簡易檢索 / 詳目顯示

研究生: 林欣頤
Lin, Hsin-Yi
論文名稱: 成對繪畫與對比:弗朗索瓦・布歇和讓・巴蒂斯特・瑪麗・皮埃爾《工作室裡的藝術家》
The Artist in His Studio by François Boucher and Jean-Baptiste Marie Pierre: An Approach to Pendant Paintings and the Paragone Debates
指導教授: 諾斯邦
Valentin Nussbaum
口試委員: 王瑞婷
Wang, Juei-Ting
辛蒂庫絲
Candida Syndikus
諾斯邦
Valentin Nussbaum
口試日期: 2023/07/26
學位類別: 碩士
Master
系所名稱: 藝術史研究所
Graduate Institute of Art History
論文出版年: 2023
畢業學年度: 111
語文別: 英文
論文頁數: 144
中文關鍵詞: 成對繪畫對比藝術家畫家雕刻家弗朗索瓦・布歇讓・巴蒂斯特・瑪麗・皮埃爾讓・巴蒂斯特・勒穆瓦納讓・巴蒂斯特・西梅翁・夏丹十八世紀法國繪畫工作室
英文關鍵詞: Pendant Paintings, Pendants, Companion Paintings, Pair of Paintings, Paragone Debates, Paragone, Eloquence, Painting and Sculpture, Drawing and Color, François Boucher, Jean-Baptiste Marie Pierre, Jean-Baptiste Lemoyne, Jean-Baptiste Siméon Chardin, Atelier, Studio, Eighteenth Century France, XVIIIe Siècle, Royal Academy, Académie Royale, Pastiche, Bambochade
研究方法: 調查研究個案研究法主題分析歷史研究法比較研究觀察研究文件分析法言談分析敘事分析現象分析世代研究縱貫性研究內容分析法
DOI URL: http://doi.org/10.6345/NTNU202301633
論文種類: 學術論文
相關次數: 點閱:203下載:36
分享至:
查詢本校圖書館目錄 查詢臺灣博碩士論文知識加值系統 勘誤回報
  • 「成對繪畫」(pendant paintings)一詞代表了兩幅繪畫作品之間的聯繫,它們可以相似、相異,亦或以預言形式彼此對話。在十八世紀的法國,鑑賞家們經常委託畫家為他們製作「成對繪畫」,並以觀察兩幅作品之間的聯繫為樂。這種「比較」的觀看方式,要求觀者具有一定的鑑賞與審美標準,才能發現藏在其中的差異。贊助人Jean-Baptiste Lemoyne(1704-1778)曾委託畫家Jean-Baptiste Marie Pierre(1714-1789)繪製〈工作室裡的雕塑家〉(A Sculptor in His Studio),以和François Boucher(1703-1770)先前繪製的〈風景畫家〉(The Landscape Painter)進行對話。從主題與作品表現上可以發現,Lemoyne的委託並非單純鑑賞,而是使兩幅作品產生藝術上的對比(paragone)——自文藝復興起關於繪畫與雕塑的藝術形式之爭。
    本文探討Pierre創作之〈工作室裡的雕塑家〉如何與Boucher的〈風景畫家〉形成「成對繪畫」。以十八世紀歷史、審美和文化角度出發,本文檢視藝術家與其工作室之間的複雜關係,以及當代關於繪畫與雕塑的美學辯證。鑑於「成對繪畫」之類型相當廣泛,目前尚無詳盡的文獻能夠說明其形成的規則和方法;因此,本文將著重分析「創作中的藝術家」(Artist in Creation)類型之「成對繪畫」。透過分析Pierre、Boucher以及Jean-Baptiste Siméon Chardin(1699-1779)創作之「成對繪畫」案例分析,將有助於理解此類型「成對繪畫」之間的呼應與對比(paragone)。最終,通過對此類型「成對繪畫」之深入分析,本論文旨在建立一套系統化的閱讀方法,以更好地理解「成對繪畫」間創造之動態話語。

    Pendant painting was a deliberate and often highly practiced way of commissioning and displaying art in eighteenth-century France. In asking Jean-Baptiste Marie Pierre (1714-1789) to paint a discrete picture representing a sculptor in his studio to form a pendant to a painting showing a painter realizing a landscape in his atelier designed by François Boucher (1703-1770), the enlightened patron Jean-Baptiste Lemoyne (1704-1778) challenged in an ongoing visual tradition the claims on the paragone—the rivalry between painting and sculpture. This thesis explores how Pierre's A Sculptor in His Studio was meant to form a paired painting to Boucher's Landscape Painter. Examining the relationship between the artist and his studio, the thesis explores how these two paintings articulate the relationship between artistic identities and shed light on the broader aesthetic debates of that time.
    Given the diverse subject matter and lack of comprehensive literature on the rules and methods for forming pendant paintings, this thesis narrows its focus to analyze a specific type of pendant painting: the artist at work. By closely examining Jean-Baptiste Siméon Chardin's (1699-1779) two sets of pendant practices, valuable insights can be gained into the strategies and intentions behind Boucher and Pierre's pendant paintings. Ultimately, this analysis contributes to a deeper understanding of the aesthetic debates that were taking place at the time between painting and sculpture. By unraveling the complexities and significance of these pendant artworks, this thesis seeks to shed light on the nuanced relationship between artists, their studios, and the dynamic dialogues they create through their pendant paintings.

    English Abstract i Chinese Abstract iii Acknowledgement v Introduction 1 State of Research 7 Part I. On the Space of Artists 12 1.1 The Studio as a Place of Exhibition and Sociability 15 1.2 The Studio: Truths and Fictions 17 Part II. The Representation of the Studio Space 22 2.1 François Boucher's Game of Pastiche 23 2.2 The Solitary Sculptor in His Studio 35 Part III. Pendant Paintings: Intellectualizing the Gaze 44 Part IV. Pendant in Practice: The Example of Jean-Baptiste Siméon Chardin 54 4.1 Case Study I: The Young Student Drawing and The Embroiderer 60 4.2 Case Study II: The Drawing Lesson and The Good Education 72 Part V. The Paragone Debates Between Boucher and Pierre's Pendants 91 Conclusion 106 Bibliography 110 Appendix: Figures 121

    “Balthasar van den Bossche’s Elegant Figures Overseeing Sculptors Working on a Statue of Hercules and Antaeus in a Palace Courtyard,” in: Sotheby’s, https://www.sothebys.com/en/buy/auction/2020/the-rafael-valls-sale-online/balthasar-van-den-bossche-elegant-figures, sighted 7 May 2023
    “François Boucher’s Landscape Painter,” in Christie, https://www.christies.com/en/lot/lot-6136771, sighted 15 March 2023
    “Jean Siméon Chardin’s Le Petit Dessinateur,” in: Christie, https://www.christies.com/en/lot/lot-6410950; “Jean Siméon Chardin’s The Embroiderer,” in: Christie, https://www.christies.com/en/lot/lot-5649665, sighted on 6 July 2023
    “Jean Siméon Chardin’s Young Student Drawing,” in: Kimbell Art Museum, https://kimbellart.org/collection/ap-198207, sighted 6 July 2023
    “Jean Valade, Jean-Baptiste II Lemoyne (1704-1778), Sculpteur,” in: Château de Versailles, http://collections.chateauversailles.fr/#b760dd80-4fe7-4665-9a23-67d66f161d38, sighted 9 May 2023
    “Jean-Baptiste Marie Pierre’s Sculptor’s Studio,” in: Sotheby’s, https://www.sothebys.com/en/buy/auction/2020/the-collection-of-ambassador-and-mrs-felix-rohaytn/jean-baptiste-marie-pierre-a-sculptor-in-his, sighted 15 March 2023
    “Willem Kalf’s Intérieur d’une cuisine rustique,” in: Musée du Louvre, https://collections.louvre.fr/en/ark:/53355/cl010062151, sighted 14 May 2023
    Adams, Steven, Landscape Painting in Revolutionary France: Liberty’s Embrace, Routledge, 2020
    Angel, Philips, Michael Hoyle and Hessel Miedema trans., “Praise of Painting,” in: Simiolus, vol. 24, no. 2/3, 1996, pp. 227-258
    Anonymous (signed himself as Le Rêveur), “Au Auteur du Journal,” in: Journal de Paris, 25 March 1780, pp. 350-351
    Arnheim, Fritz (ed.), Luise Ulrike, die schwedische Schwester Friedrichs des Grossen: ungedruckte Briefe an Mitglieder des preussischen Königshauses, vol. 1, Gotha: Friedrich Andreas Perthes, 1909, pp. 282-283
    Assézat, J. (ed.), Œuvres complètes de Diderot: revues sur les éditions originales.... Étude sur Diderot et le mouvement philosophique au XVIIIe siècle, 20 vols., Paris: Garnier Frères, 1875-1877
    Bailey, Colin B. (ed.), The age of Watteau, Chardin, and Fragonard: masterpieces of French genre painting, New Haven: Yale University Press, 2003
    Bailey, Colin B., “Conventions of the Eighteenth-Century Cabinet de Tableaux: Blondel d’Azincourt’s La première idée de la curiosité,” in: The Art Bulletin, vol. 69, no. 3, 1987, pp. 431-447
    Bailey, Colin B., “Marie-Jeanne Buzeau, Madame Boucher (1716-96),” in: The Burlington Magazine, vol. 147, no. 1225, 2005, pp. 224-234
    Bailey, Colin B., Patriotic Taste: Collecting Modern Art in Pre-Revolutionary Paris, New Haven: Yale University Press, 2002
    Casal, Marta Cacho, “José Antolínez, Metapainting and the Painting Profession in Golden Age Spain,” in: The Routledge Hispanic Studies Companion to Early Modern Spanish Literature and Culture, Rodrigo Cacho Casal and Caroline Egan (eds.), London: Routledge, 2022, pp. 389-410
    Champy-Vinas, Cécilie, Jean-Baptiste Lemoyne (1704-1778): un sculpteur du roi au temps des Lumières, PhD thesis, Université Paris-Sorbonne, 2017
    Conisbee, Philip, Chardin, Lewisburg: Bucknell University Press, 1986
    Deval, Juliette, Les représentations d’ateliers dans l’oeuvre de François Boucher: plongée dans l’intimité d’un artiste du XVIIIe siècle, MA thesis, École du Louvre, 2017
    Diderot, Denis, and Jean Le Rond d’Alembert, (eds.), Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers par une société de gens de lettres, 17 vols., Paris, 1751-1722
    Diderot, Denis, John Goodman trans., Diderot on Art: The Salon of 1765 and Notes on Painting, vol. 1, New Haven: Yale University Press, 1995
    Dubos, Jean-Baptiste, Thomas Nugent trans., Critical Reflections on Poetry, Painting and Music. With an inquiry into the rise and progress of the theatrical entertainments of the ancients, 3 vols., London: Printed for John Nourse, 1748
    Duchesne, Jean, Catalogue de tableaux, dessins, estampes, livres d’architecture et objets de curiosité du cabinet de feu Pierre-Hippolyte Lemoyne, Paris: Chez M. Latoffe, 1828
    Dumesnil, Jules, Histoire des plus célèbres amateurs français et de leurs relations avec les artistes, faisant suite à celle des plus célèbres amateurs italiens, Paris: Jules Renouard, vol. 3, 1858
    Estève, Pierre, Lettre à un ami: Sur l’Exposition des Tableaux faite dans le grand Sallon du Louvre, le 25 Août 1753, Paris, 1753
    Explication des peintures, sculptures, et autres ouvrages de Messieurs de l’Academie Royale, Paris: Jacques-François Collombat
    Fréron, Elie-Catherine (ed.), L’Année littéraire ou Suite des Lettres sur quelques ecrits de ce temps, vol. 5, Paris: Michel Lambert, 1759
    Garrigues de Froment, Antoine-Joseph, Sentimens d’un amateur sur l’exposition des tableaux du Louvre, & la critique qui en a été faite, Paris, 1753
    Gaussen, Frédéric, Le peintre et son atelier: Les Refuges de la Création, Paris, XVIIe-XXe siècles, Paris: Parigramme, 2006
    Goldstein, Carl, “The Noble Painter,” in: Notes in the History of Art, vol. 31, no. 1, 2011, pp. 21-28
    Gougenot, Louis, Lettre sur la peinture, la sculpture et l’architecture: à M***, Paris, 1748
    Guichard, Charlotte, “Taste Communities: The Rise of the Amateur in Eighteenth-Century Paris,” in: Eighteenth-Century Studies, vol. 45, no. 4, 2012, pp. 519-547
    Guichard, Charlotte, La Griffe du peintre: La valeur de l’art (1730-1820), Paris: Editions Seuil, 2018
    Guillouët, Jean-Marie, Caroline A. Jones, Pierre-Michel Menger and Séverine Sofio, “Enquête sur l’Atelier: Histoire, Fonctions, Transformations,” in: Perspective, vol. 1, 2014, pp. 27-42
    Heinich, Nathalie, Du peintre à l’artiste. Artisans et académiciens à l’âge classique, Paris: Editions de Minuit, 1993
    Heyder, Joris Corin, “Goût de Comparaison: Practices of Comparative Viewing in Eighteenth-Century,” in: Practices of Comparing: Towards a New Understanding of a Fundamental Human Practice, Angelika Epple and Walter Erhart (eds.), Bielefeld: Bielefeld University Press, 2020, pp. 257-294
    Hyde, Melissa, and Mark Ledbury, (eds.), Rethinking Boucher, Los Angeles: Getty Publications, 2006
    Ikemoto, Wendy N. E., Antebellum American Pendant Paintings: New Ways of Looking, London: Routledge, Taylor & Francis Group, 2018
    Jombert, Charles-Antoine, Methode pour apprendre le dessin, Paris: De l’Imprimerie de l’auteur, 1755
    Joulie, Françoise, “La collection de François Boucher,” in: L’Artiste collectionneur de dessin De Giorgio Vasari à aujourd’hui, Catherine Monbeig-Goguel (ed.), Paris: Société du Salon du Dessin, 2006, pp 129-140
    Kettering, Alison M., “The Rustic Still Life in Dutch Genre Painting Bijwerck dat Verclaert,” in: Arthur J. DiFuria (ed.), Genre Imagery in Early Modern Northern Europe: New Perspectives, New York: Routledge, 2016, pp. 183-210
    Kobi, Valérie, “Harmonie et dissonance. La fonction de la couleur dans les collections du siècle des Lumières,” in: Dix-huitième siècle, vol. 51, no. 1, 2019, pp. 63-75
    La Ferté, Papillon de, and Denis-Pierre-Jean, Extrait des différens ouvrages publiés sur la vie des peintres, 7 vols., Paris: Ruault, 1776
    Laing, Alastair and J. Patrice Marandel, (eds.), François Boucher, 1703-1770, exhibition catalog, New York–Michigan–Paris 1986/87, New York: Metropolitan Museum of Art, 1986
    Laing, Alastair, “Trois lettres de François Boucher et de sa femme à l’auteur dramatique Favart,” in: Archives de l’art français, no. 29, 1988, pp. 19-22
    Lajer-Burcharth, Ewa, “Scenes of Instruction,” in: Painting Beyond Itself: The Medium in the Post-Medium Condition, Isabelle Graw and Ewa Lajer-Burcharth (eds.), Berlin: Sternberg Press, 2016, pp. 23-53
    Lajer-Burcharth, Ewa, The Painter’s Touch: Boucher, Chardin, Fragonard, Princeton: Princeton University Press, 2018
    Lazzaro, Claudia, “River gods: personifying nature in sixteenth-century Italy,” in: Renaissance Studies, vol. 25, no. 1, 2011, pp. 70-94
    Le Blanc, Jean-Bernard, Lettre sur l’exposition des ouvrages de peinture, sculpture, etc. de l’année 1747. Et en général sur l’utilité de ce genre d’Expositions. A Monsieur R.D.R., Paris, 1747
    Lesur, Nicolas, “Les académiciens face à la naissance de la critique de Salon: l’exemple de Jean-Baptiste Marie Pierre (1714-1789),” in: Diderot Studies, vol. 36, 2016, pp. 67-85
    Lesur, Nicolas, and Olivier Aaron, Jean-Baptiste Marie Pierre 1714-1789: Premier peintre du roi, Paris: Arthena, 2009
    Levey, Michael, “The Pose of Pigalle’s Mercury,” in: The Burlington Magazine, vol. 106, no. 739, 1964, pp. 462-463
    Lichtenstein, Jacqueline, Chris Miller trans., The Blind Spot: An Essay on The Relations Between Painting and Sculpture in the Modern Age, Los Angeles: Getty Research Institute, 2008
    Lichtenstein, Jacqueline, Emily McVarish trans., The Eloquence of Color: Rhetoric and Painting in the French Classical Age, Berkeley: University of California Press, 1993
    Lichtenstein, Jacqueline; Christian Michel, (eds.), Conférences de l’Académie royale de Peinture et de Sculpture, 6 vols., Paris: École Nationale Supérieure des Beaux-Arts, 2006-2015
    Lock, Léon E., “Picturing the Use, Collecting and Display of Plaster Casts in Seventeenth- and Eighteenth-Century Artists’ Studios in Antwerp and Brussels,” in: Plaster Casts: Making, Collecting and Displaying from Classical Antiquity to the Present, Eckart Marchand and Rune Frederiksen (eds.), Berlin: De Gruyter, 2010, pp. 251-267
    Loh, Maria H., “Originals, Reproductions, and a ‘Particular Taste’ for Pastiche in the Seventeenth-Century Republic of Painting,” in: Mapping Markets for Paintings in Europe, 1450-1750, Neil De Marchi and Hans J. Van Miegroet (eds.), Turnhout: Brepols Publishers, 2006, pp. 237-262
    Macsotay, Tomas, The profession of sculpture in the Paris “Académie,” Oxford: Voltaire Foundation, 2014
    Mariette, Pierre-Jean, Abecedario de P. J. Mariette et autres notes inédites de cet amateur sur les arts et les artistes, vol. 1, Paris: J.-B. Dumoulin, 1853-1854
    Michel, Patrick, Peinture et plaisir: les goûts picturaux des collectionneurs parisiens au XVIIIe siècle, Rennes: Presses Universitaires de Rennes, 2010
    Montaiglon, Anatole de and Jules Guiffrey, (eds.), Correspondance des directeurs de l’Académie de France à Rome avec les Surintendants des Bâtiments, publiée d’après les manuscrits des Archives nationales, par M. Anatole de Montaiglon sous le patronage de la Direction des Beaux-Arts, 18 vols., Paris, 1887-1912
    Montaiglon, Anatole de, Procès-verbaux de l’Académie royale de peinture et de sculpture, 1648-1793, 10 vol, Paris: J. Baur, 1875-1892
    Nanay, Bence, “Two-Dimensional Versus Three-Dimensional Pictorial Organization,” in: The Journal of Aesthetics and Art Criticism, vol. 73, no. 2, 2015, pp. 149-157
    Neufville de Brunaubois-Montador, Jean-Florent-Joseph de, Description raisonnée des tableaux exposés au Louvre Lettre à Madame la marquise de S.P.R., Paris, 1 September 1738
    Newall, Michael, “Painterly and Planar: Wölfflinian Analysis Beyond Classical and Baroque,” in: The Journal of Aesthetics and Art Criticism, vol. 73, no. 2, 2015, pp. 171-178
    Nicolas Lesur and Olivier Aaron, Jean-Baptiste Marie Pierre 1714-1789: Premier peintre du roi, Paris: Arthena, 2009
    Pastoureau, Michel, Gladding Jody trans., Red: The History of a Color, Princeton: Princeton University Press, 2017
    Pastoureau, Michel, Markus I. Cruse trans., Blue: The History of a Color, Princeton: Princeton University Press, 2018
    Pichet, Isabelle, Le Tapissier et les dispositifs discursifs au Salon (1750-1789). Expographie, critique et opinion, Paris: Hermann, 2012
    Piles, Roger de, Abregé de la vie des peintres, avec des reflexions sur leurs ouvrages, et un Traité du peintre parfait, de la connoissance des desseins, & de l’utilité des estampes, Paris: François Muguet, 1699
    Piles, Roger de, Conversations sur la connoissance de la peinture, et sur le jugement qu’on doit faire des tableaux, Paris, 1677
    Pinel, Diane, Les représentations d’ateliers de peinture et de sculpture du Musée des Beaux-Arts de Rennes, MA thesis, École du Louvre, 2017
    Priebe, Jessica, François Boucher and the Art of Collecting in Eighteenth-Century France, London: Routledge, 2021
    Pullins, David, Cut and Paste: The Mobile Image From Watteau to Robert, PhD thesis, Harvard University, 2016
    Quatremère de Quincy, Antoine, Essai sur la nature, le but et les moyens de l’imitation dans les beaux-arts, Paris: Trettel et Würtz, 1823
    Radisich, Paula, “Lovisa Ulrike of Sweden, Chardin and enlightened despotism,” in: Women, Art and the Politics of Identity in Eighteenth-Century Europe, Melissa Hyde and Jennifer Milam (eds.), London: Routledge, 2003, pp. 46-63
    Radisich, Paula, Eighteenth Century Landscape Theory and the Work of Pierre Henri de Valenciennes, PhD thesis, University of California Los Angeles, 1977
    Radisich, Paula, Pastiche, Fashion, and Galanterie in Chardin’s Genre Subjects: Looking Smart, Newark: University of Delaware Press
    Raggio, Olga, “Two Great Portraits by Lemoyne and Pigalle,” in: The Metropolitan Museum of Art Bulletin, vol. 25, no. 6, 1967, pp. 219-229
    Rand, Richard (ed.), Intimate Encounters: Love and Domesticity in Eighteenth-century France, Hanover–Toledo–Houston 1997/1998, Hanover: Hood Museum of Art, Dartmouth College; Princeton: Princeton University Press, 1997
    Rollin, Charles, De la manière d’enseigner et d’étudier les belles lettres, par rapport à l’esprit et au coeur; ou, Traité des études, vol. 1, Lyon: Rusand, 1819
    Rosenberg, Pierre, Chardin 1699-1779, exhibition catalog, Paris 1979, Paris: Réunion des Musées Nationaux, 1979
    Rosenberg, Pierre, Chardin, exhibition catalog, Paris–Dusseldorf–London–New York 1999/2000, London: Royal Academy of Arts; New York: Metropolitan Museum of Art, 2000
    Saint-Aubin, Charles-Germain de, L’Art du Brodeur, Paris: L. F. Delatour, 1770
    Sheriff, Mary D., “Reflecting on Chardin,” in: The Eighteenth Century, vol. 29, no. 1, 1988, pp. 19-45
    Sohm, Philip, “Palettes as Signatures and Encoded Identities in Early-Modern Self-Portraits,” in: Art History, vol. 40, no. 5, 2017, pp. 994-1025
    Stein, Perrin and Mary Tavener Holmes, Eighteenth-Century French Drawings in New York Collections, New York: Metropolitan Museum of Art, 1999
    Thürlemann, Félix, “De l’image individuelle à l’hyperimage: un nouveau défi pour l’histoire de l’art,” in: Histoire de l’art, no. 78, 2016, pp. 13-28
    Thürlemann, Felix, Elizabeth Tucker trans., More Than One Picture: An Art History of the Hyperimage, Los Angeles: Getty Research Institute, 2019
    Tillier, Bertrand, Vues d’atelier: Une image de l’artiste de la Renaissance à nos jours, Paris: Citadelles et Mazenod, 2014
    Watelet, Claude-Henri, and Pierre-Charles Levesque, Dictionnaire des arts de peinture, sculpture et gravure, 5 vols., Paris, 1792
    Waterfield, Giles (ed.), The Artist’s Studio, exhibition catalog, Compton Verney–Norwich 2009/10, London: Hogarth Arts, 2009
    Whythe, Ryan Lee, “Exhibiting Enlightenment: Chardin as tapissier,” in: Eighteenth-Century Studies, vol. 46, no. 4, 2013, pp. 531-554
    Whythe, Ryan Lee, “Repeat Performance: Chardin’s Aesthetics of Repetition in the Paris Salons,” in: RACAR: revue d’art canadienne / Canadian Art Review, vol. 36, no. 1, 2011, pp. 51-62
    Whythe, Ryan Lee, “Understanding Painting, Print and Verse: Chardin’s Le Négligé ou Toilette du Matin,” in: Word and image in the long eighteenth century: an interdisciplinary dialogue, Christinia Ionescu and Renata Schellenberg (eds.), Newcastle: Cambridge Scholars, 2008, pp. 44-54
    Whythe, Ryan Lee, Painting as Social Conversation: The petit sujet in the Ancien Regime, PhD thesis, University of Toronto, 2008
    Wölfflin, Heinrich, M. D. Hottinger trans., Principles of Art History: The Problem of the Development of Style in Later Art, New York: Dover Publications, 1950
    Woodall, Joanna, “Laying the Table: The Procedures of Still Life,” in: The Erotics of Looking: Materiality, Solicitation and Netherlandish Visual Culture, Angela Vanhaelen and Bronwen Wilson (eds.), vol. 35, issue 5, 2012, pp. 976-1003
    Xolin, Geneviève, Les morceaux de réception des portraitistes à l’Académie royale de peinture et de sculpture, conservés dans les collections de Versailles (1715-1793), MA thesis, École du Louvre, 2020
    Zakon, Ronnie L., The Artist and the Studio in the Eighteenth and Nineteenth Centuries, Cleveland: Cleveland Museum of Art, 1978

    下載圖示
    QR CODE