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François BoucherThree drawings by François Boucher in a mounting by Jean-Baptiste Glomy Circa 1756
Circa 1756
About the Item
We would like to thank Juliette Parmentier-Courreau of the Custodia Foundation for her welcome and support during the consultation of Glomy’s Journal des Ouvrages.
This spectacularly large "feuille de desseins ajustés" commissioned by François Boucher from Jean-Baptiste Glomy is emblematic of the painter's art and mastery of rocaille. It is also fully representative of the taste of this period in the field of decorative arts. The largest of these three drawings, placed at the bottom of the composition, is particularly interesting: dating from around 1756, it constitutes a modello (apparently unpublished) for the frontispiece of the "Catalogue des tableaux de Monsieur de Julienne"), preserved in the Morgan Library in New York.
1. François Boucher, the master of French rocaille
The extraordinary career of Francois Boucher was unmatched by his contemporaries in versatility, consistency and output. For many, particularly the writers and collectors who led the revival of interest in the French rococo during the last century, his sensuous beauties and plump cupids represent the French eighteenth century at its most typical. His facility with the brush, even when betraying the occasional superficiality of his art, enabled him to master every aspect of painting – history and mythology, portraiture, landscape, ordinary life and, as part of larger compositions, even still life. He had been trained as an engraver, and the skills of a draftsman, which he imbued in the studio of Jean-Francois Cars (1661 – 1738), stood him in good stead throughout his career; his delightful drawings are one of the most sought-after aspects of his oeuvre.
As a student of Francois Lemoyne (1688 - 1737), he mastered the art of composition. The four years he spent in Italy, from 1727-1731, educated him in the works of the masters, classics and history, that his modest upbringing had denied him.
On his return to Paris in 1734, he gained full membership of the Royal Academy of Painting and Sculpture with his splendid Rinaldo and Armida (Paris, Musée du Louvre). Although, throughout his career, he occasionally painted subjects taken from the Bible, and would always have considered himself first as a history painter, his own repertoire of heroines, seductresses, flirtatious peasant girls and erotic beauties was better suited to a lighter, more decorative subject matter. His mastery of technique and composition enabled him to move from large scale tapestry cartoons (he worked throughout his career for both the Beauvais and Gobelins tapestry factories, becoming director of the latter in 1755), to intimate masterpieces such as Diana Resting (Paris, Louvre) or Leda and the Swan and the occasional scene from everyday life such as The Luncheon (Paris, Louvre), with its elegantly dressed figures grouped around a well-laid table.
Enormously successful and widely bought, Boucher’s output was prodigious. First patronized by the Crown in the 1730s, and appointed Premier Peintre du Roi in 1765, he executed numerous royal and princely commissions until his death in 1770, working particularly for Louis XV’s mistress, the Marquise de Pompadour in each of her several palaces. Always ready to utilize his talents in other fields, he designed stage sets for theatre and opera and supplied drawings to be used as designs for figures at the Vincennes (later Sèvres) porcelain factory. As a teacher, he was much loved by his many students, who included Fragonard, Le Prince, Deshays, Brenet, Baudouin, Lagrenee, and Madame de Pompadour herself.
In his earliest surviving works with their colourful rococo palette, even David, a distant cousin, was clearly influenced by Boucher. Not since Le Brun had a single French artist held such a monopoly on the imagery of a particular society or left such a mark on the art of his time.
2. Description of the drawings
Although very different, these three drawings are all driven by the same creative spirit and are therefore perfectly representative of Boucher's taste for symbolic or mythological compositions, executed in a style that is both lively and vigorous.
The drawing at the top of the composition (reproduced above) represents a Study of Nymphs: three young women are lying in a charming disorder, while a fourth seems to be floating at the back. Although it is difficult to link this drawing directly to one of Boucher's compositions, the nymph in the middle, with her left leg stretched forward and her arms spread, recalls one of the characters in one of Boucher's last compositions, Mercury Entrusting Bacchus as a Child to the Nymphs of Nysa, painted in 1769.
Typical of the erotic-mythological taste, the drawing in the middle (reproduced below) represents Mars and Venus: Mars, probably guided by Cupid, pulls aside a curtain, and discovers Venus asleep. The subject, taken from Ovid's Metamorphoses (IV, 167-189), has been a classic one since the Renaissance and allows Boucher to depict the naked body of a sleeping beauty with great voluptuousness. We have not found any painting by Boucher related to this sketch.
The third drawing (reproduced below), the largest in the composition, is much better documented. It depicts an allegory of the arts, symbolised by putti practising the arts (sculpture and drawing) in the atmosphere of an amateur's cabinet, cluttered with trinkets and drawing portfolios.
This drawing is undoubtedly the inspiration for the frontispiece of the "Catalogue des tableaux de Monsieur de Julienne" (last photo in the Gallery), a manuscript presenting the painting collection assembled by the art lover Jean de Julienne (1686 - 1766). This catalogue, probably executed around 1756, is now kept in the Morgan Library in New York. Our drawing allows us to confirm that the frontispiece (reproduced below), considered to be by the hand of another artist, is inspired by a preliminary drawing by Boucher. This unknown artist introduced several changes to Boucher’s lively sketch: the putto seated in the middle of the composition (which points to the monogram) was leafing through a drawing portfolio in the sketch, while the two putti on the left have been added, taking up the theme of the drawing portfolio browsing.
3. The talented Mr. Glomy
Son of a mason from Auxerre, Jean-Baptiste Glomy began his apprenticeship in 1729 at the age of eighteen with the merchant Pierre Henry Taumiet. First associated with Helle, a print and drawing dealer, geographer, and adviser to several famous amateurs, Glomy published with him in 1751 the first catalogue of Rembrandt's etchings, based on the manuscript left by Gersaint. Glomy then began to work on his own account from June 1st, 1753 onwards.
Glomy's speciality was the framing and mounting of drawings and prints. Glomy made "desseins ajustés" fashionable, i.e. drawings mounted with a wash or gold fillet. The greatest amateurs and painters of his time (such as the painter François Boucher, who was one of his main clients) entrusted him with their drawings. On the mounts he made, Glomy affixed a dry seal with his name in full or a seal with his initial G (L.1119), as on the mount we are presenting.
He had also invented a new artistic arrangement, which consisted in tracing painted and gilded lines on the reverse side of the glass. This technique was so successful that it was named after its inventor; a drawing or print was said to be glomisé or églomisé, i.e. framed under glass in the manner of Glomy.
In parallel to his mounting activity, Glomy directed art sales, enriching the catalogues with his own reflections to make them less austere (such as that of the Conti sale in 1777).
4. The Journal des Ouvrages
This precious manuscript kept in Paris at the Custodia Foundation (Collection Frits Lugt, inv. 9578) gives us full the details of the orders received by Glomy from 1753 to 1761. Boucher became Glomy’s client as early as July 1754, and the Journal reveals the importance of the orders he placed: 90 "desseins ajustés" and 33 " feuilles de desseins ajustés " in 1754, 33 " desseins ajustés " and 89 " feuilles de desseins ajustés " in 1755, 43 " desseins ajustés" and 60 "feuilles de desseins ajustés " in 1756, etc. The price was 30 sols per mounting with gold, and in 1757 this price was decreased to 20 sols. The same price did apply to “desseins ajustés” and to “feuille de desseins ajustés” (like ours).
The sheet we are presenting is a fascinating example of Boucher's commissions from Glomy and testifies to the taste of an era for "desseins ajustés": once completed, Boucher sold them to amateurs who used them to decorate their homes.
5. Framing
We have chosen to frame this beautiful mounting with a gilded wooden frame carved with pearls and rais-de-cœur from the Louis XVI period.
Main bibliographical references :
Boucher - Catalogue of the Grand Palais exhibition (September 18 1986 - January 5 1987) - RMN 1986
F. Marandet, 'Pierre Remy (1715-97): The Parisian art market in the mid-eighteenth century', Apollo, August 2003
P. Michel, Le Commerce du tableau à Paris dans la seconde moitié du XVIIIe siècle, Villeneuve d'Ascq 2007
- Creator:François Boucher (1703 - 1770, French)
- Creation Year:Circa 1756
- Dimensions:Height: 20.5 in (52.07 cm)Width: 11.63 in (29.55 cm)
- Medium:
- Movement & Style:
- Period:1750-1759
- Condition:Dimensions for the drawings, from top to bottom: 5 ½’’ x 7 7/8’’ (14 x 20 cm); 4 15/16’’x 9 ¾” (12.5 x 24.8 cm) and 7 ½” x 12 13/16” (19 x 32.5 cm) For the mounting: 20 ½” x 11 5/8” - (52 x 29.5 cm) Signed 'F. Boucher' lower right, just below Glomy’s.
- Gallery Location:PARIS, FR
- Reference Number:1stDibs: LU1568211933002
François Boucher
The extraordinary career of Francois Boucher was unmatched by his contemporaries in versatility, consistency and output. For many, particularly the writers and collectors who led the revival of interest in the French rococo during the last century, his sensuous beauties and plump cupids represent the French eighteenth century at its most typical. His facility with the brush, even when betraying the occasional superficiality of his art, enabled him to master every aspect of painting – history and mythology, portraiture, landscape, ordinary life and, as part of larger compositions, even still life. He had been trained as an engraver, and the skills of a draftsman, which he imbued in the studio of Jean-Francois Cars (1661 – 1738), stood him in good stead throughout his career; his delightful drawings are one of the most sought-after aspects of his oeuvre. As a student of Francois Lemoyne (1688 - 1737), he mastered the art of composition. The four years he spent in Italy, from 1727-1731, educated him in the works of the masters, classics and history, that his modest upbringing had denied him. On his return to Paris in 1734, he gained full membership of the Royal Academy of Painting and Sculpture with his splendid Rinaldo and Armida (Paris, Musée du Louvre). Although, throughout his career, he occasionally painted subjects taken from the Bible, and would always have considered himself first as a history painter, his own repertoire of heroines, seductresses, flirtatious peasant girls and erotic beauties was better suited to a lighter, more decorative subject matter. His mastery of technique and composition enabled him to move from large scale tapestry cartoons (he worked throughout his career for both the Beauvais and Gobelins tapestry factories, becoming director of the latter in 1755), to intimate masterpieces such as Diana Resting (Paris, Louvre) or Leda and the Swan and the occasional scene from everyday life such as The Luncheon (Paris, Louvre), with its elegantly dressed figures grouped around a well-laid table. Enormously successful and widely bought, Boucher’s output was prodigious. First patronized by the Crown in the 1730s, and appointed Premier Peintre du Roi in 1765, he executed numerous royal and princely commissions until his death in 1770, working particularly for Louis XV’s mistress, the Marquise de Pompadour in each of her several palaces. Always ready to utilize his talents in other fields, he designed stage sets for theatre and opera and supplied drawings to be used as designs for figures at the Vincennes (later Sèvres) porcelain factory. As a teacher, he was much loved by his many students, who included Fragonard, Le Prince, Deshays, Brenet, Baudouin, Lagrenee, and Madame de Pompadour herself. In his earliest surviving works with their colourful rococo palette, even David, a distant cousin, was clearly influenced by Boucher. Not since Le Brun had a single French artist held such a monopoly on the imagery of a particular society or left such a mark on the art of his time.
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Category
21st Century and Contemporary Contemporary Figurative Drawings and Water...
Materials
Paper, Chalk, Ink
The Abduction of the Sabine Women, by Giambologna in the Loggia dei Lanzi - Ganz
By Christopher Ganz
Located in Chicago, IL
Christopher Ganz
The Abduction of the Sabine Women, by Giambologna in the Loggia dei Lanzi, Florence
2018
Pens & chalk
19.50h x 13.50w in
49.53h x 34.29w cm
Frame: 28h x 18w in
CG0013
-ARTIST STATEMENT-
I depict my person in multiplicity with different selves representing dramatis
personae. My likeness is both implicit and symbolic in the portrayal of my
narrative; the drama involved in creating art and the artist’s role in society. I
use realism to invite the viewer into mysterious inner worlds that are layered
reflections of the outer. Dehumanizing environments are imbued with art
historical references as a critique of power structures. The artist is an
Everyman who is at odds with society and his self.
Visually my work is a celebration of society’s dark undercurrents and its
overlooked absurdities. I use charcoal and printmaking media as their
tenebrous values add a fitting metaphor. The nuances of light and shadow
seduce viewers into a world their better judgment would have them avoid.
This provokes a sense of disquietude that causes viewers to assess our world
through the austerity of a colorless, yet not humorless, light.
-BIO-
Christopher Ganz grew up in Northeast Ohio and from early on had a fertile imagination and an interest in art. Christopher's artistic education truly began at the University of Missouri, where his love of the human form led to many figure drawing classes and his exposure to the wonders of printmaking. Christopher's then went onto graduate school at Indiana University and a summer abroad program in Italy was a dream realized. Christopher then grasped charcoal with a renewed vigor and large, sfumato-laden drawings ensued. Christopher's artistic influences are many; from a seminal exposure to Dore's engravings of the Divine Comedy, to Rembrandt, Caravaggio, Goya, and up to Lucian Freud, Mark Tansey, and Michael Mazur. Christopher is now an associate professor of printmaking and drawing at Indiana-Purdue University Fort Wayne. Christopher drawings are represented by Ann Nathan Gallery in Chicago, and he shows his prints across the nation.
-CV-
EDUCATION
MFA 2001 Printmaking Indiana University-Bloomington
BFA 1995 Drawing and Printmaking University of Missouri-Columbia
TEACHING/PROFESSIONAL EXPERIENCE
2002-13 Associate Professor, Printmaking and Drawing
Indiana University–Purdue University Fort Wayne (IPFW), Fort Wayne, IN
2002 Adjunct Professor: Lithography (instructor of record)
Indiana University-Bloomington
1998-00 Associate Instructor: Beginning Drawing (instructor of record)
Indiana University-Bloomington
1998 Artist’s Assistant, Assisted Distinguished Professor Emeritus Rudy Pozzatti in
the production of an intaglio edition, Bloomington, IN
SOLO OR SMALL GROUP EXHIBITIONS
2013 Multiplicities: Drawings and Prints by Christopher Ganz, Franklin College, Franklin, IN
Feb. 5 – Feb. 21
2012 Dramatis Personae: Drawings and Prints by Christopher Ganz,
University of South Carolina-Columbia, Jan 16. – Feb. 16, 2012
2011 Christopher Ganz; Prints and Drawing
Hendrix College, Hendrix, Arkansas, March 5 - 18
2009 Fall Season Exhibition, six drawings displayed
Ann Nathan Gallery, Chicago. Oct 16 – Nov. 24
South Bend Museum of Art Biennial 25 - regional juried exhibition for artists in all media,
six large drawings displayed; 14 artists selected from over 200 submissions; May 30-Aug. 23
Juror: William Lieberman, Director of Zolla/Lieberman Gallery, Chicago
2007 Christopher Ganz: Drawings, The Carnegie Visual and Performing Arts Center
Covington, KY, March 9 - April 6
Alter Egos: Drawings and Prints by Christopher Ganz
Trisolini Gallery, Ohio University, Athens, OH, Jan. 9 - Feb.17
2005 The Two-Way Mirror: Self - Portraits by Christopher Ganz
Fort Wayne Museum of Art, Fort Wayne, IN, Aug.20 - Oct. 23
2004 Works on Paper: Christopher Ganz and Paul Schumann
Robert E. Wilson Gallery, Huntington College, Huntington, IN, Sept. 2 - 25
2002 Images by Christopher Ganz - Visual Arts Gallery
Indiana University-Purdue University Fort Wayne, Fort Wayne, IN, Sept. 3 – Oct. 11
2001 M.F.A. Thesis Exhibition - School of Fine Arts Gallery
Indiana University, Bloomington, IN, March 27 - April 7
SELECTED ADJUDICATED OR INVITATIONAL GROUP EXHIBITIONS
2012
International Expositions of Sculpture Objects and Functional Art (SOFA) Chicago, Drawing,
“The Initiation” on display in Ann Nathan Gallery space, Nov. 2-4
Reverse Watching, Invitational Print Portfolio
Monoprint, “The Mind’s Eye" displayed at Mid America Print Council’s National
Conference, Southeast Missouri State, Cape Girardeau, MO, Nov. 1 – 3
Contemporary American Realism: Fort Wayne Museum of Art 2012 National
Biennial, Fort Wayne, IN, Aug.11-Oct. 28
32nd Annual National Print Exhibition at Artlink - National Juried Exhibition
Artlink Gallery, Fort Wayne, IN, April 13 – May 23
Juror: Ladislav Hanka, internationally exhibiting printmaker
International Expositions of Sculpture Objects and Functional Art (SOFA) New York, Park
Avenue Armory, Drawing, “The Enigma” on display in Ann Nathan Gallery space, April
20-23
Spring Group Show, drawings, “Checking Out” and “The Enigma” displayed, April – May 2
Ann Nathan Gallery, Chicago
2011
Prints U.S.A. 2011 – National Juried Exhibition
Springfield Art Museum, Missouri, Nov. 18 – Jan. 8
Juror: Elizabeth Wyckoff, Curator of Prints, Drawings & Photographs, St. Louis Art Museum
International expositions of Sculpture Objects and Functional Art (SOFA) New York,
Park Avenue Armory, Drawing, Checking Out on display in Ann Nathan Gallery
space, April 14-17
2010
Contemporary American Realism: Fort Wayne Museum of Art 2010 National
Biennial, Fort Wayne, IN, Sept. 3 – Nov. 7; two pieces accepted
Cultural Baggage, Invitational Print Portfolio
Intaglio print, Super-Heroes go to Hell, after Dore’ displayed at Mid America Print
Council’s National Conference, University of Minnesota Minneapolis, MN, Chicago, Oct.
13-16
Art Chicago: International Fair of Contemporary and Modern Art
Drawing, The Cyclops on display in Ann Nathan Gallery space, April 29 - May 2
30th Annual National Print Exhibition at Artlink - National Juried Exhibition
Artlink Gallery, Fort Wayne, IN, April 16 – May 26
Juror: Claudia Berlinski, Senior Lecturer of Printmaking at Akron University, Akron, OH
2009
Are you looking at me? Invitational Print Portfolio
Color lithograph, Open and Shut, displayed at IMPACT 6: International Print Conference
Centre for Fine Print Research, University of the West of England, Bristol, Sept. 16 – 19
Art Chicago: International Fair of Contemporary and Modern Art
Drawing, Self-Checkout on display in Ann Nathan Gallery space, May 1 – 4
Identification Please, Invitational Print Portfolio
Intaglio print, Good Cop/Bad Cop displayed at Southern Graphics Council National
Conference, Columbia College, Chicago, March 25 – 29
Boston Printmakers 2009 North American Print Biennial – National juried
printmaking exhibition
Juror: Rebecca Waddell, Curator of Prints at the New York Public Library
Boston University’s 808 Gallery, Boston, MA, Feb. 15 – March 30
22nd Parkside National Small Print Exhibition - National Juried Exhibition
University of Wisconsin-Parkside, Kenosha, WI, Jan.18 - Feb. 19
Juror: Professor of printmaking at the University of Wisconsin - Parkside
Portraits and Beyond, Ann Nathan Galley, Chicago, IL, Jan. 9 - Feb 19 2008 Contemporary American Realism: Fort Wayne Museum of Art 2008 National
Biennial, Fort Wayne, IN, Sept13 – Nov. 2; two pieces accepted
28th Annual National Print Exhibition at Artlink - National Juried Exhibition
2008
Artlink Gallery, Fort Wayne, IN, April 11 – May 21
Juror: Mark Pascale, Printmaking Faculty, School of the Art Institute of Chicago and
Curator of Prints and Drawing, Art Institute of Chicago
“No Danger” - Invitational Portfolio
Folded paper airplane lithograph, “The Dream of Flight” displayed at Richmond
International Airport as part of the Southern Graphics Council National Conference
Virginia Commonwealth University, Richmond, VA, March 26 – April 26
21st Parkside National Small Print Exhibition - National Juried Exhibition
University of Wisconsin-Parkside, Kenosha, WI, Jan.20 - Feb. 21
Juror: Karla Hackenmiller, Printmaking Chair and Associate Professor, School of Fine
Arts, Ohio University
2007
Singularities – Invitational group exhibit
Joan Resnikoff Gallery, Roxbury Community College, Boston, MA
Nov. 2 – Dec. 17
Hong Kong Graphics Art Festival 2007: Crossing Boundaries - Invitational
international printmaking exchange exhibition
School of Design Gallery, Hong Kong Polytechnic University, Kowloon, Hong Kong,
China, Nov. 1 – Nov. 16
27th Annual National Print Exhibition at Artlink - National Juried Exhibition
Artlink Gallery, Fort Wayne, IN, May 26 - July 5; two pieces accepted
Award Selector: Brett Colley, Assistant Professor of Art and Design, Grand Valley
State University
Boston Printmakers 2007 North American Print Biennial – National juried
printmaking exhibition
Boston University’s 808 Gallery, Boston, MA, Feb. 18 - April 1
Juror: Judith B. Hecker, Assistant Curator, Department of Prints and Illustrated Books,
The Museum of Modern Art, New York
2006
The Printed Image: The First Biennial Midwestern Graphics Juried Exhibition
National Juried Printmaking Exhibition
Alice C. Sabatini Gallery, Topeka & Shawnee County Public Library, Topeka, KS
Aug. 11 - Sept 15
Juror: Karen Kunc, Professor of Printmaking/Book Arts, University of Nebraska- Lincoln
2006 National Contemporary American Realism: Fort Wayne Museum of Art's 2006
Biennial, Fort Wayne, IN, June 10 - Aug. 20; two pieces accepted
26th Annual National Print Exhibition at Artlink - National Juried Exhibition
Artlink Gallery, Fort Wayne, IN, May 26 - July 5; two pieces accepted
Award Selector: Carolyn Autry, artist and Associate Professor of Art and Art History
at the University of Toledo
19th University of Dallas Print Invitational - Traveling national invitational exhibition
Haggerty Gallery, University of Dallas, Irving TX, Jan. 28 – March 6 three pieces accepted
Texas A&M University – Corpus Christi, TX, Feb. 1 – March 9, 2007
Juror: Juergen Strunck, Professor of Art, University of Dallas
A Mammalian Future? - Invitational Portfolio
Intaglio print Jonas Ark displayed at Southern Graphics Council National Conference
University of Wisconsin-Madison, University of Wisconsin-Madison, April 5 – 9
Paper in Particular - National Juried works on paper exhibition
Larson Gallery, Columbia College, Columbia, MO, Feb. 5 - March 5; two pieces
accepted. Juror: David Morrison, Professor of Printmaking, Herron School of Art and
Design, Indianapolis, IN
19th Parkside National SmallPrint Exhibition - National Juried Exhibition
University of Wisconsin-Parkside, Kenosha, WI, Jan.15 - Feb. 16
Juror: Rudy Pozzatti, Professor Emeritus, Indiana University - Bloomington
2005
18th Parkside National Small Print Exhibition - National Juried Exhibition
University of Wisconsin-Parkside, Kenosha, WI, Jan.14 - Feb. 22
Juror: Karen Kunc, Professor of Printmaking/Book Arts, University of Nebraska-Lincoln
2004
Exchange! A Survey of International and National Exchange Print Portfolios
Visual and Performing Arts Center, Main Gallery, Purdue University, Feb. 1 - 15
Juror: Kathryn Reeves, P rofessor of Art, Purdue University
2003
23rd Annual National Print Exhibition at Artlink - National Juried Exhibition
Artlink Gallery, Fort Wayne, IN, May 16 - July 2, 2003
Border to Border – National Juried Drawing Exhibition
Trahern Gallery, Austin Peay State University, Clarksville, TN, March 3 - 30
Juror: Jim Cantrell, independent studio artist, Bardstown, KY
On/Of Paper – National Juried Exhibition
Clyde Snook Gallery, Adams State College, Alamosa, CO, March 3 - April 11
Juror: Dale Leys, Professor of Drawing, Murray State University, Murray, KY
Emerging Artists 2003 – National Juried Exhibition
Limner Gallery, New York, NY, Feb.12 – March 1
Jurors: Tim Slowinski...
Category
21st Century and Contemporary Contemporary Figurative Drawings and Water...
Materials
Paper, Chalk, Ink
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