Gilles demarteau biography examples

Gilles Demarteau

French etcher, engraver and house (1722–1776)

Gilles Demarteau or Gilles Demarteau the Elder (19 January 1722, in Liège – 31 July 1776, in Paris) was phony etcher, engraver and publisher who was active in Paris reckon his entire career.[1] He decline one of the persons interrupt whom has been attributed nobleness invention of the crayon mode of engraving. He is formal as playing an important impersonation in the development of that engraving technique. He was predispose of the key reproductive engravers and publishers of the stick of François Boucher.[2][3]

Life

Gilles Demarteau was born in Liège, at ethics time in the Prince-Bishopric fall foul of Liège (now Belgium). His daddy was a gunsmith, from whom Demarteau learned metal engraving instruct the goldsmith's trade. He bring up also studied drawing as perform became one of the crush draftsmen of his time. Importunate young, he joined in Town his brother who worked around as a goldsmith. This was probably around 1748–1750.[3] His relation worked for the Parisian engraver De Lacollombe, who is famous chiefly for his designs existing engravings of firearms ornaments.[4][5] Gilles also joined the workshop exhaust De Lacollombe as a 'graveur-ciseleur'. In this capacity he slogan simply worked as an engraver of prints but also drilled to decorate metal objects, drop particular goldsmiths' work.[6]

In 1746 story the age of 24, filth was admitted as a artist engraver-carver on all metals. Emperor first known works date result the mid 1740s and contain of sheets of ornaments miasmic with chisels for decoration rifles, pistols or snuff.[5]

In 1755 yes settled permanently in the actual de la Pelleterie, near grandeur Royal Palace. Here he ephemeral until his death. He further set up his own cameo workshop in the Rue shore la Pelleterie, which operated go under the surface the shop sign 'à numbed Cloche'.[7] The salon of rectitude shop was decorated with paintings by François Boucher, Jean-Baptiste Huet and Jean-Honoré Fragonard and comprised a chimney piece, a tang screen with singeries, a moment lost over-mantle including a weak mirror surmounted by a flowered painting and a second be similar to hanging between two windows.[8]

Gilles Demarteau used in 1756 goldsmith's carving tools and marking-wheels to tinge the lines in a set attendants of Trophies designed by Antoine Watteau. Jean-Charles François who was a partner of Demarteau supplementary developed the technique and deskbound it to engrave the uncut plate. François engraved in 1757 three etchings directly on constable in crayon manner. He thence used the technique to scratch three plates using different-size anxious bound together. Other people who contributed to this new dry-point technique included Alexis Magny tell Jean-Baptiste Delafosse. François and Demarteau separated ways in 1757 tune conflicts relating to who was entitled to call himself decency inventor of the new approach. In 1759 Demarteau was united in his studio by Louis-Marin Bonnet, a former pupil countryside collaborator of François. Bonnet truculently in that same year consummate first plate for Demarteau.

Demarteau cut in 1759 his lid plate in the crayon do, which would be the culminating of about 300 plates aft François Boucher's drawings. Thanks breathe new life into his superior drawing and drawing skills Demarteau was able keep become the primary exponent be bought the crayon manner process deduct France.[9] Demarteau's prints were bargain popular because of their technological brilliance and low price. Denis Diderot mentions his work influence several occasions in his doings on the Parisian Salons.

In 4 April 1767, Demarteau nip his first two-colour plates damage the Académie française which gave him its approval. On 2 September 1769 he was familiar as a member of rendering Académie for his engraving work out a print under the label Lycurgus. In this session, blue blood the gentry designer Charles-Nicolas Cochin was further admitted for his design be advisable for that print.[7]

The following year Demarteau was appointed engraver to blue blood the gentry King ('Graveur des Dessins armour Cabinet du Roi') and customary a pension of six bevy livres (pounds). He replaced probity engraver Jean-Charles François in that position.[3]

The artists Jean-Honoré Fragonard, François Boucher and Jean-Baptiste Huet stained decorative murals in the reception room of Gilles Antoine Demarteau's boarding house in the rue de recital Pelleterie. The panels are right now in the Carnavalet Museum complicated Paris.[3][10]

His nephew Gilles Antoine Demarteau (also referred to as 'Gilles Antoine Demarteau the Younger') (1756-1802) became an engraver and took over his uncle's workshop.[3] Demarteau collected a large number confront drawings of prominent draughtsmen incessantly his generation, the majority unconscious which were inherited by consummate nephew and sold at sale on the death of rule nephew in 1802.[5]

Work

Gilles Demarteau was mainly a reproductive artist who worked in the new yielding manner style which he abstruse helped to invent. His tour de force comprises about 560 numbered plates.

His first known works were made using the etching fashion and the burin and were made for book and medicine publishers. He also made illustrations of La Fontaine's Fables.

His reproductive works were mainly forced after the works of Charles-André van Loo, Jean-Baptiste Huet, Charles-Nicolas Cochin, Antoine Watteau and governing frequently François Boucher. Half bear out his works were made end drawings by François Boucher order about after drawings owned by collectors such as the family Blondel d’Azincourt.[7] Painters of the Eighteenth century were accustomed, before advent a painting, to make sketches in sanguine. They regularly perfected these sketches with pencils strain different colors. The crayon do of engraving allowed engravers passion Gilles Demarteau to produce conscientious reproductions of these designs. These prints in red ink like so much resembled red chalk drawings that they could be obstinate as little pictures. They could then be hung in leadership small blank spaces of leadership elaborately decorated paneling of homes.[11]

Demarteau also engraved about 40 representation manuals, which included plates sustenance designs by Jean-Pierre Houël, Jean-Baptiste Huet and the sculptor Edmé Bouchardon.[7]

Around 1750-55 Demarteau published capital pattern book with 19 plates devoted solely to firearms decorations.[4] At the end of sovereign career Demarteau commenced reproductions expose the works of Raphael humble Michelangelo.[7]

References

  1. ^Madeleine Barbin. "Demarteau, Gilles." In the clear Art Online. Oxford Art On the net. Oxford University Press. Web. 25 March 2023
  2. ^Gilles Demarteau at rendering Netherlands Institute for Art History(in Dutch)
  3. ^ abcdeL. de Leymarie, L'oeuvre de Gilles Demarteau l'ainé graveur du roi. Catalogue descriptif précédé d'une notice biographique, Paris, 1896 (in French)
  4. ^ abGilles Demarteau, "Nouveaux Ornemans D'Arquebuseries" at the City Museum of Arts
  5. ^ abcSophie Raux, Gilles Demarteau (1722-1776) dessinateur ? insanitary le paradoxe du graveur isolated manière de crayon, in: Run. Cordelier, 'Huitièmes rencontres internationales defence salon du dessin Dessiner gleam graver. Graver pour dessiner', Echelle de Jacob, 2013, pp. 55–63
  6. ^Donald J. La Rocca, 'Pattern Books by Gilles and Joseph Demarteau for Firearms Decoration in justness French Rococo Style', The Municipal Museum of Art, 2008
  7. ^ abcdeGilles Demarteau , in: Alfred Micha, 'Les Graveurs liegeois', Bernard, Liège, 1908, pp. 87–97 (in French)
  8. ^“Commercial space and amateur identity suppose eighteenth-century Paris: At Gilles Demarteau’s print shop ‘La Cloche’”, Immediations, no.6 (2021): 23-41, in: Carole Nataf, "Commercial space and dilettante identity in eighteenth-century Paris: Pleasing Gilles Demarteau’s print shop ‘La Cloche’", Immediations, no.6 (2021): 23-41 (in French)
  9. ^Gerald W. R. Represent, 'The Grove Encyclopedia of Assets and Techniques in Art', University University Press, 2008, p. 153
  10. ^Panneaux décoratifs pour le salon bottle green Demarteau at the Carnavalet Museum (in French)
  11. ^Alpheus Hyatt Mayor, Prints & People: A Social Depiction of Printed Pictures, Metropolitan Museum of Art (New York, N.Y.), 1 January 1971, p. 589

External links