Misplaced Pages

#22977

27-610: Caylus may refer to: People [ edit ] Anne Claude de Caylus (1692–1765), French archaeologist Charles de Tubières de Caylus (1698–1750), French naval officer, governor of Martinique Claude Abraham de Tubières de Grimoard de Pestel de Lévis, duc de Caylus (c. 1672–1759), French military leader Marquise de Caylus (1673–1729), French noblewoman and writer Places [ edit ] Caylus, Tarn-et-Garonne , France Other [ edit ] Caylus (game) , 2005 board game by William Attia House of Rougé , holding

54-464: Is different from Wikidata All article disambiguation pages All disambiguation pages Anne Claude de Caylus Anne Claude de Tubières-Grimoard de Pestels de Lévis, comte de Caylus , marquis d'Esternay, baron de Bransac (Anne Claude Philippe; 31 October, 1692 – 5 September 1765), was a French antiquarian , proto- archaeologist and man of letters. Born in Paris , he

81-584: Is of very doubtful authenticity. See also E. and J. de Goncourt , Portraits intimes du XVIIIième siècle ; Charles Nisard 's edition of the Correspondance du comte de Caylus avec le père Paciaudi (1877); and a notice by O. Uzanne prefixed to a volume of his Facties (1879). Folklorist Andrew Lang published some of Comte de Caylus's tales in his book The Green Fairy Book , as part of his collection of color fairy books . These are: The following tales were also published by Andrew Lang, but without

108-513: Is the Histoire de M. Guillaume, cocher (c. 1730). His Contes , hovering between French fairy tales and oriental fantasies, between conventional charm and moral satire, have been collected and were published in 2005; they were originally published as les Féeries nouvelles (1741), les Contes orientaux (1743), Cinq contes de fées (1745), plus two posthumous stories published in 1775. The Souvenirs du comte de Caylus , published in 1805,

135-465: The Académie royale de peinture et de sculpture and of the Académie des Inscriptions . Chief among his antiquarian works must be the profusely illustrated Recueil d'antiquités égyptiennes, étrusques, grecques, romaines et gauloises (6 vols., Paris, 1752–1755), which was mined by the designers of Neoclassical arts for the rest of the century. His Numismata Aurea Imperatorum Romanorum , treats only

162-568: The Accademia di San Luca in Rome . Soon, the courtier Martin de Charmois and several more artists became involved and drafted a petition for the foundation of the Académie. Charmois assembled as many artists with royal patronage as he could to sign it, which a great number did. With the support of Le Brun's patron Pierre Séguier , Chancellor of France , Charmois presented the petition to

189-468: The Grande Galerie du Louvre , Académie artists found themselves carrying out designs originated by Le Brun. In addition, Le Brun admitted more members into the Académie than during any other comparable time period. Between 1664 and 1683, 107 artists became members of the Académie. In comparison, 89 artists were admitted between 1707 and 1720, and the 57 admitted in 1735–54. Under Le Brun's influence

216-515: The Académie (from 1663 chancellor for life), then he became rector from 1668 and director from 1683. Despite his short seven-year reign as director, Le Brun controlled a majority of decisions within the Académie. In February 1675 he ordered that no decision would be validated in the Académie without his approval. Le Brun's involvement in the Académie and his position of first painter to the king, allowed him to dictate all painting, sculpture, and tapestry expectations. Specifically, for projects such as

243-420: The Académie became more accessible than ever before. Le Brun's relationship with the royal court allowed him to assume the position of director after the death of Colbert in 1683. While still extremely influential, Le Brun began to lose power due to the rise of Pierre Mignard , in the years before his death in 1690. On August 8, 1793, the Académie was suspended by the revolutionary National Convention , when

270-541: The account was published in 1853 by the French art historian Anatole de Montaiglon as Montaiglon has identified the anonymous author as Henri Testelin , the academy's secretary from 1650 to 1681, but different names have been suggested by others. In addition to the Mémoires Montaiglon also published the minutes of the academy in ten volumes from 1875 to 1892: From 2006 to 2015, a critical edition of

297-461: The arts were devoted to the glorification of the King. A "royal style" was enforced which in practice meant a classical style. The Académie experienced its greatest power during the involvement of Charles Le Brun who, from its beginnings in 1648 until his death in 1690 occupied many positions within the Académie. After being an original ancien , in 1655 he was the first to be appointed chancellor of

SECTION 10

#1732800761023

324-533: The court of Louis XIV ; these were edited by Voltaire (1770), and by many later editors. While a young man, Caylus distinguished himself in the campaigns of the French army, from 1709 to 1714. After the peace of Rastatt (1714) he spent some time in travelling in Italy , Greece , the Levant , England and Germany , and devoted much attention to the study and collection of antiquities. He became an active member of

351-573: The duchy of Caylus and the title Duke of Caylus Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title Caylus . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Caylus&oldid=1055343405 " Categories : Disambiguation pages Disambiguation pages with surname-holder lists Place name disambiguation pages Hidden categories: Short description

378-539: The gold coinage of the Roman emperors, those worthy of collection by a grand seigneur . His concentration on the object itself marked a step towards modern connoisseurship, and in his Mémoire (1755) on the method of encaustic painting , the ancient technique of painting with wax as a medium mentioned by Pliny the Elder , he claimed to have rediscovered the method. Denis Diderot , who was no friend to Caylus, maintained that

405-437: The inspiration of contemporary artists and their patrons. His cultural interests were not confined to the arts of Classical Antiquity but extended to Gallic monuments, such as the megaliths of Aurille (Poitou), of which he commissioned drawings in 1762. He encouraged artists whose reputations were still in the making, and befriended the connoisseur and collector of prints and drawings Pierre-Jean Mariette when Mariette

432-639: The latter decreed the abolition of "all academies and literary societies patented or endowed by the Nation" ( "toutes les académies et sociétés littéraires patentées ou dotées par la Nation" ). It was later revived as the Académie de peinture et de sculpture after the French Revolution . This Académie is also responsible for the Académie de France in the villa Médicis in Rome (founded in 1666) which allows promising artists to study in Rome. In 1816, it

459-584: The nine-year-old King Louis XIV , his mother Anne of Austria who acted as regent and the whole Royal Council on 20 January 1648 at the Palais-Royal . All present approved and the foundation of the Académie royale was granted. The promoters immediately got to work and in January 1648 formulated statutes with 13 articles (approved in February and published on 9 March 1648), a key element of which

486-508: The professional lives of artists and artisans alike. Some artists had managed to get exemptions but these were based on favoritism rather than merit. According to the 17th century Mémoires about the founding of the Académie royale , a few "superior men" who were "real artists", suffered and felt humiliated under the guild system. In view of increasing pressure by the Parisian guilds for painters and sculptors to submit to their control,

513-413: The proper authorship: British dramatist James Planché also translated the following of de Caylus's tales into English: The tale Mignonette was also translated into English as Prince Chaffinch . Acad%C3%A9mie royale de peinture et de sculpture In the 1640s, France's artistic life was still based on the medieval system of guilds like the Académie de Saint-Luc which had a tight grip on

540-798: The proper method had been found by J.-B. Bachelier. Caylus was an admirable and prolific etcher. He worked chiefly from drawings by Italian and French masters, including examples from the collection of Pierre Crozat and the Cabinet du Roi (the collection of the King); he also made many etchings from drawings by his friend Antoine Watteau and the sculptor Edmé Bouchardon . He caused engravings to be made, at his own expense, of Bartoli 's copies from ancient pictures. His publications Nouveaux sujets de peinture et de sculpture (1755) and Tableaux tirés de l'Iliade, de l'Odyssée, et de l'Enéide (1757) consist of descriptions of subjects from classical literature for

567-493: The sculptors Simon Guillain , Jacques Sarazin and Gerard van Opstal . There is a common misconception that "there were twelve founders" and that all of the original members were called anciens , but this is not correct. Charmois was elected Chef (Head) of the Académy as stated in article XIII of the statutes. With revised statutes from 24 December 1654 the offices of chancelier and of four recteurs were created, and

SECTION 20

#1732800761023

594-548: The title ancien was abandoned in favour of the title professeur (with the exact same duties for a calendar month in turn). Following the death of the Protecteur of the Académie royale , Cardinal Mazarin , in 1661, the office reverted to his predecessor Chancellor Séguier. Later that year, Séguier named Jean-Baptiste Colbert , King Louis XIV 's trusted minister, as Vice-protecteur . Colbert took full strategic control and, working through Charles Le Brun , ensured that

621-477: The young but already very successful painter Charles Le Brun conceived a plan to free those he considered to be true artists from the humiliating influence of mere artisans. He involved his two close friends, the brothers Louis and Henri Testelin , to lobby for an independent organisation where membership was based on merit alone, following the examples of the Accademia delle Arti del Disegno in Florence and

648-408: Was a public art school. There were 22 founding members, who, in February 1648, elected 12 anciens (elders), who would be in charge of the academy in turn, each for a calendar month. These first anciens were the painters Charles Le Brun, Charles Errard , François Perrier , Juste d' Egmont , Michel I Corneille , Henri Beaubrun , Laurent de La Hyre , Sebastien Bourdon , Eustache Le Sueur and

675-469: Was merged with the Académie de Musique (Academy of Music, founded in 1669) and the Académie d'Architecture (Academy of Architecture, founded in 1671), to form the Académie des Beaux-Arts , one of the five academies of the Institut de France . The history of the early Académie royale is given in great detail by a contemporary who was involved in its foundation. The 17th century manuscript containing

702-492: Was only twenty-two, but his patronage was somewhat capricious. Diderot expressed this fact in an epigram in his Salon of 1765 : "Death has delivered us from the cruellest of connoisseurs." Caylus had quite another side to his character. He had a thorough acquaintance with the gayest and most disreputable sides of Parisian life, and left a number of more or less witty stories dealing with it. These were collected ( Amsterdam , 1787) as his Œuvres badines complètes . The best of them

729-496: Was the eldest son of Lieutenant-General Anne de Tubières, comte de Caylus. His mother, Marthe-Marguerite de Villette de Mursay, comtesse de Caylus (1673–1729), was the daughter of vice-admiral Philippe, Marquis de Villette-Mursay . His younger brother was Charles de Tubières de Caylus , who became a naval officer and governor of Martinique . He was a cousin of Mme de Maintenon , who brought Marthe-Marguerite up like her own daughter. Marthe-Marguerite wrote valuable Souvenirs of

#22977