102/ Artwork networks of illustrated publications (3): a disordered hyper-network
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This publish presents one other vital illustrated publication within the collection about artwork worlds (1), comprising 5361 pages in 13 volumes, subdivided in 7 ‘Tomes’ with the descriptions of artworks and 6 ‘Tomes’ with 1136 plates of 3658 illustrations.
Musée de sculpture vintage et moderne
ou Description historique et graphique du Louvre et de toutes ses events, des statues, bustes, bas-reliefs et inscriptions du Musée royal des antiques et des Tuileries et de plus de 2500 statues antiques… tirées des principaux musées et des diverses collections de l’Europe… accompagnée d’une iconographie égyptienne, grecque et romaine… /
par le comte F. de Clarac … 1826-1853
In many bibliographical references the publication acquired this one and the identical basic title (2).
*Tomes I-II,1°-II,2°-III-IV-V-VI comprise the descriptions written by F. de Clarac, with assist of Alfred Maury and Victor Texier for Tomes III, IV,V and VI following the loss of life of Clarac in 1847, and have been revealed by Imprimerie Royale or Nationale, Paris, between 1841-1851. The textual content counts in complete 4465 pages. The precise topic of the outline will not be solely about sculptures or reliefs: reference can be made to architectural parts, inscriptions and wall-paintings or art-objects corresponding to medallions or cash.
Surprisingly, 5 illustrated ‘Tomes’ have been revealed earlier than the ‘Tomes’ with the descriptions of the artworks.
*Tomes I-II-III-IV-V-VI ‘Planches’ have been authored by Frédéric de Clarac and revealed by Victor Texier, graveur, Paris (Tomes I-V between 1826-1841 and Tome VI in 1853). They comprise 896 pages with 3658 illustrationsof recognized sculptures of many alternative sources, probably with the quantity ‘n°’of {the catalogue} of the proprietor, serially numbered by a ‘numéro d’ordre N°#’ on1136 plates, ordered by quantity ‘Pl.#’.
Who’re the artists? Who’re the illustrators?
Determine 1 What’s the relationship between these ‘dessinateurs’/’graveurs’ and ‘designers’/’engravers’?
Desk 1. Frontpage-titles, principal lists, extent and yr of publication
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Vol. |
Tome |
title |
extent |
yr |
|
1 |
I |
De la sculpture, Le Louvre et les Tuileries |
840 p. |
1841 |
|
2 |
II, 1 |
Bas reliefs antiques du Musée royal de sculpture *Listes sujets par N°, n° et Pl.· |
800 p. |
1841 |
|
3 |
II,2 |
Bas reliefs [antiques] de la Galerie d’Angoulême *Concordance des n° avec N° et Pl. *Concordance des n° avec N° et Pl. *Liste des bas-reliefs avec N° et Pl. |
1342 + XC p. de planches d’inscriptions |
1841 |
|
4 |
III |
Statues antiques de l’Europe |
319 p. |
1850 |
|
5 |
IV |
Statues antiques de l’Europe |
374 p. |
1850 |
|
6 |
V |
Statues antiques de l’Europe / Statues modernes du Louvre et des Tuileries |
384 p. |
1850-1851 |
|
7 |
VI |
Iconographie vintage / Bustes modernes du Louvre et des Tuileries *Desk méthodique avec N°2701-3658 et Pl. |
XXVIII -288 p. |
1853 |
|
8 |
I Planches |
Le Louvre et les Tuileries |
121 p. Pl. 1 à 110ter |
1826-1827 |
|
9 |
II Planches |
Bas-reliefs antiques et modernes, autels, cippes funéraires, vases, candélabres, and many others. du Musée du Louvre |
171 p. Pl. 111 à 262 |
1828-1830 |
|
10 |
III Planches |
Statues |
184 p. Pl. 263 à 544 |
1832-1834 |
|
11 |
IV Planches |
Statues |
177 p. Pl. 545 à 780 |
1836-1837 |
|
12 |
V Planches |
Statues |
158 p. Pl. 781 à 1000 |
1839-1841 |
|
13 |
VI Planches |
Iconographie |
85 p. Pl. 1001 à 1136 |
1853 |
Unexpectedly, Tome III has two tables with names of designers and engravers (Figs.2 & 3).
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|
Determine 2 Element:Desk des Dessinateurs in Tome III pp.DIX-DXI · ‘Dessinateurs des Planches des ouvrages précédens’: an alphabetic checklist of 128 ‘noms des artistes’ with some biographical knowledge, the standing of design and ‘Ouvrages’, presumably the title of the museum, proprietor of the art work, however with out ‘numéro d’ordre N°#’ on the plates nor their quantity ‘Pl.#’. |
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Determine 3 Element: Graveurs in Tome III pp.DXII-DXVI
· ‘Graveurs – qui ont travaillé aux ouvrages contenus dans les tables précédentes’: an alphabetic checklist of 253 ‘noms des artistes’ with biographical knowledge, standing of the engravings and ‘ouvrages’, presumably the gathering the place the unique engraving was discovered.
These tables don’t hyperlink artists, artworks and illustrations, until the titles of the plates provide info. Furthermore, the subtitles of those tables ‘des ouvrages précédens’ and ‘ouvrages contenus dans les tables précédentes’ counsel that the lists don’t comprise the artists concerned in subsequent Tomes IV, V and VI! Clarachimself will not be listed in ‘Dessinateurs des Planches’ nor in ‘Graveurs’, although he figured as inventor ‘invt.’or ‘inv.’ earlier than the title of the designer Civeton ‘del.’, albeit surprisingly on solely two plates Pl.8B and Pl.8E in Tome I as proven in Fig.4. But in addition Civeton will not be listed, nor are the engravers Clémence ‘sculpt’ and Hibon ‘sc.’ within the checklist ‘Graveurs’ !
 Clarac refered in Tome III p.60 to the designer Brotherton, engaged throughout his travelling in 1833 in England, and complained about restricted entry to collections in Rome and Naples for his designer Frémy, who’s included within the checklist whereas Brotherton will not be !
Given this dysfunction, an intensive – however not exhaustive – survey of the ‘Planches’, was made utilizing the wonderful digitized format obtainable in INHA (3). The survey yielded the names of 16 designers and 13 engravers recognized on the backside of the pages with plates (Desk 2).
Desk 2. Variety of designers and engravers recognized on the backside of the pages with plates.
Curiously, solely few of those designers/engravers are present in any of the above lists: Calmé, Féron, Frémy among the many designers, and Lebas, Normand père, Normand fils, Texier among the many engravers (Fig.5).
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Determine 5 Visualization of the community of writer, writer, Inventor, Designers and ENGRAVERS discovered on the backside of the ‘Planches’ (4)
The next figures present examples of the designs of the plates with a number of full illustrations of statues recognized below their title and catalogue nr given by the proprietor/museum.
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| Fig.6 Two plates from Tome III |
Fig.6 ‘Musée Royal du Louvre’ Tome III Pl.339 with ‘numéro d’ordre N°’1099, 1898 and 1449 (with two views) and titles and catalogue or stock ‘n°’; and Pl.340 with ‘numéro d’ordre N°1308 (Vénus Victrix ou Vénus de Milo in 4 views), a web page with each plates signed Frémy del. Normand père sc.
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Fig.7 ‘Statues Antiques de l’Europe’ Tome IV Pl.591(statues from museums or collections in Naples, England, Rome, London) with ‘numéro d’ordre N°’1283,1294,1285,1286; and Pl.592 (statues from Dresden, Florence, Rome) with ‘numéro d’ordre N°’1287,1288,1289,1660, a web page signed Calmé & Frémy del. Normand père sc.
As could be anticipated, the survey reveals a dissimilar collaboration between designers and engravers recognized in Fig.5. A community visualization of those preferences is given in Fig.8: commonest designers are Frémy’ who has hyperlinks with 7 engravers, his colleague Garson has 6 hyperlinks; the commonest engraver is NORMAND père with 9 hyperlinks, adopted by LEBAS and REVEIL, every with 5 hyperlinks to designers. Claracis right here introduced as inventor – see Fig.2 – with hyperlinks to engravers CLEMENCE and HIBON.
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| Fig.8 Visualization of collaboration amongst designers (decrease case) and ENGRAVERS (higher case) |
About Frédéric de Clarac
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Determine 9 Bust of Clarac, 1854 by C.-A. Arnaud (Louvre) |
Charles Othon Frédéric Jean-Baptiste, Comte de Clarac, born 1777 in Paris, was an émigré together with his father, a military basic, from 1793 onwards. He rambled in Europe as a navy, returned to Paris on the amnesty in 1801 and was tutor of the youngsters of Caroline, sister of Napoleon, in Naples 1808-14. There he developed his expertise as a draughtsman and took part within the excavations in Pompeii (1813) about which he revealed an illustrated account. He travelled to Brazil (1816-18) the place he made a novel watercolour of a tropical forest, extremely acclaimed and topic to an exhibition in 2005 on the Louvre in Paris.
He was lastly appointed conservator of the Musée des Antiques in Paris (1818) and was the primary to explain the well-known ‘Vénus de Milo’ (see Fig.6) (5) : « Sur la statue vintage de Vénus Victrix découverte dans l’île de Milo en 1820 ; transportée à Paris et donnée au roi par M. le marquis de Rivière,… » (1821). He revealed a catalogue of the Musée du Louvre and a Manuel de l’Histoire de l’artwork however he’s greatest recognized for Musée de sculpture vintage et moderne, a really bold enterprise which left him penniless at his loss of life in 1847. It was re-edited as a ‘Clarac de poche’ in 1906 by Salomon Reinach, his successor on the Musée des Antiques (6). Reinach values extremely the engravings of Clarac “…d’une exactitude parfaite…” and “…supérieures à tous ce qu’on a jamais fait… » however criticizes the dysfunction et confusion of the publication (6 p.IV). He doesn’t touch upon the designers and engravers of the plates.
The artwork historian and archaeologist Philippe Jockey revealed just lately a important evaluation of the works of Clarac, the place he additionally underlines the distinctive worth of the Musée de sculpture and the wonderful designs of the plates: “…aux dessins magnifiques de précision…”(7). He argues that Clarac is within the first place an artist who has confirmed in these plates his nice expertise, along with others : “Un musée de papier et de planches somptueuses, (…) dans lesquelles l’artiste, qu’il est avant tout, a pu donner, avec d’autres, toute la mesure de son expertise.”
Nevertheless, Jockey doesn’t write something about these ‘different’ artists. This publish has tried to seek out out who they have been: the designers and engravers of the plates.
See extra posts about forgotten artists who illustrated well-known publications:
Could 18, 2021 99/ Artwork networks of illustrated publications (1): The Temple of Gnide
July 25, 2021 101/ Artwork networks of illustrated publications (2): Antiquities
November 11, 2021 103/ Mad about Baudelaire and his Venus statue or Artwork networks of illustrated publications (4)
April 13, 2022 107/ Artwork networks of illustrated publications (5): define engravers of the early 19thcentury in France
NOTES
- Impressed by Howard S. Becker ‘Artwork Worlds’ (College of California Press, 1984), exploring artwork as a collective exercise which requires a community of cooperating people. Although there’s a lengthy chapter on ‘Enhancing’, surprisingly it doesn’t focus on illustrated publications. See posts 99/’Artwork networks of illustrated publications (1): The Temple of Gnide’ and 101/’Artwork networks of illustrated publications (2): Antiquities’
- As an illustration, a search in GALLICA, the web-portal of the Bibliothèque nationwide de France (BnF), yields an inventory of 12 equal entries with this title, with none reference to the volumes or tomes within the checklist. The same imprecision is widespread in archive.org.
- INHA Institut Nationwide d’Histoire de l’Artwork, Paris, Collections numérisées
- The community visualizations in Fig.5 & 8 are made with VOSviewer- Visualizing scientific landscapes.
- See this Weblog July 19,2011: publish 5/ What’s ‘Kitsch’? or ‘Venus de Milo’ because the kitsch-idol
- Répertoire de la statuaire grecque et romaine. I. ” Clarac ” de poche , contenant les bas-reliefs de l’ancien fonds du Louvre et les statues antiques du Musée de sculpture de Clarac , avec une introduction, des notices et un index / Salomon Reinach, 2 vol. (LXV-654, XXXVIII-856 p.) ; in-8. Paris, 1906-1909.
- CLARAC-Frederic-comte-de – Mise à jour le 3 mars 2020 Auteur: JOCKEY Philippe
INHA publications numériques
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