Louis-Antoine Prat | |
---|---|
Born | |
Nationality | French |
Occupation | art historian, art collector |
Spouse(s) | Véronique Bardon |
Louis-Antoine Prat (born 24 December 1944 in Nice) is a French art historian and art collector, specialized in drawings.
Louis-Antoine Prat is the son of Georges Prat, a wealthy French businessman. [1] [2] Georges was an art collector: he possessed paintings, sculptures, furniture and drawings.
Georges Prat died when Louis-Antoine Prat was six years old. He studied in both La Sorbonne and Sciences Po. He then followed the courses of the École du Louvre.
Regularly exposed in France or other countries, [3] [4] the art collection of Louis-Antoine and Véronique Prat in their apartment of the 7th arrondissement of Paris has often been the subject of publications.
Their collection is mainly directed towards French drawings from 1600 to 1900. [2] The first drawing bought by Louis and Veronique was a portrait of Max Ernst by André Breton, coming from the collection of Valentine Hugo. [5] They donated a lot of their collection to French museums under usufruct. [6] [7] He is the first private art collector to have been exposed while living in the Louvre museum. [2]
Louis-Antoine Prat was elected president of the Société des amis du Louvre in 2016. [8]
Jean-Antoine Watteau was a French painter and draughtsman whose brief career spurred the revival of interest in colour and movement, as seen in the tradition of Correggio and Rubens. He revitalized the waning Baroque style, shifting it to the less severe, more naturalistic, less formally classical, Rococo. Watteau is credited with inventing the genre of fêtes galantes, scenes of bucolic and idyllic charm, suffused with a theatrical air. Some of his best known subjects were drawn from the world of Italian comedy and ballet.
Théodore Chassériau was a Dominican-born French Romantic painter noted for his portraits, historical and religious paintings, allegorical murals, and Orientalist images inspired by his travels to Algeria. Early in his career he painted in a Neoclassical style close to that of his teacher Jean-Auguste-Dominique Ingres, but in his later works he was strongly influenced by the Romantic style of Eugène Delacroix. He was a prolific draftsman, and made a suite of prints to illustrate Shakespeare's Othello. The portrait he painted at the age of 15 of Prosper Marilhat, makes Théodore Chassériau the youngest painter exhibited at the Louvre museum.
The Death of Marat is a 1793 painting by Jacques-Louis David depicting the artist's friend and murdered French revolutionary leader, Jean-Paul Marat. One of the most famous images from the era of the French Revolution, David painted it when he was the leading French Neoclassical painter, a Montagnard, and a member of the revolutionary Committee of General Security. Created in the months after Marat's death, the painting shows Marat lying dead in his bath after his murder by Charlotte Corday on 13 July 1793. Art historian T. J. Clark called David's painting the first modernist work for "the way it took the stuff of politics as its material, and did not transmute it".
Michel Laclotte was a French art historian and museum director, specialising in 14th and 15th century Italian and French painting.
Charles-Philippe, marquis de Chennevières-Pointel, known as Jean de Falaise was a French writer and art historian.
Étienne Martellange was a French Jesuit architect and draftsman. He travelled widely in France as an architect for the Jesuit order and designed more than 25 buildings, mostly schools and their associated chapels or churches. His buildings reflect the Baroque style of the Counter-Reformation and include the Chapelle de la Trinité in Lyon and the church of Saint-Paul-Saint-Louis in Paris. In the course of his travels he made almost 200 detailed pen drawings depicting views of towns, buildings and monuments. These pictures have survived and provide an important historical record of French towns in the first third of the 17th century.
Gustave Achille Gaston Migeon was a French historian of the arts of the world.
Louise-Joséphine Sarazin de Belmont (1790–1871) was a French landscape painter and lithographer.
Everhard or Eberhard Jabach was a French businessman, art collector and director of the French East India Company. He was born in Cologne in the Holy Roman Empire but later naturalised as a French subject.
Charles Paul Jean Baptiste de Bourgevin Vialart de Moligny, comte de Saint-Morys was a French art collector.
Marie Frédéric Eugène de Reiset was a French art collector, art historian and curator. He served as curator of the department of prints and drawings at the Louvre and as director-general of France's Musées Nationaux.
The Worried Lover is an oil on panel painting in the Musée Condé, Chantilly, by the French Rococo artist Antoine Watteau. Variously dated to c. 1715–1720, the painting was among private collections throughout the 18th and 19th centuries, until it has been acquired by Henri d'Orleans, Duke of Aumale, son of King Louis Philippe I; as part of the Duke of Aumale's collection at the Château de Chantilly, The Worried Lover was bequeathed to the Institut de France in 1884.
Cupid Disarmed is a c. 1715 painting, usually but not definitively attributed to Antoine Watteau. It is one of eight paintings kept by Watteau's friend and protector Jean de Jullienne until the latter's death in 1766. Benoît Audran engraved it in 1727 and described and reproduced it in an inventory of the Jullienne collection in 1756. After Jullienne's death the art dealer Boileau bought it for Jean-Baptiste de Montullé, Jullienne's executor.
The Chord, alternatively known as The Serenader and Mezzetino, is an oil on panel painting in the Musée Condé, Chantilly, by the French Rococo painter Antoine Watteau, variously dated c. 1714–1717. Throughout the 18th and 19th centuries, The Chord passed through numerous private collections, until it came into possession of Henri d'Orléans, Duke of Aumale, son of King Louis Philippe I; as part of the Duke of Aumale's collection at the Château de Chantilly, The Chord was bequeathed to the Institut de France in 1884.
The Perfect Accord, also adapted into English as Perfect Harmony, is a 1719 painting by Antoine Watteau, now in the Los Angeles County Museum of Art. It was the pendant to the same artist's The Surprise.
Polish Woman is an oil on panel painting in the National Museum, Warsaw, historically attributed to the French Rococo artist Jean-Antoine Watteau. The painting correlates to a presumably lost drawing by Watteau that is now known via François Boucher's etching published in 1726 as part of the Recueil Jullienne. Given that the painting is not signed, its attribution and dating remains uncertain; various authors either accept or reject the painting as a Watteau, dating it from the early 1710s to the early 1730s.
The Société des amis du Louvre is a Voluntary association created in 1897 whose objective is to buy objects with an artistic, archeological, or historical value for the Louvre museum.
Charles-Caius Renoux was a French painter, lithographer, and illustrator. He first achieved success with paintings of medieval churches, particularly the ruins of cloisters and monasteries destroyed during the French Revolution, works for which he is still best known. Renoux also painted landscapes, large-scale battle scenes, and historical subjects, works which uniquely prepared him for the final phase of his career, the creation of spectacular dioramas, the “moving pictures” of the era. He also taught at the École des Beaux-Arts in Paris; his notable students included Narcisse Berchère and Hector Hanoteau.
Horace His de la Salle was a French art collector, mainly collecting drawings. He donated a large part of his collection to French museums, including 21 paintings and 450 drawings to the Louvre.
Two Studies of an Actor is the name given to a sheet of drawings in the trois crayons technique by the French Rococo artist Antoine Watteau. Dated between 1716 and 1721, the sheet was once in the collection of Watteau's friend, the manufacturer and publisher Jean de Jullienne; passing through a number of private collectors, it was acquired in 1874 by the Kupferstichkabinett, Berlin, where it remains.