Figure 1: Jean-Claude Duplessis, Elephant-head Vase, 1758, Porcelain, Met Museum Jean-Claude Duplessis was a man of many talents, working as a sculptor, designer, goldsmith, and bronze worker in Italy before moving to Paris in 1740. It was here that he was able to expand his range of activities by producing designs for the Vincennes Porcelain Manufactory as well as supervising the works of the throwers and molders there (1). Louis XV and his mistress Madame de Pompadour were particularly interested in the Manufactory, which was later moved to the town of Sèvres, becoming the most important soft-paste porcelain factory in Europe. The status and reputation of the porcelain manufactory was in part due to renowned artists such as Jean-Claude Duplessis who became goldsmith to the king and provided highly original models and designs (2). Duplessis was constantly experimenting with new shapes and forms for vases and various vessels, but perhaps one of his most charming creations was the Elephant-head vase (Fig. 1), which he executed in 1758. This pink soft-paste porcelain vase with polychrome enamels and gilding features a symmetrical pair of elephant heads. It is difficult to say whether the viewer is drawn in first by the bright pink color of the vase or the intriguing sculptural elephant heads. Either way, this piece evokes a sort of fantasy and excess that we associate with the aristocracy during this time. Every detail of the vase seems to be outlined in luxurious gold, from the elephants’ oyster-like ears to the flouncy base of the piece. Tender attention was paid to the elephants’ ears and delicate dusks, while the elephants’ eyes seem to have a sinister expression. It is as if they are daring the viewer to look closer at the extravagance and beauty of the vase upon which they sit. There is an odd fascination with this piece where it is difficult to look away. The vase is amazingly balanced in every aspect, from the elephant’s trunks to the floral pattern on the body of it. Looking at the graceful sprigs of colorful flowers against the bright pink background, one cannot help but be reminded of Fragonard’s best know work, The Swing (Fig. 2). Aside from the similar color palate of the woman’s bright pink dress and the pink vase, both pieces contain floral garden elements. The woman on the swing is surrounded by lush greenery, and the Elephant-head vase features beautifully elegant flowers in diamond patterns across its surface. Just as the joyful experience of the woman on the swing invites the viewer into her enchanting fantasyland, the surprise of seeing two elephant heads on a seemingly normal vase creates a sort of mystery that captivates the viewer and allows them to get lost in their imagination. While an animal as big and clumsy as an elephant may seem like a bizarre choice to feature on such a fragile piece of art, it in fact makes perfect sense. The elephant is exactly the type of fantasy animal that we would expect to see on a fantasy-invoking vase. Just as this work of art offers us a portal to somewhere else, so did the elephant in 18th century Paris. During Louis XIV’s reign he commissioned a menagerie to be built at Versailles, making exotic animals automatically fashionable (3). Various animals of this nature can be seen featured in paintings from this time period, including Charles Le Brun’s masterpiece, The Entry of Alexander into Babylon (Fig. 3). Part three of a four work series; Alexander is depicted proudly standing in a chariot drawn by two elephants, revealing his political position of the time. This work of art was an allusion to the grandeur of Louis XIV who was also a great conqueror and powerful monarch, and the elephant only adds to the magnificence and majesty of the scene depicted (4). Louis XV was less interested in the menagerie and did little active searching for rare animals, however, tributes continued coming in during his reign, and he received an Asian elephant for Versailles (3). The fact that these exotic animals could be imported to Versailles- a journey that would oftentimes take weeks or even months- was part of the excesses that we associate with royalty during this time. As can be seen with the menagerie at Versailles and this Elephant-head vase, the places occupied by animals in 18th Century France were both material and conceptual. The elephant greatly intrigued naturalists of the time, while representing obedience, loyalty, and intelligence. It is with these qualities that the elephant expressed the proper subservient role for animals as well as their symbolic human counterparts (5). While the beauty of Duplessis’ Elephant-head vase is not as easily definable as an oil painting, it is still just as indicative of the material culture of 18th Century Paris. For an inexperienced viewer, this vase may seem to represent a kind of uselessness in the aristocracy of the 18th century, but it is in fact so much more. Luke Syson, a curator at the Met, argues that this piece is in fact quite useful. The ends of the trunks were originally candleholders and the immense talent and care that went into producing this vase is unimaginable. This piece went into the kiln at least four times to arrive in its current form, so one can imagine just how many moments there were for error to occur. And yet despite having to arrive at this exact identical form for the pair of vases, Duplessis was able to execute them flawlessly (6). Today, form and function are so crucial for modern objects, yet there is something to be said about an object as balanced and elegant as the Elephant-head Vase. It creates a sense of wonder and awe, transporting us into our own imaginations where the object continues to flourish and fascinate us.
Figure 2: Jean-Honore Fragonard, The Swing, 1767, Oil on Canvas, Wallace Collection, London Figure 3: Charles Le Brun, The Entry of Alexander into Babylon, 1665, Oil on Canvas, Louvre, Paris
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Jean Baptiste Marie Pierre born in the year 1714 in Paris, France rose to artistic infamy for his work produced as a student studying at the Académie Royale de Peinture et de Sculpture under Rococo artist and history painter, Charles Natoire. Little is recorded regarding Natoire’s successor and his personal life however, the emotion depicted within Pierre’s collected works has a hauntingly enchanted presence one that injects a bit of the artist himself into the paintings, giving the viewer a glimpse of insight into his genius. In 1750 Pierre painted, The Abduction of Europa [fig. 1] also commonly known as The Rape of Europa based on the Greco-Roman myth of Europa, the mythological mother of King Minos of Crete. According to the myth which is delivered most famously in Ovid’s Metamorphoses, Europa is abducted by Jupiter who hides in the guise of a beautiful white Cretan bull. When gathering flowers nearby Europa comes across the bull and is instantaneously enamored. Jupiter then carries her off on his back through the sea to the island of Crete where she serves as the first Queen of Crete. In his description of the bull Ovid writes, “In color he was white as the snow that rough feet have not trampled and the rain-filled south wind has not melted. The muscles rounded out his neck, the dewlaps hung down in front, the horns were twisted, but one might argue they were made by hand, purer and brighter than pearl. His forehead was not fearful, his eyes were not formidable, and his expression was peaceful.” [1] Pierre’s painting gracefully captures the climax of the poem by representing Europa and the subjects surrounding her in a state of ethereal serenity. He does this by painting the skyscape in dusty blues and greys. In the absence of such color choices for the sky the viewer might engage the work with a different contrasting mood. The eye is drawn to the dark shadowy bird like figure that lurks in the sky above Europa. The inclusion of this symbol in the painting serves as a point of distinction as it is an allegorical symbol for Jupiter who is often accompanied by an eagle in both artwork and mythology. Nonetheless Pierre’s decision to give a predisposed tone to the piece is done through his stylistic choices in painting the sky. The emphasis of delicate colors is definitive of the rococo style. By juxtaposing the pastel pinks of Europa’s shawl against the dusty blues of the sky and the pale ivory pigment used to make up her dress, the artist juxtaposes innocence and seduction in the same work. The way each figure is positioned in the piece has a seductive appeal. Each supporting figure is unclothed while Europa who sits at the center of the piece is adorned in delicate draping ivory garb, eliciting the tone of purity [fig. 2/2.1]. Another way in which Pierre depicts peace and purity is through the bull. In the passage by Ovid, the bull is not described as dangerous of frightening but rather as a symbol of tranquility. The eyes of the bull [fig. 3] are the only feature of the figures that look directly at the viewer thus they are painted with what appears to be cautious precision. The blending of the brown paint with the way in which they glaze slightly over makes them appear hyperrealistic to the viewing audience. They are thoughtful and mysterious and slightly captivating. In combination with each other they allure the viewer, creating a godly presence within the painting. This relates to the guise that Jupiter (king of the gods) takes on as the bull. The subject of the bull lacks conventional masculinity as seen in the way his horns are adorned with flowers. The artist compensates for this lack by making the bull appear enigmatic and entrancing to the viewer instead. While the piece depicts the abduction of Europa the painting does not elicit negative connotations but rather seeks to evoke lust and passion, as seen in the way Pierre has included a cluster of putti in the upper righthand corner of the piece. The cherubs appear whimsical and are created with careful attention. They fall atop one another in the painting in a way that appears clumsy without appearing disorganized and random. The placement and depiction of the figures rivals Francois Boucher’s, 1730 work The Rape of Europa [fig. 4]. The setting and figures alike are much less fantastical than those seen in Pierre's work. This can be seen in the island like location the piece revolves within. Pierre sets his painting in the middle of the sea leaving much more open to the imagination than Boucher does. Unlike Pierre, Boucher’s putti are also less engaging as they lack clear distinction from the clouds they occupy. The figures blend into the dusky gray and are not as defined as the other figures in the foreground of the painting. In contrast to Pierre’s painting the figures in Boucher’s work seem much less organized and convey the feeling of disarray. Though the characters are meant to appear more closely engaged with one another they still feel slightly less cohesive due to the way they are spaced and positioned. An example of this can be seen in the gossiping women to the far left of the scene. These particular figures look like they are meant to be in an entirely different location than the rest, as all the other figures who surround Europa and the bull wear flowing satins of blues and greens. Another major difference between the two works is the characterization of Europa. Boucher's Europa unlike Pierre's Europa is much less modest. She appears less innocent as shown in the way her clothing falls off exposing her breasts. Originally she is depicted as an innocent virgin in Ovid's poem. She is described as terrified when the bull takes off with her which something both artists opt to overlook in their paintings. Europa appears calm and collected in both instances and lacks any depth of facial expressions. The subject's lack of expression could be a product of the time the pieces were produced out of. While their femininity is manipulated within the paintings through their garb and subdued expression they seem to lack human emotion. True, the colors of the pieces assist in the narration of the tale however, it is curious that Ovid, a poet of the BC ages is able to portray Europa in a more human light through his writing than the artists are able to do visually through their works. Another artist to depict Ovid's poem was Rembrandt. Rembrandt's depiction is most resemblant of the poem in Metamorphoses in that is shows Europa in a state of fear and terror as the bull takes off through the water. Rembrandt, an artist of the 17th century baroque era focuses more closely on the emotional aspect of the painting whereas Pierre and Boucher are much more heavily concerned with the colors and setting. Pierre's work is lavish and extravagant adding an entirely new dimension to the myth. It is lust worthy and seductive, and meant to enchant the viewer through its elegance. It deters the viewer from engaging with reality much like the world aristocrats of 18th century France found themselves entranced in through the spectacle that was to come of Versailles. The various attractions associated with the palace made aristocrats and nobility lose sight of the physical world outside of the palace. In this particular clip from film director Sofia Coppola's Marie Antoinette, the aristocrats follow the queen into 'the countryside.' The 'countryside' being shown in this scene is a ways off from the palace of Versailles and is in fact a simulation for the countryside the women refer to. They are able to lose themselves to this fantasy because they are jaded by their own disillusionment and desire for a utopia. Conclusively, the artwork of this time period as seen in Pierre's work is reflective of the socio political atmosphere of the time and location as well. It is meant to be a viewing spectacle for its audience to engage and lose themselves within. ~ [1] Dryden, Garth, and Samuel Garth. Metamorphoses 2.852-858, Ovid. New York, London: Garland, 1976. Print. "The Abduction of Europa." Dallas Museum of Art. N.p., n.d. Web. 07 May 2017. "The Collection." Wallace Collection Online - The Rape of Europa. N.p., n.d. Web. 07 May 2017. There was not a bigger American celebrity in 18th century France than Benjamin Franklin. The United States’ beloved Founding Father was the first American diplomat to France in history. His rise to French fame began in 1776 when he was dispatched to France to gain their support for the American Revolution. There he quickly gained everyone’s admiration and was welcomed with open arms into France’s elite intellectual circles, mostly because of his profound scientific and political triumphs, but also partly because of his unique physiognomy. French culture places an enormous emphasis on all things dazzling, elegant, and beautiful but to be quite frank, Benjamin Franklin’s appearance is anything but. Franklin stood out like a sore thumb amongst the people of France because he chose not to conform to traditional French aesthetics, yet many famous French artists all lined up to include him in their art. In addition to his numerous scholarly accomplishments, his distinctive physical appearance would contribute to his popularity in 18th century French art. The allegorical etching of The Genius of Franklin by Marguerite Gérard is a great example of Benjamin Franklin iconography in French 18th century art. This print was based off of a brown wash drawing by Jean-Honoré Fragonard who was an infamous Rococo artist notorious for never completing his admission process to the French Academy. Sixteen-year-old Gérard collaborated with her brother-in-law, Fragonard, on a series of etchings based off of his drawings, which included The Genius of Franklin. The etching seen here is printed in brown ink, perhaps to match the original media. The scene appears to take place in a heavenly cloud-like atmosphere, resembling where ancient gods would reside. In the left portion of the etching are contorted muscular bodies symbolizing Mars, the god of war, a human embodiment of Avarice, or extreme greed, and a human embodiment of Tyranny, signifying cruel and oppressive government. In the upper right hand side of the etching is Minerva, goddess of wisdom and war, Benjamin Franklin, and a feminine figure representing America. At the top of the piece Minerva, depicted in a flowy sheet-like garb with wings, a feathered helmet, and a shield, is protecting Franklin and America from the lightning bolt, which is significant because Franklin discovered electricity through lightning. She is also holding a fascia, which symbolizes the united countries. Franklin is illustrated sitting with America at his side in a loose toga-like ensemble with a laurel wreath upon his head, pointing towards Mars, who’s throwing Avarice and Tyranny into a void. At the very bottom of the engraving it states in Latin "ERIPUIT COELO FULMEN SCEPTRUM-QUE TIRANNIS" which translates to "He tore the lightning from the sky and the scepter from tyrants.”[1] Franklin resembles Zeus in this engraving with his unkempt white hair, the presence of a lightning bolt, and his all-powerful demeanor. Fragonard first produced this drawing to honor Franklin upon his arrival to France, then with the help of his amateur student Gérard and current print making technology, this etching was widely advertised and marketed for sale, so that many other of Franklin’s admirers could own this image of devotion as well.[2] There is no doubt that Franklin’s reputation as a political theorist, politician, scientist, inventor, and diplomat primarily fueled his rise to fame in 18th century France, but what also made him a popular topic of conversation amongst the people of France was his appearance. French culture prioritizes looking well-groomed and dressing in lavish costumes at all times in order to advertise wealth and power. During the 18th century it was commonplace for aristocratic men to wear powdered wigs with beautiful bows and intricate curls, with the popular style of wig at the time being ailes de pigeon or pigeons’ wings, which covered the male’s ears in tiny rows of curls. Aristocratic men would often clothe themselves in justaucorps, knee-length overcoats that were worn over breeches and a waistcoat, cravats, an 18th-century French version of the modern day necktie that was made of delicate lace and fabrics, culottes, elegant tight shorts that reached knee-length, and Louis-heeled shoes, shoes that had heels that added a few inches to the height of the wearer. Instead of a powdered wig Franklin wore a fur cap or nothing at all. He had refused to wear a wig when offered. With pride he would display his grey, thinning, and balding head of hair for all to see, with his hairstyle also being an iconic component to all the pieces of art, including The Genius of Franklin, modeled after him. In fact, some women of the time even adopted the “coiffure a la Franklin” in imitation of his fur cap.[3] His daily costume was described as that of a Quaker, which included a simple brown suit with a plain white shirt and stockings.[4] A useful image that really portrays the distinction between Franklin’s fashion and aristocratic French men’s fashion is Anton Hohenstein’s, Benjamin Franklin received at the French Court in Versailles. This image shows Franklin in his plain brown, unembellished costume standing in the presence of Marie Antoinette, King Louis XVI, and numerous other aristocrats decked out in their frilly powdered wigs and their elaborately decorated costumes. This type of dress typically would not be tolerated in such a royal place such as Versailles, but because of Franklin’s achievements, he was celebrated with a laurel wreath placed upon his head. Franklin’s look was unprecedented amongst the wealthy political elite, which made him a heavily sought after subject for artists because of the novelty of his appearance. In addition, only the wealthy aristocrats that could afford decadent clothing and powdered wigs could also afford to have their presences turned into art, so it’s a rarity to see this kind of “blue-collar” appearance in art of this time. Talented artists of the 18th century were used to taking on prim and proper aristocrats as their subject matter, but a scraggily, balding, seventy-two year old man in simple attire was a new kind of challenge for them. Fragonard was only one of many who jumped at the opportunity to encapsulate him in their work. The same year The Genius of Franklin was produced, Houdon sculpted a marble bust of Franklin with his signature identifiers: balding and disheveled hair, lack of a cravat, and loose wattle-like skin hanging under his chin. Joseph Siffred Duplessis painted an oil painting of Franklin that same year as well. In 1777 Cochin drew a portrait of Franklin in his iconic fur hat and spectacles and Greuze completed both a pastel study and an oil painting of him as well. All of these pieces were executed within two years of Franklin’s arrival to France. Perhaps this indicates that when he arrived and the people of France witnessed the embodiment of genius they’ve heard so much about, they were so taken back by the dissimilarity in appearance they were so accustomed to that it charged Franklin’s popularity even more than it would if he resembled the look of a traditional French aristocrat. Without Franklin’s unique appearance, he may not have become the subject matter of many great French artworks that we have come to know and love today. [1] Pierre Rosenberg, “Franklin and Fragonard,” Proceedings of the American Philosophical Society 105, no. 4 (2006): 575-590 [2] Perrin Stein, Artists and Amateurs: Etching in 18th-Century France (New Haven and London: Yale University Press, 2013), 3-13. [3] Stephen Randolph, “Benjamin Franklin: First American Diplomat, 1776–1785,” Office of the Historian, Bureau of Public Affairs, United States Department of State, September 14, 2016, Accessed May 6, 2017, https://history.state.gov/milestones/1776-1783/b-franklin [4] Thomas Fleming, “Taking Paris by Storm: Benjamin Franklin, American Founding Father and First Ambassador to France,” Medicographia 36, (2014): 112-122, accessed May 6, 2017, http://www.medicographia.com/2014/06/a-touch-of-france-taking-paris-by-storm-benjamin-franklin-american-founding-father-and-first-ambassador-to-france/ Madison Zaslav Hyacinthe Rigaud Portrait of Louis XIV 1701 Oil on canvas Louvre, Paris Hyacinthe Rigaud’s 1701 Portrait of Louis XIV celebrates the power of absolute monarchy and the divinity of the king. The painting departs from earlier Italianate portraits to establish a new French artistic tradition. |
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