pleasure. Court art. noble and emphatic, is as tiring as that
Sun King whose twilight lingers on. The Regence institutes drastic changes. Philip of
Orleans abandons Versailles for Pans the court for the city a simple move, but a
determining factor in the evolution of ideas and art. Emerging from a long-numb state,
society bursts into joy in revenge for so much accumulated austerity. The Regence
cults of serious
old
initiates licentiousness;
tastes, its
Louis
nonchalance and
its
XV
do not customarily
never yet has the strategic superiority of thought over arms been so evident!
From now
up in
the "salons" of Madame de Tencin, the Marchioness Deffand. Baron d'Holbach*or
Mademoiselle de Lespinasse. Here mingle the encyclopaedists, writers, actors and high
on
art
is
aimed
at a cultivated class
is
built
15
Madame
noblemen.
The
artists.
Geoffrin,
whose
prestige
is
Mondays
for
critical
lost.
With
sociability as a
common
denominator,
all
the
is
rage.
Mozart. Alexandre
Riche de
la
la
in its
Rameau.
of his time
elite
dance
and
The
Salle.
theatre,
which
Beaumarchais tinges
dramatises
it
Romantic, philosophical or
it.
political,
French
it
the novel
it.
and Diderot
literature spreads
its
clear
this stimulating
atmosphere, the
artist is
official
adhered to
its
governed by a
of
medieval origin and corporate traditions, there has existed since the middle
outlook bears
down
Academy of
it is
at the
more modern
before the end of the century. All great painters of the time submit to
discipline,
series
its
teachings and
its
Salon*.
whose
Buildings,
Thus
the
Duke d"Antin
re\ives the
Beauvais Factory and gives his protection to the avani-gurJe of his day: Charles de
Lafosse*, Restout*, Lemoine*. After him
La Tour,
superintendents
who
follow
are
in
named
proteges
of
Madame
of the Louvre.
de Pompadour:
her
Two
uncle
without too
much of
a blow
to
individual conceptions.
morals, exercises a
appear the
Louis
first
XVI than
signs of a sobriety
which owes
less
Rigaud
a basis
of
or Restout, whose death barely precedes the advent of Greuze and Vien*.
in
becomes married
The
pictorial
the
graph of ideas and tastes and assumes four successive aspects. After a transitory period
during which
16
it
sheds the
frilly
Grand
becomes intoxicated
Contrasting with the fri\oliiy which made a
trappings of the
Siecle. art
Anloine Wattcau
Valenciennes 1684-Nogenl-sur-Marne 1721
6///f.v
(Pierrot in
The Commedia
on canvas 60"
Pans, Louvre
Oil
x 5'0'
dell'Arie)
Watteau
/mix Pas (sketch)
Oil on canvas I'S" x '4"
\iiii>inc
//;<
Pans, l.ouvre
and the formidable psychology of La Tour*. A reaction sets in and the landscapes of
Hubert Robert * and Vernet* reveal a naturalism that, by now, is Romantic. Deemed
purged by the elevating influence of Greuze,
it
merges
reign of Louis
XIV and
still
If
a Jean Jouvenet*, in
late,
it
whom
in a
The "grand
new
style.
the
advance
to
is
too
he would not have dared to draw his creations from the Bible, as did his
who
for himself
etc.,
is
and
little in
great,
its
less severe.
to
has been brought up on the principles of his master Le Brun, sees too
century for
very
life
world of Venus-saints and Eros-angels. Everything prepares the way for the
advent of Boucher.
who
becomes
Chapel of
Versailles,
it
XIV
in
makes them
avert
home of
their
common
is
to be asked to decorate
the vault of the Chapel of Versailles, he uses a subterfuge to have the commission passed
on to Antoinc Coypel*, who enjoys the double patronage of the Duke of Orleans and the
Grand Dauphin. With Coypel, religious sentiment makes way for quite profane qualities
of colour and movement.
He
from mythology, such as that nymph daubing the face of Silene with mulberries, or a
frolicsome Bacchus beckoning the spectator to his love-feast. Antiquity offers its great
legends as material for his theatrical passion. His son Charles Coypel*
his father's princely protection
transitional period, he
glittering
and
is
Boucher school.
to inherit both
from the
allegories of the
19
Anloinc Watteau
Embarkation
on canvas
Paris, Louvre
Oil
3'5' * 6'4'
Italian Actors in a
Park
on canvas 90'
Pans, Louvre
Oil
Another
I'
1'
"grand
8th century
achieve the plasticity of expression of majesty with which his contemporaries adorned
may
their king
be astonishing
today.
is
little
of the
splendour of the Sun King. All the same, apart from an undeniable aptitude for
capturing the essentials of a face
mother
Rigaud
their leonine
all
the
pomp
as
is
effigies
surrounded by cohorts of
is
velvet,
columns,
painted by a team of
to
heap
Rigaud's success
is
laurels
has to go to
German
Nicolas de
it
Italian
remarkable qualities
in his portrait
whose
qualities
in
the delicate
own country
Largilliere*,
such that
way
denies him.
of plasticity and
rival,
sensitiveness are
time in London. Under his master Peter Lely, the English Rigaud, he becomes imbued
with the
spirit
Van Dyck
of
Rigaud's princely
circle,
and
he has no great
Largilliere returns to
difficulty in
last
light
tonalities, allied to
in
at
is
to
and an
with Frangois
make
the
name of
The innovation consists less in the use o{ fancy dress than in the
the new criteria of grace and beauty the hierarchy of Olympia
are jostled a little. The terrestrial hierarchy, too; for deification no longer belongs only
to blood princes. Venus takes the lead from Mars with her retinues of Diana. Flora,
Ariadne and Ceres. The court is peopled w ith goddesses of blue and pink, scantily dressed.
Nattier illustrious.
20
later
starts,
To meet
ii^^l
'^H
^Jytr
^^^^^^^^^^^HhL
'^^^^^^^^^^^^^^I^H
^KLaf^^:
^K
/ii t'JHl^^l
^^^^^^^Br'*
But
if F.
^^K
and builds
his
and staring
them out
in series
clientele that
bestowed
and
is
Moreover,
him
to carry
on him. Then he
it
eyes.
their qualities
tries to
it
had
interested in
more
sincerity. Nattier
who
is
to disguise
is
to find himself
Madame du
Barry as
Flora. All the futility of the century seems to have found a place in his light portraits of
that are
22
Walleau.
Nicolas Lancrct
Pans 1690-1743
The
Game of
Oil
on canvas
Berlin,
New
Pkul-dc-hirut.
I
Palace
<
17.^8
in a
J
same way
In the
comes only
underground maturing,
after long
the appearance of Antoine Watteau, decisive figure in the French school, at the uncertain
dawn of the
more
century,
striking
when
is
it
a sunburst of
is
what
is
to
is all
life
the
are
passed under the reign of Louis XIV. Watteau has not lived through the ostentation of a
frivolous
it.
left
and
primarily in form. So soon after the domination of Le Brun, the subtlety of his idle
little
Watteau
an innovator
is
in
all
personages and the clarity of his silvery half-tones bring out a boldness that has only a
slight classic flavour.
him the Crozat Collection and the Luxemburg Gallery, of which Audran is now the
curator, take the place of Flanders and Italy. The working method of the master of the
fetes galantes
is
in three
life
provide a bottomless reservoir of heads, attitudes, personages always ready to play the
role of extras or actors in the great pictorial
on canvas
Paris,
Louvre
'6' x
'
10"
in
He
is
fond of seated
23
Jean-Honore Fragonard
The Two Ijivers
'6'
Oil on canvas I'
' x 1
1
Sion. Leopold
all
Rey Collection
The
aesthetic
paradise of Watteau ignores poverty, old age, grossness and the other ugly sides of
life.
His various types are based on a poetic homogeneity for which others long envy him
without, however, discovering
its secret.
him
drama or
Claude Gillot*,
his
they bring the colours of their costumes, their joy or their melancholy.
in the rustic fairylands
alongside even
more imaginary,
silky images.
in the
even
They
No
camp
are present
learned subject
life,
above
all
the
whom
he paints the famous " Enseigne". At the height of his mastery, with the assurance that
Marivaux
finally
brings to
life
the
Venetian Festival
philosophic pretensions. Less affected by classical culture than his predecessors. Watteau
thus
is
to games,
libertine
spirit
His love
affairs
",
he sticks
They never violate that purity with which he surrounds even his nudes. The
fete galante is to become gradually degraded throughout the century until it becomes
erotic in the hands of decadent petty painters. Watteau disappears at a lime when the
courtliness.
Regence
air
is
abandoning
austerity.
and
for a host of
In the
more or
it
his mistress
Madame
he has dreamed of
of Frederick
II
it
is
gives an
missing
and sensed
its
in
known
If
his life
/<:7<',v
galantes,
Watteau,
in a
fit
sculptor friend Antoine Pater, calls Jean-Baptiste to him. Pater admits later to Gersaint
that he
"owes
all
know
which
He might almost
ai this
his
composition.
artists
is
many
To
the artist
La Fontaine's
as required.
Academy
Frederick
pastorals
poetry.
II
at a very
It
is,
in fact,
the other
hand
his series
of
"games"
to
On
to
all
his
the freshness of
childhood. His genre paintings of modest interiors couple the grace of his people with a
sense of reality quite
new
at this time.
series
from
his
own
is
insinuated everywhere into works which are a wonderful testimony to the atmosphere in
Among more
contribures an
mythology and the Bible provide elegance; contemporary high society furnishes
his best
and verve are free in the rapid brushwork of his genre paintings such as
Dejeuner de Jamhon, Dejeuner de Chasse or Death of a Stag. He is also "mundane
subjects. Spirit
25
him
dehghtfully.
and spread it throughout the whole of Europe; for each of the types
practised by Watteau has found one or more artists who emulate it. Franc^ois Octavien*
and Bonaventure de Bar* take up elegant subjects again. Charles Parrocel* perpetuates
French
spirit
Hotel
Rohan
limited to this handful of imitators. His elegance underlines the plasticity of expression
in
it
perpetuating
completely
itself
in the
thus
it is
submitted to a
are to follow.
its
from scenes
of courtliness to the allegorical portrait or the touching family scene, not only
foreign to
to
him but
his style
remains resolutely
anti-classical.
is
the type
Save Callirhoe opens the doors of the Academy to him. but he discards a career as
him access
and
it
is
to the boudoirs of
cie
I'Escar-
fame
and fortune.
The bedchamber scene is to Fragonard what {\\q fete galamc is to Watteau. It suits
As an historical painter he would ha\e been nothing but a Dcshays*. whose
succession had been reserved for him. The " man of matchless mythology and undressed
rogues" makes a mockery of the high-minded watchwords of the neo-classicists. His
preferred field is Debut ciu Modele, La Gimhlette. Le\ Baisers. La Chemise Enlevee. Le
Verroii.
The most daring scene is always tempered with exquisite delicacy Fragonard
never insists, he touches lightly on the subject and moves on. His is the poetry of
him
well.
26
on canvas 3'r
Barcelona,
Van Loo
-^ Louis- Michel
iJean-Honore Fragonard
x 2'5"
Museum
of Modern Art
Oil
on canvas
Louvre
2'8" x 2'2"
Paris,
Nobody
ticklish
From
his
It
own
Venice;
should
lewd leanings of
this
it
little
no longer
is
painters bent
on the business of
Baudoum. His
field is
is
demands
In the
their
satisfying the
name remains
and
his son-in-law
pupil,
like to
ire
Fille conduit e
raise the
It
up
is
transformed.
It
Of Dutch
series
origins,
draw
it.
France
In
it
is
throughout Europe and the century talents that are tinged by a variety of reminiscences.
Boucher and
realised, in the
French boundaries.
portraits
and
who was
XV
far
before
beyond
his sacred or
many
some time
at the
in his
Typical as
its
style
still
borrows
his favourite
lively
themes from
27
Francois Boucher
F'aris
I.
Oil
1703-70
Pi'iiic
Jardiniere
on canvas 20'
>-
1'6'
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contemporary
Italians,
of Principal Painter to the King. If his mind, impaired by overwork, had not led
title
him
to
"daintiness, his romantic gallantry, his fantasy, his facility, his variety, his brilliance, his
made-up
flesh tints
and
his
their
de Pompadour.
He
also leaves
him
raise
to a pinnacle
him access
to the tapestry
works
at
in aesthetics, is
is
spirit
occasionally prophetic.
Academy
in
Rome, wins
a measure of
Room
in the
decoration of the
of Psyche and that of the nine Muses. Even more so than Boucher he has contributed to
his sugary, superficial painting. Rococo ornamentation,
room for great themes. The reduction of space available for
decorative painting in the new style of architecture sends the painters back to tapestry.
The phenomenon of Chardin throws light on a less pretentious but primordial
is
Baroque with
aspect of this
son of a cabinet-maker
Chardin
little
is
classified
diversity
is
level
this
" painter
and keeps
surprising.
full
by the Academy as a
compositions". Alone
is
in Paris is to reveal a
it
of animals and
fruit ".
fidelity
He
is
takes this
the painter,
of his "mute
'
and the
ear.
29
its
secret,
which
is
in
by the Romanticists
it
"magic" which
makes him revered by Diderot, who feels the deep naturalism of his work. "One might
say of M.Chardin and M.de Buffon* that nature has taken them into her confidence."
At the derisive suggestion of his friend, Aved*, he ventures into other pictorial types in
but
its
makes poetry of
visible skin.
series
It is
undoubtedly
this
No
in
a padded silence,
No
which, added to his divided touch and his handling of reflection, go beyond realism to
show
Catherine
explains
II,
why
human
race.
The
Frederick the Great and rich art lovers for these peaceful
asked to
make
scenes
all
over
The
the artist
is
Not very
liking of
little
children of his friend Godefroy the jeweller are seen drawing, playing with tops, building
marvellous
houses of cards
life
immediate influence.
A. fete
The
mythology
its
Nattier.
moving
period.
pomp had
Regal
its
characteristic of
accustomed to
flattery.
its
is
evidence of
Rigaud, elegant
Chardin
at his
peak of going
realistic
classes.
However,
his portrait of
Queen Maria Leczinska brings him invitations to the courts of Russia and Denmark.
The qualities of Maurice Quentin de La Tour come to light at a moment when
contemporary society has reached
Madame
its
greatest
his portrait
Geoff"rin,
30
intensity
all portraitists in
capturing a physical
in the
depth of a gaze.
seductive.
there.
is
in the
not
last long.
fixing
of the colours.
number of
his
artist
He becomes absorbed
in
was
out of
is
made
their
charm before
no
and the
human
in
in the
Museum
of the gallant
fiercest detractors
less the
style,
in his insolence
only the
While La Tour held out for four years before agreeing to paint the portrait of the
Marquise de Pompadour,
Europe
in
his rival
clients.
He
some admirable
Amsterdam,
officials
whom
Madame
he met
made
his
Stadhouder William IV
latter, in
armour. The
oflftcial
whom
he has
de Sorquainville, J.-B.Oudry,
He
dies in
Holland which welcomes French painters and where Aved, called the
in this
Batavian, has
owes
to her he
in its simplicity
and
his greatest
faithfulness.
friend Chardin,
some
time. But
more than
He
ability to
is
last to the
Joseph Duplessis* excels as the anti-Nattier of the reign of Louis XVI. Approved
by the Academy
in 1769, this
its
like
feeling of expectation.
The middle
class,
which
is
abundance of
clients
from men of
facility. It offers
letters, artists
and
31
Gliick, Necker.
official portrait
painter to Louis
out the formal portrait. But the grandiose style does not suit him so well; he
XVI he tries
is not made
of the same stuff as Rigaud. but his access to the court at such a time gives him a certain
prestige.
Rosalba Carriera's
success in Paris and hallowed by La Tour, has brought about an unprecedented surge of
feminine talent, which feeds the most abundant market of the century. But the pastel
is
it,
century's portrait art soon wins over to her the city and the court.
make Madame
Her name
spirit
Antoinette.
Vigee-Lebrun the
made.
is
It
official
seems that
it, is
portraitist
in
this
effervescent
period beauty,
easily satisfied
France.
draped
by a
said that during ten years of her exile a certain painting of Marie-Antoinette,
It is
in black,
To be
to the
specialisation.
The
XVI does
elite
of Europe.
field
of
is
tempered with
of his friend
gifts as a
all
its
simplicity avoids
all
virtuosity of Fragonard, perhaps too audacious for the period. His brush en\elops a face
in
How could
this "
is
busybody genius
"
have
failed to
top off
about
such competition that a number of artists must either vegetate where they are. go abroad
or specialise in a style that
this sport to a place
is
less practised.
rise
first
great tapestry, Nouvcllcs Indes^ a series of eight pieces, remains celebrated. Also leaving
portraiture,
^2
J. -B.
XV
when
his
contem-
he makes an immense
Jean-Baptiste-Simeon
Paris
I.iuly
Oil
Scaling a
on canvas
Berlin,
Chardm
6^- 1779
l.i-llcr,
4y
1733
-410'
Chariolicnburg Palace
contribution to the royal tapestry factories, in particular the great Hunts of Louis
the
Compic^ne
realistic
satisfies a latent
clientele
and
its
is
Desportes and Oudry also have had merit enough to show that the beribboned
still
in
an accessory, but
story.
it
is
felt
to be closer
and ready
in
France. Nature
shroudmg them
in
still
to overrun the
animal or
him
exiled to
their
its
human
XV in
Forest.
in the
countryside or borrows
He
it
man
is
of
33
who
pathos
Finally,
Vemet.
coming
to
of France
",
is
moon
before
quite classical
skilful
and
advantage
fame
in Italy
The
is
is
owed
to clients
who
are
more
effect
they
become
friends.
except his
little
later
collar".
Abbe
St
Non *
Fragonard
fills
"
drawing to their
was nothing ecclesiastical
whom
about
there
it
out
with melancholy ruins into which he puts picturesque lower-class people. Back in France
he never departs from these romantic ruins, which become the rage. "
It
in
tell
who
in
domain of
life.
of conjugality to nature and the antique, "Robert of the Ruins" links two aspects of the
in a
technique that
is
a forerunner to Impressionism.
In the century of
have been important had he not made concrete the evolution accomplished
in the ideas
of the eve of the Revolution. The social phenomenon has assumed more and more
importance. Throughout
its
philosophers and
its
its
conceptions. Marmonlel's Moral Fables and Rousseau's Social Contract appear in 1761.
The outbidding
in
is
made
powers to ban not only licentious subjects but all showing of nudity in paintings. At the
same time it becomes good taste to be tender. The "tearful play" of Nivclle de La
Chaussee comes shortly before the " bourgeois drama " of Diderot and Sedaine*.
Chardin
Iai
Pinirvoycuse
Oil
on canvas
Louvre
Paris,
\'b' x
'3'
r6'x
Geneva,
\y
Museum
of
An
and History
Geneva,
IS'
Museum
From
this
according to
Diderot, "to be advised to give morals to art and to put together events from which
should be easy to
make
a novel
".
it
To
title
of "genre painter"
dream of a "grand
" good
upbringing " in a series of paintings whose tonalities are grey and faded. The actors in his
Paternal Curse and Bad Son Punished play out the bitter melodrama.
In fact the whole of Greuze's production seems to rest on a misunderstanding.
This man was not born to eulogise virtue. Hence the equivocal aspect of his symbolic
paintings in which a non-genuine simple young girl with her bodice half-open has always
style "
lost
at his reception.
realise his
which preaches
many
poor implications which, by comparison, are so rewarding as they stand without the
deviations of a Fragonard. Despite their dullness and greyness, these compositions are a
great success in France
his
and abroad,
late, this
like
particularly in Russia.
Greuze
for the
wrong
One wonders
if
Diderot and
style expresses
to be the
38
is
pressure. There, during the last few decades, art records the
Mlisabcth-Lduisc Vigcc-I.cbrun
Jcan-Baptistc Pcrronncau
Paris 1755-1X42
Paris
Port rail oj
Madame
yigiT-l.chrun
Oil
Paris.
Louvre
1715-Amslcrdam
178.^
on canvas 4'3'
Louvre
Paris.
'*
3'3'
The
The Roman
uprightness.
cult to
since 1730 has recruited followers among cultured minds such as the Count de Caylus
and Lafont de Saint-Yenne. The craze for archaeological expeditions first at Herculaneum in 738 and then at Pompeii, the anti-French theories of Mengs and Winckelmann,
1
down
to costume.
advocated.
It is
is
monochrome and
judicious.
Count
of Louis
d'Angiviller.
taste
and
critical
From 1774
XVI by recommending
and
J.-B.
The major
It
part
retains all
its
impose the
A horde
of lesser painters benefit simultaneously from the infatuation of the rich with Pompeian
from
artistic privileges
and
official
in the
Jean-Baptiste
Oudry
Paris.
il"
with Violin
Louvre
39
Jean-Baptiste Greuze
Art.
The
It
is
Italian School
very difficult to discern an Italian entity in the
IHtli
retains
own
its
spoken than
sometimes even a
local peculiarities,
Italian.
common
frontiers.
Austria, Spain,
language that
local
is
is
Don
Philip,
territory;
who
are also
in 1731.
V and
son of Philip
XV,
city
more widely
This
the court of
his
Parma becomes
a place of Franco-
Spanish influence. Beyond these divisions the names of Servandoni* or Galli Bibiena*,
whose genius has organised the most brilliant festivities in European capitals, become
Throughout this avidly ostentatious century the great scenography is
Italian. But in an area more worthy of the artist's brush, the rare common characteristics
international.
As everywhere
phenomenon
in finding a
new
realism.
much harm
On
is still
Church insinuates
the other.
to
Aristocratic in
ecclesiastical elite,
it
not
of
society. Right
made
this
plays
it
with Popes,
it.
But
if
to
its
inquisitorial
Bologna, where
its
priests
its
is
to be found
who
has
Roman
who
his contribution to
its
whole of
Rome
Europe
in
aristocratic.
in
themes and
Lombardian
own
realism,
particular style.
styles.
true that in
itself,
to boil
Venice and
is
Rome
is
memory
to
still
art
and prey to
it
and gives
its
it
political upheavals,
artistic position
a Viceroy, Charles
Naples has
Solimena
profits
without difficulty from successive protections. But as against the vicissitudes of temporal
offers a
permanence
that
is
may
be.
economic and moral power that is better cultivated than alienated. From
the beginning Solimena has been careful to ensure the favour of the Jesuits by decorating
It
constitutes an
41
the Carracci.
From
power but a
clarity
the
is
retains volumes,
Solimena, at the beginning of the 18th century, occupies a key position. However, he
de
Mura
which solemnity
But
The
justify the
likeable
religion are
Naples
Mura
vies
Solimena to
lightness
in
in the
more temporal
King of
rustic genre
means of coloured
picture by
on appears even
light
is
it is
first
audacity
draw
his
own
art patrons
grandiloquence disappears
in
is
to
life
5"/
all
Woman Washing
Dishes, a forerunner of
Chardin. Central figure of the Bologna school of the 18th century, the
is
which
in the
style in
bathed
and brings
little
an anecdotal
Tuscany.
in
man who
instructs
Venetian sunburst. But Bologna has reigned too long over European art not to put up
some
42
Crespi,
his aristocratic
ideas. Against
Hubert Robert
Paris 1733-1808
Bridge with
Oil
Women Washing
on canvas
Clothes
2'5' x 3'0'
Art,
Barberini Palace
which have a more candid Hnk with local tradition. In other respects
with their subtle elegance are nearer to the works of the French /e/e5 galantes painters
The
first
between the
own
cities
prosperous
cities
daring compatriot.
Modena
move about
easily
on the roads
to Europe.
The most
nomad
idyllic pastorals
and beribboned
mythologies, abandons his native city for London, where most of his works are to be
found, and for Venice, whose " Accademia " welcomes him to membership and even
makes him
its
president.
While Florence
lies
geographical and political position of Piedmont give Turin a special aura. The genius of
it
simultaneously a
festival
ceilings.
local painter,
Claude
de Beaumont*, and the Nice-born Savoy national Carle Van Loo cover the ceilings and
the apartments of the
The famous
allegories.
Stupinigi hunting
from France,
to
like
artists in
Beilotto*, F.de
halts at the
Challenged by
Giacomo
this brilliance
But as
his
nickname suggests.
in rags, the
Brescia,
Genoa, particularly
and Meeting
11
Not
for
fixes
in the
stares, those
him and
life.
known
as Lissandrino.
its
his obsession with light, his theatrical taste, his spaces limited or terrestrial, his
line,
make up
playful,
grave
shelter of a
him the
"
new
era.
broken
Half-demoniac, half-
poor wretches and half-starved mountebanks. To what fantastic Witches" Sabbath are
they going, these bewitched punchinellos whose clothing catches up little pieces of fire?
What
in
its
monks
close spaces,
Watteau.
He
in a
also
and
reds or
muted
blues.
of dreams.
An
of interest
in
of gold
The
tragic
his monastic
44
life, in
hem
Magnasco
at the turn
He
of the
brings to
Hdmun Washing
Pixhcs
Alessandro Magnasco
Genoa 1667-1749
Naples, Capodimonte
*-
..ar
own unorthodox
is
freedom of
own
When
he
finally
is
movement
it
has
to secure
When Magnasco
It
dies before
Among
this
the final
this the
young and
its
works furiously
it
first
winds up
in
the
wand
reality
successful school
to bring
on
its
has loved.
From
in
own
all
life
and the
theatre, the
that 18th-century
Europe
the celebrated " Ridotto " (Casino), where crowds gather to play, to the
where everything
cafes
for six
theatrical, mythological
Sebastiano Ricci, Piazzetta and Tiepolo, the meticulous precision of Canaletto and
Bellotto, the
the
calm irony of Longhi and the poetry of Francesco Guardi*. At the end of
which has only been a long fallow period between two flourishing
17th century,
off"
Church
for
its
The
made
it
a slave to
its
47
Baroque begin
From
academic
elements.
it
another vagabond
travels.
are found in
many
life
there.
But the
first
is
artist,
visiting Paris
is received into the Academy with a flattering Allegory to the Glory oj Frame.
Queen Anne's England, still poorly endowed with great painters, gives him a warm
welcome which is to last for ten years. His itinerant life, which takes him through
Germany and Flanders, explains why his abundant works, of which the best examples
are found in Schonbrunn and Hampton Court, are so widely disseminated. Ricci is the
where he
first
to
all
that
Marco
most from
Ricci* and
his
lessons,
sensitivity
Antonio
propagated by his
Pellegrini*
who
benefits
Pelle-
throughout Europe works that are particularly remarkable for the coloured
of his features.
particular
by adoption. But he
European
is
to be
it
is
is
is
work of
his
is
is
only a Venetian
exercises his influence on several other Italian artists. Among those emulating him.
Giovanni Battista Pittoni*. during time spent with Sebastiano Ricci and Tiepolo. draws
48
on the graces of
his
most
brilliant
Giamhattisla Pia//ct(a
Venice 1682-1754
Alcssandro Mapnasco
Composllion. landscape
Oil
Venice.
on canvas
5>'\' ^
Academy
3'9'
Giambattista Tiepolo
Venice 1696-Madrid 1770
The Emharkalion
Sketch lor fresco
Strasbourg
in
Museum
separates the
proHfic
He
the Venetian school. But his predecessors, transitional painters, have paved the
way
for
spirit
The
sharply-defined contours.
"
more
skill in
contrast, which
easily brings
with softness
when he touches on
fame
to his "
fills
Assumptions
own
the
".
which already
Baroque
lights
it
is
use.
up
is
and
blues,
masterful range of light tonality he traces the regal progress of the Venetian school.
This liberation of his style dates from about 1725. The end of his career
is
the official ratification of his position at the head of the Venetian school.
also capped by
He
occupies the
on Tiepolo, Piazzetta
is
completing some of his paintings. As for the Dalmatian Fcderico Bencovitch*. he takes
to
which
is
which he adds a
sort of personal
romanticism
It is
Giambattista Tiepolo
50
to
who
fame of
brings the
this great
new Baroque
to full
ViUorc (ihislandi
174.^
Acadcnn
autonomy. Early
in
Venice,
sources and
its
are to be the
atmosphere to the
main
beneficiaries of painting
which owes
one vast parade? Tiepolo brings together, with the same elegance, allegory,
mythology
history and
or impious at
religion,
will.
tumults of bodies are grouped together and dispersed into the infinite space of his
coloured ceilings.
its
Great
light-
ardour for
costumes which gives added value to the adjacent cold tones. Trumpets spread across
clouds that also
through the
let
upward movements.
It
is
light.
Bodies appear
giddy foreshortening of
in the
Papadopoli Palace with their masks, their mountebanks and their musicians. The
frescoes of the Labia Palace narrate the tragic love of
the palace
Baroque
is
becomes
to the
a theatre. But
it is
probably
the Villa
Rococo, has the widest range of endlessly recurring fantasy. There tribute
epic poetry
of Virgil, Homer, Ariosto and Tasso provides the themes for the elegant decor of four
consecutive rooms; and a dazzling animation of mythology and carnival
and
on
who
his frequent
It is
this
little
Pielro Longhi
Venice 1727-1804
Venice 1702-85
Pierrots at Rest
loose in the
The reason for this diversity lies partly in the fact that
Domenico and Lorenzo, collaborated with him, following their
travels. The former seems to have played a far more important role
is let
surprisingly natural
chinoiseries.
some
41
1"
Oil
on canvas 20"
17"
51
I'lclro
Longhi
on canvas 20'
Venice,
Academy
'7'
is
in the
work he covers
There he
tells
his residence at
room and
the
in
the flight of
in the deification
still
of the
using the
boldness of
in the
its
goes off to glorify the Spanish monarchy on the walls of the royal palace
An
monumental
Holy Roman
its
Wurzburg. In
identical with
in
Madrid, from
parable mastery. Terse, rapid drawing underlines the extemporaneous look of his
compositions painted after his return from Wurzburg. Diametrically opposed to the
realism which preoccupies a whole concept of Italian painting of the period, Tiepolo does
human
before
it
It
The imaginary
was
its
decoration of
likenesses of
suffices to
its
its
most
feel
its
genius to the
illustrious citizens.
English opposite numbers, Italian portraitists occupy only a minor place in the world of
painting.
The
first
in
known
Vittore Ghislandi,
wondering monk
its
links
Bologna, he has a curious way of linking a taste for the ostentatious with that of truth.
In his case
of realism and
make him
placed his brush at the service of any one class, but his masculine portraits always
exponents of
to the
show
master of colour
place.
Today
wedded
this style
officials.
Among
pastellist
by a
other
Rosalba
comparison with the pastels of La Tour makes Rosalba's look chalky and
lacking in vigour.
light are
brilliant
53
in
Venice
commissions. Thus
is
amazing Augustus
III,
Tiepolo excels
in
found
in the
in his special
surroundings. Pietro
it is
particularly
Alessandro Longhi* who, profiting from his father's fame, paints the portraits of
Venetian society.
From
in
Mula
to
all
delicate
artists
is
no doubt explained
and
its
spectacles
offered
Longhi, with
its
shown by
art
o'i
Pietro
and Crespi, a
crowd gathered
Longhi is above all a
54
modest
still
quite awestruck by
its
it>
the (iranJ
on canvas 110'
Canal
in
Venice
x 2'7'
Private Collection
clavichord played by a companionable priest. Pastel tones of equal strength are subtly
placed alongside one another without the least worry about contrast. Hence an air of
acclaim his
little
accounts of daily
While Longhi
life.
numerous
artists yield to
the
see
for
which
Roman
is
summer of
make
55
Gianantonio Guardi
Venice 1698-1760
//
Oil
on canvas
3'7' * 6'8'
Venice, Ca'Rczzonico
and there
is
no doubt
that
painter lived well on this trade, particularly in Venice. But with the
assume an
artistic
many a smart
dawn of the
Now
Luca Carlevaris*, who has done his first work in Rome, introduces the urban panorama
into art by means of engravings. From 1703 onwards his compilation of 120 Fahhrichc e
vedute di Vcnezia assures him of a considerable English clientele, and starts a school. But
it is his great pupil Antonio Canal*, called Canaletto, who concentrates on raising up this
style.
among
Canaletto goes to Rome, where his contemporary Panini enjoys youthful renown from
his paintings
atmosphere of
art
youth
in the first
is
known of
his
life,
but the
he
Tirelessly, lovingly
with perspectives of
luminous as
sea.
it is
is
the artist
down
Honoured with
combining
to paint
accuracy
strict
setting
up a
sort of
brokerage
in art.
The master of
Venetian architectural scenes gets out of this arrangement, under which he was being
'
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1
m
'.y\^1
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J
f-^
fc
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11
fm
C>*i
J
'A
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m
exploited,
and goes
to
London
greatly appreciated.
to enjoy his
Marco
It is
architectural painting, of
is
become
to
so great as to
is
Ricci.
it
gives to English
Canaletto takes advantage of two successive stays in England to paint views of the
Thames and the English countryside before returning by way of Germany, where the
name of his nephew Bellotto is becoming known. There he paints views of Munich. But
the works of this voluntary expatriate often appear rigid. By comparison, they provide an
understanding of the marvellous balance represented
are bathed
in
in his
It is
in
is
great.
On
suffered
the other
He
Too ambitious
the picturesque
all
little
impenitent traveller goes off to seek fame with European princes, particularly in
all
Warsaw, where he
in
their art
round
their
to bring.
The
dies.
Guardi
is
less
it is
tangible, never
appreciated
who
even to
directs the
family hottcga (shop). But he has since been recognised as the painter of the Life of
which so
Raffaello
in
Venice.
"fantasies" Guardi
is
Thus
history
does him
way
individualism.
Too much,
who
is
justice.
own
figures in
lyrically
is
whom
he captures
is
in pale bright
colour the
fleeting
which
is
emphasised by changes
in the
It
in his line.
At the turning of a
is
street the
carmine of a
vendor
at the
corner of a thronged
event of the
visit
Day when
the
57
Doge embarked on
the sea.
the Bucentaur decked out in crimson and gold for ritual nuptials with
Guardi dots the gala atmosphere of the lagoon with black gondolas, a fabulous
Council of Ten
its
mad
if
race.
",
its
splendour, in which
His death
in 1793
comes
as a
and
finest
art.
building up for a long time. She intends to govern European art from
now
have been
on. In the
part of the century her pretensions, expressed locally, hardly cause any worry.
prestige
first
The
and richness of her past make her a mecca for tourists rather than a city involved
movements. Wealthy tourists come to admire the vestiges of past grandeur,
in living art
Academy come
to
visits,
complete their
but
Rome
is
it
is
classical education.
them
rare to see
Some even
settle
new
in
Rome.
attitude to
antiquity.
The
first
typically
Roman
his pastorals,
artifice in the
But
in his
case the
which
this rural
atmosphere.
in
manner of Salvator
Francesco Guardi
Venice 1712-93
Departure of the
"
Bucenlaur"
Louvre
Paris,
Roman
Yet
arch the colourful spectacle of ordinary people going about their daily
Imaginary
fantasy of his
pleasant
is
Views.
may
affairs.
make
his
compositions both mobile and seductive. At a time when his contemporary Canaletto, as
unknown, was
yet
arriving in
Rome,
knew
made
the
director of the
Academy of
whom
name of
the
Panini.
it
Settocento.
Too much
in the
same period
as the
Rococo
to be quite free of
it,
these artists,
in
an
who
Brescia,
Europe.
From
titled travellers,
His
statues.
his
in
Batoni,
Milan,
Portraitist
of
its field.
clients, particularly
in.
Leason, Earl of Milltown, greatly appreciate his sense of the grandiose. Batoni, however,
allows something to penetrate through his
work
complete
this
style that
is
far
his art.
beyond
his personality.
It
is
the abolition of a
German
archaeologist
universal
only
way
and
From
that, the
to revert to
Two
it is
in imitating
beauty
in Painting,
it
is
and brought
it
to perfection, the
them.
Reflections
59
Francesco Guardi
on canvas
2'3' x 3'0'
Munich, Pinakothck
proposed new line. Mengs exercises an influence that is wider because of the fact that he
moves about freely and thus joins practice with theory. After his debut in Rome as a
pupil of Benefial*, he makes frequent visits there. From the court of Dresden to that of
Madrid the wandering theoretician spreads his theory throughout a Europe which by
now
is
at the
court of Madrid
is
a good illustration of the struggle between the two tendencies. At this time the
is
conquered. The immense glory which Europe accords to Mengs makes him the master
Rococo
of the new era. This reputation seems more justified by his theoretical works than by the
manner
His
in
Mengs
in
And
and
likeness
among
Kauffmann*, whose
others,
new
of Winckelmann.
portraits retain a
simplicity as
Of
pleasant
proved by,
is
Kauffmann divides her time between London, where she becomes a founder-member of
Academy, and a Rome triumphant in the final years of the century. Her studio
becomes a centre for intellectuals and artists won over to the new ideas which they are to
the Royal
propagate
18th century
lethargy,
it
is
needed a mixture of
bloom of
artists
and
political,
William
among
III,
artistic
patrimony.
mental feasting.
Still
poor
and George
and
in
victorious royalty
is
makes
the journey to
London
It
has
bosom of
ready, after so
II is
content to spread
its
Pellegrini; she
long
to culti\'ate such a
much
fertile after a
bene\olence
Amigoni and
two Canalettos.
Philippe Mercier* follows his patron, the Prince of Wales, across the Channel and sets in
England
go to
{\\c
Italy to study,
by Watleau,
who
also
made
whom
is
the \oyagc.
The English
to extend to nearly
1820 with
Raeburn and Lawrence*, gets off to a slow start. Its birth coincides with the era of
prosperity opened in 1760 by the accession of the popular and cultured George III. The
comfort of material riches and peace releases the pent-up desire for luxury and pleasure.
The whole of English high society travels, dances, has a portrait painted. Painting
becomes the mirror of this society, fiercely and passionately decried by some and
60
by others.
%i(>
i!!^
\^:
-^^:^ ff;iHi^'v'
?''->,'i-V'T'
'.%''
The
II
IK
tf
WS<^
Wil
1P
.-
'-
Li1
cultural context
is
brilliant.
Music
ri"
profits
of Handel, two of whose works are interpreted to celebrate that capital event for
England, the Treaty of Utrecht. With Berkeley*, philosophy discovers in sensationalism
the very principle of existence, although
it
As
for literature,
it
experiences
in the materialism
of
"civilise".
some of
its
in intellectual
meeting-
The exceptional fecundity of this period could not fail to stimulate the whole of
artistic creation; England no longer is to be dependent on foreign contributions for she
raises her own painters who come up to the expectations of her society. A century earlier
she had had to call in the prestigious Flemish painter Van Dyck, whose spirit played a
capital role in the orientation of the English school. It was Van Dyck who brought a
breath of Venice across the Channel and it is Van Dyck who is responsible for the long
vogue for the portrait, lasting up to the beginning of the 19th century. Finally, it is Van
Dyck who holds the admiration of all the young painters who become masters of English
places.
Young and
poet
1740.
the painter
not without
to classicism.
is
is
its
troubles.
fruitless
is
manifest at
dogmas, the
anti-classical revolt
about
This originality
England has
first in style.
is
able to retain
its
harmony of Europe.
satirical
and
is
tendency with
its
61
Francesco Guurdi
on canvas
10' x
VY
Milan. Poldi-Pczzoli
Museum
The landscape, on the other hand, gradually assumes importance, but attempts
"grand painting" are too tied to neo-classic movements to make themselves felt.
One
trait in the
English character
a critical sense
is
which
life,
in
up
Everyone
all
whose
is
able,
its
freedom of
failings they
At the
The suppression
become caricaturists. The
through
misery.
attitude of
sufficient
as censors of an era
is
of censorship
expressed through a
is
at
is
is
oblivious to mass
The year 1722 sees the appearance of Daniel Defoe's Moll Flanders, the story of a
The way is open for painting of morals, of which Hogarth is to become the
courtesan.
Thornhill*
As an engraver he
of prints.
He
is
able to
The Harlot's
in the
form
suddenly becomes so popular that reproductions of his work are used for
X/y
Bi'ni'Jici
l.amhcrtini
Gonza^a
Oil on canvas 40"
and Cardinal
Silvio
Valcnti
>
510'
with the
sorts.
title
Honour
is
bestowed on him
Apart from
his
portraits,
of which more
later.
all
On
vilified in
No
la
class of society
In the political field he devotes the Election series to the corruption of Parliament
and
dead
set
particularly
That adventure brings down on France a venomous print entitled Calais Gate or
the
On
the artistic level, however, Hogarth, arriving early in the century, has to fight
first
demands an
art stripped
of
antiquated formulas and a return to creative freedom. In 1745 he intrigues the art world
fine self-portrait a
sinuous
line
William Hogarth
William Hogarth
London 1697-1764
Calais Gale
and
in
and
caricatures.
The work
in return,
earn him
is
exhorts artists to return to the school of nature and, finding the prime cause of beauty
in the idea
An
style,
his
and
brilliant
imagination, and
Hogarth's importance
prejudice struggled
English school
is
in
art,
Much
lies in
was an
new horizon
his
composition.
his
work or
In
fact,
The young
indebted to him for written formulations on art form and for a number
six
of a drama with the power of moral improvement, his collective portraits and
conversation pieces. The type
is
exploited by a
swarm of
artists
who
his
leave a variegated
Logically painters of moral subjects deriving from Hogarth are confined to this
descriptive attitude.
Among them
and indifference
painting, caricature
to
and
in political struggles,
promiscuous immo-
illustration. Particularly
in
turn
Human
known
drawn more than 1,000 biting caricatures, and John Collet *. Dighton*.
Nixon*, Boyne*, and others. While pursuing its solitary way in this field. British
painting tackles wholeheartedly the most highly-valued theme of the century.
If we are to believe Hogarth, " England combines egoism with \anity; so portrait
painting in this country has always had and will always have a greater vogue than in any
to have
other".
And
England
is
a style dating
the 17th
the style
new form
damage
What
his career
painter, in an era
by not taking
day that
it
soon eclipses
that matters
is
glamour, would
other styles.
the magnified
in
it
up?
and finely-analysed
detail
all
is
like
By reason of
its
subjects,
its
revival
European
and the
18th century.
its
fact that
However,
it
it
fills
a need,
retains
national character.
EngHsh
an originality
Hogarth's advice,
recommending a return to nature, probably has been taken. After Kneller. m effect, wigs,
drapery and other formal trappings disappear; light and lively colours replace browns
and blacks; the natural triumphs. Childhood acquires considerable importance;
spontaneity,
its
its
it
court painters
little
is
good
illustration
of
James Thornhill, whose main claim to fame seems to lie in the fact that he taught
Hogarth and was his father-in-law. Here again Hogarth figures as innovator.
Actually, Hogarth was not to continue for long in the field which he despised and
referred to as "manufacturing likenesses". But a series of portraits remarkable for their
intensity and sense of the natural show how much he contributed to this type. He excels
as Sir
66
III
Allan
Ramsay
Man
in the
the
way
setting
them
which he
details
likes to
in their daily
semblances and
He
in his
do
dull,
if,
like
so.
It is
With such
Ramsay*
of George
III.
to
is
set
on a very
Romney*,
to Italy
is
concentrated
the
in the reign
where he has Imperiali for a master and Pompeo Batoni as co-follower, and to Naples
On
his return to
more than
William Hogarth
Portrait of Viscountess de la Valeltc
Oil
on canvas
(icncva.
official
2'6' x 2'!"
Museum
London
painter to
the
young Scotsman
George
III,
of
whom
is
assured
he painted
little
French
67
is
which he
with
He
spirit but,
is
up workshops
in
in a
paints
which numerous
the completion of works which, in losing their originality, lower the prestige of the artist.
shown by
portraitist, as
But
subjects.
he
if
is
enchanting
Mead.
in
his
refinement, he never attains the authoritative mastery of posture which Sir Joshua
Reynolds* brings
to painting.
in his life is
whom
trio
undoubt-
he painted some
admirable portraits. After Portugal. Gibraltar, and the Balearics, Reynolds discovers
Rome and
stays there
for
two
years.
From
his
Florence,
Arezzo and Parma he brings back the coloured memory of Veronese, of Titian
and particularly a
to
art
charm and
his return
culture win
him,
is
for
On
president.
is
the death of
handed
to
Ramsay
in
Reynolds as a
legitimate tribute to his work. This double official position proxides the occasion for
him
pronounce his famous fifteen Discourses, which constitute one of the most important
summations of English aesthetics. A necessary counterbalance to the over-disparaging
to
Hogarth. Reynolds
is
some 2.000
portraits
which constitute
to the
his
far
it is
more
effective
than
it
was
pleasant.
High Baroque
68
was
in
Sir
Joshua Reynolds
Oil
Paris,
wssmmmm
"--n--
Louvre
788
70
Sir
Joshua Reynolds
Sir
Oil
Joshua Reynolds
Portrait
Self-portrait
on canvas
2'0' x
\'T
<>/
("hanlilly,
Condc Museum
many
With
portraits.
his children
him
also has tried several incursions into genre painting which suits
such as
less well,
decorative painting borrowed from mythology or legend {Ugolino ami his Sons) or
religious painting. But his quality as a portraitist
make him
sufficient to
is
a master of
English painting.
quite different.
is
More than
the venerated
and
intuition
it is
which teach him the refinements which are to captivate England. Circumstances
feeling
combine
to provide
man
that hardly
conforms to
his character.
Here
is
work and
indulges his passion for music, when there arrives on the scene a military man named
Thicknesse who prides himself on being a patron of the arts. His authoritative manner
soon persuades the gentle Gainsborough to make his home in Bath, the centre of luxury,
debauchery and culture which the aristocracy makes its winter quarters. His triumph
peaceful
there
is
leading a provincial
as sudden as
it is
at Ipswich,
life
where he
on
carries
fertile
his
years of his
life
from the
time,
Duke of
of Devonshire.
The
Argyll to General
finesse with
profit
from a frivolous
member
life
London where,
society,
artificiality, forces
house
in his beautiful
Gainsborough seems
acquired
He
is
have gained
in
moment
is
is
in effect
suggests
demonstrated
for
him
to
very personal.
own
country.
It
is
all
emotion.
light
"
more than he
am
later
says, acts
in the delicious
and
touch makes
He
is
Mall, ends a
England
standing, as
in Pall
his authenticity.
Impressionism.
in
in culture.
about him.
to
which he despised,
an atmosphere. From
his
unrequited love of the landscape undoubtedly comes the affection he has for leafy
backgrounds which, as they do with Watteau, procure for him a harmonious balance
between landscape and person.
He
excels at painting
women and
children.
painters.
Sophistication
cultivated
and
is
better suited to
brilliant portraitist
who
is
of
whose image he is
way. Otherwise, Romney shows himself to be
an instant success
in a society
art.
He
71
Thomas Gainsborough
Sudbury 1724-London 1788
PcrJiia
The
in his
all his
George
his sense
III.
The
reign of
The appearance of
is
More than
show
always
taste
which
England
suffers
becomes modified;
it
is
III.
off.
The
talent
in the guise,
subjects
classicism
or simply Emma.
no rupture similar
slow.
in
evolution
is
up
of harmony
lasted
who does
manor-house and
numerous orders
is
often
staff.
to obscure pupils
who
He
owning a
castle or
who make
in the
names without
always deserving such immortality. However, we should mention John Hoppner*. for
whom George III gains entrance to the Royal Academy and who later becomes official
painter to George IV. His work, sometimes a little conventional but still boldly drawn,
owes its importance to the picture it paints of that /r>; de siccle society, torn between the
thirst for pleasure, romanticism and the solicitations of a neo-classicism too soon arrived
from the Continent.
But the last great luminary of the century is an original and scrupulous Scotsman,
Henry Raebum. Noticed by Reynolds in London, he passes two years in Italy, then
returns to his native city, Edinburgh, where he distinguishes himself by his independent
will and his dedication to his work. Such an attitude often makes Lawrence preferred to
him, but his mastery of the portrait and his irreproachable drawing work for his
reputation. Given a title by George IV and with honours heaped on him, he never
deviated from his stubborn quest for perfection. His great personalities, full length on a
background of verdure, seem more natural. In this Raebum is an innovator, as in his
broad, clear touch, the very balanced construction and the general harmony of his
taste of the day.
compositions.
He
tangible evolution
is
shown by
in the
period tones
72
down
a greater simplicity
illustrious
represents that trend which seeks to steep the portrait again in reality.
more
portraitists
way
and
lakes the plastic movement to the ultimate limits of elegance and futility. From his
immense production emerge some masterpieces such as the fine portrait of Sir John
Angerstein and his wife, or that of Master Lambton, better known under the title of Red
Boy. Despite the great vogue for the portrait throughout the century, no artist had yet
k/iB^:
^f
m
'
,'^
received the adulation given to Lawrence. After Hoppner, he becomes official painter to
his
Channel, he hastens to
He
this genre.
With
all its
his off-hand
and amoral
artificial
manner and
work,
little
up spreads
show-off
his
society which he
inspired as
it
might be,
originality,
its
arrival
the
in
lasie.
On
the other
recognised. Certainly, at the beginning of the century, the Venetians have contributed
pretty pastorals which have
had
a great success.
is still
subjugated to
mythology or history. Only the urban landscape has been able to stand out as an
independent type. Around 1740 verdant nature makes
its
It is
as
if
crystallised
an
ancestral liking for the countryside. The landscape insinuates itself behind the portrait to
vie for space
in a
which
it
appropriates
little
by
little.
Then
coming
period of prosperity, incites (ravel. Rich aristocrats take topographers with them to
make views whose austere precision calls for basic greenery to make them more pleasant.
Thus topography has its share of responsibility for the advent of the English landscape. It
has its little masters who all excel in the art of water-colouring, with which they bring up
their topographical drawings. From these it is only one step to the great florescence of the
74
English landscape.
George Romney
Thomas Gainsborough
Dalton-in-lurness 1734-
Sir
Kendal 1802
1756-1823
l.l-Col Brycc
Oil
on canvas
7'9' x
51'
Henry Raeburn
McMurdo
Sir
Thomas Lawrence
Bristol
1769-London 1830
on canvas
Paris, Louvre
Oil
8'4"
Wife
his
5'2'
y-
this step
its
and
is
use in great
the
oil
first
compositions. Brought up
him
Dutch
he opens an academy.
It is
work
is
He makes
found among
is
his Italian
first
under
works of
Rome, where
to see the
in
The
landscape moves towards complete autonomy, but the corners of ruins, the vestiges of
architecture are
minimum
still
there in
more or
less
modest form as
if
will.
to an apathetic society
up
in
is
almost anecdotal
manner of country life, make them very representative works of the 18th century and
would have been sufficient to make the master famous. Warm colours, browns and golds
settle at
canvas
level,
light.
Gainsborough, claims particularly that of Wilson. "Old Crome", from a poor family,
began as a sign painter before meeting
taught him the rudiments of his
strong. Original
and
active, he
art.
Sir
He
W.Beechey, a
portraitist
It
of the "gentry",
who
in
",
is
passion for
admiration for the landscape masters serve as links between several painters of animals,
horses, which are shown in vast backgrounds of greenery. The best
known, George Stubbs*, professes a vibrant admiration for Wilson. From his studies
there emerges a very fine work accompanied by engraved plates on The Anatomy of the
particularly
Horse.
He
Samuel
Scott,
who
rise to a
has
left
adornment of
delightful
particularly
is
his day.
At this time neo-classicism has won the whole of the European schools over to its
cause. The English school, making great strides, stands up to the pretensions of the
Roman school. The "grand style" hardly rallies any but secondary artists, most often
from abroad. However, a special place must be reserved for an excellent painter whose
horror of sophisticated
life
condemned him
to an unobtrusive position.
From
a modest
77
family,
and
self-taught,
Reynolds. But he preferred the then very uncertain career of historical painter to the
brilliant prospects
of portraitist.
He deals with
remunerative.
On
Michelangelo and Raphael. More designers and poets than painters, they dip into
Shakespeare, Dante or Virgil for strange worlds peopled by gnomes, goblins and
colossal genius
art
Rubens,
is
dormant. Often, as
of foreign
Russia, in Scandinavia,
full
in
is
in
Rembrandt, Velasquez
artists,
memory of a
indigenous art have princely or aristocratic art patrons. Also a study of these countries
will
European schools.
religious
and
linguistic characteristics.
An
European movements
its
its
time leave
it
on the edge of
ordinances, has paralysed artistic inclinations of all kinds. But in becoming rich the Swiss
little
French
spring up.
It
in
levity.
its
style,
rich
houses
ventures only
field.
At
first all
the grace
in the portrait.
linguistic
depending on whether
it
has started
in the
growing
art
a different
78
brilliant rcprcscntati\c
is
open
to
French influence, or
complexion
of
whom
no voyage deterred. At
first
he
is
in Paris,
Richard Wilson
1714-82
The Thames
at
Twickenham
where he has the patronage of a future Duke de Lauzun. There he meets Montesquieu.
Voltaire and the Marquis de Puisieux, French
Italy. In
Ambassador
to Naples,
him
who
five
in a
manner deeply
He
sensitive to their
returns through
him to
Lord
takes
recognition.
all
the city's
warmth and
where he captivates the court of Maria Theresa, and Venice, where Algarotti buys
Belle Choeolatiere.
Hardly stopping
at
at the
his
Opera,
in
and the cafes he wears a huge beard, a fitting accoutrement to help maintain
his reputation as the "Turkish painter". Crebillon, Marivaux and Mademoiselle de
Montauban pose for him. Maurice de Saxe introduces him to the court, where he paints
the salons
the royal princesses. His paintings fetch unheard-of prices. Embittered by a setback at
the Academic, Liotard takes himself off to
Walpole and
Up
to the age of
more than
79
George Stubbs
Liverpool 1724-London 1806
Marcs and Foals in a iMnJscape
London. Talc Gallery
him again and again through Paris, London, Vienna and Geneva, where he
finally dies. During this period he is working on a Treatise of Principles and Rules for
Painting. Now he paints fruit, powdery and coloured, as if to follow Chardin's footsteps
in reverse. A curious person, this Liotard! Walpole calls him "greedy beyond all
imagination " and reproaches him for " too much finish and retouching " in his art. Like
the period in which he lives, he is at the same time serious and playful, ambitious for
success but human, and rakish but paternal. Among his immense production are some
very beautiful pieces, such as the celebrated portrait of Madame d'Epinay, and a number
of miniatures on enamel. Liotard is neither a La Tour nor a Chardin. Too careful of
travel takes
work,
art
80
Voltaire and
latter.
His
and in colour.
of Jean Huber*, nephew of the celebrated .Abbe Huber. may
an adventure
".
in the exotic
drawing of the
Madame
d'Epinay
it
Anton Graff
Winterthur 1736-Drcsdcn 1813
Por trail of ChamhelUm von Beusl, 1780
Oil on canvas 2'6' x 20"
Wintcrlhur, Reinhart Collection
Jean-Eticnnc Liotard
Geneva 1702-89
Portrait of the Artist as an
Geneva.
Museum
Old
Man
"shadow
the fashion of
portraits" has
made
name
M.de
for
Silhouette.
Huber
invents
of the cut-out and spends his time making caricatures of his friend the
the art
philosopher. Hence the delectable series, Voltaire automedon, Voltaire falling, at the Knees
in the costume of his roles, with his peasants.
The pastime
Huber excuses himself with the quip, " Doesn't Voltaire play comedy
with tragedy?" The author of the Treatise on Tolerance savours the joke
becomes
in castles built
less
and
less.
man who
asserts the
Grimm
profitable.
from then on
is
its
for
its
is
The eagerness of
more towards
Berlin or
He becomes
class,
incurable,"
is
frivolity.
part, turns
Voltairism
surrounding
German-speaking Switzerland,
"My
irritation.
the
in
most sought-after
Rome
Dresden
in
portraitist of
equal.
From
ousness
in
The
Urbanowski stems
Rome
or
Kauffmann, a pleasant
London than
more
broaden
sphere
his following.
still
essentially
From
is
Switzerland
as engravings,
living.
have a
members of
itself.
in
picturesque
solely
almost nonchalant attitude. Trappings vanish, and the face speaks for
Boucher,
from the
Mozart and Gliick spreads the fame of German music throughout Europe.
On
the scrolls
of literary fame are the names of Kant, Wieland, Lessing, Schiller and Goethe. Schluter,
German
Germany
invade German
fall
architecture. In
back on foreign
talents. In fact
begins by receiving
influences
Winckelmann. shakes
the greater part of
The most
German
talent
is
and French
by Mengs and
portrait,
comes from
southern Germany and Austria and goes as far
fruitful influence
gives. Italian
Italy. It
as
83
community of
which
is
religion
artists
this
phenomenon,
Germany
visits to
by Sebastiano Ricci. Amigoni, Pellegrini and Canaletto. among others, assume great
importance.
Longer stays
in
and
Bellotto,
by the
"
Divine
Wurzburg, play a
goes through a revival of religious fervour. The Benedictines and the Premonslrants
build monasteries and pilgrimage churches in which
possibilities for hitherto
places
its
theatre,
and twirls in the centre of a delirious interlacing of stuccos and gold. The
from which it originates, comes to the rescue of religious sentiment. The
scrolls
Germans have
excelled in this
gaudy conception of
religious
their
remarkable
of illusionism, before the arrival of Tiepolo, brings to Germany vast perspectives which
disappear into the centre of tumultuous ceilings. In Munich he finds an emulator and
collaborator in Matthaus Gunther*,
indefatigable decorator of Tyrolian
who
is
to
in Neustif,
illusionist effect
Mitten-
of his cupolas
in
With
J.
W. Baumgartner*
in
Augsburg,
J.
Swabian
painter, F. A. Maulbertsch,
is
needs
to give
all
tints
of saffron and
some time
in
in
lilac.
recalls
likens
Sebastiano Ricci.
him
to Piazzetta
who
spent
and Tiepolo
although he seems never to have been acquainted with them. In a score of years
84
at the
at
in the
Heiligcnkreuz
his
Antoine Pcsne
Paris 1683-Bcrlin 1757
Portrait of Frederick
c.
II,
King of Prussia
1739-40
Oil
on canvas
Paris,
2'7' x 2'0"
Furstenburg Collection
'^^^^^H
y
H'
i
.J^^k
1
R
^^H
strongly contrasting compositions integrate light and shade with the splendour of
tends to
But
As
to earth
simplicity"
for
".
French influence,
all
not a Prince
is
to be
work
is
more
"
Germany
of Prussia,
II
whose agents in Paris Count Rothenburg, Voltaire and D'Argens choose for him the
best works of Watteau and his school for the castles of Sans Souci and Charlottcnburg.
Antoine Pesne*, nephew and pupil of Charles de Lafosse, arrives in Berlin at the
beginning of the century. During his long career in the service of the first three kings of
Prussia he inculcates into Berlin portraitists his sense of the noble attitude and
shimmering of rare tints. Frederick II, of whom he has left a very full iconography,
entrusts him with the work of decorating his residences. After him, Amedec Van Loo is
to remain for twenty years at the Prussian court. The court of Saxony, for its part,
successively has Louis de Sylvestre*, who decorates the Zwinger. and Charles Hutin*.
But local talents are discovered and then the Tischbein dynasty record the greatest
successes. Some of them are particularly influenced by the French. Johann Heinrich, a
pupil of Carle Van Loo and Boucher, paints portraits with tinges of precosity and
naturalness at the court of Hesse-Cassel. The most German of the Tischbcins. Johann
Heinrich Wilhelm, a protege of the
sophisticated portrait painter but
it
Duke of Gotha,
"grand
in
Rome,
style". His
fundamental work, Conrad of Swabia playing Chess with Frederick of Austria after
Condemnation
86
his
Roman
to
competitors.
Francisco Jose dc
Goya
It
makes concrete
y Lucicnlcs
who
cites
it
as an
Portrait of Diderot
Oil
on canvas
(Icncva.
I'll"
Museum
><
'7'
their
example to
Germans,
on canvas
6'8" x 5
Alexander Roslin
Malmoc 1718-Pans
1793
XV
Warsaw
it
in
arc to go off
and preach
historical
in the
painter.
Paris, insinuates himself into Paris society. His sophisticated art has only
historical, the portrait of
Although
to all
appearances
Marie-Antoinette
less central
at the
Temple.
is
the natural
the
Sweden of
III, artistically
still
Sweden
Swedish
is still
Up
sea.
Queen
a navigator.
first
either a warrior or
Oudry
was
Tessin,
ambassador
it is
As
The Hamburg
even
to Paris
plants
art.
portrait painter,
august person. His pupil, Gustav Lundberg, has previously gone through an identical
of these are so French-looking that Paris often claims them for her own. Princely
patronage has already opened the doors of the French court to Alexandre Roslin*. His
aristocracy.
several portraits of
marries a French
artist
and leads
Gustav
III
name
to Lavreince
and comes
to Paris to
work under
return to his
own
country.
until the
little
the direction of
gouaches, somewhat
The modest
a true pointer to
and
working
its
appealing to foreign
But
it is
Among
artists.
like Nattier
man
mounts
skills
down from
is
not
its
When
in plasticity.
practised
of good
will
out.
is
generation to generation
St Petersburg shatters
tradition
by
forty years initiates the Russians into secular painting while keeping for himself a sort of
monopoly
as imperial artist.
draws
on Western
tastes.
She
is
it
out with
new
freely
little
is
buildings. Catherine
II.
its
Rococo when
the architect
contemporary of neo-classicism
and an admirer of Diderot, hardly appreciates this profusion of colours and ornaments.
Under the successive reigns of the two Empresses the new city acquires enough prestige
to interest Western masters in travelling there. For a long time to come they furnish all
the painting for the court. Italy sends Pietro Rotari,
modes
et des
graces with
1758.
mostly French
artists
who adorns
portraits.
Torelli, decorator
Fine Arts
Academy
is
founded
in
Lorrain provide the instruction for the young Russian school. The school also draws
more
freely
new exotism
J.-B.
that
is
new
to find a
warm welcome
fights for
showy elegance of
Catherine and her entourage.
in
the slightly
among
He
By dint of effort, a national school is born in the time of Catherine II. But.
obsessed with admiration for the West, the " Empress of All the Russias " does not grasp
the importance of this event. Paris
decent
living.
The French
The
yo
common
Rome
first
Russian painter,
in
of poets and actors qualities which would ha\c been enough to ensure him a
sculptor Falconet takes ad\antage of an audience granted him
in
and
at the
in his favour.
But
in \ain.
collections, lets
Losenko die
age of thirty-six.
left
their
own
country.
Born of the
They have
TrooM
Amsterdam 1697-1750
Cornells
Family
in
an Interior
Amsterdam. Rijksmuseum
worked
whom
on
more or
they are
less
dependent.
with Rotari
in
own
boast her
et des graces,
Tocque and
Roslin, but also the faults of Lampi. His appointment as court painter in 1780 puts the
seal
art. It results in
portrait.
embraced the
is
an eloquent example.
that
formal type of
series
of seven
an era when
In
more
Geneva,
in
all
European
living
in its
art takes
in
the
J.
Verhagen,
who
is
barely twenty years old in 1750, gets his taste for great
rhythmical and coloured compositions from Rubens. The boldness of his drawing, the
tonalities
Italy.
He
recall Tiepolo.
and
in
to the court of
tune
with the century. His Feasts of Herod or Balthazar are fairy-storyish and emphasise the
distance between
of Monastic Orders.
During the same period Amsterdam and The Hague publish
country
is
painting
is
weighs
political
writmgs that
however, no
more conservative than Holland. Since the disappearance of Rembrandt
immobilised in his tradition. As impervious to the grace of the Rococo as it is
down
it
in
France. In the
field
of
art.
which
J.
M. Quinckhardt*. Or
still-life
becomes a painting of
fruit
seem
finds a
Van Huysum*. His passion for perfection in optical illusion assures him of a
renown that stems more from his technical prowess than his undeniable qualities as a
painter. The sole attempt at Rococo in Holland comes from J. de Witt*. But his friezes
virtuoso in
92
school.
in
Jean-Elienne Liotard
Portrait oj
Madame
1759
Pastel 2'3"x
d'
Epinay
c.
Geneva,
I'Q'
Museum
Francisco dc
Goya
Blind-man's Buff
The work of a humorous chronicler, CorneUs Troost*. has the greatest place in
Dutch painting of the century. More than his portraits of bevvigged local officials, it is his
zest for burlesque which makes him the most sought-after member of the 18th-century
Dutch school. The passion for the theatre at the time explains the success of his comic
scenes which pass directly from farce into his paintings, complete with accessories and
makes him
itself,
in
which he mixes
imagmation
is
pastel, water-colour
and gouache,
state of torpor.
in
numerous works from past centuries and justifies the precedence given to
architecture and decoration in the reign of Joseph I.
His predecessor. John V. had made a particular appeal to Italians. Dupra*.
V. Baccarclli* and Trcxisani c\en had a small local lineage in A. Lobo. J. de SiKa* and
others. France had sent an imitatcM- of Watlcau, A. Quillard*. who. after becoming court
engulfs
94
painter, carries out several aristocratic portraits before his untimely death in 1733. In the
second part of the century the delicate Jean Pillement, master of Vieira Portuense*,
proves to be more influential.
When
John
Having gone
young
Chamber
vacant,
Rome
in the
made him
in
and
at a very
after a series of
first in
amorous
fact
is
it
who
best
The
art situation
analogous
is
neo-classic.
The
brief lustre
in Portugal.
in
power, the accession of Philip V, grandson of Louis XIV, opens up the country to
The King has the Granja built for himself and in it tries to recreate the
atmosphere of Versailles. The glory of Spain after the Treaty of Utrecht deeply feels the
need for a new " Golden Century ". Thus court art is to be French and decorative
painting Italian until local talent is discovered. In fact, despite some glimmerings of
foreign influence.
hope, Spain seems to lapse into memories of Velasquez and the expectation of Goya.
At the beginning of the century Michel-Ange Houasse* and Jean Ranc* bring the
grace of French pastorals and the slightly starchy elegance of princely portraits to a point
that wins
them
the coveted
title
In 1737 Louis-Michel
of " Pintor de
Van Loo
Camara ".
Ranc as court portraitist.
by Van Loo in a vast collective
succeeds
Philip V, the
portrait with
inauguration
in
1751.
palaces, however,
is
handed over
to the Italians,
dull.
In this
is
down
in
movement.
Less prudent, Tiepolo arrives in Spain
able
undisputed
Charles
still
III
leaders
of tendencies so
no doubt has
in 1762, several
months
incompatible as
own country
But
to paint
it is
Rococo and
two
neo-classicism,
95
in the
much
Mengs
less great
triumph of
to witness the
than himself.
in Spain.
He
enjoys such renown that the Spanish court, from 1761 to 1776, becomes the rendezvous
for the European art world. Mengs takes advantage of this to charge exorbitant prices
and lead the life of a prince. As technically perfect as they might be, his frescoes painted
for the royal palaces are far too lacking in feeling. In his portraits, on the other hand,
this perfection does not exclude gracefulness and his portrait of the Marquise de Llano
is
is
Maella*,
S.
honour equal
who
to that
is
made
to be
under his wing the young Francisco Bayeu* y Subias, future brother-in-law of Goya,
this patronage becomes " Pintor de Camara ", then director of the San
who under
Of
great renown.
He
Paret* y Alcazar.
has been the master of the "Spanish Watteau", the likeable Luis
Not
makes
himself a chronicler of the royal carnivals and equestrian entertainments dear to the
heart of Charles
There
III.
whom
La Traverse,
perhaps a
is
he met
in
little
Madrid,
He
is
of the French
in his
flowers. But
it is
Luis Melendez*
(still-lifes).
These
who
still-lifes,
and C. -F.de
B.Ollivier
which
is
apparent
in
the
bodegones
artists
in that breeziness
mark him
Spain.
In reality Spanish painting, firmly under foreign influence
crossfire of
Lucientes
is
born
in
at
is
rejected in the
light.
From
It
is
Goya
in
in a
a period of
shows him
is
its
which a
costumes
fit
optimism which
come
in their striking
96
Under
life,
cratic portraits in
anecdotes
prevails. Italy
the
tapestry works.
in
academic surroundings, he
no luckier
colour and
and caught
two opposing
in
still
bound up with
and popular
become
his aristo-
may appear
If our religion
this
if
our
priests
built
if
if
the joys of
man
man
a disgusting slaughter;
grilled,
nose;
if
if all
man
scorched, a
hanged, a
man
roasted, a
tip
of the
our ideas of decency and modesty had not proscribed the sight of arms, thighs,
if
the Virgin
if it
Diderot
Essays on Painting
On Chardin
You come
in
him about
tell
air flows
lights
eyes.
that they
my
How
light
and harmony!
How the
is
one who
is little
or hostile colours!
If
98
it is
nothing
is
real but
in itself
we
of what
feel;
then
them
let
tell
find,
looking at your paintings, between the Creator and you. (Salon of 1765.)
This
man
is
colourists of painting.
on
treatise
art
cannot forgive
You have
lied
about
it.
this impertinent
I
Webb
it is
ignorance or
colourist.
servility.
am
aware that your nation has the habit of scorning an impartial author who dares to
speak of us with praise; but must you so basely pander to your fellow-citizens at the
well
am aware that
talk
et in
puherem
reverteris.
will see
Chardin.
(Salon of 1767, on
quia pulvis es
On Greuze
First, the
it is
last to see
it
compete with dramatic poetry to move us, instruct us, correct us and invite us to be
virtuous? Take heart, my friend Greuze, put a moral into your painting and do it always
like that!
(Salon of 1763.)
rugged build;
hair
is
done!
it is
How fine
is
It
his small, keen, startled eye; they are his blotchy cheeks.
the drawing,
how
it
is
his
should be pleased to
what our painting might have to gain or lose. When one has seen this Wille, one
on the portraits by the others, even on those by Greuze. (Salon of 1765,
Wille.)
99
Very
lifelike;
pretty as a
it is its
woman,
mellowness with his vividness; but too young, head too small,
superfluity of clothing
his
wardrobe. ...
He
enough
is
to ruin the
seen full-face; he
bareheaded; his grey forelock, with that effeminate look, makes him look more
is
old coquette
philosopher.
still
.
like
an
and not a
artist,
an excellent
artist
On
.
Portrait of Diderot.)
Vernet
You know
rough or calm
storm
his merit. It
one sees
France
The
seas
become
are ablaze; one hears the crash of the waves, the cries of those
rises; vessels
perish;
is all
who
may
much justification
as Greece about
He
her Apelles or Zeuxis and Italy about her Raphaels, her Correggios and her Carracci.
is
Diderot
The Salons, Ed. Gamier, Paris
who
brings so
much honour
to
our French
me in 1767 that he was sixty-three years old and that, although it was true
had studied under Lemoine, he had not profited very much from a master who
school, told
that he
took so
little
whom
He
is
he?
took
little
M.de
100
M. Lemoine. Whose
On
Chardin
The ordinary man gets pleasure from seeing things that go on daily under his eyes, in his
household, and without hesitation prefers them to loftier subjects which require some
study to be understood. I certainly do not want to go into whether this is detrimental to
taste; I shall confine myself to saying that, rightly speaking, M. Chardin's art is only a new
version of that of the Le Nain brothers. Like them he has chosen the most simple and
unsophisticated subjects and, in truth, his choice
is
He
even better.
and characters very well and he does not lack expression. That
in itself
who worked
believe
won them
has contributed most so far to the vogue for his paintings and
what
is
a place
in
On
Desportes
...
It is
van
J.
Huysum and
who
because he knew
each object as
some
parts
it
add
effective. It is
how
to use his
suited
him
is
found
in those
of Mignon,
have
still
that his
art,
brushwork
to
good
effect
On Greuze
After having painted the Dauphin, this prince, kindness itself, believed he could not
do anything more flattering or obliging than to ask him for a portrait of the Dauphine.
She was present and, without thinking what he was saying, Greuze asked to be excused
.
saying, "
am
pity.
left it
He wanted
unsaid.
They shrugged
which
their shoulders
and
101
On La Tour
He has not the
He goes into
freshness in his colour which Rosalba puts into hers, but he draws better.
very great detail and has the particular talent for getting a perfect
mood
.
is
odd and
his
behaviour with an
infinity
of people
does
On J.M.
.
Nattier
(He) soon gave up his historical talents and applied himself solely to portraiture,
all
of them
left
to the colours
Women,
particularly to
and the
beautiful or ugly,
came
finish.
in
women, whose
was not
Nattier
droves to be painted
in their
hands portraits
lilies.
On Watteau
.
This painter put finesse into his drawing without ever having been able to draw
in
the
He was
not at
all
that
oil,
did great
harm
to his paintings.
Paul-Jean Mariette
102
Abecidaire
The
On
...
Italian School
Batoni
At
first
it.
snuffboxes, engraving
happened to give him the order for a snuffbox and sent him a
it
head to copy
into his
it;
by dint of hard work he succeeded so well that the copy was taken for the original. Thus
encouraged, he draws, he paints ... he realises that he
is
On
Bellotto
...
He
is
all
his
summon
is
makes
his
it is
his
name and
He
views of the
exception
the
city,
may
much
On
Canaletto
He
work and
his
much
and graduations of
light
field
sought-after by
On
similarity of touch,
Carriera
Vleughels, a friend of Rosalba, told
me
do but design patterns for lace called " Venetian points ", and
when these went out of fashion she was financially embarrassed since she had to live and
neither she nor her parents had any means. In this distressing position a French painter
named Jean Steve, who painted snuffboxes, which had become fashionable, persuaded
her to do likewise.
Thus do great things come out of little ones. ...
girl
had nothing
else to
103
On
Giaquinto
summoned
think he
is
is
to Spain
mistaken and that he attributes to the Count de Corrado what belongs to F.de
Mura who,
in fact,
painted a
number of ceiHngs
in this palace.
On Longhi
He got a taste for conversational
...
subjects, festivals
life.
He was
able to
in brief, for
decide that he
would never succeed himself as a painter of history in the grand manner. So he restricted
himself to these and was relished; he became another Watteau and received very many
commissions.
On
Pellegrini
...
He was
a practician
He had some
On
Piazzetta
was admitted to the college of painters and since that time has never
ceased to be occupied on churches and private houses. ... He draws with the same
facility as he paints. ... He also made an infinite number of life-sized heads which he
drew from the model and which were almost all done in black stone and brought up with
white on blue paper. They were much sought-after and highly paid. He could hardly meet
the demand.
.
104
successful
In 1711 he
On
Ricci
When
was of a very
in
an apartment
fine order.
On
...
and
living
in the Procuratorship,
all
Tiepolo
He was
barely
more than
sixteen
it is none the
harmed his correction and he may be reproached for having
while giving way too much to the enthusiasm of his imagination. He was
has fathered compositions in which the richness of his genius shines, but
less true that this facility
neglected this
may
be.
He was
tints.
His colouring
is
Paul-Jean Mariette
Abecidaire
it
Boucher
Boucher
is
personify
him
it
one of those men who stand for the taste of a century, who express
and are its incarnation. The French taste of the 18th century is manifested
witness,
its
representative,
XV
things
painter but
in
its
type.
human
its
it,
when around
a royalty that
is
when
more
and
conventional ideal; but from majesty this ideal descends to entertainment. Everywhere
there spreads a refinement of elegance, a delicate voluptuousness, what the period calls
attractive, the colouring of charm and grace, the embellishment
and love".... The pretty thing in those hours of fickle history there was the
symptom and the seductiveness of France. The pretty thing is the essence and the
formula of its spirit. The pretty thing is the school for its fashions. The pretty thing is the
festivals
who launched
it
into publicity
bedchamber or alongside
were to want them; the Joullains and the Basans were to buy them:
a table.
it
Women
was a mark of
J.
de Goncourt
The Analysis
of
Paris
Beauty
published a frontispiece to
drew a serpentine-line
on a
lying
my
words under
it:
"The Line of
Beauty". The bait soon took; and no Egyptian hieroglyphic ever amused more than
it
much puzzled
with
it
as other people,
who
its
it
properties
satisfactory as that
which a
power. (Preface.)
106
The
principles
mean
quantity
all
which co-operate
Yet
in
if
may
more
in the indenting
Nature,
in all
works of
etc.
shall define to
as, for
example,
lines,
which
it,
it
to the
more immediately
It is
it
(in
preferred,
variety;
compose
art) as variety is
in the
this,
and
all
the others.
least
lines, as
in a pleasing
manner along
its
the continuity of
twisting so
many
where that
am
line,
or line of grace,
and varied
variety, if
all its
may
may
be
be said to
variety cannot be
sort of proportioned
line,
its
different ways,
is
figure of a cone.
winding
line,
which
will hereafter
apt to believe that the not knowing nature's artful and intricate
method of
uniting colours for the production of the variegated composition, or prime tint of flesh,
hath
made
may
be
fairly said,
out of the
ages;
all
insomuch
to attain
it,
that
it
not above
about
it.
Rubens
distinct,
it,
as
is
manifest by his
many
boldly,
bright, separate,
and
William Hogarth
Analysis of Beauty
107
However,
it
is
in
effect
uncouth
and shapeless appearance, by a kind of magic, at a certain distance assumes form, and all
the parts seem to drop into their proper places; so that we can hardly refuse acknowledging the
full effect
The slightness which we see in his best works cannot always be imputed to negligence.
However they may appear to superficial observers, painters know very well that a steady
attention to the general effect takes up more time and is much more laborious to the
mind than any mode of high finishing or smoothness without such attention. His
handling, the manner of leaving the colours, or in other words the methods he used for
producing the effect, had very much the appearance of the work of an artist who had
never learned from others the usual and regular practice belonging to the
like
man
art;
but
still,
on
in his pictures, as
It
this
which
the contrary,
is
so eminent a
the colours
is
apt
hand
which was in his dead-colour, or first painting, escaped in the finishing, when he had
determined the parts with more precision; and another loss he often experiences, which is
of greater consequence; whilst he is employed in the detail, the effect of the whole
to
together
is
artist
observed, consists
most minute
more
The
likeness of a portrait, as
little
more,
lightness of
have formerly
in regard to finishing, or
parts.
Now
Gains-
of the features, than what generally attends a dead-colour; but as he was always attentive
to the general effect, or
whole together,
this unfinished
remarkable.
Reynolds
14th Discourse to Students
Academy
you
cannot do better than to have recourse to nature herself, who is always at hand, and in
comparison of whose true splendour the best coloured pictures are but faint and feeble.
Style in painting is the same as in writing, a power over materials, whether
words or colours, by which conceptions or sentiments are conveyed. And in this
.
in
consists,
Ludovico Carrache
(I
mean
in his best
works) appears to
me
to
perfection.
in the
knowledge of
separate simple, chaste nature from those adventitious, those affected and forced airs or
actions, with
which she
great a share
in the
is
loaded by
modem education
composition of a great
style that
he
who
little
else to learn.
Even
and
Thus
figures
December 17J0)
must have a ground whereon to stand; they must be clothed; there must be a
light and shadow; but none of these ought to appear to have
artist's attention.
We
drew
as not even to
December 1774)
monuments of pure
and
109
venerable
relics
may
modem
art.
mind
we
...
its
object; this
are in quest
is
is
spectator;
communicate as
is
an idea residing
it is
it is
in the breast
last
art,
may
taste;
an idea
which he
is
it
artist,
of the
which,
if it
among
effects
its
the
from
appetite,
may
means of
mind
The
which
Our neighbours
their dexterity
is
all
words the
much
in this practice
if
is
how
visited
The late Director of their Academy, Boucher, was eminent in this way. When I
him some years since in France I found him at work on a very large picture,
On my
remarking
particular
this
circumstance, he said,
Sir
indeed abominable.
Joshua Reynolds
Delivered to Students of
110
the Royal
Academy
The Salons
of 1751
and 1753
Salon of 1751
.
M. Tocque has
and
fidehty to
nature appear undestroyed: each Salon adds to the reputation of this painter. The
greatest
of the painter
in
set
out
in these pieces.
La Reyniere
is
present nature in a
way
The
of
Madame
injustice.
The
portrait of
M.de
fleshiness
and the pleasure of his colour. M.Vemet, so well known for his talent
seascapes and landscapes, has sent us three from Italy where his tastes, and perhaps his
proof of his
in
woman
a speaking likeness.
in
facility
Salon of 1753
Never has the Salon been so
everything in
it
brilliant,
two
Gathered together are the noble and the elegant, the austere and the playful,
history
and
drawing as
fable, heroic
principle
its
imagination.
all
of different
in six paintings
and the
sizes
fertility
devotion, the great machine, easel paintings, even the portrait, everything
is
striking
proof of superior merit. M.Boucher has continued to delight with his gracefulness and
it
receives.
Comte de Caylus
CEuvres, Ed. Laurens
1 1 1
"
...
A man
reads,
and as
own
existence!), he
and
is
turns his
its
who shows
is
quite complete,
over there, behind, focused on an imaginary spot which she hesitates to join or leave.
her elbow, and as
to read, he
is
if
On
leaning on the railing of an invisible lake. But the reader has ceased
They
girl
it is
fills
little
book he
Paul Claudel
L'CEil ecoule, Gallimard
is
Watteau
Let us remember that Watteau
is
is
this
among
is
to turn
it
on
new themes and new poetry which are to reign until the fall of the
Bastille, and that it will take all David's Greeks and Romans to make us forget the hal
capricieux for a single moment. Let us remember that all that comedy in the Italian style,
its
hinges, invents
academic subjects as
that black
at in
laid
and
down
" Signature
in the
of the Contract
it
".
all
that
is
a break with
is
a youthful
And
at thirty-seven,
still
Aragon
U Enseigne de Gersaint
Ides et Calendes, 1946
(A propos o^ Indifferent)
No, no, it is not that he might be
of Aurore; rather
let
us say that he
is
is
he already dancing, but with one arm outstretched and the other broadly spreading a
wing, he holds a balance in which weight,
lyrical
least
element.
seeks
it
feeling
in
He
is
ready to go or to come, he
and part
talk, half-poised
tip
more than
listens,
half countered,
is
only the
of his fingers.
a mystery
comedy
is
in the eternity
of nature
He
is
is
Trembling
pinks and the pale blues quiver like his poor soul.
Between two
flutters
all,
infinite desired.
it
He
the burned-out
he
feels that
is
going to
die.
repose which comes too soon, he expresses the happy appearances and the poignant
realities
itself
is
condemned.
and
will feel
to the
it;
profound
man who
ruined,
of
itself. It
is so, how monotonous The groups posed on the moss, like leaves torn dying
from the trees, or like ephemeral butterflies, will be carried away by the breeze which
hurries them on to the abyss, with the forgetfulness and the phantoms, the plaint of the
violoncellos, the sigh of the flutes, the perfumes, and the sound from the jets of water.
When one isolates from its frame the talk of all these charming creatures, dressed in
satin, powdered, rouged, having nothing in life to do but make love and music,
Since that
everything expresses the joy of the instant seized on the wing. Here
is
nothing but
prattle,
rockets, and cascades of laughter, and an intricate crossfire of gallantries and confessions.
when
voices to be lowered.
spirit
of the poet
the concert
Why
is
does the
Slow
present.
throats bending to escape or offer themselves, inclined and laughing faces resembling
flowers only half-open,
all will
How
disappears under trees a hundred years old which, themselves, will die one day! Nothing
is
life; it is
will disappear.
who comes
None of us
to
with tones which penetrate one another and lines which continue one another,
14
tell
still
of
it
bums
To
which
is
by our eyes
the
is
most
died at Nogent, under the fog and the trees, quite near the water.
from
his
visit
fleeting
amid
that
landscapes where the colours, in the multiplied prism of the tiny suspended drops, take
on
their real
sonorous wave,
vapour which
rising
sets its
from tense
strings, itself
trees, the
whole of him
belongs to the
life
of the
is
air,
in
them. The
azure haze around the scattered branches, the slender trunks which
space themselves or assemble in clusters near the edge of the deep forests, and the
luminous glades away toward the distance and the sky. The sound does not interrupt the
silence, but rather increases
it.
Barely,
if at all,
it.
We
do indeed
deeper, little by little. And the genius of painting resolves into visual harmonies the
sound of the instruments which hovers over the murmur of the voices. The green, the red
or the orange of the costumes of comedy or of parade, and the dark and silky spots
tips
diff"used silver
made
which trembles
of the nearby leaves with the sunny spaces which stretch away
among
Faure
Moderne
is
first
of
all,
in
whom
Puget
is still felt,
don, will not be quite themselves until they introduced into the fashionable Olympus,
Chubby Eros or Venus at her toilet, like a lady of elegance well-versed in matters of love.
And Nattier will paint the princesses of the blood as rustic divinities, almost disrobed at
times, their
arms and
their fingers,
and
in their hair.
boxwood of Versailles.
These
moreover, do not lose their petals as soon as they are plucked. They
roses,
be applied
will
along the walls, they will encircle the sofas and the ladies
all
".
living in
it
like
sole cause of
man, and
its
who
chat
it
to experience
eternal character.
will
least
prepared to
its
Watteau
is
whom
the aristocracy of
will obey. But it will take its revenge, in its turn, by giving its orders to those who
succeed Watteau. " Nature " will reduce itself to a kind of objet d'art placed on a
France
will
shelf,
and destined
who
by those
money
is
aesthetically
is
drawing-room
art,
in the souls
limits
of the
it
in the
of paintings are themselves "Salons". Painters, sculptors, engravers, jewellers, goldsmiths, cabinet-makers, hairdressers, tailors and bootmakers
all
brings out
its
to be lost to view,
and exhausts
itself in satisfying
it,
contribute to surround
gradually causes
a spirit which
is
its
natural origins
ingenuity and ennui. Everywhere, around the conversationalist and the coquette, in
unglazed porcelain, marble and tapestry, from the glass cabmet for bibelots to the
crystal,
tableware, from the carriage to the sedan chair, and from the antechamber to the alcove,
this
charming
science,
art repeats
and
reflects the
love,
about new-bom
about Persia, about China, about the spectacles of the day, and about the
artist, scatters
it
fashionable
with the
art,
flights
of the
through a thousand
it
Amors and
toilet articles,
the flowers
and debases
it
is its
soul.
Fashion insinuates
itself
and
fixes itself
around
his
easy fecundity which everywhere, on ceiling, screens, carriage panels and small friezes
fans, scatters
its
monotonous
one who
subjects
shepherdesses and
is adored
Charming in manner, generous,
by men and women, ceaselessly exchanging with his century that which they both need in
order to love and be loved, he stands, with the mistress of the King, at the centre of his
own revolving circle of winged loves and of flowers woven in garlands, which he is quite
free
to bring forth in greatest profusion and to hang up
as artists of his race alone are
wherever it pleases the alert and spontaneous fantasy of his desire, which is ever in accord
pastorals.
with his requirements. In order to yield to the flexible grace of this world, where
philosophic and gallant conversation flows on sinuous
everything adapts
116
itself
lines,
and makes
delicate detours,
fat, soft
woodwork and
whom
chubby shepherds,
dimples, and the elastic and quickly-swelling curve of their buttocks and their breasts.
plump
The
children of Bouchardon, the sculptor, are swept into the dance. Fragonard
is
and Boucher, through his savory master Lemoyne, through Watteau, and
through the world of decorators and artisans inspired by him, links the whole fragile
setting of the French aristocracy with the supreme teaching of the Italian fete which
Tiepolo, at the same time with him, is unfurlmgover the ceiling of Venetian bedchambers
prefigured;
and drawing-rooms. Almost freed from form, the aerial harmonies sprinkle, with the
rouge of cheeks and the powder from puffs, light skies, where the whirl of the clouds
effaces itself little by little in the diffused rose and silver.
Unfortunately, the twisted and serpentine line prevents the decorator from
into space
and ever
time the
artist is
philosopher
who
they forget,
rain
and
little
who
destroys.
ill
by
him
He
recalls
It is
at ease
little,
between
the
life
and the
rationalistic analysis
when they enter upon moral considerations, where they very quickly
way. The only one who gains is the newsmonger of plastics, who grows up
in light,
lose their
somewhere between the rhymer of epigrams and the indiscreet confidant^ the engraver
of anecdotes of gallantry and of spicy gossip, who pretends that he was present,
concealed behind a screen,
at the
marquise, and at the vicomte's or the abbe's capture by assault of the chambermaid. The
genius for gossip, rendered sharp and subtle by a century of the
life
of fashion, overflows
thing that
is
and the teas in the English style, and sweeps over everyexpressed by pen, pencil and modelling tool. Cochin, Beaudoin, Moreau the
Younger, Eisen, Leprince, and the Saint- Aubins, create a chronicle of fashion peculiar to
this country and this period. Conversations are carried on in exquisite style with a pastel
crayon, a luminous engraving, pretty as a blonde
Diderot.
is
conversation
letters to the
A witty word shakes a world, and a hundred thousand such words are struck off
every day.
Elie
Faure
Moderne
Chronolog^y
Date
Arts
Political Events
Literature, Philosophy,
1700
war with
Birth of Natoire.
Sweden.
1700-14: Spanish
War
of
Succession.
King of Prussia.
1701
Frederick
1702
Fourth
1703
Foundation of St Petersburg.
Birth of Boucher.
1704
British at Gibraltar.
Birth of Quentin de
1705
Condemnation of Jansenism.
Birth of Carle
I,
War
of Louis XIV.
La Tour.
Englishman Thomas
Van Loo.
Newcomen
develops
\
firs>t
steam engine.
Hardouin-Mansart completes
1706
Dome
of Invalides.
Birth of Buffon.
1707
First porcelain in Europe,
invented by Bottger.
1708
1709
Berkeley's Principles of
Stanislas.
Human
i
1
Knowledge.
1710
begun
in 1699.
Messein porcelain.
1712
Destruction of Port-Royal.
Birth of Guardi.
Birth of Rousseau.
Corelli
1713
Birth of Diderot.
Frederick-Wilhelm succeeds
Frederick
I.
Leibniz
Monadologie.
Treaty of Utrecht.
Stradivarius
in
makes
violins
Cremona.
Birth of
1714
1715
1716
Vemet.
Law founds
Vivaldi
XV.
1719
Concertos for
Fenelon Letter
Academy.
the General
to the
Couperin revives
F.
the clavichord.
Fahrenheit thermometeir.
Gil Bias.
Violin.
Bank.
1717
Lesage
Defoe
art
of
Robinson Crusoe.
Jesuits.
Voltaire
CEdipus.
Date
Arts
Political Events
Literature, Philosophy,
1720
Law
flees
riots in Paris.
Watteau Enseigne de
:
Gersaint.
1721
Montesquieu
Death of Watteau.
Persian Letters.
Russia.
c.
1721
Hotel de Matignon
in Paris.
Defoe
1722
Bach
Afoll Flanders.
Well-tempered Clavier
(first part).
system.
XV comes of age.
1723
Louis
1724
Russia
Birth of Reynolds.
Birth of Kant.
Tariff protection.
1726
Birth of Greuze.
Vico
1726-7
Swift
in
1727
Quakers against
slavery.
Tiepolo frescoes
Udine.
:
Gulliver's Travels.
Birth of Gainsborough.
Chardin
1728
Philosophy of History.
La Rate
ouverte.
J.
Beggars' Opera.
Birth of Mengs.
Dom.
in
Rossi
Venice.
1728-41
Jesuits'
Church
Chateau de Rohan
in Strasburg.
Passion of St Matthew.
1729
Bach
1731
Voltaire
Birth of
Haydn.
1732
1733
Birth of Fragonard.
War of Succession
in
Poland.
Frescoes by
Asam
and Zimmermann
brothers
Charles
XH.
Abbe
Weltenburg.
Prevost
Manon
Lescaut.
Birth of Hubert Robert.
Pergolese
The Maidservant
Mistress.
1734
1735
Salvi
Rameau
Romney.
Birth of
Fountain of Trevi.
and Russia.
Lancret
The
Ham
Luncheon.
Demonstration by Dufay
of positive and negative
at
electricity.
Date
Political Events
Literature, Philosophy,
Arts
Death of
1736
First
Pater.
lated in
1737
Inauguration of "Salon" of
Scarlatti
painting
clavichord.
Sonatas for
F. Algarotti
for
1738
Boucher
1739
Chardin Grace,
The Governess.
Newionianism
The Luncheon.
Hume:
Treatise on
Human
Reaumur thermometer.
Nature.
Frederick
1740
Women.
II
Anti-Machiavel.
War
II.
of Succession in
Austria.
1741
Performance of Handel's
Messiah in London.
Birth of Fuseli.
Young
1742
Life,
Night Thoughts on
Death and Immortality.
:
Death of Lancret.
1743
Death of Rigaud.
1744
1745
Battle of Fontenoy.
Birth of Herder.
Hogarth Marriage a
:
Mengs:
Portrait of
la
Mode.
Madame
Thiele.
Birth of
1746
Vauvenargues
Goya.
Death of
Maxims.
Largilliere.
Origins of
Human
the
Knowledge.
1747
Franco-Dutch War.
Completion of Sans-Souci
Palace in Potsdam.
La Metlric Man-Machine.
1748
Treaty of Aix-la-Chapclle.
748-50 Gainsborough
:
Portrait of Robert
and his
1749
Lois.
Andrews
H'ife.
Fielding:
Tom
Jones.
Birth of Goethe.
Celsius thermometer.
Date
Political Events
Arts
Literature, Philosophy,
1750
Goldoni
Tiepolo decoration
of Archbishop's palace at
:
Invention of planing
machine by Focq.
Death of
1750-3
Venetian Dramas.
J. -S.
Bach.
Richardson
Clarissa.
Wurzburg.
1751
Abolition of slavery
Pennsylvania.
Voltaire
in
Century of
Louis XIV.
First volume of
Encyclopaedia (1751 -72).
1752
Condemnation by High
Court of
L Encyclopedic.
Rousseau
Discourse on
Invention of lightning
conductor by Benjamin
Inequality.
Franklin.
Boucher Sunrise.
1753
Foundation of
British
Museum.
1754
1755
Condillac Treatise on
Sensalionism.
:
Death of Montesquieu.
Discovery of carbonic
gas by Black.
Lisbon Earthquake.
Death of Oudry.
La Tour Marquise de
Pompadour.
:
1756
War (France.
Austria and Russia against
England and Frederick 11).
Seven Years
Piranesi
Roman
engravings.
Birth of Mozart.
Voltaire
and
1757
1757-91 :Soufflot:
Spirit
Diderot
The
Pantheon, Paris.
Publication of Nibelungen.
1758
Helvetius:
1759
Voltaire
Of the
Mind.
Candide.
Death of Handel.
Birth of Schiller.
1760
of Artists.
1760-1
Reynolds
Portrait of
Miss
Nephew of Rameau.
Nelly O'Brien.
Birth of Hokusai.
1761
Greuze: L'Accordeede
Village.
Rousseau
Nouvetle Helolte.
Date
Political Events
Arts
Literature, Philosophy,
1762
Catherine
II
seizes
power
Emile.
in Russia.
Gluck
Orpheus.
Goldsmith
1763
1764
Treaty of Paris.
Chinese Letters.
Winckelmann History of
Trianon
Art.
Hogarth
British.
Bathos.
at Versailles.
Finis,
or The
Death of Hogarth.
Archbishop of Paris demands
removal of Baudouin's works
from Salon because of
1765
Sterne
Sentimental Journey.
immorality.
1766
Fragonard
The Swing.
Goldsmith
Vicar of
Death of Nattier.
isolates
Lessing
1767
Cavendish
hydrogen.
Wakefield.
d'Holbach Christianity
Unmasked.
:
1768
Russo-Turkish War.
Death of Canaletto.
Birth of Chateaubriand.
Foundation of Royal
Academy.
1769
Birth of Bonaparte.
1770
Death of Boucher.
Death of Tiepolo.
Birth of Beethoven.
carriage.
Gainsborough
1771
Dissolution of Pariiament
by Louis XV.
Birth of Lawrence.
Houdon
Cook
Blue Boy.
in
Oceania.
Bust of Diderot.
Diderot
1773
Herder
James
the Fatalist.
Goethe: Werther.
1774
Death of Louis
XV;
Gluck
Iphigenia in Aulis.
1775
American War of
Gainsborough
Independence.
Place.
Seville.
Spencer
of Man.
The Watering
Bordeaux Theatre.
Beaumarchais Barber of
:
Date
Arts
Politicml Events
Literature, Philosophy,
1776
British colonies in
Fragonard Festival of
revolt
Si Cloud.
the
America
Independence for
Roman
Empire.
United States.
1776-80: La Scala. Milan.
Reslif de la Bretonne;
Perverted Peasant.
Death of Natoire.
1777
1778
Seller.
Death of Rousseau.
Death of Voltaire.
1779
Suppression of serfdom
French royal
in
Death of Chardin.
Lessing
The Robbers.
Schiller
estates.
Death of Mengs.
1779-82
Odeon
Construction of the
in Paris.
1/80
Wieland
Gluck
Kant
1781
Oberon.
Iphigenia in Tauris.
Critique of Pure
1783
1784
Laclos
Pitt's
Dominion
Dangerous Liaisons.
d'Alembert
Treaty of Versailles.
Herschel discovers
planet Uranus.
Reason.
1782
Foundation of modem
chemistry by AntoineLaurent de Lavoisier.
Miscellany of
Montgolfier brothers
Philosophy, History
invent
and
balloons.
Literature.
Rivarol
On
first
aerostatic
the Universality
in India.
Death of Diderot.
Gretry
Richard Caur
de Lion.
Louis David
1785
Horalii.
Watt's double-action
steam engine.
Englishman
Edmund
Modem
stenography.
Duchess of
Devonshire and her Daughter.
Reynolds
1787
American Constitution.
de Saint-Pierre:
Paul el Virginie.
B.
Don
Carlos.
Date
Political Events
Literature, Philosophy,
Arts
1788
Death of Buffon.
Cherubini
1789
Storming of
David
Bastille:
Iphigenia in Aulis.
Goethe: Tasso.
Heinrich Klaproth
discovers uranium.
Declaration of Rights of
Man.
Death of Vernet.
Blake: Marriage of Heaven
1790
and
Hell.
Birth of Lamartine.
1791
Mozart Requiem.
French Constitution.
Industrial production of
synthetic soda by
Death of Mozart.
Nicolas Leblanc.
The metre,
basic metric
unit.
1792
Fall
of French Monarchy;
first
republic. France at
Goethe Roman
:
Elegies.
war
Murdock.
Rouget de Lisle:
Lm Marseillaise.
Birth of Rossini.
1793
Death of Guardi.
Condorcet
Progress of the
Mind.
Human
1794
Chenier
Fichte
Babeuf Manifesto of
The
1796
English symphonies.
Bases of Science.
Directory.
Birth of Corot.
J.
de Maistre
On
the French
Revolution.
Risorgimento
Wars of
Vendee
Discovery of lithography
by the German Aloys
the Directory.
Death of Catherine
pacified
Scnclcldcr
II
I.
by Hochc.
in Italy.
accession of Paul
1797
telegraph.
Equality.
1795-9:
lambes.
creates an aerial
Haydn
1795
Tieck
Fantasy Talcs.
Holderin: Hyperion.
Birth of Schubert.
Date
Political Events
Literature, Philosophy,
Arts
1798
Goya
Fortrail of
F. Guillemardet.
Bonaparte,
first
Machmc of conlmuous
production of paper
invented.
Birth of Balzac.
Consul.
Beethoven: Pathetique
Sonata.
1800
Maria
Schiller:
The
Stuart.
Cherubini
The Water
Carrier.
1801
Haydn
The Seasons.
Jacquard's mechanical
loom.
Manufacture of beet
sugar.
1802
life.
Death of Romney.
Chateaubriand
Spirit
of
Christianity.
First steam-driven
locomotive built by
Trevithick.
Hugo.
Birth of Victor
1803
Robert Fulton's
steamship.
Birth of Berlioz.
1804
Napoleon's coronation.
Schiller
William
Tell.
Death of Kant.
1805
Napoleon, King of
Italy.
Death of Greuze.
Chateaubriand
Death of
Death of Fragonard.
Ingres
Goya
1808
La
3
Rene.
Schiller.
Beethoven
1806
Fidelia.
Hegel Phenomenology of
the Mind.
:
Belle Zelie.
May
1808.
Goethe Faust.
:
Beethoven Pastoral
Symphony.
:
Beginning of construction
of the Paris Bourse.
Death of Haydn.
1809
1810
First
food canning.
War.
1811
Birth of the
King of Rome.
Mechanical printing
press by the
Konig.
German
Museums
Artist
City
Museum
Title
Boucher. Francois
Leningrad
Hermitage
Leningrad
Date
Material
Dimensions
The Bridge
Canvas
nrx2'5-
Hermitage
Head of a Woman
Canvas
i'2-x
Munich
Pinakothek
Recumbent Girl
Canvas
rii-x2'5'
Paris
Louvre
The Mill
Canvas
2' 2'
Paris
Louvre
The Odalisk
c.
Canvas
i'9-x2'r
Paris
Louvre
1742
Canvas
no-x2'5'
Paris
Louvre
The Painter
Wood
irx9-
Rome
National Museum
of Ancient Art
Morning
Canvas
2'2- X 2'8'
Rome
National Museum
of Ancient Art
La
Canvas
20'
Boymans-Van
Chinoiserie
Canvas
l'3'x 1-8'
1733
Canvas
4'9- X 4'9-
1737
Canvas
2'8'x2'l'
La Pourvoyeuse
1738
Canvas
16-
La Pourvoyeuse
1739
Canvas
1'6'x
La Ratisseuse
c.
Canvas
1'4-x 11-
Canvas
2'8' X 2'2'
Canvas
2'8- X 3'3-
(1703-70)
Rotterdam
in his
1752
1743
Studio
Petite Jardiniere
ir
X 2-9-
X !'6'
Beuningen
Museum
Chardin, JeanBaptiste-Simeon
(1699-1779)
Berlin
Kaiser-Frederick
Lady
sealing a Letter
Museum
Berlin
Kaiser-Frederick
Young
Man
drawing
Museum
Berlin
Kaiser-Frederick
X l'3'
Museum
Berlin
Kaiser-Frederick
\y
Museum
Berlin
Kaiser-Frederick
1739
Museum
Florence
Museum
Glasgow
Hunter Museum
Glasgow
Hunter
Glasgow
Hunter
Munich
Uffizi
La
1736
Museum
Tavern Waiter
c.
1738
Canvas
16'
Museum
The Cleaner
c.
1738
Canvas
1-6- X 1-2'
Picture Gallery
Woman
c.
1739
Canvas
16'
Paris
Louvre
Jar of Olives
1760
Canvas
2'4' X 3'3'
Paris
Louvre
Copper Fountain
1733
Wood
11-X9'
Paris
Louvre
Dessert
1763
Canvas
1'7-x 110'
Paris
Louvre
1771
Pastel
l'6"x 13'
Paris
Louvre
Portrait of
1775
Pastel
16'
scraping Turnips
Madame
Chardin
X \-2-
X \'3'
X 1'3'
Artist
City
Museum
Title
Paris
Louvre
Young
Paris
Louvre
Paris
Material
Dimensions
Canvas
2'2' X 2'5'
Canvas
2'2- X 2'5'
Louvre
House of Cards
Canvas
2'6- X 2'3-
Paris
Louvre
Canvas
r7-x
Paris
Louvre
Grace
Canvas
l'7-x l'3'
Paris
Louvre
La Pourvoyeuse
1739
Canvas
1'6'x 1-3-
Paris
Louvre
Le Singe Antiquaire
Before
1740
Canvas
2'7''x2'r
Paris
Louvre
Le Singe Peintre
Before
1740
Canvas
2'4' X 2'0'
Paris
Louvre
Attributes of Art
1765
Canvas
3-0' X 4'9'
Paris
Louvre
Attributes of Music
1765
Canvas
2'ir x4'8'
Paris
Louvre
La Raie
1728
Canvas
3'9' X 4'?'
Paris
Louvre
The Buffet
1728
Canvas
6'3'x4'2'
Paris
Louvre
Le Souffleur
1734
Canvas
4'irx3'3'
Stockholm
National
The Fountain
1733
Wood
1-3' X 1'5'
Stockholm
National
Canvas
7'x6''
Stockholm
National
Le Dessinateur
Canvas
T'x?"
Stockholm
National
La Blanchisseuse
1737
Canvas
r2'x V5'
Stockholm
National
Before
Canvas
r7''x 1'3'
Canvas
r7'xi'3'
Canvas
r7'xi'3'
Date
Man
with Violin
l'3-
1741
Stockholm
Grace
National
Before
1741
Stockholm
Le Neglige
National
Before
1741
Stockholm
Fragonard.
Before
1746
Canvas
l'5'x |'2'
privee
L'Econome
1747
Canvas
I'S'x l'2'
Les Amusements de
National
la
Vie
Stockholm
National
Amiens
Picardy
Museum
Les Lavandieres
1761-5
Canvas
r7-x2'2'
Amiens
Picardy
Museum
Autumn Landscape
1765-72
Canvas
8'x
Barcelona
Museum
Abbe St Son
1748-52
Round
wood
Diam.
1754-5
Canvas
131" x9'IO'
Jcan-Honore
(1732-1806)
Modem
Besangon
Museum
of
Art
in
Spanish Dress
Venus Triumphant
IT
2'6'
Artist
City
Museum
Title
Grasse
Cathedral
Leningrad
Hermitage
Leningrad
Hermitage
New York
Metropolitan
Date
Material
Dimensions
Canvas
16'
1745
Canvas
l'8-2'0-
1761-5
Canvas
1'7-x 2'0"
The Waterfall
1773-6
Canvas
11-^9-
The Thicket
1773-6
Canvas
ll'x9'
1773-6
Canvas
r7'x rir
1773-6
Canvas
2'9- X 2'2-
1773-6
Canvas
2'3'x
1777-9
Canvas
Invocation to Love
1780-8
Canvas
r6-x
Jerehoam
1752
Canvas
3'9' X 4'9'
1780-8
Oval
canvas
Z'O'x
f.
1790
rio"
Museum
New York
Metropolitan
Museum
New York
Metropolitan
Museum
New York
New York
Metropolitan
Family Scene
Museum
House
Metropolitan
Billet
an Italian
in
Doux
Museum
New York
Metropolitan
Profile
of a Young Girl
no-
Museum
New York
Metropolitan
4-xr9-
Museum
Orleans
Museum
of
1-2-
Painting
Paris
Paris
Paris
Paris
sacrificing to
the Idols
Madame
Cognac-Jay
Portrait of
Museum
Bergerct de Norinval
Cognac-Jay
Portrait of
Museum
with Collar
Jacquemart- Andre
The
Young
Man
New Model
1-8'
1789-1806 Oval
canvas
r6-x r3'
1765-72
Oval
canvas
r8''>2'0'
Museum
3'2"
Pans
Louvre
1761-5
Canvas
2'5'
Paris
Louvre
1761-5
Canvas
Paris
Louvre
1765
Canvas
10 2' X |3'3-
1761-5
Canvas
13"
1761-5
Canvas
2'5- X 2'0-
1761-5
Oval
canvas
r7-x
>^
0'^ rs'
sacrificing
Callirhoe
Pans
Louvre
The Explosion
Pans
Louvre
l.itlle
Pans
Louvre
Young
Cascades
Woman
at Tivoli
holding a Child
r5'
i'i-
Artist
City
Museum
Title
Paris
Louvre
Les Curieuses
Paris
Louvre
Music
Paris
Louvre
Paris
Material
Dimensions
Wood
6-x5-
1769
Canvas
2'8- X 2'2'
La Chemise enlevee
1765-72
Canvas
r2'x
Louvre
The Bathers
1765-72
Canvas
2'2- X 2'8-
Paris
Louvre
Inspiration
1765-72
Canvas
2'7- X 2'2-
Paris
Louvre
1765-72
Canvas
3'5-x3'ir
Paris
Louvre
Portrait of the
1765-72
Canvas
2'7- X 2'2'
Paris
Louvre
The Song
1769
Canvas
2'7' X 2'2'
Paris
Louvre
Blind-man
1773-6
Canvas
1'2'x l'6'
Paris
Louvre
Love Call
1780-8
Wood
9-x
Paris
Louvre
Bacchant Asleep
Canvas
1'6'x 110"
Rouen
Museum
Dream of Plutarch
1748-52
Canvas
9"x
Rouen
Museum
1761-5
Oval
canvas
rO'x
Rouen
Museum
The Washerwomen
1773-6
Canvas
r9-x2'3'
Troyes
Fine Arts
1748-52
Canvas
6'2'x4'r
Date
Abbe
St
Non
Buff
\'S'
IT
I'O-
10-
Museum
Gainsborough,
Washington
National Gallery
Love's Folly
1765-72
Oval
canvas
1-9" X 1'6-
Washington
National Gallery
Love on Guard
1765-72
Oval
canvas
l'9'x 1-6"
Washington
National Gallery
Le Cheval fondu
1773-6
Canvas
3'10''x2'ir
Washington
National Gallery
La Main chaude
1773-6
Canvas
3'9' X 3'0'
Washington
National Gallery
The Swing
1773-6
Canvas
7'0'x6'r
Washington
National Gallery
Blind-man
Buff
1773-6
Canvas
7'0' X 6'6'
Washington
National Gallery
Visit to the
Nurse
1777-9
Canvas
2'4'x2'ir
Bologna
Liceo Musicale
J.-C.
1776
Canvas
11"
Dublm
Trinity College
1766
Canvas
10'
London
National Gallery
Wooded Landscape
1774-88
Canvas
7-x8-
1777
Canvas
I'l'x 1'5-
Bach
x9'
Thomas
(1727-88)
with
X 10-
House
London
National Gallery
Two Dogs
Artist
City
Museum
Title
London
National Gallery
An Old Horse
London
National Gallery
Date
Material
Dimensions
Canvas
9-
Canvas
3'6- X 3 5-
Canvas
10'
1768
Canvas
ro-x
1755-6
10-
chasing Bullerfiies
London
National Portrait
Gallery
Lord Amherst
London
National Portrait
Gallery
John,
London
National Portrait
Gallery
George Colman
1785
Canvas
11'* 11
London
Tale Gallery
The
1784
Canvas
3'3-x2'l|-
London
Tate Gallery
1774
Canvas
ro-x
10-
London
Tate Gallery
1786-7
Canvas
2'5' X
20-
London
Tate Gallery
1774-88
Canvas
9-x 10-
London
Tate Gallery
1770
Canvas
1-7' X
rio-
London
Tate Gallery
A Servant (Unfinished)
1782-6
Canvas
3'3-x
rir
London
Tale Gallery
Nymph
at the
Bath
Canvas
2'5- X 2'0-
Melbourne
National Gallery
Mouth
of the
Thames
1783
Canvas
20'
Melbourne
National Gallery
An
1770
Canvas
2'11-xrir
New York
Metropolitan
1770
Canvas
Duke of Bedford
Baillie
Family
Officer
X 10'
10-
X 2'6-
0- X 10'
Museum
New York
Metropolitan
Nathaniel Burrough
Canvas
10"
V 10-
Museum
New York
Queen Charlotte
1782
Canvas
9"x7-
1783
Canvas
r7-x I'lr
Museum
Metropolitan
Cottage Children
1787
Canvas
ni-x
Metropolitan
Museum
New York
New York
Metropolitan
1-6-
Museum
l^aris
Louvre
1760
Canvas
l|-x2'2-
Paris
Louvre
1746
Canvas
lO'x 10-
in a
Landscape
Grcuzc.
Paris
Louvre
Conversation
Leningrad
Hermitage
Leningrad
Hermitage
Young
Jean-Baplislc
in
a Park
1767
Canvas
2'5' ^ 2'3'
Canvas
Canvas
14--
|-x3'IO*
(I725-IK()5)
Woman
smiling
\\
Artist
City
Museum
Title
Leningrad
Hermitage
Portrait of a
Leningrad
Hermitage
Yotmg
Mctz
Museum
Mctz
Material
Dimensions
Canvas
TT^
1'9"
Canvas
2'0-x
|'8-
Bacchant
Canvas
rio-x
Museum
Young Boy
Canvas
l'5-x
yy
Mctz
Museum
Count d'Angivillers
Canvas
2'2'x
i'8'
Montpellier
Museum
Oval
canvas
l'6'x
yy
Montpellier
Museum
The
Canvas
y(3"xyy
Montpellier
Museum
Young Girl
Wood
l'3"x I'O"
Montpellier
Museum
Young Girl
Canvas
1'6-x i'2'
Montpellier
Museum
Head of a Child
Canvas
r3"x ro'
Montpellier
Museum
Paralytic's
Canvas
2'rx
Paris
Louvre
Canvas
4'l"x5'3''
Paris
Louvre
Danae
Canvas
I'l'x i'4'
Date
Man
Little
Boy
with Tricorn
1763
Mathematician
at Prayer
Head
1769
vy
i'9"
(sketch)
Paris
Louvre
L'Accordee de Village
1761
Canvas
2'H"x3'lO"
Paris
Louvre
1767
Canvas
4'3''x5'4"
Paris
Louvre
1767
Canvas
4'ir'x5'4-'
Paris
Louvre
Oval
canvas
3'7" X 2-9''
Paris
Louvre
La
Laitiere
Canvas
3'6"x3'r
Paris
Louvre
Young Girl
Canvas
r4"x
Paris
Louvre
Canvas
2'6"x 19"
Paris
Louvre
Dr Duval
Canvas
1'6'x
yy
Paris
Louvre
Fahre
d Eglantine
Canvas
2'0"x
yr
Paris
Louvre
Armand Gensonne
Canvas
riO'x
Paris
Louvre
J.-B.
1763
Canvas
2'5' X 2'0'
Paris
Louvre
Elienne Jeaurat
1769
Canvas
2'8' X 2'2-
Paris
Louvre
Jupiter
Canvas
II-x
Tournus
Museum
Young Girl
Canvas
I'lO-x 1'4-
Tournus
Museum
Canvas
l'8-x |'5"
-R.
Greuze
and Aegina
Greuze
1800
I'l"
1'6-
1'4'
Artist
City
Museum
Title
Tournus
Museum
Canon
Toumus
Church of
the
Date
Material
Dimensions
Piol
Canvas
Si Francis of Assist
Canvas
6'7' X 3'2-
5-x
1'9'
Madeleine
Guardi,
Francesco
Museum
vf
Napoleon Bonaparte
1789
Canvas
rio'x
Kaiser-Frederick
1784
Canvas
2'2-x rs-
Museum
the
Kaiser-Frederick
Roman
Canvas
r9'x2'4'
Canvas
3'3- X 4'6'
Canvas
31' x4'4'
Canvas
2'4'x3'll-
Versailles
National
Berlin
Lagoon
(1712-93)
Berlin
Ruins
Museum
Copenhagen
Museum
London
National Gallery
of Art
Return of the
"
Bucentaur"
Canal
London
National Gallery
London
National Gallery
Mesire
Canvas
8x
London
National Gallery
Canvas
riO-x2'5'
London
Victoria and
Albert Museum
Canvas
3'|-x2'4-
Milan
Poldi-Pezzoli
Canvas
9'x
Canvas
2'3' X
at
1-4-
yy
Museum
30'
Munich
Pinakothek
Gala Concert
New York
Metropolitan
Canvas
l-4'x2'4'
Canvas
S'l'xS'M-
Canvas
2'2- X 3'3-
Canvas
r8'x2'7-
Canvas
2'2' X 3'3'
Canvas
2'4- X 3'2-
Canvas
3'6' X 6'8'
Canvas
3 6- ^ 6'8'
Canvas
3'2' X 4'5-
Canvas
r6'x2'4'
Fresco
13 9'
in
Venice
1782
Museum
New York
Metropolitan
Museum
Paris
Louvre
Rome
National Museum
of Ancient Art
Giudecca Canal
Toulouse
Museum
Venice
Museum
of the
"
1763
"
Academy
Venice
Ca'Rezzonico
Visiting
Room
in the
Venice
Ca'Rezzonico
11
Venice
Ca'Rezzonico
Venice
Cad'Oro
Market before
the
Royal
1789
Palace
Venice
Labia Palace
Aurora
x6'9'
Artist
City
Moseam
Title
Vienna
Albcrtina
Old Tower
Square
Vienna
Albertina
Vienna
Material
Dimensions
Canvas
2-r x2'ir
Canvas
2'l'x2'll'
Albertina
Canvas
2'4- X 2'8'
Vienna
Albertina
Canvas
2'4- X 2'8'
Vienna
Albertina
Two
canvases
2'4' X 2'8'
2'5' X 2'8'
Canvas
ll-xl'6-
Dnieper
Canvas
3'irx5'8-
Canvas
ro'xr6"
Portrait of Viscountess de
Canvas
2'6'x2'r
Vienna
Kunsthistorisches
Date
Entrance
in
San Marco
Venice Arsenal
to
Museum
Vienna
Kunsthistorisches
Museum
Vienna
Kunsthistorisches
Museum
Hogarth, William
(1697-1764)
Geneva
Museum
la Valette
London
National Gallery
London
National Gallery
Self-portrait
1745
Canvas
2'irx2'3"
1740
Oval
canvas
2'5'xrir
Lavinia Fenton
London
National Gallery
Ann Hogarth
1740
Canvas
London
National Gallery
James Quin
1740
Canvas
2'5' X 2'0'
London
National Gallery
1740
Canvas
1'2'x rs"
1745
Canvas
2'irx2'3'
1749
Canvas
2-7''
Marriage a
(series
London
National Gallery
of
la
Mode
six)
with his
Dog
London
National Gallery
London
National Gallery
Portrait of Servants
Canvas
2'0' X 2'6-
London
National Gallery
Canvas
2'rx rs-
London
National Gallery
Breakfast
Canvas
l'4'x3'0'
London
National Portrait
Gallery
1758
Canvas
3'4-x 1'3-
London
National Portrait
Gallery
1743
Canvas
4'10'x3'3'
London
Sir
Rake's Progress
1732-3
Canvas
l'O-xl'3-
1755
Canvas
1'4-x r9-
John Soane's
Museum
London
Sir
John Soane's
Museum
X 3'
(eight plates)
The Election
(four plates)
Artist
City
London
Museum
Titk
Date
Material
Dimensioiis
1728
Canvas
2'3--2'ir
1731
Canvas
rio-^2'5-
1742
Canvas
5'3-^5'ir
1735
Canvas
511-^40-
Canvas
16'
Gallery
London
Tate Gallery
Opera
Lancret, Nicolas
(1690-1743)
London
Tate Gallery
Chantilly
Conde Museum
The
Leningrad
Hermitage
La Camargo
Leningrad
Hermitage
The Kitchen
Canvas
|'4- ri'
Paris
Louvre
The
Wood
10-
Paris
Louvre
Innocence
Canvas
2'll'x2'll-
Paris
Louvre
Canvas
2'll'x2'ir
Rome
National Museum
of Ancient Art
Rendezvous
Canvas
11' X 8'
Rome
National Museum
of Ancient An
Family Portrait
Wood
Rome
National Museum
of Ancient Art
The Fire
Canvas
14"
Rotterdam
Boymans-Van
Pastoral Dance
Canvas
Study of Hands
Canvas
2'2'x
Ham
Luncheon
c.
1730
Italian Theatre
X \'5'
'^
9-
4-x
|'|-
ir
9-x2'3'
Beuningen
Museum
Museum
Largilliere,
Algiers
National
Nicolas de
(1656-1746)
Grenoble
Museum
1708
Canvas
2'9' X 2'3'
Leningrad
Hermitage
Commemoration of the
1687
Canvas
2'3'x6'7'
Canvas
4'2'x2'10'
Canvas
4 10-X9 II-
Canvas
7'7'x6'2'
I'S-
Museum
Jean Forest
Paris
Louvre
r.
704
Wife
Paris
Louvre
Portrait ot
Pans
Louvre
Portrait
presumed to be
Fermier-General de Laage
Canvas
4 8'
Rotterdam
Boymans-Van
Canvas
2'8-x2'2-
Canvas
2'7-x2'2'
Lc Brun
1686
X 3'6'
Beuningen
Museum
Versailles
National
Museum
Self-portrait
1711
Artist
La Tour,
Maurice
Qucntin de
City
Museum
Title
Vienna
Kunsthistorisches
Museum
Geneva
Museum
Isabelle
Geneva
Museum
The Negro
Paris
Louvre
Portrait of
Paris
Louvre
Mademoiselle Dangeville
Paris
Louvre
Louis
Paris
Louvre
Paris
Material
Dimensions
Canvas
4'6' X 3'6-
1741
Pastel
2'2'xl'6'
1753
Pastel
riO'x
Pastel
rO'x
1748
Paste!
IT
1748
Pastel
2'i"x
Louvre
1761
Paste!
ri"x9"
Paris
Louvre
Madame de Pompadour
1752-5
Pastel
5'9" X 4'2"
Paris
Louvre
Jean Restout
1746
Paste!
l'4"x ro'
Paris
Louvre
Marechal de Saxe
1747
Pastel
2'ir x2'ir
Paris
Louvre
Chardin
1760
Pastel
I'll" X l'7"
Paris
Louvre
Self-portrait
Pastel
I'lO-x l'6"
Saint-Quentin
Museum
Portrait of
1753
Pastel
\'\"^%'
Saint-Quentin
Museum
Marquis
d Argenson
1753
Pastel
2'rx
Saint-Quentin
Museum
Madame
Boete de Saint-
Pastel
l'l"x9'
Prepara-
Date
Van Zuylen
1766
(1704-88)
d Alembert
XIV
d Alembert
i'6'
1'9-
xQ"
rr
I'S"
Leger
Saint-Quentin
Museum
La Camargo
1
'
"
X 9-
tory
sketch
Saint-Quentin
Museum
Mademoiselle de Lagrange
Paste!
13"
Saint-Quentin
Museum
Pastel
l'l"x9"
Saint-Quentin
Museum
Marquise de Courcy
Prepara-
10" X 9'
1740
ro"
tory
sketch
Saint-Quentin
Museum
1761
Crebillon
Prepara-
ro"x9'
tory
sketch
Saint-Quentin
Museum
1748
Pastel
l'5"x l'2"
Saint-Quentin
Museum
Don Peuche
1739
Pastel
2'0-x |'8-
Saint-Quentin
Museum
Father
1757
Pastel
i^-x
Saint-Quentin
Museum
Madame
Prepara-
ri"x9"
Emmanuel
Favarl
tory
sketch
vy
AltlBt
City
Museum
Tide
Date
Saint-Quentin
Museum
Marie Fel
1757
Saint-Qucntin
Museum
Duverger de Fourbonnel
Pastel
1'4-^ 10-
Saint-Quentin
Museum
Gamier dlsle
Pastel
1'5'x l'2'
Saint-Quentin
Museum
Jean de Julienne
Pastel
ll-xQ-
Saint-Quentin
Museum
Le Riche de La Poupliniere
1742
Pastel
ni'x
Saint-Quentin
Museum
Antoine-Gaspard Grimod de
1751
Pastel
2'7- X 2'5'
1761
Pastel
5'2- X 3'9-
Material
Pastel
Dimensions
X 9-
1-7-
La Reyniere
Saint-Quentin
Museum
ihe
Saint-Quentin
Museum
Jean-Joseph Cassena de
Mondonville
1747
Pastel
2'2-x I'lO-
Saint-Quentin
Museum
Jean Mounet
1756
Pastel
rii-x r7-
Saint-Quentin
Museum
1746
Pastel
2'4'x
Saint-Quentin
Museum
Charles Parrocel
1743
Pastel
no-
Saint-Quentin
Museum
Marquise de Pompadour
1753
Prepara-
n'x9'
noX
r5-
tory
sketch
Saint-Quentin
Museum
Mademoiselle Puvigny
Prepara-
l'|-x9-
tory
sketch
Saint-Quentin
Museum
Jean-Jacques Rousseau
1753
Pastel
i'6-xn-
Saint-Quentin
Museum
Count of Saxony
1747
Pastel
i'7-x ro-
Saint-Quentin
Museum
Marie-Christine of Saxony
1763
Prepara-
11-X9-
tory
sketch
Saint-Quentin
Museum
1763
Pastel
20'
X 9-
Prepara-
21-
Paste!
20-
X 1'8-
Study
2'3-x 1-9-
Canvas
8->
of Saxony
Saint-Quentin
Museum
1761
r9-
tory
sketch
Nattier,
Saint-Quentin
Museum
Louis de Sylveslre
Saint-Qucntin
Museum
Baroness de Tuyll
Copenhagen
Academy of
<
Madame
1745
Canvas
^x4'2-
1717
Canvas
ll-x3'8-
1741
Canvas
Jean-Marc
1753
1739
2'I-
Fine Arts
(16K5-I766)
Florence
Uffizi
Moscow
Pushkin
Paris
Louvre
Museum
Henriette, as Flora
Battle of Poltava
Portrait of a
Woman
Artist
City
Museum
Title
Date
Oudry, Jean-
Leningrad
Hermitage
Sli/l-ll/e
c.
Madrid
Prado
1740
Material
Dimensions
Canvas
3'3- X 2'5-
Canvas
4'6' ^ 3'9-
Canvas
2'10'x3'4-
Baptiste
(1686-1755)
Reynolds,
Sir
Paris
Louvre
Slill-life
London
National Gallery
Dr Samuel Johnson
1772
Canvas
2'5-x
London
National Gallery
1759
Canvas
4'0' X 3'3'
London
National Gallery
Lord Heathfield
1787
Canvas
4'8' X 3'8-
London
National Gallery
1788
Canvas
yj'xTr
London
Royal Academy
Self-portrait
1773
Wood
4'r x3'4'
Paris
Louvre
Portrait of Master
Hare
Canvas
2-6"' X
Sao Paulo
Museum
Canvas
5'10''x5'6'
Selkirk
Bowhill
1772
Canvas
6'10''x4'l0'
Paris
Museum
Le Genie du Tomheau
1796
Canvas
l'8"x \'y
Paris
Museum of
Decorative Arts
Canvas
r9'x2'0'
in the
Canvas
3'ir x4'9'
Canvas
rii'x r6-
1775
Canvas
i'irx4'2'
1781
Canvas
2'9" X 3'8'
with Violin
1'9-
Joshua
(1723-92)
(Scotland)
Robert, Hubert
(1733-1808)
of
Decorative Arts
Museum
Gallery
Rome
Paris
Ecole des
Beaux Arts
Paris
Ecole des
Beaux Arts
Paris
Carnavalet
Museum
Neuilly
Paris
Paris
Paris
in
1766
Carnavalet
Museum
Opera Theatre
Carnavalet
Demolition of Houses on
Notre- Dame Bridge in 1768
Canvas
2-9''
Canvas
2'10'x5'2-
Museum
Carnavalet
1789
Canvas
2'6' X 3'8'
1793
Canvas
19'
X 2'!'
Canvas
ir
X 1-4"
Museum
Paris
2'0'
Carnavalet
X 5'2'
Museum
Paris
Carnavalet
Museum
Paris
Carnavalet
Prisoners
Museum
at Recreation
in Saint-
Lazure
Artist
City
Museum
Title
Paris
Carna valet
Interior
Museum
Prison
Carnavalet
Mausoleum
Museum
Rousseau
Carnavalet
Date
Material
Dimensions
1793
Canvas
1'4-x \'\-
of Jean-Jacques
1794
Canvas
I8(X)
Canvas
20-^
Museum
Paris
Louvre
Ruins of a Temple
1783
Canvas
4'9- X 2'6-
Paris
Louvre
Temple of Diana
1787
Canvas
7'll-x7'|l-
Paris
Louvre
1787
Canvas
7'll'x7'ir
Paris
Louvre
Triumphal Arch
1787
Canvas
7'll-x7'il-
Paris
Louvre
1787
Canvas
7'll-x7'll'
Paris
Louvre
Cascatelles de Tivoli
Canvas
2'5- X 2'0-
Paris
Louvre
Inside a
Canvas
4'8' X 2'6-
Paris
Louvre
The Fountain
Canvas
5'6- X
20'
Paris
Louvre
Wandering Singers
Canvas
2'4-x
no-
Paris
Louvre
Spiral Staircase
Canvas
10-x \\'
Paris
Louvre
Canvas
I'l'x r5'
Paris
Opera Museum
Wood
ir
x9-
Wood
14-
\\-
\y
Paris
Paris
Tiepolo.
Giambattista
(1692-1770)
of Sainl-Lazare
at
Nimes
at Saint- Remy
Park
Fire at the
1783
1796
Opera
(Two
paintings)
preaching
1'9-
Rome
National Museum
of Ancient Art
Monk
Rome
National Museum
of Ancient Art
Wood
r.vx
Rome
National Museum
of Ancient Art
Canvas
Rome
National Museum
of Ancient Art
Wood
I'l'x vs-
Berlin
Kaiser-Frederick
Cathedral of Saint-Agatha
1740-50
Canvas
60'
X 4'4-
The H'ay up
1738
Canvas
18'
X 2'!'
1751-3
Canvas
r3'x2'0-
in the
Ruins
at
Nimes
4-x V\-
Museum
Bcrlm
Kaiser-Frederick
to
Calvary
Museum
Bcrim
Kaiscr-Fredcrick
Rinaldo
Museum
Armida
in the
Garden of
Artist
City
Museum
Title
Date
Material
Dimensions
Berlin
Kaiser-Frederick
1737
Canvas
3'3"x
Museum
Rosarv
Kaiser-Frederick
Saint
Roch
1730-5
Canvas
l'9-x 1'4-
Toilet
of Venus
Canvas
yr X 4'8'
Berlin
|'7-
Museum
Berlin
Kaiser-Frederick
Museum
Berlin
Kaiser-Frederick
Museum
Chicago
Art Institute
Twenty-two frescoes,
including Death of Dido
1754
Frescoes
1751-3
Canvas
6'rx8'8'
Chicago
Art Institute
1751-3
Canvas
6'rx8'8'
Chicago
Art Institute
1751-3
Canvas
6'rx7'r
Chicago
Art Institute
1751-3
Canvas
6'rx7'r
Chicago
Art Institute
Madonna
1730-5
Canvas
9'0' X 4'6'
1722-5
Canvas
i'rx9"
Dominic
with St
and St Hyacinth
Chicago
Art Institute
St
Leningrad
Hermitage
The Annunciation
1720
Canvas
l'6"x
Leningrad
Hermitage
1720-2
Canvas
9'5"x 19'3-
Leningrad
Hermitage
Triumph of Scipio
Canvas
i7'H"x
Leningrad
Hermitage
Canvas
12'8''x7'r
Leningrad
Hermitage
Canvas
12'8'x7'r
Leningrad
Hermitage
Canvas
I2'8"x7'r
Canvas
2'3"x2'ir
Canvas
l'7"x2'0''
1751
Canvas
2'5"'x l'9-
1751-3
Canvas
5'2-x r9-
Jerome
in the
Desert
vy
lO'S"
to Cincinnatus
Leningrad
Hermitage
Maecenas presents
to
the Arts
1743-4
Augustus
Leningrad
Hermitage
London
National Gallery
Marriage of Frederick
Barbarossa
London
National Gallery
Two Bearded
London
National Gallery
Renaud
1751-3
Canvas
5'2"x
1'9'
London
National Gallery
Two Turks
1751-3
Canvas
5'2'x
i'9-
London
National Gallery
Man and
1751-3
Canvas
5'2-x |'9'
London
National Gallery
1750-60
Canvas
21-
Orientals
Young
Woman
X 1'5'
Artist
City
Museum
Title
London
National Gallery
Madrid
Prado
Madrid
Prado
Date
Material
Dimensions
Canvas
r3-x2'2-
Olympus
Canvas
2'10''<2'0'
Canvas
40'
X 2'9-
of Loreto
50-
Madrid
Prado
1767-9
Canvas
9'2- X
Madrid
Prado
767-9
Canvas
6'rx5'IO-
Eucharist
X 3'8-
Madrid
Prado
St Pascal Baylon
1767-9
Canvas
50-
Madrid
Prado
Triumph of Venus
1762-70
Canvas
210-
Madrid
Prado
1767-9
Canvas
9'l-x5'0-
1762-70
Canvas
6'6- X
Canvas
1'3'x I'g-
Holy Bishop
Canvas
1'5-x 11-
Canvas
2'2-x|'9-
Canvas
310-
20-
the Stigmata
Madrid
Milan
Prado
St
Ambrose
Abraham and
the
Angel
50-
Church
Milan
St
Ambrose
Church
Milan
St
Ambrose
Church
Milan
St
Ambrose
50-
Church
Milan
1725-30
Canvas
ll-x2'4-
Madonna
1730-5
Canvas
5'10-x3'4-
Death of St Jerome
1732-3
Canvas
1'2'x Vb'
1734
Canvas
r7'H
11-
and
1740-50
Canvas
rS'x
11-
Museum
Metropolitan
Apotheosis of Francesco
1745-50
Canvas
8'3'x I5'3'
Museum
Barharo
Metropolitan
1758-9
Canvas
2'7-x
1762-70
Canvas
20-
Canvas
l'9-x r4-
Poldi-Pezzoli
Museum
Milan
Poldi-Pezzoli
with Rosary
Museum
Milan
Poldi-Pezzoh
Museum
Milan
Poldi-Pezzoli
Museum
Milan
New York
New York
Poldi-Pezzoli
{'6-
Museum
New York
Metropolitan
X 2'0'
Museum
New York
Metropolitan
Museum
Artist
City
Museum
Title
New York
Metropolitan
Date
Material
Dimensions
Canvas
l'6-x4'3"
Museum
Paris
Louvre
1740
Canvas
3'2' X 2'7'
Paris
Louvre
1745-50
Canvas
2'7'x2'Il'
Paris
Louvre
The Charlatan
Canvas
2'7' X 3'7'
Paris
Louvre
The Minuet
Canvas
2'7' X 3'7'
Paris
Louvre
Canvas
4'0'x2'10'
Paris
Jacquemart-Andre
Arrival of the
Canvas
13'2-x23'4'
Museum
Henry HI
Jacquemart-Andre
Canvas
9'10-x3'8'
Canvas
32'10'x 13'r
Museum
Jacquemart-Andre
Apotheosis of a Hero
Paris
Emperor
Museum
Paris
Paris
Jacquemart-Andre
1730-40
Museum
Frescoes
moved on
to canvas
Paris
1735-40
Canvas
7'll-x6'7-
Rape of Europa
1720-2
Canvas
3'3'x4'5'
1720-2
Canvas
3'3-x4'5'
1720-2
Canvas
3'3"x4'5-
1720-2
Canvas
3'3- X 4'5'
1718-20
Canvas
2'r
Academy
1735-40
Canvas
4'3' X 2'5'
Museum
St Gaetan
Academy
1743
Oval
canvas
4'rx2'9-
Canvas
l'9'x2'4'
Canvas
5'2- X 7'7'
Canvas
6'6"x4'ir
Jacquemart-Andre
Museum
Venice
Academy
Museum
Venice
Academy
Museum
Venice
Academy
Museum
Venice
Academy
Museum
Venice
Academy
X 1'6'
Museum
Venice
Venice
Museum
Venice
Academy
Museum
Venice
Pinacoteca
Portrait of Procurator
Giovanni Querini
Venice
Ca'Rezzonico
Pierrots at Rest
c.
1750
Artist
Vernct. Joseph
(1714-89)
City
Museum
Title
Venice
Ca'Rezzonico
In the Circus
Venice
Ca"Rezzonico
Pierrots in Love
Moscow
Pushkin
Paris
Louvre
Paris
Louvre
Museum
Date
Camp
Materiil
Dimeosioos
Canvas
6-5- X 5-3-
Canvas
6'6'x4'ir
Vigne Pamphili
1749
Canvas
2'6- X 3'4-
1745
Canvas
l'4-x2'6-
Canvas
r4-x2'6-
lui
Wattcau, Antoine
Ponte Rotto
" in
Rome
Paris
Marine Museum
1753-62
Canvases
Angers
Museum
Rural Concert
1716
Canvas
2'2'xi'8-
Beriin
Kaiser-Frederick
Love
in
French
Comedy
1718-20
Canvas
Vyx vr
Love
in Italian
Comedy
1718-20
Canvas
vyxvr
Canvas
3'8- ^ 5'4-
(1684-1721)
Museum
Beriin
Kaiser-Frederick
Museum
Berlin
Kaiser-Frederick
Assembly
in
a Park
c.
1717
Museum
Beriin
Kaiser-Frederick
L'Enseigne de Gersaint
1720
Canvas
60'
X 10
Museum
Chantilly
Conde Museum
Pastoral Pleasure
1712
Wood
10'
Chantilly
Conde Museum
Le Donneur de Serenades
1712
Canvas
9'x7'
Chantilly
Conde Museum
Wood
9'x7-
Dresden
Museum
1717-18
Canvas
l'9-x2'6'
Edinburgh
National Gallery
1715
Wood
3'3' X 2'7'
Edinburgh
National Gallery
Venetian Festivals
1719
Canvas
rio'x
Helsinki
Museum
The Suing
1712
Canvas
2'9- X 2'5'
Leningrad
Hermitage
Le Camp volant
1710
Canvas
ri'x
Leningrad
Hermitage
The Hall
1712-15
Canvas
9-xn-
Leningrad
Hermitage
1714-15
Canvas
2'4' X 3'6'
Leningrad
Hermitage
1716
Canvas
2-2- y 2'9'
Leningrad
Hermitage
1712-15
Wood
8'x 10'
Leningrad
Hermitage
1717-19
Canvas
4'3' X 3'2*
in
rs'
1-6'
1'5'
Egypt
London
Dulwich College
1719
Canvas
8-X20'
London
National Gallery
1716
Canvas
8'x
I'll'
City
Museum
Title
Date
Material
Dimeasions
Madrid
National Palace
1716
Canvas
1'4-x 11-
Madrid
National Palace
1716
Canvas
1'4-x
IT
Madrid
Prado
Canvas
1'7'x
no-
New York
Metropolitan
Mezzetin
1719
Canvas
nO'x
French Players
1720
Canvas
riO'x2'5-
1712
Canvas
8''x9-
1'5'
Museum
New York
Metropolitan
Museum
Orleans
Museum
Le Singe Sculpteur
Paris
Louvre
L Indifferent
Wood
10' X 8'
Paris
Louvre
La
Wood
10" X 8'
Paris
Louvre
Gilles
1719
Canvas
6'0"x4'ir
Paris
Louvre
Jupiter
1716
Canvas
2'4" X 3'7'
Paris
Louvre
1717-18
Canvas
l'8"x i'4'
Paris
Louvre
Assembly
1717-18
Wood
IT
Paris
Louvre
1718
Canvas
A'l" X 6'4'
Paris
Louvre
1720
Wood
l'7"x I'O'
Potsdam
New
Palace
The Shepherds
Canvas
ri0"x2'8'
Potsdam
New
Palace
The Dance
1720
Canvas
3'2" X
Potsdam
New
Palace
Rustic Love
1718
Canvas
n0"x2'8'
Potsdam
Sans Souci
The Concert
1717
Canvas
2'2' X 3'0'
Potsdam
Castle
Italian Recreation
Canvas
2'6'x3T
Valenciennes
Museum
1716
Canvas
2'7' X 2'0'
Washington
National Gallery
Italian Actors
1720
Canvas
2'3' X 2'8'
Finette
and Antiope
in
a Park
r6-
yr
Principal Exhibitions
Boucher
1723
1
734
1742
1745
1747
1750
1753
1746
Place Dauphine.
Academy Rinald and Armida.
Salon: The Hermit, or Brother Luce.
Salon: First exhibition
sale of red chalks.
Salon: Rape of Europa; Forge of Vulcan.
Salon: Nativity.
Salon: Thetis: Sunshine.
1767
1770
1752
765
1767
Romain.
1747
1748
apartments.
Salon: Portraits of Louis XV, Maria
Leczinska, the Dauphin, Marshal
Mondonville.
Queen
in the royal
de
1753
1755
1757
1768
Madame
de la Reyniere; self-portrait.
Salon: Portraits of d'Alembert,
Jean-Jacques Rousseau and Manelli.
Salon: Portrait of Madame de Pompadour.
Salon: Portrait of Marie Fel.
Salon: Portraits of Monsieur and
Madame Restout.
Nattier
1725
1748
to the Idols.
Place Dauphine.
Salon: Portraits of the Queen,
of Madame Sophie holding her veil, and
of Madame Louise holding flowers.
Oudry
1708
1768
1783
1784
1789
Schombert House.
Schombert House: Posthumous Exhibition
Royal
Family.
in
Retrospect.
St
Robert
1771
1783
1784
1785
1787
767
Marcus
Greuze
1755
1757
Vemet
1761
1743
1747
1748
Caracalla.
1808
le
Gainsborough
1765
1769
Dumont
1747
1751
Fragonard
Portrait of Restout;
portrait of
Chardin
1728
1 737
1739
1746
1759
1763
1765
Academy:
Posthumous
St
Mary
1789
of
the
painting
Luke Academy.
1753
1755
1763
1751
exhibition
the Egyptian.
St
Aurelius.
View of Marseilles.
Lancret
1738
View of La Rochelle.
Salon: Winter.
La Tour
1737
Salon: Portrait of
Watteau
1709
1741
1745
144
le pardon de
apporic des vivres.
Academy: Retour de Campagne; Halle
self-portrait.
1712
d'Armec;
1717
lui
Jalou.x.
the Island
Dictionary
Louvre
^
Aberii,
tion
He
contributed,
"Preliminary
Swiss
artist,
of Felix Meyer,
is
known
"Geneva" and
artist's
works.
called
Rond
work
d') (1717-83)
among
le
and mathematician, natural son of Madame de Tencin, was born and died in
Paris. After brilliant studies, was made a
article
on mathematics
died in Pisa.
Alembert (Jean Le
articles
the
and physics.
Italian critic
Encyclopaedia
made
museum
the
him
for
Discourse",
and
Was a
friend of Voltaire,
who
Newtonianismo per
//
Dame (Newtonianism
for
Women), was
He
also
D'Alembert was an
important collaborator
Encyclopae-
in the
dia
1754.
and
He was
literary
He
returned to Venice
in
in
1739.
l747
Angeli,
Giuseppe
{c.
in
709-98)
He also decorated
monuments in Venice, Padua and Rovigo.
His chief work was the cupola of San
decorator of furniture.
146
Rocco
in
Venice.
"
Aved
Portrait of Jean-Philippe
Dijon
artists,
From
Antropov worked
ticularly
Rameau
Museum
He
collabo-
the Ver-
survived.
Aved
(called
works.
The Asam brothers were the first architects of the Rococo style churches of
From
Bavaria.
in
Rome
influ-
enced by Bernin.
He began working
Germany
in 1720.
in
their
work
is
the church at
Aved was
slaying the
muk which
they built, stands the celebrated " House of the Asam Brothers
(1733-46), one of the
major monuments of
fa(;ade
interior of a
is
treated
church or a
bom
at
Carle
the decoration of
like
that
of the
in Paris;
Louis
son of the
in 1704,
Troy
at the
castle.
Lyons, died
appren-
became
in
first
counsellor to the
Born
XV
Academy and
Pensioner.
a
in
1744
painter to
the
reputation
with
His
won him
in
1764
Portrait
of
the
of
title
made his
of Mehemed
King, but he
Ejfendi (Versailles
Portrait
Museum), which he
Aved died in Paris
147
Pompco
Piirlrail
Batoni
Joseph Season
11/
Museum
^
Baccarelli,
Vincenzo (1672-1745)
Florentine
painter,
pupil
of Pietro da
found
in
Balestra,
Antonio (1666-1740)
Italian
Batoni,
Pompeo Girolamo
Italian
painter,
(1708-87)
the
He worked
in Venice,
studio of Antonio
Bologna
(in
and
in
Belluci)
Rome. Son of
Vicenza, Padua,
Brescia,
Bergamo and
this
at
Lucca, died
in
Conca
in
Naples.
He
studied
the churches of Venice, as well as those of
born
highly successful
are characteristic of the reversion
paintings
in their
day
to the
The church of
of Evora
in
Estrella
Carriera.
works.
painter,
Was
pupil
of Claude-Guy
admitted to the
Academy
in
the
Festival). This
148
in the
Louvre.
artist
Paris.
father's influence he
Academy
his
in
was accepted
into the
work
that
summed up
which today
is
in the
Louvre. The
and
artist
Jcan-Marc Nattier
Bi'uumarihai.s
was sharply
criticised
far.
He showed,
his
in
time and
same pains
Academy
the
in 1788.
Bayeu painted
fres-
in the
Prado:
ters
the
Madona
has a large
del Pilar.
in
1765,
less
Many
in Paris.
ings.
nobility.
of his
as
shown
his
at
He had
in his
his
name
the lesser
Memoirs
(1774-5).
Among
new
Bom
Son
theatrically in
burg. Baumgartner
scapes,
riage of Figaro.
was the
role of Figaro
responsible
offices
the
for
decoration
of the
that
really
It
established
Beaumarchais.
Bom
in
cisco
Bayeu was
734-95)
Antonio Gon-
1764,
as
new
King's painter,
his
A member
he taught
brother-in-law
149
Warsaw Museum
There
much
is
his gaiety
is
tists.
It is
from
in
Montpelier;
Turin of a family
Charles-Emmanuel
was a pupil
Bellotto
Guardi.
spirit
took him
made
several years in
adventurous
Bellotto's
in
He
spent
He became
there.
great
lier.
in
the
to
portrai-
name, Canaletto.
called
King
Dresden.
III in
him to
of court painter and
Warsaw
with the
title
many of his
views of the
still
life
has a
city.
(c.
1670-after 1740)
Bernardo
in Gorizia.
(called Canaletto)
worked
(1724-80)
Italy,
Italian
painter
Venice, died in
Germany and
from 1700
to 1740.
Had
in
particularly Vienna
He
is
known
for his
di
Piombo.
Bologna).
Benefial,
Marco (1684-1764)
Italian painter,
He was
in
bom
a pupil of
1698. In 1718
and died
in
Rome.
Bonaventura Lamberti
work in
ran and
Saint-Peter's in
Rome, which
in
150
William Blake
Good and
Possession of a Child
born
Irish philosopher,
in
Kilkenny, died
in
known
Oxford, best
the
as
author
came something of
lifetime.
Human
his
He
fought disbelief
resolve
to
the
from
and divine
idealistic
works,
notably
church of Our
Virgin
the
in
the
Lady of Succour. He
own
three sons.
knowledge.
Bigee, Charles
Painter of flowers,
bom at
Malines, work-
painter
and
portraitist
from
painter
Italian
and
born
architect,
at
Parma, died
in Berlin.
From
1717
father.
He was
for the
onwards
of Vienna
he
in 1712.
his
of his
stories
replaced
decorative
works
in
Munich,
Prague,
Berlin.
He
new
Linz,
Bayreuth
Blake was
Theatre.
Several
European
this artist.
bom
London;
ordinary life and
in
little is
the
known
preferred
this
his
nature
earned
151
Francois Boucher
Portrait of Watteau
Condc Museum
Chanlilly,
experiencing real
He
discour-
difficulties,
His
compositions.
Catherine
wife,
in
was
city.
He
employed on painting
flowers and fruit in the works of his
principally
contemporaries.
him
taining
everywhere
in a difficult livelihood.
in his
long figures of
work, even
She
among
is
his
women.
He
poems.
illustration of
Young's
also illustrated
etc.
the
Among
National
his lyrical
Gallery
in
London.
works must be
listed:
(1794);
among
his
fantasy
.'i^
Italian painter
died at Castellamare.
Was
During
his lifetime
Naples.
he imi-
made
style
he enjoyed a
and
The
in
Paris.
the pupil of
first
Lemoine, whose
imitating
style
perfectly.
At
he succeeded
17
he
in
finished
Judgement of Susanna,
Lemoine overwhelmed at
which
left
months
later
him
Bosschaert, Jean-Baptiste (1667-1746)
for
to
152
his
won him
the
in 1685 he
as the
hung
in
first
the Place
Dauphine along
the
Carmonicllc
Monsieur de Buffon
Chantilly,
1733
April
In
he married
Marie-
who
became
his favourite
From
model.
From
From
The
it was no longer
was melting away but
something more personal, a family and
in
pupils.
Boyne, John
Irish painter,
in
London.
(r.
1750-1810)
bom
in
Caricaturist,
engraver Byrne.
He exhibited
Academy from
1788 to 1809.
at the
Royal
later
naturalist,
Montbard. He succeeded
scientific
Boucher
Salons.
his
in
is
Boucher
this
riors, furniture,
flayed
Conde Museum
born
at
in putting the
He was
the author of
was received
into the
He
French Academy
in
1753.
he
765 he was
From
this
moment, however,
his-
renown,
coveted
title
(the protection of
dame de Pompadour,
in particular,
Mahad
number
His
nomination
painter in fact
change
in
Greuze had
art
all
as
principal
was accompanied by
fashion.
From
then
..^
on
who
153
Rosalba
Camera
Self-portrait
Venice,
-H
passed his
life
there,
working
at the court
(1697-1768)
other
in
first
went to study
to have
in
members of
and
Bernardo Canal,
instruction. In 1719 he
Carlevaris,
Luca (1665-1731)
known Giovanni
Battista Panini.
Italian
painter
bom
and engraver,
in
Udine, died
Despite
in
fresco painter
everyday patrician
became involved
ish consul,
ally
no
J.
life.
profit
from Smith's
sale
of his
in
himself
in
Then about
1751 he
was back
to Venice
lotto there.
'in
until
he died.
letto
He became
in 1763.
Cana-
in all the
European museums.
from Marseilles.
In
Casanobrio
in Venice, called
in the
museums of
In 1741 Canaletto
in dealings
engravings
some
154
Academy
1715 he arrived
artists.
in
He
Italian painter,
Daughter of a family of
in
artists,
Venice.
Rosalba
which
years.
Back again
From
number of
Venice
made
oils
II
in 1763.
to paint a series of
of Catherine
Academy
was
works on the
victories
in
come
her promise to
went there
to Paris.
in
She
Caylus
a very
left
Venice
that date
Paris he
in
in
Charles VI
1721.
In
summoned
her to Vienna to
1750 she
(Anne-Claude-Philippe de Tubieres,
Count
of) (1692-1765)
her
lost
and died
sight.
He
Caylus.
in Paris.
took part
in the
Spanish
War
Carstens,
German
Asmus Jacob
(1754-98)
about
hagen. In 1783 he
Tyrol
1776,
at
for Italy
left
Copenand the
The Count
then
spent
nearly
five
years
at
arts.
He went back
to Copenhagen but
Rome, where he spent the
remaining years of his life. The Copenhagen Museum, and particularly that of
Weimar, have a number of his works.
Angels).
left
Ceruti,
again for
Giacomo
(active
about
750)
or Brescia,
dubbed
Little Beggar).
We
"
II
have
little
information
Italian painter,
Bruhl.
Was
Francesco
born
the
727- 1 802)
in
pupil
Simonini
London, died at
of Guardi and
Chardin,
and
still-lifes.
Jean-Baptiste-Simeon
(1699-
1779)
in
Venice.
began to
After
travel
he
Chardin was
the
bom
Rue de Seine
29
November 1699
in Paris.
in
His father, a
155
"
Chardin
Sealed Witman Knilfing
Paris, tcole dcs
Bcaux-Arls
painting in
the
Pierre-Jacques Cazes.
it
taste for
became
Baptiste
of Nicolas Coypel.
employed
1728,
In
Van Loo to
Primaticcio
at
helper by Jean-
as
Chardin
Fontainebleau,
When
was put
in place
it
a time
so intimate
and subdued as
tinued
to
people.
Towards
associate
of
now
oil
become
and take
own
his
this period. In
Tm
who was
presented
still-lifes
and
interior
found
in his
1f!
jf-
-f-^-!
-, 1
exactitude in
Venice. Chardin's
por-
^""^^iM
^'
for the
Academy.
in
a mediocre painter
life in
life
weaker, prevented
'A
a son, Pierre-Jean,
unassuming
They had
with
trait
destined to
could not
his
scenes.
work an
around a plate of
less
Collet,
John (1725-80)
ing then
In
his
renown
grew,
to be the
virtues.
Chardin
While
continued
born
is
in
London. All
that he
was
that
is
known of him
a pupil of Lambert.
Two
Albert
Museum
in
London.
of
and
Charles-Antoinc Coypcl
Self-portrait
Paris, National Library
born
painter,
Italian
at
Gaeta, died
in
He studied in Naples under Solimena. He left for Rome with his brother
Naples.
for
whom
five
worked
painting; he
to perfect his
years he turned to
for
Pope Clement XI
frescoes. This
Cavaliere.
the
title
of
for foreign
Poland and
He was
in
Grenoble.
of empirical sensationism
As
disciple
in
knowledge.
of Locke he considered
the principle of
knowledge by empirical
Academy of
King.
He
works
for the
dinal
Dubois and,
Versailles Chapel.
director of the
been director
in
by Colbert with
his father,
became
young Antoine,
who remained in Italy for three years and
rose to be laureate of the St Luke Acainterested in the
appointed director of
On
1722 he was
Crown
paintings
57
and premier painter to the Duke of Orleans, posts which his father had held. In
1747 he was appointed principal painter
to the King and director of the Academy.
His works are in the Louvre and in the
museums of Besangon and Nantes. Charles-Antoine Coypel was also a remarkable
literary
man.
Was
costume.
pupil
the
of Domenico
proved
his
work
particularly in copying
of
paintings
the
Carrachi,
Guerchin,
He
reggio.
reli-
He
He was
Creti,
Donato (1671-1749)
Noel Coypel, and his mother Frangoise Perrin. While still quite young he
painted two pictures for the church of
in
churches
father,
But Noel-Nicholas
mythological
is
best
paintings,
Venus and
He was
received
into
the
at the Bath.
Academy
Italian painter,
known
Cremona, died
pupil
in
of Pisanelli
as Donatino,
bom
Was
Bologna.
and worked
the
the
in
Coronation of Charles
For
at Bologna.
works
in-
in
1720.
Cozens, Alexandre
(beg. 18th century- 1786)
girl,
He
From
to live in
Norwich.
culties at the
diffi-
He set
his
up
a school of painting
went
in
to live
by
his art.
From
1805 he organised
Norwich Society of
Artists, which became an important landscape school. From 1806 onwards he
exhibited regularly at the Royal Academy.
In 1814 he travelled through Belgium and
exhibitions of the
France.
He
5S
"The Spaniard"
his
Norfolk scenery
".
title
of " Picturesque
Jacques-Louis David
Head
Paris, Ecole des
Beaux-Arts
Defoe, Daniel
1660-1731)
(r.
722.
Was
in
first
Van Loo
and elegant
the
prize in
first
admitted to the
Painted
1758.
in
Winner of
1751, he was
subjects.
Rome
in
Academy
in 1759. In
1760
He
ex-
Paris,
in
became
later
Rome. He took
died in
the pupil of
won
the second
He went
to
until
Rome
with Vien
he
reigned
David as principal
official
named
Emperor,
as
painter.
him
to lose a great
painter caused
On
the
fall
of the
in
Brussels.
and
1763. Diderot
Boucher,
example,
as, for
tected by Vulcan
in Achilles pro-
is
in the
Louvre.
1780. In 1783 he
1761
David's painting
movement of
is
the revival of
which he created
is
of
little
Alexandre-Francois
Desportes,
(1661-
1743)
Son of a farmer
went
in
Champagne, Desportes
summoned by King
and became
official portrait
interest.
the
first
But
it
He
Polish court.
On
left
Sobieski,
painter to the
his return to
France
in
59
Carle
Van Loo
Diderot
Museum
Langres
named Hunting
1696 he was
Painter to
Academy
title
of adviser
voyage to England
1704. After a
in
1712
in
he
problems of aesthetics:
edited the article "
paedia;
Beau
moreover,
1751
he had
Encyclo-
in
he
frequented
the
knew Greuze
and Vernet. He accepted the commission,
and from
Chateau de
la
He
Gobelins factory.
1759
produced the
1781
to
died in Paris.
cism as we
know
it
criti-
work
as chief
novels,
in
Langres of a lower
From
middle-class family.
town.
He
native
his
in
it
his
studies.
finished he entered
When
were
these
an attorney's
office,
but
an independent
and
life
lectual curiosity.
When
made
allowance Diderot
his
translations
made
time
this
Up
devoted himself to
with his
own
1773
to
Diderot
it
out
this
caused by publication of
on the
Thus he wrote,
in
M/////r/ (Illegitimate
Grimm
asked
him
for
reports
on the
His
multiplied
activity
incessantly;
he
in
works among
d" Alemhert
(D'Alem-
whom
with
II,
Paradoxe sur
He
le
in
to
he had been
summoned him
le
year.
He
Franvois-Hubcrl Drouais
Pclili' Fillc cl
(Little Girl
Grenoble
in
own
pleasure, enjoying
of Catherine
II.
withdrew from
all
activity
literary
and
sa Potipee
Museum
invitation of Catherine
royal
rated
Paul
who
I,
tion of the
one of the
palaces
II.
There he deco-
until
the
of
time
century school.
the
A Book of Heads
in
1799
Diziani,
Gasparo (1689-1767)
Italian painter
and
caricaturist,
born
in
some time
and then
in
settled
Rome and
in
(religiously inspired)
remain
Germany
in
His works
Venice.
Bergamo
in
Doyen won
the
Paris,
in
Rome
Van Loo,
prize in 1746
admitted to the
worked
Academy
in
in Paris.
died in
was upholsterer
pupil of Carle
and Venice.
and
He was
1759. He
from Carle Van Loo, Natoire and Boucher. A protege of Madame du Barry, he
was a
larly
reign
Academy
he was
XV. Accepted by
in 1755,
the
Academy,
members of the
in exhibitions at the
1775.
Count d'Ar-
1763,
In
1789 he
left
the
for
Russia at the
royal family.
He took
who
part
born
to
in
first
pupils of David.
161
His
Versailles.
at
laume Duplessis
up
le
Joseph-Guil-
father,
Vieux,
Encyclopaedia
who had
given
The work of
first
under
Academy
less
his profession
Afterwards
teacher.
in 1769,
he
studied
he was admitted
to the
1774
in
Academy
in
important
in the history
first
of
literature.
Gallery, he
know
eight
it
science,
Italian painter,
bom
in
shows a
the
this
encyclopaedia.
mathematician;
the
century
Domenico
are
known.
in
Among
work of
representing
signed by Giorgio
literature.
the
d'Alembert,
is
feeling of scepticism.
his
like
and
knowledge of
ing studied in
in
Rome, he was,
it
we
as
twenty-
to 1772
philosophy and
art,
Generally
Encyclopaedia
Diderot's
seller.
sensual
Farmer-General
theory
treatise
18th-
of knowledge;
Helvetius,
author of a
Condillac,
most important
of
apostle
German d'Holbach,
on Systcme de
Among
la
secon-
Durameau, Louis-Jean-Jacques
literary
(1733-1796)
Montesquieu,
in
Paris,
died at
Versailles.
in
the
to
the
keeper
of paintings
authorities.
for
rom 1767
162
the
Versailles
to 1789 he exhi-
works are
parti-
subjects,
who
Voltaire,
Buffon
furnished articles.
and
Jean-Honore Fragonard
Woman
Pressing her
Bosom
Museum
ra
tion.
Jeroboam
Fielding,
Henry (1707-54)
sacrifiant
aux
first
prize with
Idoles
(Jeroboam
the
modest family
in
January 1732
known of
first
in
account of Fragonard's
to the
the
Academy
is
talent. In Italy in
lover, himself
nard under
lowed the
his
artist
Italy. In the
period
returned to France in
abbe. In
abbe and
this
March
Villa
Naples Fragonard
May
title
sacrificing
of
six
where
office.
Boucher, to
a pupil, sent
him
to
as
later. In his
piece,
was instructed
to execute a
pline of
light
Rome
competi-
Com-
163
missions flowed
Marquis
in,
particularly
from the
In
back
in
in Switzer-
works remain
Geneva and
in
Neuchatel.
the
Fragonard family
trip
The
get
in
Jean-Henri (1741-1825)
in
Zurich, died in
made during
and English
the trip.
Back
in Paris
he
Adeline Colombe.
full
It
was then
a period of
in
Berlin. After
the
Ambassador
sia,
mann. He returned
where he exhibited at
Evariste
whom
to
study
under
commissions. These he
his death. His
work
lost a
from
official
year before
He
David,
this mediocrity.
Frantz,
Sir
land.
go to
Johann Martin
to Prus-
visited
Eng-
Reynolds,
who
Italy,
He was
elected in 1790
the Royal
Academy
Academy.
Academy
professor of painting.
cabal in the
classics
admitted to the
For
in 1788,
to 1804
six
was
years a
in
tion.
Met
town.
native
his
164
Fuseli,
on together and
Thomas Gainsborough
Atigusl- Frederick,
Windsor
Castle,
Duke of Sussex
Royal Gallery
Gainsborough,
Thomas
(1727-88)
into
was
a tailor.
large
his
He was remembered
studies.
in
little
to
for
as
his
London
in
ers
his
admirers
London.
In 1768 he
grow, and
in
in
1774 he decided to
settle in
During
this
to
a suc-
whom
of
neither
would
ing
demy
after
the
at
Aca-
himself up as
and landscapes. At
of the
title
set
with the
money
to paint
live in
financial
came
Ipswich,
and be
reconciled.
year.
1774.
portraits.
The
he painted
success of his
appreciated. In 1766 he
became
less
member
Gersaint, Edme-Fran<;ois
Engraver and
(c.
1696-1750)
who
in the Berlin
was a
painted for
to be
Museum.
Italian portraitist,
and died
born
at
San Leonardo
II
Frate
artis-
at the
Convent of
Bergamo, then
in
member of
the Clementine
Academy
last
in
of the
165
Tischbcin
Goeihf
in Italy
Giaquinto, Corrado
(f.
1690-1765)
burg
Italian painter,
born
and pursued
to 1770
at Molfetta, died in
Rome. Became a
of the literary
"
"
move-
in Alsace,
where
nand VI of Spain
in
in 1753.
pastor's daughter
who
As
inspired
some of
a doctor of law he
was a
It
Claude (1673-1722)
Went
to Paris at
an early age
and studied under J.-B. Corneille. Furnished decor and costumes for the Grand
Academy
in 1715.
period of
boredom and
frustration but an
James (1757-1815)
own
his
1815.
whom
Goethe, Wolfgang von (1749-1832)
1826. In
writer,
born
in
Frankfurt, son of
from 1765
from
September 1786 he
to Italy,
Venice and
and
At the court of
earlier.
he corresponded
and went
German
Bcrli-
Weimar he met
166
Sicily.
first
Rome and
He
to
in
left
776 to
the court
Verona, then
1787 to Naples
returned later to
Rome and
Leyden
medicine
in
and then
regrets
his
Edinburgh he went
later
Roman
Italy.
Elegies
From
this
period
came
in
to
Back
He
sponded
between
Goethe
From
place.
until 1811. In
Napoleon took
came some of his
and
these years
main works: Wilhelm Meister's Apprenticeship, published in 1821 and 1829, Hermann and Dorothea and Poetry and Truth.
At the age of eighty-three he completed
Faust,
1772.
since
He
laun-
Club of London. Although reckless and prodigal with money, his genius
was undeniable and he soon came to the
notice of Johnson and his circle. The
Traveller in 1764 established him firmly as
a poet and his chief prose work two years
Literary
later, 77?^'
Vicar of Wakefield,
became one
The Good-natured
Stoops
to
Man and
She
on down the
and The Deserted
among
Conquer have
Village ranks
lived
18th-century poetry.
born
Italian dramatist,
Paris. Studied
1748
to
1752
in
Venice, died in
From
Sant'Angelo theatre
in Venice.
He
tried to
Comme-
aesthetic
beliefs
him
whose
to
leave
for
Paris.
He wrote
media.
mond)
(Rough Dia-
pleted a
He
Goya
Lucientes
(Francisco Jose
31
March
de)
1746, near
and com-
number of portraits.
(1746-1828)
London.
1765 he was
penury.
in
In
Com-
died
Madrid.
land,
in
still
There he
it
studying
his
left
teachers
167
Goya
f'hf
Hr inker
Madrid, Prado
an opulent
He bought
life.
a house at San
Charles
III
ber.
But
His
died.
named Goya
Charles
heir.
at the
IV,
chamill and
liaison with
when
the
the
1800
Goya
1802
in
painted a collective
portrait
horrified
painted
The
May 3,
Outbreak
1808. Later he
Disasters of War.
of
made
In
May
1808,
3 and
the engraving
About 1824 he
out
fell
were
"
Rembrandt,
and
Velasquez
to Italy
trip to
left Italy in
Parma Academy. He
Graff,
Anton (1736-1813)
Portrait painter
he did his
first
Pillar.
Madrid, a
1775
In
series
Our Lady of
undertook,
Bayeu. In
ter,
all
who
at
in
in
and then
at
Santa Barbara.
He
Mengs with
Winterthur,
to
factory
tapestry
he
later.
and
his
Francisco
instructor,
He
Munich Academies.
all
168
785 he was
books he
known
for
lived
the
illustrated
(Boccaccio.
etc.)
Jean-Baptisle Grcuze
Man's
//(</ (study)
Leningrad
Museum
Studied art
In
in Paris.
1733 Claude du
It
was
Grave-
Through
was able
opened
in
to exercise a
About
Paris.
in
his paintings.
his Children,
in
his
June
Notable among
the
his
pupils
was Gains-
settled in
Paris
reputation as an illustrator;
among
his
for Rousseau's
Nouvelie Heloise.
from some
were to constitute
portraits,
From September
this did
on
effect
his
Accordee de
1761
Betrothed),
seal
on
his
in
the
Menage (Peace
success; Paix en
in
(The Village
Village
dren) were
was a
in
Toumus, where
slater. In his
his
middle twenties
new
Diderot noted
for
Greuze
successes.
in his
at the
About
this
time
then Greuze
trying to
canvas L'Em-
Vassassiner
reproaching
(Emperor
Caracalla).
Severus
The Academy
and
on the
that
classified
him
as a genre painter
moment Greuze
From
refused to exhibit at
the Salon
the
Stricken by
rated
ruined
from
him,
all
his
in
1785.
who had
almost
The Revolution,
He
and 1802
without marked success: his style had
definitely ceased to please. He died on
exhibited at the Salon in 1800
169
March
21
of fate
1805,
which
Emperor,
left
daughter
his
was
to
Italian painter,
Grimm
in
Venice.
complete.
of Arts.
his
German
at
writer,
Gotha. He studied
Leipzig, then
the
at the University
of
to
Prince of Saxe-Gotha.
He was an
His
most
St Joseph,
rich
is
in the Berlin
Museum. He
work.
He
of
Kaiser-Fried-
it
is
some of
difficult
to
their studio
his
Critical Corre-
style.
Death
Literary, Philosophical
work.
important
only
name as
Venice Academy
(1723-1807)
painter's
made
Encyclopaedia.
painter,
Italian
born
At
St Petersburg.
first
Rome, died
in
Dresden (1753),
at
he studied under
in
mi also carried out several works at Augsburg and for the Schonbrunn Castle; he
Italian painter,
He belonged
sister
in Venice.
began
in
the
family
then
At
first
reli-
in Rome. He is also
known for ceiling sketches (now in the
Nancy Museum) which he offered to
Catherine
II.
at
Asam
regarded
as
romantic stream
170
the
forerunner
which
led
to
He
of the
French
Hard.
Was
in
a pupil of
Bisenberg. died
Cosmas Damian
the old
by
this painter.
William Hogarth
I he
Shrimp Girl
born
London. Was a
and Gains-
Exeter, died in
in
Brown,
Robert
of
pupil
He
his direction.
illustrated
Shakespearean works.
Academy.
made
in
the
Hayman
also
self-portrait
is
number of etchings.
His
Was one
Encyclopaedia.
and took to
its
sualist theory
Of
tises:
the
of the supporters of
Helvetius developed
of knowledge
in
two
trea-
in
first
ings called
in 1732. It
he
before
he
died,
painted
own
Sorbonne and the Pope condemned the book; Rousseau and Voltaire
1768,
liament, the
themselves
declared
shocked.
On
the
and
artists
who
salon
shared
for
face
celebrated
portrait
Analysis
with
his
National Gallery
in
of Beauty.
dog appears
London.
A
in
self-
the
intellectuals
her
husband's
views.
d') (1723-89)
Edesheim
the Palatinate.
He
at
in
He wrote
paedists.
At
and mineralogy
first
fifteen
his
he became an apprentice. At
Gamble;
Thornhill,
later
Fame came
articles
for
the
on chemistry
Encyclopaedia.
171
of
atheists
materialist
intransigent,
his
well as
time.
works on
lished several
him
this subject, as
the
catcher".
He was
died in London.
of the
portraits
became painter
a natural son of
peerage.
to the Prince of
he
1789
In
Wales and
in 1795 a
and
Petite Singerie
at Chantilly,
Dog pointing
Museum.
Partridges
Hume, David
(1711-76)
is
in the
Nantes
and children.
and
French painter, born
He
Paris,
died in
died
Edinburgh.
in
where
France,
he
wrote
He went
to
Treatise
on
life
Human
became
Arpajon.
in
in
Rene-Antoine
Houasse,
painter to
King
elected
member of
Paris.
Several
principal
as
Philip V. In 1707 he
the
was
Academy of
of his works,
historical
Museum
in
Madrid.
Advocates
back to
in
Paris, joined
and returned
to
He passed
the
Edinburgh.
Hume
"
phenomenist
last
part of his
State.
life
in
" school
of thought.
Huber- Voltaire
born
",
died in Lausanne.
A great
in
known
as
Chambery,
work
part of his
Some of
may be found in the Ariana
and Rath museums of Geneva. Huber was
is
devoted to the
life
of Voltaire.
his landscapes
72
also
interested
in
born
in Paris,
pupil of Francois
Grand
Prize
stayed
in
He was
won
the
Maux
and
le
Painting in 1736. He
died in Dresden.
for
Rome
for
in
1764 direc-
Dresden Academy.
Huysum
Vermenton, died
at
at Versailles. Historical
and genre
painter,
Dutch painter, born and died in Amsterdam. Son of Juste van Huysum, a floral
the
still-life
to
demy
1733; he
in
from 1739
showed
at the
Salon
tween
Duke of Orleans.
In
England
his
fame was
1737
and
named King's
1767 was
he held
1781
Be-
several
in
Jouvenet, Jean
644- 1717)
under
in
Rouen, died
his father,
in
Laurent
Jouvenet.
great
the
in
his
life,
left
hand.
at
Gamborg
Figen,
mann
173
later
Academy. He was a
great
director of the
portraitist,
as
evidenced
by
in
his
the
works
Copen-
hagen Museum.
J2
Emmanuel
Kant,
German
(1724-1804)
Konigsberg.
in
fessor of logic
Was
and metaphysics
Italian architect
bom
in
Fontana.
deus
II
In
ideal
Ama-
to the court of
1714 Victor
summoned him
modem
called
Messina, died
in
the
at
1770 to
Juara or Ivara;
pro-
He was
part,
responsible
for
several
Turin
Stupingi
Castle.
In
1735
he
went
to
Kant
retired
life.
Anna
Born
(1740-1807)
Rome.
drawing
classes
Academy.
the
at
studied in Florence,
Rome,
She
Venice, had a
London where, in
members of
1
the original
the
Royal Aca-
Joshua Reynolds,
went to
graceful
174
live
in
later
married
and included
portraits,
mytho-
Portrait painter, of
in
Lubeck, died
in
German
born
origin,
Labille-Guiard, Adelaide
Van Dyck
the court
749- 1 803)
in
London. He
studied
first
Paris.
Vincent.
the
Rome
as the
London. He succeeded
Peter
Lely.
great
in
Elie
at
etc.
are to be found in
Krafft (Per
le
Vieux) (1724-93)
bom
in Paris.
Swedish
known
portraitist,
as
"The
churches
and
in Paris (Invalides)
stately
to the
several
August.
for
King
The Stockholm
some of his
Stanislas-
Museum
has
portraits.
He
holm.
in
Stock-
Warsaw, died in
Italy and in Paris,
He
studied in
in 1780.
working
painted a
in
new
the
Temple
portrait of
prison:
he
Marie Antoi-
there.
On
his father's
many and
went back
called
to
to Paris in
Ger-
1771 but
was
He
re-
member of
painter. He
was forced
the
Academy and
to leave
on the
King's
when
home
where he completed a
tions
visited
the Revolution
to
suite
Stockholm,
of composi-
history of Sweden.
175
Nicolas Lancret
Lagrenee, Louis-Jean-Frangois
(1725-1805)
demy
at St Petersburg, but
returned to
director of the
this
Rome
became
On
school.
leaving
Lampi
at the Louvre.
demy
in
ceived
Italian portraitist
born
in
in
and
Romeno, died
his studies at
(1751-1830)
European
Made
Frederick
in
Vienna.
Verona. In 1783
in
Vienna he painted
became painter
to the court of
Warsaw
In
historical painter,
1791
he
left
He
re-
the great
XV.
He was
and a
series
of paintings inspired by La
Fontaine's Fables.
for
became
French painter,
bom
live in
He
first
in Paris,
learned en-
Academy
Rome
was there
that
worked
in
in
1672. In 1674 he
London under
the direction of
in
1678 where, as a
tion
for the
On Walteaus
don
and
He was admitted
as a
to imitate Watteau.
176
it
about 1717.
advice
to the
Aca-
King James II
the Queen. In 1686 he was admitted
to paint a portrait of
member of
the Roval
Academv
in
Nicolas de Largilliere
Beautiful Lady of Strasbourg
Strasbourg,
Museum
of Fine Arts
Academy on presentation of
portraits. He exhibited at the
cepted by the
two
pastel
Salon from
1739 until
His work
1765.
re-
He was admitted
Academy
to the
in
1746
named
he was
1751
demy. In 1753
his Portrait
of Queen Marie
vogue of
trait
of
work grew
his
Madame
incessantly. Por-
de Pompadour, regarded
as his masterpiece,
was painted
in 1755. In
and was
to
Paris
of Le Brun)
{Portrait
male
in re-
He
certified.
February
16-17
clients.
Museum
in his
where
Quentin,
St
him
La Tour sank
life
into a
family
his
had
The
1788.
Quentin
St
at St
Quen-
to
be an
tin.
him
Lawrence
(Sir
Thomas) (1769-1830)
own
In
working
in
talent.
Dupoch
in
London
Academy
Lawrence rapidly
as a pupil.
1724
painter to the
in Paris. In
congress
British
in
Lon-
for
two
to take
countrymen
in
passing himself
off"
his
as an
member of
In
1814 and
French personalities
In
Vienna and
literary
Made
1792.
Academy
in
1794,
in
and
King
the Royal
1818
he
went
who were
to
Rome and
and leading
in
Aix-la-Chapelle,
royal collection.
scientific
traits
for
made
the
London.
He was
Academy
177
the
museums and
Rome
in the
Louvre.
Was the
of
Dumont
le
Won
Remain.
the
first
in
pupil
prize
won
prizes at
demician
in 1756.
director of the
Two
Academy of
Fine Arts
exhibited
and
mythological
religious,
at
Le
and 1757 he
He
illus-
at
Furioso.
Frangois Boucher
trated
painter, portraitist
above
French historical and genre painter, born
and died
in
grand prize
Won
Paris.
in 1711
the
Academy
in
all in
Russia to
in
Paris.
He
excelled
fulfil
Towards
the
Le-
1718. In
1723 he travelled in
appointed
From
this
professor
at
the
Italy.
Academy.
ings
his travels.
demy
in 1765.
his
him the
he retired to
1736.
title
He took
his
own
life
in
live in the
country.
the following
year.
Levitski, Dimitri Gregoriovitch
(1735-1822)
Lepicie, Michele-Nicolas-Bernard
(1735-84)
died in St Petersburg.
in Paris
of a family
siderable
traits
reputation
in
He enjoyed
Kiev,
a con-
Pietro Longhi
Duck Hunters on
the luigoon
of these
English philosopher.
works.
An
adversary of the
all
man's know-
facts
down
all
famous
worked
1723 where he
in
Of an
and
Essay
concerning
Understanding appeared
in
the
His
Human
1690.
adventur-
Rome
(1736), to Constanti-
He was
Moldavia.
Painter";
from
greatest
work.
which
in the
is
to
in
"The Turkish
this
period
Chocolate
dates
his
Seller,
The
Italian painter
Moldavian-
his
he was called
and
success
great
was as great as in
in Geneva in 1758
in
Venetian society.
professor of the
duced a Life
produced a technical
Liotard
left
for
ings
posterity
and paint-
on enamel.
Locatelli,
honours
Andrea (I693-C.1741)
Italian painter,
in
Rome;
He
imitated Claude
fairly
great reputation
in
Rome. He
179
Alessandro Magnasco
Hunter
Florence, Uffizi Gallery
works are
Museum,
in
Academy,
the
Palazzi
the
_E3
Maella
Madrid.
He was
739- 1 8 1 9)
in Valencia,
died in
a pupil of Gonzalez.
in
Italy
museum
in the
Magnasco, Alessandro
(called
of
Lissandrino) (1667-1749)
this city.
Loutherbourg, Jacques-Philippe
worked
II
great
(1740-1812)
bom
painter,
Italian
in
in
Genoa.
He
religious
apprenticeship
London. Served
under
his
his
peaks of Italian
18th-century
painting
He was painter to
Grand Duke of Florence and his work
somewhat analogous to that of Callot
{Supper at Emmaus).
father,
the
He
studied
also
Casanova.
He had
landscapes.
member of
In
Academy,
later painter to the King and in 1781
became a member of the Royal Academy.
His works remain in London, Strasburg
and Stockholm.
1768 he was a
the
1745,
Academy. He
is
regarded
180
the
in Paris
from 1717
Sweden
to the
as the
Swedish 18th-cen-
works are
to be
found
in
and seems
to point to that of
Goya.
Luis
Mclendc/
Self-portrait
Paris,
Marivaux
Louvre
Chamblain de)
(Pierre de
(1688-1763)
Marivaux's
importance
stemmed
roles and
The novelty
work is the
in Paris.
theatrical
given
to
love.
From
this
Surprise of Love.
The
Indiscreet Vows,
Chance,
^^^^^^^H'7 ^^^^^^^^^^^^^^^^^^^^1
^^^Hl -^^^^^^^^KKt^^
^R^^^^^
^H
^^^^^^^^
^^^^^^^^^^^^^B
^^^^H
i^H
^^
and painted the decorations for the choirMaulbertsch, Franz Anton (1724-96)
great success.
He
found
Vienna.
Moravia, the
some
portraits.
Was
Vienna Academy
admitted
Dresden
is
in
best
to
He
'
later to
still-life,
Escorial
Louvre has a
Self-portrait
by Melendez.
known
works are
museums of Graz,
to be
Berlin
Rococo
found
Menageot, Fran(;ois-Guillaume
[1744-1816)
in che
and Vienna.
Worked
cher. In 1765
1766 the
first,
was admitted
in
London, died
in
the
in
Madrid.
Madrid
Studied
art.
In
in
went to
Naples, died
Rome
with
in
his
Rome,
in
Institute.
churches,
in
Beaux-Arts and
to perfect his
in
Rome. In 1780 he
Academy, in 1787
father, then
ol
travelled to
the
in
He
in
numerous frescoes in
Tyrol and Hungary, and
Painted
won him
in
1809 a
He worked
notably
in
member of
several
Saint-Nicholas
the
Paris
du
181
et de)
(1689-1755)
Douai.
Chateau de La
at
Gironde, died
in the
in Paris. In-
uncle
his
German
in
but
the
Bordeaux
began
travelling
to
soon
Aus-
Rome. Studied
Rome, where he
Bohemia, died
sig,
bom
adviser
as
Parliament,
at
came
principal painter to
King Charles
III
Italy
From
in
He
returned
in
Rome.
to Titian,
He
rose to
own.
satire
of his
own
sophy of history
is
it
was
his Esprit
world's
and
legal
political
institutions,
that
first
ture
Montesquieu put
tation
into
it
his life's
and
it
litera-
in history.
remains a classic
today.
portraitist,
He
in
Rome.
In
settled
in
he
the
He
went
182
born
London.
to
London with
the
Prince
and
Mura (Francesco
Italian painter,
Studied
first
de) (1696-1782)
later
in
much
Naples.
liked in England,
in
and princesses
still-lifes.
Jean-Marc Nattier
The Duke de Boufflers
Rheims. Fine Arts Museum
ra
at
Nimes, died
at
imperial
members of
family
and
other
important
and the
Returning to Paris,
of Lemoine. In 1731 he
Battle
Sacrifice to obtain a
Rome
(Manne offering a
Son). He studied in
Fils
first in
of Poltava.
Nattier
in
From
1745.
in
Soubise and
made numerous
tapestry car-
school in
Nixon, John
1760-1818)
From 1779
made drawings for the engraver
Watts of the stately homes of England and
Ireland. From 1784 to 1815 he exhibited
English designer and engraver.
to
Nattier,
(c.
Jean-Marc (1685-1766)
in Paris,
in
at
786 he
the Royal
Academy,
in
whose
cata-
Nixon.
born
He
at
portraitist,
studied
in
in Paris.
He founded the
Warsaw Academy of Painting and became
of the Dresden Academy.
painter to
King Stanislas-August
Polish court.
at the
183
Jcan-Baptiste
Oudry
Heron (study)
Paris. Louvre
-a
Beauvais.
dealer, taught
art,
He was admitted
in
Rome, died
Academy
to the
then sent
in
Paris,
died in
and
painter
father,
art
in
in
Nancy Museum.
the St
under
Largilliere.
professor there
in
painting,
urban landscapes
classified
trait painting,
in favour
He
of historical painting.
bited at the
exhi-
1787.
in
In
works are
to be
found
London museums.
in
his
him
him
in
Admitted to
in 1708,
1717.
then
He
he became
tried
portraits,
1718.
to
studied for
first
then
The Academy
Sweden;
the
Then he
Luke Academy
religious
184
His
won
1725 he was
Beauvais factory.
made
In
painter to
1743
he suc-
Jean-Baptiste Pater
i^'omun Halhing (study)
Pans, Louvre
Italian landscapist,
born
at Piacenza, died
ruins,
in
^'
many
French painter,
bom
at
Valenciennes,
in Paris.
After a
Madrid.
Worked with Antonio Gonzalez-Velaswon the San Fernando Academy medal and became a
member of the Madrid Academy. He
illustrated Don Quixote. The Prado in
Madrid has
middle-class
him
Shortly
society.
many commissions
Parrocel, Charles (1688-1752)
Pellegrini,
Italian painter,
XV
in
1721.
to 1746.
He
portraits of
the
drawings.
he worked on
Was
Academy
life
a pupil of Charles de
Louis
in
age of forty-one.
the
at the
Was
to give
died in Paris.
he
before
died,
also
campaigns
at the
Salon
made many
Paolo Pagani.
where,
bom
among
He worked
in
Venice.
Ricci
first in
and
Holland
Hague. Then
and died
of Sebastiano
pupil
Mauritshuis
his travels
in
took him to
The
Italy.
bom
French painter,
died in
Paris,
in
French painter,
and died
in Paris.
Then he
engraving
Studied
From
Natoire.
La Tour
in 1753.
land. In 1781 he
in
went
Amsterdam on
his
to Russia
way
in
and Hol-
and died
back.
bom
French painter,
prize
in 1703,
he
left
in
competition
for Venice
when
moned him
1711, he
part in
to 1769.
in
Lyons.
Polish
court,
painter
worked
in
to
exhibited in England.
in
works
in Paris
the
He
also
showed
his
to
the
sum-
was appointed
in Paris.
He was
paintings
and
flowers.
principal painter.
water-colourist, designer
He was
He was
also
and engraver.
trait
Piranesi,
the
from 1741
Paris,
in
Rome
He took
Boucher.
bitions
Berlin.
mother's
in
public
tenburg,
Italian painter,
Was
bom
and died
a pupil of Antonio
worked
in
in Venice.
Molinari.
named
He
was
bom
under
Amsterdam.
Santo church
in
Padua.
in
in the
church
Mozano
di
Mestre. died
in
bom
at
Rome. He
he
left
for
Rome
1738
to study architecture,
-EJ
Quillard, Pierre-Antoine (1701-33)
bom
in
made drawings
Piranesi
at
Herculaneum,
Painting.
the
Rome.
to
in
Summoned
One of
ceiling
his
which
best-known works
he
painted
for
is
the
Queen's bedchamber.
Was
Venice.
in
came under
the
tiano Ricci
came
president of the
polo
in
1758.
Academy
of religious
consists
after Tie-
work
and mythological
subjects.
Procaccini,
Italian
bom
Andrea (1671-1734)
painter,
Rome,
in
of his master.
protege of
about
1720 by
Summoned
King
Philip V,
to Spain
he was
187
French painter,
bom
Rouen, died
in
in
Paris, pupil
won
vogue as
in
in
Rome
first
sor in
in
at the
He was made
historical painter.
in 1720, profes-
1752, director in
in 1761.
He
exhibited
renown.
Reynolds, Sir Joshua (1723-92)
bom
Devon, died
ton,
in
at
Plymp-
in Montpellier, died
Thomas Hudson.
portraitist
in
went
1724
Philip
V summoned him
in the
Prado.
1749 he
in
Rome
On
his
retum
London
to
1752 he
in
set
later
to
In
to Italy
Keppel which
society.
From
won him
a claim in high
and drawings.
Eight years
in Paris.
Ranc,
Studied
became
then
Boullongne
Academy
first prize,
the
pupil
1704 he
after
Academy
in
1717.
He
figures.
to
the
in Venice.
painted fetes
and
later,
Bon
he was admitted to
188
of
won
which he passed
in Paris in 1714,
died
Montpellier with
in Paris. In
three years in
Back
in Montpellier,
first in
founded the
In 1760 he
allegorical
famous
fifteen Discourses
great
portraits
George
III
were
on Art. His
those
of
last
King
life
allegorical subjects.
England
permanently
settled
On
1728.
until
he
return
his
where he
in Venice,
who worked
Spanish painter
18th century.
the
Madrid in
1725 he was ap-
In
in
Council.
He
Ricci,
Madrid.
English
writer,
born
the
in
county of
son
may
Marco (1676-1729)
born
Italian painter,
Venice,
Ricci.
nephew and
He worked
in
in Belluno,
died in
pupil of Sebastiano
Rome
where he was
England
as great as
had been
it
in
Rome.
went
was
In 1730
At
in
Perpignan, died
making copies
won
the
first
Italian painter,
born
the
He
in
Duke of Parma.
protection of the
he
Summoned
decorated
Back
in
in
Regent and
princi-
finally to
Louis XV.
member
in 1710,
Rigaud,
who was
in 1687,
He was
in 1685,
made
admit-
professor
in 1733.
Schonbrunn
he decorated
Palace.
palaces
in
Academy
painter to
the
Italy
in
pal
enjoyed
at Cividal di Belluno,
workshop of
Lyons he arrived
in the
Venice.
in
Paris
and
later
worked
in
Made
his
debut as a painter
in
Paris.
in 1753.
The
189
Hubert Robert
Festival at the Villa Medici,
Paris,
Rome
Louvre
Rome,
When
freed several
months
later
he and
Museum
of Arts.
was influenced by
Panini and Piranesi. At a time when the
research and theories of Winckelmann
There
Natoire.
were
he
antiquity
restoring
to
fashion,
whom
in this.
He
he stayed at
Russian
Was
He
Le Lorrain.
Peter
III in
Catherine
nobility
painted
and of
L.-J.
portrait
of
II.
He worked
bom
English painter,
T^ iF^ffe^.-"^
Non
With Gainsborough
he went back
in
Abbe
to
St
Paris
after
in
Rome,
spending
ing.
father's
his
father
sketches he
Edward
Madame
GcofTrin.
moved through
his canvases.
tion he
Paris
making sketches
for
the revolu-
he
set
workshop.
Steele, at
himself up
Kendal.
in this
painter. In 1762 he
from
In
1755
his
190
Dalton-in-Fur-
at
1763
until
went
Two
town
to
years later
as portrait
London and
Two
years
later
rival
his success.
National Gallery
number of his
in
London has
portraits.
The
a large
E. Ficquet, after de
La Tour
Engruving
demy
with
at
Malmoe, died
in
as a portraitist
married a young
among Men.
Marie-
first
It
Origin of Inequality
in Paris
artist,
won
who
d'Epinay,
and
to
caused
Geneva
Calvinism.
In
home of Madame
ing year.
rot
prize
successful,
up
among women. He
pastel
competition, and
it.
replied to
clopaedia
with
an
article in the
famous
Ency-
Letter
to
He
his
retired to
Sweden where he
stayed for several years. In 1774 he was
elected a member of the Stockholm Academy. A number of portraits he painted
Nouvelle
Heloise
Roslin
in
returned
to
(Julia,
or
the
New
in
1753
for
the
Encyclopaedia.
Rotari,Pietro( 1 707-62)
Italian painter,
St Petersburg.
bom
at
He was
Verona, died in
a pupil of Antonio
worked
in
Rome
to
Empress of Russia.
in
Geneva,
of a vagabond
life
to
1740,
1741
Switzerland.
He took
refuge in Motiers,
in
the Sciences
Rousseau
settled
permanently
in Paris in
Thomas Rowlandson
Gabriel-Jacques de Saint-Aubin
Cheyne Walk
Drawing
Lille
770.
He completed
his Confessions,
pub-
to
solitaire. In
Museum
invited to
Madame
de
He
also painted
illustrate
some water-colours
to
his
lished in 1808.
Rowlandson,
Thomas
Painter, engraver
and died
first
in
tuition
(1756-1827)
and
caricaturist,
born
Royal Academy
London
Royal Academy.
and exhibited
at
Inheriting a fortune
the
from an aunt
he began frequenting
in Paris,
London gaming-
houses.
won
tures,
in this
his
works are
in the
Museums.
Holy Orders
tion,
192
and resigned
England he went
1759 he returned to
to
with
friendly
and
Fragonard
Hubert
artists
to
From
their friendship
dence
remains correspon-
full
Madame du
blind in 1753,
Deffand took
rue
the
latter
de Bellechasse
Salon
The French
artists'
Salon takes
its
name
tic
were held
Necker held a
of Claude-Adrien Helvetius,
to Auteuil,
in
intellectuals
and
participation
was
It
there,
but in 1791
roman-
Baron d'Holbach's
political salon.
salon.
The widow
who
retired
who had
artists
shared
freed.
Madame
The Salons
the
In
Louis
final
XIV
years
of
It
reign
the
of
formed out of
d'Epinay,
who
an influence on
exert
salon had
its
own
society.
Each
The
Madame
Geoffrin
in
the
and
dame du
its
philosophers; but
Deffand's salon
it
Italian painter,
born
at
(1690-c. 1772)
Cesena. In 1721 he
painter to
King
Two
Philip V.
was
of his
Prado
Madrid.
in
The
rue
Domenico Maria
revival of
salon
Sani,
Santerre, Jean-Baptiste
65
7 1 7)
was Ma-
French
portraitist
and
historical painter,
born
at
Paris.
He was
in
to the
193
Portrait of Schiller
Engraving
Academy
in
1704,
he exhibited at the
Academy
for
women
He founded an
at Versailles,
and
in
and genre.
appeared
in
1796 the
in the jour-
Maid of Orleans
went to Berlin, and a
(1801). In 1802 he
German
writer,
born
at
Marbach. In 1773
He
in
804
doctor at Stuttgart, but was a poor exponent of the profession. In 1782 he published
Scott,
Samuel (1703-72)
Years
War
thetic
Education
printed in 1795.
of Man,
From
whom
he founded
were
which
From
He was
in
London, died
in
a great success.
He was
considered one of
exhibited
from 1761
Artists, the
Academy
the
at
He
Society of
in
London.
in
Paris.
He
In
1765 he
The Unwitting
also wrote
The Unex-
Opera-Comique. He was
member of the
French Academy.
died in Paris.
194
He
Portrait of Servandoni
Paris, National Library
Silvestre le
French painter,
Paris. First
Silvestre,
Israel
bom
Sceaux, died
at
from Charles Le
then
Bon Boullongne.
Brun and
worked in
Italy with
Academy
Later
he
member of
in
in 1702, professor in
and
Dresden Academy. He
rooms
1727 became
in
Warsaw and
in
palace at
in the elector's
Rome.
which he
left
Royal Academy.
In
1749
he
went
to
from 1737
festivals
won
He was
bom
and died
in
Ant-
and
in
1707
in
Antwerp. He
England.
Flemish painter,
werp.
throughout Europe.
Italian painter
litan
school.
1734-98)
in
the
in
born
in
priest,
Merceana, died
in
Lisbon; was a
series
of frescoes
in
Rome
Summoned
giore).
Philip
for the
Chapel Royal
Lisbon churches.
trained a great
reli-
copying
Rome
in 1702,
to
He
(S.
painted a
Paolo Mag-
Spain
by
he painted several
in
King
works
Madrid. Solimena
number of painters.
195
Taraval, Guillaume-Thomas-Raphael
(1701-50)
Italy in
travelled in
London
in
Society
of
in
Stockholm.
1760.
He
Artists
exhibited
at
the
Was
of Frangois
died in
Paris,
in
pupil
several of his
bom
in Bruges, died in
as master
Mathias de Visch.
Flemish painter,
Rome. Had
He went
lier
1
771 he
under Bache-
to France, studied
won
the
St
Luke Academy. In
Returning to Paris
in
1778 he became a
member of
demy
in
In
1780.
the Aca-
director of the
more.
He
visited
Holland. Queen
Thomas High-
in-law of Hogarth.
Swift,
Jonathan (1667-1745)
Italian painter,
born
in
Venice, died in
in
Dublin.
He
Tub.
196
life in
Swift,
hopeless
hypochondriac,
life
insane.
in 1697.
also
was influenced
by
Piazzetta
and
Gian Domenico and Lorenzo. Tiepolo worked in Venice and Venetia for
twenty years. In 1733 he was in Bergamo.
ers.
Gaspare Traversi
Giambattista Tiepolo
Musical Enlcriammi'nl
Golffotha (detail)
Museum
influ-
secret of
French
ele-
gance.
Traversi,
Italian painter,
born
in
Naples. Painted
Rome
From
in
Milan.
in
Aix-en-
his
worked
moned him
to
two sons
his
with frescoes.
until
until 1761.
He remained
his old
life,
Madrid
in
embittered
in
rich
explaining
be found.
French
Was
portraitist,
cinthe Rigaud.
Academy
He was
From
in 1734.
the
in Paris.
and Hya-
admitted to the
1737 to 1759 he
Academy
exhibi-
Dutch painter, born and died in Amsterdam. Was a pupil of Arnold Van Booncn.
He used
He made
and paintings of
historical subjects.
work is in
museums.
the
197
Van Loo
Nude Study
Carle
He
Paris.
sor
He was
Louis
in 1675,
XIV
Munich
to
admitted to the
and
1693
in
in
(1719-95)
portrait painter.
Academy
Toulouse, died
in
Museum
director
1708.
in
portrait
He
Christine of Bavaria.
of Marie-
painted numer-
and
Portraitist
born
genre-painter,
in
He became
of the Academy
1770.
in
He was principal
member
in
(1705-65)
Rome. Was
de Troy.
demy
in
Paris,
died in
He
six
years in Italy
admitted to the
rapidly
became
Academy
in
was
1708; he
He
carried out
works
demy
in
Rome.
up by
in
In
Italy.
painter-laureate prize in
turned to
198
Rome
in
won
Rome. He
1724 he
the
re-
decorated
Sardinia.
the
palace
the
King of
of the
he was admitted
1735
In
Academy and
in
to
in
in
Ant-
of culture and
worked on
the
his
He
stupidity.
1755,
seven
canvases
to
1708.
the
for
church of Notre-Dame-des-Victoires.
Verhagen, Pierre-Jean-Joseph
schot, died
He
rapidly
made
his reputation
and por-
He worked
in Nice,
Turin and
Rome. He became a member of the Academy in 722 and received orders from the
1
Regent.
He
lery at
religiously-inspired
He
pictures.
in
in
Aer-
in
He
travelled in France
and
Italy
and was
its
in
works
Averbode and
director. His
Bois-le-Duc.
Gal-
also
London,
to
born
1742.
in
At Aix he began
the
He went
by
admitted
Historical painter
Paris,
in 1725.
in Spain,
King.
first
He worked
in
Rome, then
Rome and
in
Academy
in Paris.
Scenes of
Roman
ful.
From
in
painter to the
where he was
He exhibited at
to 1769.
portraitist, died in
Amedee. He won
demy
and
first
teen
paintings on
the
ports of Franco
199
Elisabeth Vigee-Lebrun
Portrait of the Duchess Elisahelh Alexievna
Montpellier
Museum
Rome,
painting
pictures
Back
France
Madame
the
Pompadour.
de
permanently
settled
he
1753
In
and
in Paris
in
1766
Academy.
to the
in
Academy
He
in
churches.
for
in
numerous pupils,
including Suvee. Vincent and
Louis
David. In 1755 he was named director of
Boucher.
the
Rome
trained
his return to
a pension. Vien
in Lis-
Rome.
in
many
pictures
the
for
earthquake destroyed
his wife died in the
many
same
An
artist.
of his works;
year.
From
then
of his
life
devoted to
religion.
The
to a
in
Madeira.
He
in
Oporto, died
England.
He
exhibited at the
in the
Lisbon
Museum
became
school.
200
Rome
died
in Paris.
He went
Mont-
to Paris
in
and
Academy
School;
he
spent
five
convent
at a
in Paris.
very young
years
in
became painter
travelled
to
and
afterwards
demy admitted
in
is
the
On
throughout
left
for
When
Rome
Europe.
She
as) (1694-1778)
tation
Italy.
she
Banned
during
for Switzerland
left
Madame
de
Stael.
Under
the
Empire,
Balzac, Vernet
among
those
who
mind and
his
letters
Bastille, Voltaire
in
His
time.
his
in
Because of
in Paris.
known
was forced
in
Chevain the
to seek refuge
(1726-9).
in
England was of
French
historical painter,
in Paris.
Rome Academy,
it
Paris
he
published
sciences.
Brutus
and
Zaire
Madame
From
Prussia, but
went
the
it
to the
unbearable and he
left
Geneva, and
poli-
return to
his
du
and
he produced his
On
Philosophical Letters.
admitted to the
During
ideas.
Gex.
He
later
passed
French
portraitist
Lyons, died
in
Charles Le Brun
and
pastellist,
in
Was a pupil of
Paris. He was very
Bonn.
in
came known
born
and be-
Van Dyck
".
Europe. In
701 he
was admitted
to the
He
come
30
in
February
1778
but
died
on
narrative story
is
found
in his
Charles XII
of Louis XIV {
Age
cal history in
Spirit
dance
is
a valuable contribution to
know-
Antoine Watteau
Le Donni'ur de Serenades
Chantilly,
Condc Museum
_E3
the
Valenciennes,
came
to the
Academy
Rome
some
to Valenciennes for
at
1699
Watteau
money,
left
for
Soon
Paris,
after
without
came only
1709 but
prize in
time.
To pay
for
from
Campaign.
the
60 francs for
it
who had no
work as a hack for an
art dealer near Notre-Dame. Earning an
average 12 monthly, he worked all day at
reproducing paintings. About the same
Among
a course
with a painter
cHents, he went to
He
then went to
work
for
invited
Watteau
to set
1710 he painted
Island of Cythera,
Cythera.
He
painters.
quickly
left
Crozat, returned
from tuberculosis, he
left
London
for
in
mended
tion of the
important event
in his training.
Admitted
to him.
for a year.
Watteau seemed
little
Nogent.
live at
by
little
to
become
to
Ill,
burn
at
his
paintings of nudes.
202
Thomas Wright
On
Zuccarelli
in
London
in
Francesco
him
where he
himself.
for
He
paint landscapes.
to
Rome
built
On
his
up a
stayed in
solid reputation
return
London
to
-S
Zimmermann, Jean-Baptiste (1680-1758)
in
He was
royalty.
the Royal
founder-member of
Academy.
German
into
fresco painter
writer
and archaeologist,
Stendal (Brandenburg).
whose
a rector
him
to learn
He
bom
in
love
of
his
His
In 1754 his
Italy
was
said
to
and
is
their
masterpiece.
The following
Rome where he became
year he went to
Some
time
Italian painter,
He
Florence.
bom
at Pitigliano, died in
studied
in
Florence and
Rome.
At
scenes,
first
he
painted
historical
He
the
He
later
was
(salons of the
Amalienburg
have
Munich
the
Dresden Gallery.
conversion to Catholicism.
first
and
his
prompted
Cuvillies in
Residence
allowed
well-filled library
in the
France as a
found treasures
in
studied under
studies he
to the
born
Wessobrunn,
German
stuccoist,
in
He worked
died in Munich.
and
an artisan family
he
appointed
Roman
Antiquities;
that he
produced
Art.
In
it
was
Inspector
this
at
his History
of
time
of Antique
Italy.
exhibited
in
may be
museums of Budapest, Glas-
seen in the
Dutch painter, born and died in Amsterdam. He was a pupil of Albert Van Spiers.
In 1712 he
Van
worked
in
Printed in Italy
Bibliog^raphy
General Works
Italy
I'
Molmenti: Tiepolo.
P.
la
Paris 1911.
Paris 1938.
V.
J.
Geneva
1964.
Bologna 1952.
O. Uzanne: Les Deux Canaletto. Paris 1906.
A. Venturi: Storia generale
France
Milan
1904.
V. Viale: Catalogue
"
Eredericir,P&hs 1963.
England
Diderot: Salons.
E. de
E. and J. de Goncourt:
Paris 1859-75.
La Peinture
L. Hourticq:
Paris 1950.
A. Leroy: Histoire de
la
Ill,
Paris 1937.
et la Societe fran<:aise
B. Lossky: Catalogue de
" L'Art
franXVIII' Siecles", Paris
Exposition
I'
et
1958.
B.
Touts 1962.
P.
Thomas Gainsborough,
1913.
Other Schools
D. Baud-Bovy: Peintres genevois (2
vols.).
Geneva
Pans
P.
Bautier:
XVIIP
1946.
du Colombier: L'Art
fran<;ais
P. Fierens:
la
dans
les
Cours
Reau: Histoire de
Siecle,
I'
Art fran(;ais
J.
P.
P.
L.
Siecle,
Paris 1932.
Brussels 1945.
Siecle,
1903.
Siecle,
W.
A. Leroy:
1939.
Lafont
fais et
Paris 1939.
R.
F. Benoit:
F.
Fosca: Histoire de
la
Geneva
1928.
Peinture Suisse,
Geneva
1945.
G. Lundberg: Roslin
G.
Seailles:
M. Tourneux:
204
Iai
L.
Reau: L'Art
Paris 1922.
rus.se
(3 vols.),
vols.
Malmoe
IV and V.
1957.
de Pierre
le
Grand a nos
Jours,
List of Illustrations
Page
P&ge
Jean Honore Fragonard
Fantasy figure, called Inspiration
Paris,
Louvre
Pietro Longhi
The Dentist
Venice, Academy
Thomas Gainsborough
Conversation
Paris,
in
a Park
Louvre
10
Hyacinthe Rigaud
Marie Serre, Mother of the
Paris, Louvre
Artist,
c.
1695
12
Museum
13
Louvre
14
Antoine Watteau
Louvre
Antoine Watteau
Embarkation for Cythera. 1717
Paris, Louvre
Game of Pied-de-bceuf
Berlin, New Palace
c.
21
39
40
43
45
Naples, Capodimonte
46
Alessandro Magnasco
Composition, Landscape
Lugano, Vanotti Collection
48
1738
)!
23
Jean-Honore Fragonard
The Two Lovers
Sion, Leopold Rey Collection
25
26
Jean-Baptisle-Simeon Chardin
Lady Sealing a Letter, 1733
Berlin, Charlottenburg Palace
49
50
Pierrots at Rest
26
Venice,
CaRezzonico
51
Pietro Longhi
Francois Boucher
La Petite Jardiniere
Rome. National Gallery of Ancient Art
Giambattista Tiepolo
The Embarkation
Sketch for fresco in the Labia Palace, Venice
Strasbourg Museum
48
Academy
Vittore Ghislandi
Jean-Honore Fragonard
The Ahhe St Non
Modern Art
Giambattista Piazzetta
The Fortune Teller
Venice,
Bacchant Asleep
Paris, Louvre
Chardin
La Pourvoyeuse
Paris. Louvre
Jean-Baptiste Greuze
Portrait of a Little Girl
Rome, National Gallery of Ancient Art
Jean-Honore Fragonard
of
with Violin
Louvre
Alessandro Magnasco
Landscape
21
The
Museum
Still-life
38
Oudry
Nicolas Lancret
Barcelona.
Louvre
18
Jean-Baptiste-Joseph Pater
Italian Actors in a Park
Louvre
38
Hubert Robert
17
Antoine Watteau
The Faux-Pas (sketch)
Paris, Louvre
Paris,
Louvre
Jean-Baptiste Perronneau
Portrait of Jean-Baptiste Oudry
Paris,
Paris,
Paris,
Jean-Marc Nattier
Gilles (Pierrot in
37
Elisabeth-Louise Vigec-Lebrun
Portrait of Madame Vigee-Iwhrun and her
Daughter, c. 789
Jean-Baptiste
Portrait of Voltaire
Paris.
36
Paris,
Nicolas de Largilliere
Versailles
Venice,
CaRezzonico
51
Pietro Longhi
33
52
35
54
205
Page
55
Richard Wilson
The Thames at Twickenham
London, Tate Gallery
79
56
George Stubbs
Mares and Foals in a Landscape
London. Tate Gallery
80
Gianantonio Guardi
// Ridotto (The Casino)
Venice, Ca'Rezzonico
Anton Graff
Francesco Guardi
Departure of the " Bucentaur "for the
Ascension Day Ceremony
Louvre
Paris,
Geneva,
61
Francesco Guardi
The Grey iMgoon. 1784-9
Milan, Poldi-Pezzoli Museum
Old
Man
Portrait of Frederick
82
//,
King of Prussia
1739-40
Paris,
Furstenburg Collection
85
Madrid, Prado
63
86
Geneva,
65
William Hogarth
The Graham Children
London, Tate Gallery
Museum
65
Man
86
Ramsay
Portrait of a
Museum
Antoine Pesne
c.
62
81
Jean-Etienne Liotard
Portrait of the Artist as an
Francesco Guardi
Gala Concert, 1782
Munich, Pinakothek
Allan
Page
Alexander Roslin
The Dauphin, Son of Louis
London, National Gallery
87
XV
66
Cornells Troost
William Hogarth
Portrait of Viscountess de la Valelte
Geneva, Museum of Art and History
67
Joshua Reynolds
Portrait of Master Hare. 1788
Paris, Louvre
69
70
Family
Sir
Sir
Joshua Reynolds
Portrait of Louis-Philippe-Joseph
in
an Interior
Amsterdam, Rijksmuseum
91
Jean-Etienne Liotard
Portrait of Madame d'Epinay, c. 1759
Geneva, Museum of Art and History
93
Francisco de Goya
Blind-man 's Buff
94
Madrid, Prado
Sir
Chantilly,
d' Orleans
Conde Museum
Thomas Gainsborough,
70
Perdita
73
Dictionary
74
d' Alembcrt
Thomas Gainsborough
Portrait of Lt-Col Edmond Nugent
Lugano, Thyssen Collection
George Romney
Paris.
Aved
Sir
74
Henry Raeburn
John
Paris,
Louvre
Rameau
147
Batoni
146
Museum
Pompco
75
Thomas Lawrence
Julius Angerstein
Louvre
Dijon
206
Museum
148
Jean-Marc Nattier
76
Beaumarchais
149
Page
Page
Bernardo Bellotto (called Canaletto)
Jesus Driving the Moneychangers from the
Pictro Longhi
Temple
179
Alcssandro Magnasco
Hunter
Florence, Uffizi Gallery
180
Warsaw Museum
Duck Hunters on
150
William Blake
Luis Melendez
Paris.
152
Carmontelle
Monsieur de Buff on
Chantilly.
Conde Museum
Lagoon
Self-portrait
Frangois Boucher
Portrait of Walteau
Chantilly, Conde Museum
the
153
Rosalba Carriera
Louvre
181
Jean-Marc Nattier
The Duke de Boufflers
Rhcims, Fine Arts Museum
183
Jean-Baptiste Oudry
Heron (study)
Paris,
Louvre
184
Self-portrait
Venice,
Academy
Chardin
Seated Woman Knitting
Paris, Ecole des Beaux-Arts
54
Jean-Baptiste Pater
Woman Bathing (study)
Paris,
156
Charles-Antoine Coypel
Louvre
185
186
Self-portrait
Paris, National Library
157
Hubert Robert
Festival at the Villa Medici,
Jacques-Louis David
Paris.
Rome
Louvre
190
Head
Paris, Ecole des
Beaux- Arts
59
de La Tour
of Jean-Jacques Rousseau
Engraving
E. Ficquet, after
Portrait
160
191
Thomas Rowlandson
Francois-Hubert Drouais
Little Girl
Grenoble
Museum
Cheyne Walk
London. London
Pressing her
Drawing
Bosom
Museum
163
Windsor
Castle,
165
192
Portrait
194
of Servandoni
Tischbein
Goethe
Museum
Engraving
Duke of Sussex
Royal Gallery
Lille
Portrait of Schiller
Thomas Gainsborough
August-Frederick.
in Italy
166
Giambattista Tiepolo
Golgotha (detail)
Vierhouten, Boymans-Van Beuningen
168
Museum
Museum
William Hogarth
The Shrimp Girl
London, National Gallery
Louvre
Nicolas de Largillierc
Beautiful Lady of Strasbourg
Strasbourg Museum of Fine Arts
197
Musical Entertainment
169
197
Van Loo
Nude Study
171
Nicolas Lancret
The Music Lesson
Paris,
195
Gaspare Traversi
Jean-Baptiste Greuze
Man's Head (study)
Leningrad
192
Gabriel-Jacques de Saint-Aubin
Jean-Honore Fragonard
Woman
Museum
161
Museum
198
Elisabeth Vigee-Lebrun
176
200
Antoine Watteau
Le Donneur de Serenades
177
Chantilly,
Conde Museum
202
207
in the series
Arnoldo Mondadori
The
text
in
was composed
in
Verona.
Times 10-point
type,
Boucher was
the
new
better suited to
of interior
style
which favored
blank ceihngs and left to the
architecture,
Germany and
Europe, as
number of
lesser masters were devoted to
Elsewhere
in
in France, a large
naturalism.
The
portrait, in
everyday
life.
The
full
color.
EIGHTEENTH
CENTURY PAINTING
also
museums showing
the reader
<:i1
V.-ri
Mt
ry