FRENCH ART.
xlv
Theodon, Mazeline, and Hurtrelle. A more important name than
Girardon's is that of Charles Antoine Coyzevox (1640-1720). His
most prominent works are his large tombs, especially those of Cardinal
Mazarin (now in the Louvre) and Colbert (in St. Eustache) ; but
his other works merit close inspection for their masterly treatment
and their union of charm and elegance of conception. Among these
may be mentioned the horses in the Place de la Concorde, the bronze
statue of LouisXIV. (Musee Carnavalet), the 'Nymph with the shell',
and numerous busts (in the Louvre). Nicolas and Guillaume Coustou
(1658-1733 and 1677-1746), his pupils, who assisted him in the
execution of the 'Vow of Louis XIII.' in Notre Dame, belong partly
to the following epoch. Among the chief works of Nicolas Coustou
rank the figures of the Rhone and Saone at the Tuileries and the
Caesar in the Louvre ; among those of Guillaume are the admirable
Marly horses in the Place de la Concorde and the tomb of Cardinal
Dubois in St. Roch. Of the sculptors of the 17th century, however,
the French themselves think most highly of Pierre Puget (1622-94),
who studied under Bernini and worked at Toulon. His compositions,
notably the 'Milo of Croton' in the Louvre, produce a strong im¬
pression, in spite of their exaggerated pathos.
The reaction against this stiff and grandiose art was not long of
coming. Louis XIV. was succeeded by Louis XV., the pious Mme.
de Maintenon was followed by the dissipated Regent and a little later
by Mme. dePompadour. We may date the prevalence of the art called
by the French 'Dix-Huitiemb', from the beginning of the Regency
(1715) to the death of the Pompadour (1764). It was a super¬
ficial, gallant, and dissipated art, the charm of which, however,
cannot be denied. It is the faithful reflection of the age. Everything
harmonizes: the gorgeous but comfortable apartments, in the decorat¬
ion of which Oppenordt and Meissonier excelled; the charming villas
for gallant rendezvous; the pale blue, sea-green, and rose-pink paint¬
ing; the cabinets with their rich bronze ornaments; the chairs and
"sofas, with their gilt carvings and luxurious silken upholstery; the
terracottas and the porcelain statuettes from the factory at Sevres;
and indeed even the costumes of the pleasure-loving, immoral,
yet charming society, with its powder and patches. Everything
that was formerly straight is now bent in the most wanton manner
and embellished with all manner of flourishes and scrolls ('rococo'
from rocaille, shell); every door-knob seems to be designed for the
pressure of a delicate feminine hand. After a brief reign (for as
early as 1763 Grimm writes that everything was then made 'a la
grecque') the rococo style gave place to the Style Louis XVI,
which in France at least always retained delicate and graceful
forms. The cabinets of this period (by Oeben, Riesener, Beneman,
and others), decorated with the daintiest inlaid designs , are now
almost more highly prized than the earlier works by Cressant and
Caffieri.
Permalink: http://pid.emory.edu/ark:/25593/mbm19
