#rococo period

marie antoinette’s bedroom

Versalles, France

The Veiled Christ ("Cristo Velato" ) is a sculpture completed in 1753 AD, originally (mis) attributed to Antonio Corradini and considered one of world’s most remarkable pieces of art.

In fact, the great neoclassical maestro Antonio Canova (1 November 1757 – 13 October 1822), who tried to buy the work, said he would gladly give up ten years of his life to produce such masterpiece.

Although Corradini was in fact commissioned with the job in the first place, he died having only produced a clay model for what would later be a definitive piece sculpted in marble.

It was Giuseppe Sanmartino (1720-1793), then, who ended up producing the astonishing sculpture of a dead Jesus, covered by a transparent shroud carved out of the very same marble block shared with the rest of the statue.

Sanmartino’s mastery — the veil covering the figure of Jesus being in fact “transparent” — didn’t only gain him a well-deserved place in the history of Western art but also turned his artwork into the stuff of legend.

Some stories claim Sanmartino covered his sculpture with a linen veil he managed to transform into marble by means of complex chemical-alchemical processes.

Those very same legends would also claim that Raimondo di Sangro, Prince of Sansevero (30 January 1710 – 22 March 1771), commissioner of the sculpture, was himself an alchemist who taught Sanmartino the mysteries of his pseudo-science. Of course, these are but legends.

Luigi Marchesi‼️ (1754-1829) He was 18th's a Opera Singer (Castrato Singer) 🎶 He might have been the handsomest castrato of all time. He seems to be a singer who was popular in the Rococo era. He from Italy🇮🇹

Singeries & Exotisme chez Christophe Huet

Nicole Garnier-Pelle, Marie-Christine Anselm, Anne Forray-Carlier

Éditions d'art Monelle Hayot, Saint-Rémy-en-l’Eau 2010, 176 pages, 360 illustrations,  Relié sous jaquette pelliculée,  20.5 x 27 cm , ISBN : 978-2-903824-69-3

euro 98,00

email if you want to buy :[email protected]

Au XVIIe siècle Brueghel et David Teniers utilisent le singe pour tourner en dérision les actions des hommes dans des scènes de genre flamandes où des singes, vêtus comme des humains, boivent, fument ou mangent au cabaret. À la fin du XVIIe siècle, le goût pour l’exotisme et l’Extrême-Orient met à la mode chinoiseries et singeries. Les boiseries de la fin du règne de Louis XIV replacent des singes raffinés dans les décors grotesques de Jean Berain, Claude Gillot, Claude III Audran ou Jean-Antoine Watteau. Le maître du genre, le peintre animalier le plus inventif sur le sujet, est Christophe Huet (1700-1759). C’est probablement lui qui réalise les décors des deux singeries de Chantilly pour le duc de Bourbon en 1735 et 1737, ceux de Champs-sur-Marne pour le duc de La Vallière et le clavecin du château de Thoiry. Cet ouvrage évoque plus largement le singe dans les arts décoratifs au XVIIIe siècle.

28/11/20

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