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Add to my virtual collection. First edition of the head collection, the first full year of publication, the No.

François Hoffman

The journal publishes headings "Fortnight literary" and "dramatic Bulletin" on the history and current literature and theater, "Etudes" dedicated to a book or author in particular, a "correspondence" from the rest of Europe, a "contemporaryic Bulletin" listing a selection of French and European publications, and a large "Bibliography" presenting contemporary works covering areas as diverse as Poetry, the Novel, History, Arts, Geography, Philosophy, Social Studies, Literary Criticism or Sciences.

Quelques blankets stained and partially past few tiny tears and foxing and marginal, otherwise good overall condition for this rare head collection. Contact us for any information! Where are we? On-line help. Book a book We will be happy to go out This book from our To put it to you for 48 hours This booking does not involve any purchase commitment And allows you to come and see this book at the bookshop Or to order it within this period Warning : our books are listed on other sites, the book can be sold before confirmation of your reservation, and we can not guarantee its availability.

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Signed book. Another sketch, now in the Louvre, is of nearly identical dimensions, which makes for complications in disentangling its history from that of the present sketch. One of Lemoyne's two oil sketches was still with him at the time of his death; one was exhibited by the dealer Le Brun in the Salon de la Correspondance, but which -- the present painting or the Louvre sketch -- is impossible to determine.

However, Bordeaux has observed that the present modello 'shows more spontaneity in the execution' than the Louvre version, and it is reasonable to suppose that it precedes the Louvre model which formalizes, somewhat more dryly, the final composition. Lemoyne's composition depicts the final episode in the Death of the Virgin, now an article of Catholic faith, whose origin lay in apocryphal literature: the taking up to heaven of the body and soul of the Virgin Mary three days after her death. The Virgin in rapture is seen rising through the center of Lemoyne's oval, surrounded by angels, while saints -- including the church's patrons, Sulpice and Peter -- apostles and martyrs gather on the ground below and watch her ascension with awe.

Rameau’s Nephew - Le Neveu de Rameau

The Assumption of the Virgin confirmed as fact the promise first proffered in the Saint-Thomas d'Aquin Transfiguration : it was now obvious that Lemoyne was without rival as a painter of illusionistic decoration in the Grand Manner. No French painter since Charles Lebrun had attempted to work on such a scale, and his masterpiece, the vast ceiling of The Apotheosis of Hercules at Versailles , was soon to reveal Lemoyne's full skills and ambition as a decorator, which would only be surpassed several decades later by the genius of Tiepolo.

Description: Huile sur cuivre. Description: Le sacrifice d'Iphigenie, painted c. Description: Scene champetre, i. Saubert or Sobert ;Mr.

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Vorgon de Voormezeel;With A. NOTEPainted vigorously, with loose brushwork and a fresh tonality, this recently rediscovered pair of pictures by Le Moyne clearly reveal the lightness and elegance of the style the artist developed in the early s. It is during this early period that Le Moyne made his most significant contributions to French painting. Trained by Louis Galloche and awarded the Prix de Rome in , Le Moyne was not able to take up his prize and visit Italy until because of the poor state of financial affairs in France.

His Parisian instructor, however, introduced him to the painting, of Raphael, Correggio, and Peter Paul Rubens hanging in the collections of the Louvre. Like his Baroque predecessors, Le Moyne was quickly given commission for large decorative schemes, and his elegant figures and precious colors make him one of the first proponents of the Rococo style. Painted in the grand tradition of Charles de La Fosse, his early more monumental history canvases featured the warm tones inherited from Jouvenet and Galloche. Le Moyne was more than a simple imitator, he was a highly cultivated artist who was capable of drawing upon the grand monumental French decorative style and adapting it to the tastes of Louis XV's court.

Le Moyne's style of painting was lighter, more pleasant, and easier, and would become a precursor of the elegant, graceful works of Boucher and Natoire, his students. Gersaint wrote of Le Moyne in , "Le Moyne has the glory of having created a new school in France which must consider him the father of good taste currently prevailing in the works of our painters.

He has been the master of nearly all our important artists. His draftsmanship is accurate and subtle; les graces brillent in all his compositions; his colors are cheerful and expressive; in one work he exhibits all the talents of painting.. Le Moyne developed an individual style with a taste for open air compositions and a clear, strong palette. From onwards, and even before his trip to Italy in , his easel paintings already show a natural inclination toward Correggio's reserved and subtle sensuality.

These early works also reveal an interest in cinquecento Venetian art, namely Veronese, who influenced not only his compositions but also his handling of the paint. Both artists felt a desire to take on the new popular style of Coypel, Watteau and de la Fosse.

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  • De Troy quickly became successful with the wealthy bourgeois classes, producing light Ovidian fantasies and his more gallant tableaux de mode. Le Moyne responded with a few lighthearted and gallant subjects such as the present pair. Despite being inspired by Watteau's new genre, what separates these works from being overly in the manner of Watteau is Le Moyne's compositional freedom, more varied gestures, broader execution and more literal interpretation of a leisurely pastime and thus, the reason for the association to the Ovidian myth of Chloe and Daphnis.

    At the time of the Duc des Deux-Ponts sale and the Vaudreuil sale, the pictures were described as being signed. But at the time of the sale there was no reference to a signature and one is not visible today. Bordeaux in his catalogue notes that the pictures are signed based again on the early provenance but had never seen the pictures firsthand to verify.

    Two preparatory drawings for both compositions are in the collection of the J. Quentin de Lorangere, Paris, March , p. Description: oil on canvas. We use cookies to understand how you use our site and to improve your experience. This includes personalizing content and advertising.

    In excelsis - André Lemoyne lu par Yvon Jean

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    Lemoyne, André [WorldCat Identities]

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