Identifier: frencharchitects00dilk (find matches)
Title: French architects and sculptors of the XVIIIth century
Year: 1900 (1900s)
Authors: Dilke, Emilia Francis Strong, Lady, 1840-1904
Subjects: Architects Sculpture, French Sculptors
Publisher: London, G. Bell and sons
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
Click here to view book online to see this illustration in context in a browseable online version of this book.

Text Appearing Before Image:
ated Diana, is not only one of the most picturesquely complete works of sculpture produced during the century, but it is a typical embodiment of the change inaugurated by his master, Pigalle, when he designed his charming Mercure attachant ses talonnieres. It is in works such as these that we find indications of the character of the change which brought the art of sculpture into line with the general movement 1 Bulln. de la Soc. de PHist. de lA. fr., p. 169. 2 Quatremere de Quincy, Not. Hist., t. i., p. 400. 3 Montaiglon et Duplessis, Rev. univ. des Arts, 1885, t. i., pp. 262, 263. 4 The remains of the statue of Napoleon, intended by Houdon for the column atBoulogne, were employed—together with the fragments of the statue by Chaudet forthe column of the Place Vendome and the Desaix of Dejoux which had been erectedin the Place Dauphin—in the execution of the statue of Henri IV. on the Pont Neuf.In. g£n. Mon. civ. Paris, t. i., p. 348. 140 Montesquieu. By Clodion.(At the Institut.)
Text Appearing After Image:
of the century. We see the sculptor expressing, on his own ac- The count, an ideal which is not conditioned, like all the work of the PuPlls of . . Pigalle: Versailles school, by its appointed surroundings. Jean- If the influence exercised by the genius of Pigalle on the de- Antojjn®velopment of modern sculpture, tended, through Houdon, towards anda wholly direct and uncompromising interrogation of nature, it Claudetook a more persuasive character in the person of his brilliant Q^jQnpupil, Clodion. Claude-Francois Michel, or Clodion, as he ismore familiarly called, is better remembered by the little terra-cotta groups and busts in which he developed that vein dungenre erotique, worked by Falconnet, than by his works of sculp-ture on a large scale. If we hear his name, we do not think orhis bas-relief on the Arc de Triomphe of the Carrousel;1 of hisbusts of senators ; of his Montesquieu en Hermes at Fontaine-bleau ; or even of his marble statue of the author of Lesprit desLois in the

Note About Images