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Books & Archaeology
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Claude Gillot (1673-1722) - Comedies, fables & arabesques.
MEYER Hélène, SALMON Xavier, TONKOVICH Jennifer.

Claude Gillot (1673-1722) - Comedies, fables & arabesques.

Louvre editions
€32,00 €0,00
N° d'inventaire 30097
Format 20 x 25
Détails 218 p., numerous color illustrations, paperback.
Publication Paris, 2023
Etat Nine
ISBN 9782359064124
Draughtsman and engraver, Claude Gillot (Langres, 1673 - Paris, 1722) owes a large part of his reputation to the fantasy of his drawings and the freedom of his engravings, earning him the reputation of an undisciplined artist. His work as a vignette artist, abundant and varied, appreciated by private circles and the Parisian bourgeoisie, testifies, at the end of the Grand Siècle, to the emergence of a first Rococo, rich in invention, poetry and strangeness. Distanced from the official art of Versailles, his art is that of Italian comedy, fable and theater, then in full evolution. The work seeks to show how drawing, in its technical diversity, was the artist's preferred means of expression, while his painted work is rare, limited to less than ten canvases. It also reflects the great profusion of his production, including bacchanals and witchcraft scenes, opera sets, costumes and actors' figures, parties and rustic pleasures... Finally, his posterity is evoked by the first drawings of the young Watteau who trained in his studio. This prestigious student is responsible for Gillot never being forgotten and paves the way for the success of the gallant festivals of the Regency.
Draughtsman and engraver, Claude Gillot (Langres, 1673 - Paris, 1722) owes a large part of his reputation to the fantasy of his drawings and the freedom of his engravings, earning him the reputation of an undisciplined artist. His work as a vignette artist, abundant and varied, appreciated by private circles and the Parisian bourgeoisie, testifies, at the end of the Grand Siècle, to the emergence of a first Rococo, rich in invention, poetry and strangeness. Distanced from the official art of Versailles, his art is that of Italian comedy, fable and theater, then in full evolution. The work seeks to show how drawing, in its technical diversity, was the artist's preferred means of expression, while his painted work is rare, limited to less than ten canvases. It also reflects the great profusion of his production, including bacchanals and witchcraft scenes, opera sets, costumes and actors' figures, parties and rustic pleasures... Finally, his posterity is evoked by the first drawings of the young Watteau who trained in his studio. This prestigious student is responsible for Gillot never being forgotten and paves the way for the success of the gallant festivals of the Regency.