File:L'art de reconnaître les styles - le style Louis XIII (1920) (14767939191).jpg

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Identifier: lartdereconnatre00baya (find matches)
Title: L'art de reconnaître les styles : le style Louis XIII
Year: 1920 (1920s)
Authors: Bayard, Emile, 1868-1937
Subjects: Decoration and ornament Art, French Art
Publisher: Paris : Garnier frères
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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cquérir lescabinets ornés de peintures et de fines ciselures, queles ouvriers français, habitués aux œuvres plus large-ment traitées, ne comprenaient pas. Découragée parce changement de goût, qui succédait à une guerrecivile peu favorable aux arts, la production de notrepays sabaissa promptement, se bornant à répéter lescompositions du siècle précédent. » Mair voici nos ouvriers nationaux de retour delétranger et installés par Henri IV au Louvre. Cestlà que nous trouvons trace dun « menuysier et tour-neur enesbeyne et autres bois » nommé Pierre Boulle,frère ou ascendant du grand ébéniste de Louis XIV,André-Charles Boulle. Lébénisterie naît alors, qui« substitue, dans les meubles de prix, la marqueteriesévère de ses bois de rapport aux élégantes saillies,aux gracieux bas-reliefs ingénieusement combinés parlornemaniste, et largement rendus par le ciseau dusculpteur ». larchitecture intérieure 153 De cette époque donc, date un renouveau dont lori-
Text Appearing After Image:
Fig. 94. — Porte de la tribune du roi, dans la chapellede la Sainte-Trinité (Palais de Fontainebleau). ginalité sera plutôt le fait du règne de Louis XIII.Originalité où percent néanmoins les influences que 154 LE STYLE LOUIS XIII nous avons dites. En dehors dun style Louis XIII pu-rement français dornementation et de goût, il ne fautpas oublier, en effet, que Ton discerne un Louis XIIIflamand, voire espagnol, hollandais ou allemand.Limportant pour notre génie était de dominer lins-piration des autres, et il faut constater que nous yréussîmes au point que cest linspiration étrangèrequi, maintenant, à travers les siècles, en réfère à lamarque du fils de Henri IV. Nous aborderons ensuite létude du mobilier enses détails. Revenons à la table. Voyons-la sur un sup-port massif énergiquement sculpté; les tréteaux ontdisparu. La table est plus souvent carrée quovale etronde, mais ces dernières particularités marquent unedate dans la variété de son usage et de

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https://www.flickr.com/photos/internetarchivebookimages/14767939191/

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  • bookid:lartdereconnatre00baya
  • bookyear:1920
  • bookdecade:1920
  • bookcentury:1900
  • bookauthor:Bayard__Emile__1868_1937
  • booksubject:Decoration_and_ornament
  • booksubject:Art__French
  • booksubject:Art
  • bookpublisher:Paris___Garnier_fr__res
  • bookcontributor:Harold_B__Lee_Library
  • booksponsor:Brigham_Young_University
  • bookleafnumber:164
  • bookcollection:brigham_young_university
  • bookcollection:americana
Flickr posted date
InfoField
28 July 2014



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