BAROQUE Decorative Tapestry Miniatures Gods Allegories

Description: 17-18th Century Decorative Tapestry and Miniatures Colors in the print include metallic gold. Another Fine Quality Print from Martin2001 Print Specifics: Type of print: Lithograph - Original antique printYear of printing: not indicated in the print - est. 1875-1876 Original artist: Albert Racinet Publisher: Imp. Firmin Didot, Paris Condition: 1 (1. Excellent - 2. Very good - 3. Good - 4. Fair). The print is rectangular, the slight distortion in the photo was caused by the camera.The slightly uneven color tone in the photo was caused by the light coming from one side only.Dimensions: 11 x 15.5 inches (28 x 40 cm), including blank margins (borders) around the image.Paper weight: 2 (1. Thick - 2. Heavier - 3. Medium heavy - 4. Slightly heavier - 5. Thin)Reverse side: BlankNotes: 1. Green color around the print in the photo is a contrasting background on which the print was photographed. Legend to the illustrations in the print: This tapestry, 3.75 metres in height and 2.50 metres in width (11 x 8 feet), is typical of a style common at the end of the seventeenth and early eighteenth centuries which favoured as subjects the legendary gods and allegories of the elements, the seasons and the months of the year. These cycles of hangings were part of the winter furnishings of apartments and were replaced by taffeta in the summer. The example shown here was recently displayed in an exhibition in Paris. It belongs to a transitional style between the ornamentation of the second half of the seventeenth century and that of the Regency period. In these compositions, more or less architectonic in appearance, fantasy, though still subjected to the symmetry of a general scheme, was beginning to affirm itself. The taste and fancy of the ornamentalist gradually took precedence over architectural conventions and the elements of the construction took on the aspect of delicate wainscots to which wall hangings had been fixed, a style of which Jean Berain had made frequent use. The delicacy of the ornamental composition apparent in the example in our plate indicates that it is from the school of Gillot. His hand is recognizable in the composition of the piece, in the treatment of the figures, and in the use of straightforward background colours. Beram, the teacher of Watteau, was an ingenious innovator. The articulation of this motif is the early manifestation of a fashion that was to lead to garlanded mirror frames with uprights fashioned like bending palms. The delicacy with which the illusory carved wood is treated prefigures the fine carving of mouldings of the Louis XV style. These sumptuous tapestries were made with wool, silk, gold and sometimes silver. Among the craftsmen who executed these hangings the name of Audran figures prominently. Surrounding the central motif is a squared damask design of metallic threads. The large fragment, taken from the border of an illuminated page, obeys the principle of a painted carved wood frame. An example of this nature, true to the style of its time, provides valuable information regarding the use of colour during that period. The initials in our plate go with the initials and cartouche displayed in the plate identified by the symbol of the trousers. They are taken from the same source:Antiphonaire a l'usage de Saint-Vincent de Senlis in four volumes, which was illuminated between 1705 and 1729 in the monastery of Sainte-Genevieve in Paris. One of these initials is set against a blue monochrome landscape, a commonly used style at the time. The overall style of these motifs is representative of the seventeenth century. Martin2001 Satisfaction Guaranteed Policy! Any print purchased from me may be returned for any (or no) reason for a full refund including all postage. Internet seller since 1998.Five-star service.

Price: 25.35 USD

Location: Manassas, Virginia

End Time: 2024-10-14T18:29:20.000Z

Shipping Cost: 4.45 USD