The first comprehensive catalogue of the Getty Museum’s significant collection of French Rococo ébénisterie furniture. This catalogue focuses on French ébénisterie furniture in the Rococo style dating from 1735 to 1760. These splendid objects directly reflect the tastes of the Museum’s founder, J. Paul Getty, who started collecting in this area in 1938 and continued until his death in 1976. The Museum’s collection is particularly rich in examples created by the most talented cabinet masters then active in Paris, including Bernard van Risenburgh II (after 1696–ca. 1766), Jacques Dubois (1694–1763), and Jean-François Oeben (1721–1763). Working for members of the French royal family and aristocracy, these craftsmen excelled at producing veneered and marquetried pieces of furniture (tables, cabinets, and chests of drawers) fashionable for their lavish surfaces, refined gilt-bronze mounts, and elaborate design. These objects were renowned throughout Europe at a time when Paris was considered the capital of good taste. The entry on each work comprises both a curatorial section, with description and commentary, and a conservation report, with construction diagrams. An introduction by Anne-Lise Desmas traces the collection’s acquisition history, and two technical essays by Arlen Heginbotham present methodologies and findings on the analysis of gilt-bronze mounts and lacquer. The free online edition of this open-access publication is available at www.getty.edu/publications/rococo/ and includes zoomable, high-resolution photography. Also available are free PDF, EPUB, and Kindle/MOBI downloads of the book, and JPG downloads of the main catalogue images.

A volume which embodies an entire generation of scholarship on the artist. Seurat's brief but brilliant career is traced from his early academic drawings of the 1870s to the paintings of popular entertainments and the serene landscapes of his final years.

The J. Paul Getty Museum Journal 13 is a compendium of articles and notes pertaining to the Museum's permanent collections of antiquities, decorative arts, drawings, paintings, and photographs. This volume includes a supplement introduced by John Walsh with a fully illustrated checklist of the Getty’s recent acquisitions. Volume 13 includes articles written by Helayna I. Thickpenny, Michael Pfrommer, Klaus Parlasca, Heidemaire Koch, Jean-Dominique Augarde, Colin Streeter, Gillian Wilson, Charissa Bremer-David, C. Gay Nieda, Adrian Sassoon, Selma Holo, Marcel Roethlisberger, Louise Lippincott, Mark Leonard, Burton B. Fredericksen, Nigel Glendinning, Eleanor Sayre, and William Innes Homer.

Studying the effects of light, climate, and the seasons, Camille Pisarro experimented with art theory and technique, and fused a distinctive style that remained his own within the larger style of Impressionism. This publication presents Pisarro's oeuvre in all its thematic and artistic diversity. It is a spectrum which extends from the coloristic masterpieces of his early years, especially his landscapes, through to his later, equally famous views of Rouen and Paris, and includes a diversity of subject matter as seen in his portraits, still lifes, market scenes and representations of everyday peasant life.

*Records of some 20,000 pastels in public collections or known from exhibition and auction catalogues, including pastels by anonymous artists*Entries on 1250 named artists*5000 reproductions (2000 in color), many never before published, and references to all known reproductions of other pastels*A survey placing the major artists of the various schools in an historical context and explaining the technical features of the pastel*A list of exhibitions from 1704 to 2005, including livrets and contemporary criticism for the major exhibitions in Paris, London and elsewhere before 1800*A topographical index locating pastels in public collections worldwide*An index of some 7000 sittersPastels are lluminous and beautiful beyond all other pictures, wrote the English eighteenth century pastelist Francis Cotes, describingthe sensual appeal of this special dust rubbed into paper which has enchanted connoisseurs ever since. But the history of pastels is one of compounded mistakes and misattributions: these intimate portraits, whose subjects range from dynasts to servants, have been neglected for the better researched areas of old master drawings and oil painting. This Dictionary sets out to establish, for the first time, a convincing body of knowledge to help identify and attribute works by both major artists and the obscure "petits-maStres." It is an essential academic resource for art historians, a vital tool for collectors and dealers, and a treasure-trove for anyone interested in costume or social and political history. Pastels from the French school account for more than half the Dictionary, representing most of the more important artists such as Vivien, Nattier, La Tour, Perronneau, Labille-Guiard and VigHe Le Brun. But there were other major pastelists, such as Copley, Russell, Mengs, Carriera and Liotard fro

Elisabeth Louise Vigée Le Brun (1755–1842) was one of the finest eighteenth-century french painters and among the most important women artists of all time. Celebrated for her expressive portraits of French royalty and aristocracy, and especially of her patron Marie Antoinette, Vigée Le Brun exemplified success and resourcefulness in an age when women were rarely allowed either. Because of her close association with the queen Vigée Le Brun was forced to flee France during the French Revolution. For twelve years she traveled throughout Europe, painting noble sitters in the courts of Naples, Russia, Austria, and Prussia. She returned to France in 1802, under the reign of Emperor Napoleon I, where her creativity continued unabated. This handsome volume details Vigée Le Brun's story, portraying a talented artist who nimbly negotiated a shifting political and geographic landscape. Essays by international scholars address the ease with which this self-taught artist worked with monarchs, the nobility, court officials and luminaries of arts and letters, many of whom attended her famous salons. The position of women artists in Europe and at the Salons of the period is also explored, as are the challenges faced by Vigée Le Brun during her exile. The ninety paintings and pastels included in this volume attest to Vigée Le Brun's superb sense of color and expression. They include exquisite depictions of counts and countesses, princes and princesses alongside mothers and children, including the artist herself and her beloved daughter, Julie. A chronology of the life of Vigée Le Brun and a map of her travels accompany the text, elucidating the peregrinations of this remarkable, independent painter.