18th c. crayon-manner engraving by Gilles Demarteau, life-sized bearded man 1771

Description: This listing is for crayon-manner engraving by Gilles Demarteau (1722–1776) after a drawing of a bearded man by the sculptor and master draftsman Edmé Bouchardon (1698-1762). The sheet is number 265 in Demarteau's production of Bouchardon drawings. A pencil inscription at lower right reads Les Feugere, likely a reference to the subject of the print or to a French surname, perhaps owners of the original drawing. Bouchardon was a virtuoso draftsman, renowned in his generation for his expressive, confident use of red chalk to render the human form. His figure drawings and portraits achieve a pristine clarity, cleanly made with every line meticulously executed. Cochin describes him as "the best draftsman of his century," a marvel to his contemporaries who "could with a single continuous line, follow a figure from head to toe, and even from toe to head, in any given position, without affecting the accuracy of the drawing and the veracity of the contours and proportions." (Diderot 1763, p. 242; this is a paraphrase of Caylus 1762, p. 13; cited from Bouchardon: Royal Artist of the Enlightenment by Anne-Lise Desmas, Yale, 2017.) In this life-sized portrait of an apostle or other biblical figure, the artist quickly maps out the billowing hair and beard, folds of fabric, and furrowed brow in a swirl of bold strokes. Bouchardon's unparalleled approach to the linear style, particularly in the works reproduced by Demarteau, results in drawings that appear both flat and volumetric at key focal points, such as this figure's squinting eyes and mouth. Demarteau, who trained as a goldsmith in Liège before moving to Paris, was instrumental in developing and perfecting the crayon-manner engraving technique in 18th century France. Drawing on his early training in metalwork, he created specialized tools that could replicate the look of chalk drawings, capturing nuances of texture and tone. His innovations were particularly striking in prints pulled in red ink, which mimicked the warmth and vitality of sanguine chalk, a medium prized for its ability to suggest living flesh and blood in figure studies. Demarteau was himself among the era's most talented draftsman, and his flawless reproductions of Bouchardon's drawings were particularly celebrated, resulting in hundreds of prints that made Bouchardon's drawings available to collectors and artists throughout Europe. I recently included this study in my first catalog, "Collecting the Male Nude," and images from that publication are included here for reference. If you would like a PDF copy of the catalog, please reach out. Sheet measures approximately 10-1/2"w x 17-3/4"h. It is in overall good condition with scattered spots and surface imperfections, including one vertical crease that runs from top to bottom. With pencil inscription at bottom right. The sheet has been trimmed to the printed border. See images to verify condition and feel free to ask questions. Edmé Bouchardon (1698-1762) was France's preeminent sculptor during the reign of Louis XV and is responsible for many of the masterpieces associated with the period, such as his neoclassical statues in the gardens of the Palace of Versailles, his equestrian statue of Louis XV for the Place de la Concorde (destroyed during the French Revolution), and for the Fountain of Four Seasons in Paris. A pupil of Guillaume Coustou, he won first prize in sculpture at the Royal Academy of Painting and Sculpture in 1722 and left the following year for Rome, where he stayed nine years before returning to Paris, much accomplished, as sculptor to the King. Bouchardon made a celebrated series of engravings of working-class Parisians, the Études prises dans le bas peuple. His drawings have always been highly regarded by connoisseurs, especially Jean-Denis Lempereur and Pierre-Jean Mariette. At the time of his death in 1762, the pursuit of his drawings became a Parisian fad of sorts and by 1765, the demand was so strong that the finished red chalks of his three volumes of street occupations garnered the astronomical sum of 1235 livres; for context, prior to the sale they'd been valued at 72 livres. Although a professor at the Royal Academy, Bouchardon rarely taught there. In the Salon of 1737, his first as a contributor, Bouchardon exhibited sculpted works and a group of six drawings. This was highly unusual at the time as drawings weren't typically considered finished works worthy of exhibition. In fact, Bouchardon was likely the first artist to exhibit drawings at the Salon in a meaningful way, thus precipitating a new phase in the history of art and facilitating the emergence of drawing as a medium worthy of celebration alongside painting and sculpture. Gilles Demarteau (1722-1776) was one of the most innovative printmakers of 18th-century France. His development of crayon-manner engraving revolutionized the reproduction of drawings, earning him admission to the Royal Academy of Painting and Sculpture in 1769 and appointment as engraver to the King. Over his career, he produced more than 500 prints after drawings by leading artists of his time, including Bouchardon, François Boucher, and Jean-Baptiste Huet. His technical achievements influenced printmaking throughout Europe and established new standards for the faithful reproduction of drawings. Terms of SalePlease allow (4) business days after the auction ends for processing and shipment. Condition, Shipping, and ReturnsFlaws, manufacturing defects, or damages—if applicable—are noted in the description above to the best of my ability. Returns are not accepted. Measurements are approximate. This print will be shipped flat. Please only bid if you agree to these terms and conditions.

Price: 150 USD

Location: Woodside, New York

End Time: 2025-01-29T22:44:58.000Z

Shipping Cost: N/A USD