(Reflexions sur la sculpture: lues a l'Academie royale de ...)
Reflexions sur la sculpture: lues a l'Academie royale de peinture et de sculpture / par Etienne Falconet Date de l'edition originale: 1761 Ce livre est la reproduction fidele d'une oeuvre publiee avant 1920 et fait partie d'une collection de livres reimprimes a la demande editee par Hachette Livre, dans le cadre d'un partenariat avec la Bibliotheque nationale de France, offrant l'opportunite d'acceder a des ouvrages anciens et souvent rares issus des fonds patrimoniaux de la BnF. Les oeuvres faisant partie de cette collection ont ete numerisees par la BnF et sont presentes sur Gallica, sa bibliotheque numerique. En entreprenant de redonner vie a ces ouvrages au travers d'une collection de livres reimprimes a la demande, nous leur donnons la possibilite de rencontrer un public elargi et participons a la transmission de connaissances et de savoirs parfois difficilement accessibles. Nous avons cherche a concilier la reproduction fidele d'un livre ancien a partir de sa version numerisee avec le souci d'un confort de lecture optimal. Nous esperons que les ouvrages de cette nouvelle collection vous apporteront entiere satisfaction. Pour plus d'informations, rendez-vous sur www.hachettebnf.fr
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(This is a reproduction of a book published before 1923. T...)
This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Oeuvres D'Etienne Falconet: Statuaire Contenant Plusieurs Écrits Relatifs Aux Beaux-arts, Volume 6; Oeuvres D'Etienne Falconet: Statuaire Contenant Plusieurs Écrits Relatifs Aux Beaux-arts; Etienne Maurice Falconet Etienne Maurice Falconet Société typographique, 1781
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(This is a reproduction of a book published before 1923. T...)
This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Oeuvres D'Etienne Falconet: Statuaire Contenant Plusieurs Écrits Relatifs Aux Beaux-arts, Volume 4; Oeuvres D'Etienne Falconet: Statuaire Contenant Plusieurs Écrits Relatifs Aux Beaux-arts; Etienne Maurice Falconet Etienne Maurice Falconet Société typographique, 1781
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His parents were poor, and he was at first apprenticed to a carpenter, but some of his clay-figures, with the making of which he occupied his leisure hours, attracted the notice of the sculptor Lemoine, who made him his pupil. He found time to study Greek and Latin, and also wrote several brochures on art. In 1744 he was admitted to the Paris Academy for the group "Milton of Croton", presented at the competition; in 1754 for the performance of this group in marble he received the title of academician. In this early work, as in a number of other works, Falcone retained the dynamic and theatricality inherent in the plasticity of baroque, while also gravitating toward the classic clarity of form.
In the works, commissioned by Madame de Pompadour, the favorite of Louis XV, he tried to follow the fashion prevailing at court at the art of rococo.
The statues of "Music", "Cupid", "Bather", full of rocky exquisite grace, were natural and elegant without affectation, - allegorical images were earthly concrete. In 1757, Falcone was appointed director of the Sevres Porcelain Manufactory (under the auspices of the Marquise de Pompadour), for which he creates many immediately entered into fashion bishop figurines depicting allegories and mythological characters. Bowing before the ancient art, the master, however, never perceived it as a cold and lifeless canon. The images of a seated teenage girl with roses at her feet, a young girl in an antique tunic with a dove in her hands, Galatea revived, before which admired Pygmalion leaned, were filled with delicate elegiac moods, silhouettes of figures were smooth and graceful, light inclines were full of musical grace. His artistic productions are characterized by the same defects as his writings, for though manifesting considerable cleverness and some power of imagination, they display in many cases a false and fantastic taste, the result, most probably, of an excessive striving after originality. One of his most successful statues was one of Milo of Crotona. Af the invitation of the empress Catherine he went in 1766 to St Petersburg, where he executed a colossal statue of Peter the Great in bronze. In 1788 he became director of the French Academy of Painting. Many of Falconet's works, being placed in churches, were destroyed at the time of the French Revolution. His " Nymphe descendant au bain " is in the Louvre. After leaving Russia in 1778 before the installation of the monument (the solemn opening of the monument was timed to coincide with the twentieth anniversary of the reign of Catherine II on August 7, 1782), Falcone left for Holland and in 1781 returned to France. The last 10 years of life, he was paralyzed, and he could not work and create.
(Reflexions sur la sculpture: lues a l'Academie royale de ...)
(This is a reproduction of a book published before 1923. T...)
(This is a reproduction of a book published before 1923. T...)
Quotations: "Only a nature, alive, spiritualized and passionate the sculptor must embody in marble, in bronze or in stone"
He became a member of the Academy of Fine Arts in 1754.
