At the Getty: The Grand Manner on Paper

Posted in books, catalogues, exhibitions by Editor on May 16, 2010

Press release from the Getty:

Printing the Grand Manner: Charles Le Brun and Monumental Prints in the Age of Louis XIV
The Getty Research Institute at the Getty Center, Los Angeles, 18 May — 17 October 2010

Gérard Edelinck (1640–1707), after Charles Le Brun (1619–1690), "Queens of Persia at the Feet of Alexander from the Battles of Alexander," ca. 1675 Etching and engraving 26 9/16 x 35 5/16 in. Research Library, The Getty Research Institute, Los Angeles, California (2003.PR.42)

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Printing the Grand Manner: Charles Le Brun and Monumental Prints in the Age of Louis XIV explores a little-known facet of late 17th-century reproductive engravings. The exhibition examines the prints’ rich vocabulary and illuminates the context in which they were made between the mid-1660s and the mid-1680s. While it focuses on the relationship between Charles Le Brun (French, 1619–90) and the printmakers who reproduced his compositions, the exhibition also interprets the prints and their inscriptions in light of Le Brun’s ambitions and struggles as a court painter, designer, and print publisher in the highly competitive atmosphere surrounding Louis XIV.

Catalogue by Louis Marchesano and Christian Michel (Getty Research Institute, 2010) ISBN: 978-0892369805, $50

The works in this exhibition and related catalog reproduce Le Brun’s narrative compositions in the Grand Manner, the genre in which a heroic protagonist engages in a morally significant action—a battle to be won, a victory to be celebrated, or a vice to be avoided. By disseminating these subjects in printed form, Le Brun presented to both collectors and artists his mastery of the most complex type of art. In turn, the quality and size of these prints allowed him to demonstrate the unprecedented authority over the fine arts in France.

The eleven large prints featured in Printing the Grand Manner were clearly intended to evoke the grandeur of Le Brun’s large-scale paintings and tapestry designs that illustrate events from the exemplary lives of ancient rulers such as Alexander the Great and Constantine the Great.  A prodigious artist and designer, now best known for his work at Versailles, Le Brun was Louis XIV’s principal painter, leader of the Académie royale de peinture et de sculpture, and director of the huge royal manufactory at the Hôtel des Gobelins, the integrated workshops where hundreds of artists and craftsmen produced the fine objects that gave the age of Louis XIV its veneer of splendor and grandeur.

Gérard Edelinck (1640–1707), after Charles Le Brun (1619–1690), "Queens of Persia at the Feet of Alexander from the Battles of Alexander," detail, ca. 1675

“Le Brun used prints strategically to promote his agenda. Naturally, he wanted the best printmakers to reproduce his compositions and to disseminate them in the best possible light. As a painter and leader of the arts who experienced the power of prints in his own career, he was able to encourage the development of printmaking in France,” says Louis Marchesano, the Getty Research Institute’s curator of prints and drawings. “In retrospect, we know Le Brun’s own interventions in the field of prints paid off because the material and stylistic excellence of the large prints whet the appetites of collectors and critics well into the 19th-century.”

Le Brun was most successful at the height of his power in the 1670s, when he oversaw the publication of the Battles of Alexander, a suite of five images comprising his Persian and Indian campaigns. With his reputation and authority at stake, he convinced the Crown to spare no expense on the quality of the paper and the size of the impressions. Pulled from 15 copper plates, large printed sheets had to be assembled into a suite of five separate images. The Alexander suite was made by two of the best artists at Le Brun’s disposal, Gérard Edelinck and Gérard Audran. Showcasing Audran’s astonishing mixed etching and engraving technique, the four prints by him were judged to be the epitome of printmaking, in part because they appeared to improve upon Le Brun’s original paintings, a rather unusual judgment in favor of prints. (more…)

Recent Work from Sarah Cohen on Chardin and the Animal Psyche

Posted in Member News by Editor on May 12, 2010

The Ninth Annual Bloomington Eighteenth-Century Studies Workshop
Forms of Life in the Eighteenth-Century
Indiana University, Bloomington, 12-14 May 2010

Sarah Cohen speaks on Chardin’s work on Thursday, 13 May. The full schedule for this invitation event can be found here»

Jean-Siméon Chardin, "The Ray," 1728 (Paris: Louvre)

Sarah Cohen (History of Art, SUNY Albany), “Chardin’s Vitalist Still Lifes” — This paper addresses four paintings by Jean-Siméon Chardin that feature a calico cat marauding recently killed or butchered creatures within an array of objects laid out for the preparation of a human meal. Although Chardin drew generally from Flemish still life traditions, I argue that early vitalist theories of animal life offer a compelling means of assessing the action of his cats, who paw, snatch, and prepare to spring at the inanimate matter of their fallen fellow creatures. I propose that Chardin’s still lives are vitalist not through any direct link between the science and the art, but through a deeper commonality of aims and means: his cats show us, through their tactile explorations of animal
bodies, what it feels like to be alive.

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In addition, Cohen’s article, “Searching the Animal Psyche with Charles Le Brun,” will appear in a special issue of Annals of Science 76 (July 2010), dedicated to the representation of animals in the seventeenth century. The issue is edited by Domenico Bertoloni Meli and Anita Guerrini.

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