Perrault Charles

Perrault Charles — marelibri

BEAUX ARTS CORNERSTONE FROM THE FATHER OF THE FAIRY TALE

1690réf. 008815 42 1 p. 13 plates 1 folding 246 x 324 mm ---- First and only edition of this fully engraved cornerstone of the Quarrel of the Ancients and Moderns all the more important as a record of lost paintings by some of France's most esteemed artists. The etchings enhanced with the burin reproduce eleven paintings that once adorned the ceiling of the library in the private home of Charles Perrault that titan of French letters commonly considered the father of the modern fairy tale. Today the work is typically credited with inaugurating the use of the term beaux arts and even in its own day the book "attracted attention for its ambition" and "the publication of the collection is among the most outstanding initiatives in the art of decoration in 17th-century France" Martin. Most of the paintings the volume reproduces have been lost. For many years only one had been firmly identified though Marie-Pauline Martin appears to have traced three more. ¶ The Querelle des anciens et des modernes was more or less as it sounds a debate between two sparring factions on the best of literary and artistic achievement. The Ancients advocated for the elevation of classical work which had clearly stood the test of time essentially to continue the work of the Renaissance. The Moderns argued that since the kingdom of Louis XIV was the greatest to yet grace the earth its achievements must surely surpass that of the ancient world. Perrault was in the crown's employ—he served as secretary to the official who supervised the French Academy which set the Sun King's artistic standards—so he argued from an inherently stronger position backed by the full support of the state. Perrault was the de facto leader of the Moderns and his Parallèle des anciens et des modernes a multi-volume work that began publication in 1688was a critical contribution to the discourse and source of the punning Querelle. If his Parallèle was something of a textual manifesto then this Cabinet is a kind of visual counterpart a visual manifestation of faith in contemporary art. "During the years of the Quarrel he recruited the best painters in Paris to turn his library into a visual statement of his support for the Moderns. Those who did not visit his library could still get at least an impression of it by looking at the engraved plates of the Cabinet des beaux arts" Bertucci. ¶ One plank of Perrault's platform which he lays out in the accompanying text was the equal regard for liberal and mechanical arts. This represents a culmination of centuries of artistic thought. Throughout the Middle Ages and with few exceptions artists were invariably viewed as mere craftspeople—laborers who worked with their hands. This began to change with the Renaissance. "Encouraged by Humanism in literature religion and education art gradually came to be seen as an intellectual occupation. The artisanal aspect remained important but successful artists increasingly presented themselves as learned figures" Jonckheere. Artists had finally earned the privilege to place their work among the liberal arts as participants in intellectual labor. Perrault here comes full circle and claims the two—the liberal arts and the mechanical arts—to be equals. There was a progressive aspect from the audience's perspective too. Not so weighed down by two millennia of cultural patrimony "modernity ostensibly demanded much less of its spectators in the way of connoisseurship and erudition" though we'd hardly say these scenes abandon traditional iconography altogether. "In short Perrault's Cabinet des Beaux-Arts seemed to create a cultural space for newcomers both collectively and individually" Scott. ¶ The book is exceptional not simply for its significance to the querelle but no less as an anthology of the best French artists of the age. The allegorical paintings include a depiction of Apollo by Charles de La Fosse this a foldout plate; Mercury both designed and engraved by Jean-Baptiste Corneille; Minerva by Louis de Boullogne II; Eloquence by René-Antoine Houasse; Poetry by Alexandre Ubeleski; Music by Noël Nicolas Coypel; Architecture here attributed to Boulogne l'aisné though Louis Boullogne the Elder died in 1674 perhaps his son copied his design; Painting by Claude Audran III; Sculpture by Jacques Antoine Friquet de Vauroze; Optics by Nicolas Corneille; and Mechanics by Jean Jouvenet. The engravers who reproduced these paintings are Louis de Chastillon Étienne Baudet Jean-Baptiste Bonnart Pierre Lepautre Gérard Edelinck Benoît Audran Louis Cossin Charles Louis Simonneau and Louis Simonneau II. Preceding these full-page reproductions are a view of the library's entrance engraved by a member of the Le Pautre family and a view of the entire ceiling—identifiably rendering each of the eleven paintings—engraved by Jean Dolivar. The head- and tail-piece were designed by Charles Le Brun II and engraved by François Chauveau. ¶ An extraordinary compendium of the very best in French painting and engraving. ---- PROVENANCE: Old shelf-mark on title 1.N.59. ---- CONDITION: Eighteenth-century brown leather with a cat's paw pattern the spine tooled in gold; marbled endpapers. ¶ Scattered mild to moderate foxing and soiling the title bearing the worst; last few leaves mildly dampstained in the lower margin; a half dozen leaves at front with negligible worming in the lower margin nowhere near any content; a few 1 cm closed tears in the foldout Apollo plate one of them crossing the plate mark but stopping just shy of the image itself. Professionally and sympathetically rebacked preserving most of the original spine; corners the boards likewise repaired and the upper corner of the front fly-leaf restored; leather a bit scuffed and worn at the extremities; upper corner neatly ripped from the second front fly-leaf presumably an old inscription. ---- REFERENCES: Cicognara #3433; Brunet Manuel du libraire v. 4 col. 509 ¶ Marie-Pauline Martin "Le Cabinet des Beaux-arts de Charles Perrault: le monument d'un moderne" Revue de l'art 190 2015 p. 9 cited above; an altogether excellent assessment of the work; Maxime Préaud Inventaire du fonds français: Graveurs du XVIIe siècle: Pierre Lepature tome 13 2008 p. 294 describing the title and Poésie plate; Katie Scott The Rococo Interior 1995 p. 218 cited above 219 "If Perrault had allowed personal whim to play some part in devising his ceiling ultimately the cabinet served to proclaim not his taste but the triumphant patronage of Louis XIV"; Paola Bertucci Artisanal Enlightenment: Science and the Mechanical Arts in Old Regime France 2017 p. 18 cited above 19 "Perrault explained here that the notion of beaux arts replaced ancient classifications of human learning which defined the liberal and the mechanical arts as respectively the work of the mind and the work of the hand. He rejected the ancient hierarchy that placed the liberal above the mechanical arts because only the former were noble and dignified. The beaux arts Perrault explained were those arts that inspired and educated one's taste and genius."; Koenraad Jonckheere A New History of Western Art 2022 p. 376 cited above; Stephen Parcell Four Historical Definitions of Architecture 2012 p. 180 "the first book to refer explicitly to the beaux-arts"; Nicholas Cronk The Classical Sublime: French Neoclassicism and the Language of Literature 2002 p. 159 "In the early 1680s Charles Perrault commissioned a series of eleven paintings from the most prominent painters then working in the capital to create a Cabinet des Muses for his Paris home.the iconographical importance of the project was evidently at least as important to Perrault as its actual realisation. The one painting of the eleven to have survived is L'Eloquence by René-Antoine Houasse."; Natalie Heinich "De l'apparition de l''artiste' a l'invention des 'beaux-arts'" Revue d'histoire moderne et contemporaine 37 Jan-Mar 1990 p. 14 on the book's role in formalizing the beaux arts: "Thus we witness the birth of a generic category which.will impose its own form on the whole of European culture from the 18th century onwards"; Pierre Rosenberg "Un émule polonais de Le Brun: Alexandre Ubelesqui" Artibus et Historiae 11.22 1990 p. 166 "The interest in this work is the personality of the patron and the list of artists" Gérard Edelinck and André-Charles Boulle hardcover

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PERRAULT (Charles);Biblio.com

Mémoires de Charles Perrault de l’Académie Françoise

1759réf. Perrault1759PERRAULT Charles: Mémoires de Charles Perrault de l'Académie Françoise et Premier Commis des batimens du Roi. Contenant beaucoup de particularités & d'Anecdotes intéressantes du ministère de M. Colbert. Avignon: Pierre Patte 1759. First edition of the Memoirs by the author of Mother Goose's Tales very rare when preserved in an elegant ancient binding as our copy. Tchemerzine V 188 The Memoirs stop after the break with Colbert and were published by the architect Pierre Patte. Originally coming from the region of Tours but established in Paris the Perrault family belongs to a haute bourgeoisie of Robe with a modern and Jansenist sensibility whose sons are lawyer Jean receiver general of finances Pierre architect and doctor Claude or doctor in theology Nicolas. As for Charles if he seems to follow a banal course of a future robin brilliant literary studies at the college of Beauvais in Paris law degrees and registration at the bar in 1651 he actually breaks with the school institution. Then we see him trying to celebrate the great events of the kingdom: odes on peace on the occasion of the Treaty of the Pyrenees 1659 on the wedding of Louis XIV and Marie-Therese 1660 on the birth of the Dauphin 1661 with a controversial literary talent by Racine but with a growing political success to the point of appearing soon to the young King and his administrators as a great choice to carry out the cultural project of the reordering of France; while he is committed to the superintendence of the royal buildings Perrault who has proved again his encomiastic science Discours sur lacquisition de Dunkerque par le roi 1663 is appointed on the recommendation of Chapelain secretary of the Petite Academy future Académie des inscriptions et des belles-lettres. He is elected to the French Academy 1671 of which he became Chancellor at the death of Seguier 1672 and redefines its rules of operation. Its effectiveness is once again such that in the same year Colbert creates for him a tailor-made position the general control of the buildings. After the death of Colbert 1683 he is dismissed from his position of Controller General and excluded from the Petite Académie by Louvois; only remained Director of the Academy he is de facto placed in an almost total retreat at the age of fifty-five. Charles Perrault then devotes himself to the education of his children he was a widower since 1678 but more importantly resumes and deepens a religious reflection Épître chrétienne sur la pénitence praise of Louis XIV protector of the Catholic religion 1683 ode Aux nouveaux convertis 1685 etc. which will prove to be the ethical base of the upcoming Quarrel of the Ancients and the Moderns. As evidenced by his consultation with two religious former moderates Bossuet and Huet about his Saint Paulin évêque de Nole 1686 epic in six songs that appears to be followed by an epistle to Fontenelle Le Génie. On January 27 1687 the public reading of the Siècle de Louis XIV by Charles Perrault to the glory of the Moderns caused a quarrel between the Ancients and the Moderns to burst whose stakes exceed the controversies of their respective leaders Boileau and himself. In fact it will result in the reconciliation 1694 of those who probably were differently of the same opinion Boileau. [Pierre Patte] hardcover

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PERRAULT (Charles);ABAA

Mémoires de Charles Perrault de l’Académie Françoise

BATTLEDORE LTD · États-Unis3 500,00 $US≈ 3 132,83 €

Vitruvius Pollio, Marcus; Charles Perrault (trans)Biblio.com

Le Dix Livres d'Architecture de Vitruve Corrigez et Traduits nouvellement en François avec des notes et figures The Ten Books on Architecture by Vitruvius Corrected at Newly Translated into Franch with Notes and Illustrations

1684réf. 55420Paris: Jean Baptiste Coignard 1684. Second revised edition. Contemporary Calf. Nearly fine. Folio 40.6 by 27.9 cm. Collation: pi1 a2 e2 i2 o2 A-4Y2 4Z4 -4Z4; = 194 leaves . 18 354 16 pp; engraved hors texte half-title; 68 numbered engraved plates some double-suite in text; woodcut diagrams throughout. Contemporary marbled calf lightly worn at extremities spine with raised bands lettered and tooled in gilt dentelles; marbled endleaves. Occasional light dampstain at top gutter sometimes just encroaching beyond margin else a fine amply-margined copy. Second revised edition. "This edition contained few emendations but many important additions which based on various opinions prompted the author to reprint his version. He also changed three figures and added three plates one in Book VI and two in Book X. Although this work could have been further refined it nevertheless rightfully holds a prominent place among the Vitruvian versions and commentaries" Cicognara. Claude Perrault 1613-1688 was a member of the Royal Academy of Sciences and a doctor of medicine and anatomist in the faculty at Paris; he designed the Paris Observatory and participated in the design of the east façade of the Louvre. His published works are evidence of a polymathic mind encompassing architecture physics and natural history. Fowler ranks the present work among "the scholarly editions of Vitruvius Fowler. With engravings signed by: Sébastien Leclerc Jacques Grignon Georges Tournier Nicolas Pitau Gérard Edelinck Pieter Van Der Banck Gérard Scotin Jean Patigny Pierre Lepautre Etienne Gantrel. The military and civil engineer Marcus Vitruvius Pollio ca. 70-80 BCE - ca. 15 CE is the author of the only surviving ancient treatise on architecture arranged in ten books. By his own account Vitruvius served in the Roman army under the command of Julius Caesar. Rediscovered by the Florentine humanist Poggio Bracciolini 1380-1459 in the library of Saint Gall Abbey and publicized by Leon Battista Alberti 1404-1472 Vitruvius' De Architectura would later define the canon of classical architecture. His assertion that structures should exhibit the three qualities of stability firmitatis utility utilitiatis and beauty venustatis became a commonplace in architectural theory. The wide-ranging program of De Architectura deals with "principles of buildings in general building materials designs of theatres temples and other public buildings town and country houses baths interior decoration and wall paintings clocks and dials astronomy mechanical and military engineering." PMM. Throughout the Renaissance Vitruvius' work provided inspiration for Michelangelo Leon Battista Alberti Donato Bramante Lorenzo Ghiberti Giacomo Vignola Andrea Palladio and many others. The first printed edition of De Architectura appeared at Rome ca. 1483-90; the first illustrated edition at Venice 1511. Provenance: Bookplate of Harold Douthit. Cf. Digital Cicognara Library 730; Cf. Fowler 418 first ed. 1673. Full title and imprint: Le Dix Livres d'Architecture de Vitruve Corrigez et Traduits nouvellement en François avec des notes & figures. Seconde edition reveue corrigée & augmentée par M. Perrault de l'Academie Royalle des Sciences Docteur en Medecine de la Faculté de Paris. A Paris chez Jean Baptiste Coignard imprimeur ordinaire du roy ruë S. Jacques à la Bible d'or M.DC.LXXXIV. 1684. Jean Baptiste Coignard unknown