EAN13
9781913645373
ISBN
978-1-913645-37-3
Éditeur
Paul Holberton Publishing
Date de publication
Nombre de pages
240
Dimensions
28,5 x 24,7 x 2,5 cm
Poids
1320 g
Langue
français
Fiches UNIMARC
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Claude Gillot

Satire in the Age of Reason

Paul Holberton Publishing

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This scholarly publication presents the work of the designer, painter and illustrator
Claude Gillot (1673–1722). The first volume on the artist in English, it accompanies
a major exhibition at the Morgan Library & Museum that explores Gillot’s inventive
and highly original draftsmanship and places his work in the context of artistic and
intellectual activity in Paris ca. 1700.
The history of eighteenth-century French art under the ancien régime is dominated by
great names. But the artistic scene in Paris at the dawn of the century was diverse and
included artists who forged careers largely outside of the Royal Academy. Among them
was Claude Gillot. Known primarily as a draftsman, Gillot specialized in witty scenes
taken from the Italian commedia dell’arte plays performed at fairground theaters and
vignettes of satyrs enacting rituals that expose human folly. The book will address Gillot’s
work as a designer, painter, and book illustrator, and advance a chronology for his career.
Crafting a timeline for Gillot’s life and work will clarify his relationship with his younger
collaborators Antoine Watteau and Nicolas Lancret.
Through an artistic biography and six chapters, each devoted to an aspect of his
oeuvre, Gillot’s role in developing quintessential rococo subjects is established. We follow
Gillot from his start as the son of a decorative painter in the bishopric of Langres to his
arrival in Paris in the 1690s, as the city and its secular entertainments flourished apart
from the royal court at Versailles. Myriad opportunities awaited artists outside official
channels, and Gillot built his career working in the theater and as a painter and designer
long before seeking official academic status. His involvement with writers, playwrights,
and printmakers helped define his sphere. Gillot’s preference for theatrical subjects
brought him critical attention, and also attracted talented assistants such as Watteau
and Lancret. Gillot came to prominence around 1712 working at the Paris Opéra and as
a printmaker and illustrator of books, lending his droll humor to satires. By 1720, Gillot
was enlisted to design costumes for the last royal ballet, one of the final projects of his
career. He died nine months after his most celebrated pupil, Watteau. The sale of his
estate, which including his designs and many etched copper plates, provided material for
printmakers and publishers and ensured Gillot’s lasting fame among print connoisseurs.
His oeuvre as a draftsman and painter, however, was largely forgotten until drawings and
canvases began to emerge in the first half of the twentieth century.
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