Hubert-François Gravelot Figurative Art - H F Gravelot, Two Allegories, Faith and Vigilance, Pen and Ink
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Hubert-François Gravelot
H F Gravelot, Two Allegories, Faith and Vigilance, Pen and Ink

circa 1760

About

Hubert-François Gravelot (1699-1773) Two Allegories : Vigilance and Faith Pen, black Ink, and black wash on paper 7.9 x 4.8 each one Framed 22 x 26 cm Old framing that needs to be restored Vigilance can be identified with the cock at her feet that symbolises attention. Faith of course is more easily identifiable with the cross she holds. Hubert-François Bourguignon d'Anville , known as Gravelot (March 26, 1699 - April 19 , 1773) Is an illustrator , engraver , illustrator and painter who enjoyed some success in London at the beginning of the 18th century and gave the impression there of the "French taste". From 1732 to 1745 , Gravelot moved to London . Although subject to Anglomania as many of his compatriots, he went there at the invitation of the engraver Claude Dubosc (1682-1745) to work on the engravings of the English edition of the work of Bernard Picart , Treaty of the religious ceremonies of all nations . Engraver George Vertue's notebooks have a very positive appreciation of Gravelot's style. The latter then begins to attend an artists' society, the St Martin's Lane Academy run byWilliam Hogarth , at a time when London had no gallery, no museum, no exhibition, not even a school which was the equivalent of the Royal Academy in Paris. Plover takes as a student Thomas Gainsborough who will become one of the most important painters of the English school of the 18th century. His style is imitated, and Gravelot is undoubtedly one of the promoters of rococo in England, so much he excels in the art of ornament . Gravelot also distinguished himself in his illustrations and rockerieswhich he had made for cabinet makers, upholsterers and boilermakers, who were a source of inspiration for goldsmiths, upholsterers and cabinetmakers among whom are Thomas Chippendale , not to mention the miniaturists working for the chelsea porcelain factory . His illustrations, including 35 frontispieces for the only edition of Shakespeare's Complete Works in 1744 4 , influenced English artists and he worked alongside engraver like Gerard van der Gucht . There is also the Pamela: gold, Virtue rewarded by Samuel Richardson that he illustrated in 1741 from compositions painted by Francis Hayman . The anti-French sentiments triggered by the Battle of Fontenoy in 1745 brought Gravelot back to Paris in October, where, accompanied by one of his pupils, Thomas Major, and a fortune estimated at 40,000 livres , he had no difficulty to use his talents. During the winter of 1745-1746, Plover manages to free his young pupil the Bastille , the English have been declared suspects a time, involving the Marquis d'Argenson . He illustrates the burners sides as Noël Le Mire , the History of Tom Jones Fielding (1750), the Decameron (1757), the New Heloise (1761), the moral tales of Marmontel (1765), Metamorphoses of Ovid (1767-71), Jerusalem delivered from Tasse (1771) but also the complete works of Corneille, Racine and Voltaire: some of these illustrated books are considered as among the most beautiful of this time. A great reader, Gravelot was the brother of the geographer Jean-Baptiste Bourguignon d'Anville, with whom he worked on a series of maps and wrote his eulogy in which he recalls his bibliomania . His brother reports that when drawing, he helped a series of dolls that fit design in London with their clothes . Quentin de La Tour painted his portrait at the Salon of the Royal Academy of Painting and Sculpture in 1769.

Details

  • Artist
    Hubert-François Gravelot (1699-1773, French)
  • Creation Year
    circa 1760
  • Condition
    Good
  • Dimensions
    H 7.9 in. x W 4.8 in.H 20.07 cm x W 12.2 cm
  • Gallery Location
    Paris, FR
  • Reference Number
    LU111223858341
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