Pesquisando por: "AUGUSTIN DE SAINT-AUBIN" - Fotoarena - Agência de fotojornalismo

alb3619297 Gravures de Boucher pour les Oeuvres de Molière [Figures de Boucher pour Molière]. Artist: After François Boucher (French, Paris 1703-1770 Paris); After Charles Nicolas Cochin II (French, Paris 1715-1790 Paris); Augustin de Saint-Aubin (French, Paris 1736-1807 Paris); Laurent Cars (French, Lyons 1699-1771 Paris); Antoine Coypel (French, Paris 1661-1722 Paris); Simon Charles Miger (French, Nemours 1736-1820 Paris); Isaac Sarrabat (French, 18th century); Quentin Pierre Chedel (French, Châlons-en-Champagne 1705-1763 Châlons-en-Champagne); Portrait of Moliere drawn by Jean-Baptiste Mauzaisse (French, Corbeil (Essonne) 1784-1844 Paris) in graphite, frontispiece; Nicolas Henry Tardieu (French, Paris 1674-1749 Paris); Nicolas Bernard Lépicié (French, Paris 1735-1784 Paris); Louis Bosse (French, active ca. 1770-90); Jean François Rousseau (French, c. 1740); After Theodorus Netscher (Dutch, Bordeaux 1661-1732 Hulst); After Charles Antoine Coypel (French, Paris 1694-1752 Paris); After Alexander Roslin (Swedish, Malmö 1718-1793 Paris); After Jean-Baptiste Perronneau (French, Paris 1715-1783 Amsterdam). Binder: Charles-François Capé (French, Villeneuve-Saint-Georges 1806-1867). Dimensions: Overall: 16 7/16 x 11 1/16 x 7/8 in. (41.7 x 28.1 x 2.2 cm). Sitter: Jean-Baptiste Poquelin Molière (French, 1622-1673); Antoine Coypel (French, Paris 1661-1722 Paris). Date: mid-18th century. Museum: Metropolitan Museum of Art, New York, USA. Author: Simon Charles Miger. Augustin de Saint-Aubin. Laurent Cars. NICOLAS BERNARD LEPICIE. after François Boucher. After Charles Nicolas Cochin II. Antoine Coypel. Isaac Sarrabat. Nicolas Henry Tardieu. Quentin Pierre Chedel. Portrait of Moliere drawn by Jean-Baptiste Mauzaisse (French, Corbeil (Essonne) 1784-1844 Paris) in graphite, frontispiece. Louis Bosse. Jean Francois Rousseau. After Theodorus Netscher. After Charles Antoine Coypel. After Alexander Roslin. After Jean-Baptiste Perronneau.

alb3680233 The Battle of Tonguzluq. Artist: Augustin de Saint-Aubin (French, Paris 1736-1807 Paris); after Giuseppe Castiglione (Italian, Milan 1688-1766 Beijing); (direxit) Charles Nicolas Cochin II (French, Paris 1715-1790 Paris). Dimensions: Sheet: 39 5/8 × 25 13/16 in. (100.7 × 65.5 cm)Plate: 37 × 22 3/4 in. (94 × 57.8 cm). Series/Portfolio: The Conquests of the Emperor of China(Les Conquêtes de l'Empereur de la Chine). Date: 1773.This print depicts the 1758 Battle of Tonguzluq with Qing soldiers firing cannons and using guns and arrows to attack the enemy within a fortified encampement filled with tents and yurts; outside the encampement, Qing soldiers set fire to enemy turrets and take prisoners.Part of a set of sixteen, "The Battle of Tonguzluq" was commissioned by the Qianlong Emperor in 1765 to commemorate Manchu victories (1755-59) over the Eleuths, the Dzungars, and other Central Asian peoples in the present-day region of Xinjiang. Made under the direction of Charles-Nicolas Cochin (1715-1790), the prints, which follow reduced-scale copies of paintings by Jesuit artists working in Beijing, were etched and engraved in France from 1767 to 1774 by the finest printmakers at the court of Louis XV. The Chinese merchants of Canton (present-day Guangzhou) paid for the copper plates and two hundred sets of prints to be delivered to China, with only a few sets retained in Paris.The prints exemplify the fusion of Eastern and Western representational styles fostered within the Qing imperial painting academy. The European technique of chiaroscuro-the modeling of forms through the use of light and shading-has been visibly tempered, as has the use of one-point perspective. Instead, the scenes present panoramic views and strongly up-tilt ground planes. At the same time, howevery, they reflect European preferences for anatomical accuracy, a single light source, and the mathematically correct reduction of scale to create the illusion of recession. Museum: Metropolitan Museum of Art, New York, USA.

alb3629783 The Great Victory of Qurnam. Artist: Augustin de Saint-Aubin (French, Paris 1736-1807 Paris); (direxit) Charles Nicolas Cochin II (French, Paris 1715-1790 Paris); after Giovanni Damasceno Salusti (1727-1781). Dimensions: Sheet: 39 5/8 × 25 13/16 in. (100.7 × 65.5 cm)Plate: 37 1/16 × 22 11/16 in. (94.1 × 57.7 cm). Series/Portfolio: The Conquests of the Emperor of China(Les Conquêtes de l'Empereur de la Chine). Date: 1770.The event shown is the 1759 battle of Qurnam in which Qing troops defeat the enemy at the end of the Qianlong Emperor's East Turkestan campaign.Part of a set of sixteen, "The Great Victory of Qurnam" was commissioned by the Qianlong Emperor in 1765 to commemorate Manchu victories (1755-59) over the Eleuths, the Dzungars, and other Central Asian peoples in the present-day region of Xinjiang. Made under the direction of Charles-Nicolas Cochin (1715-1790), the prints, which follow reduced-scale copies of paintings by Jesuit artists working in Beijing, were etched and engraved in France from 1767 to 1774 by the finest printmakers at the court of Louis XV. The Chinese merchants of Canton (present-day Guangzhou) paid for the copper plates and two hundred sets of prints to be delivered to China, with only a few sets retained in Paris.The prints exemplify the fusion of Eastern and Western representational styles fostered within the Qing imperial painting academy. The European technique of chiaroscuro-the modeling of forms through the use of light and shading-has been visibly tempered, as has the use of one-point perspective. Instead, the scenes present panoramic views and strongly up-tilt ground planes. At the same time, howevery, they reflect European preferences for anatomical accuracy, a single light source, and the mathematically correct reduction of scale to create the illusion of recession. Museum: Metropolitan Museum of Art, New York, USA.