Louis-Simon Boizot

Last updated
Bust of Marie Antoinette, exhibited at the Salon of 1781 (Louvre) Marie-Antoinette Boizot Louvre RF4515.jpg
Bust of Marie Antoinette, exhibited at the Salon of 1781 (Louvre)

Louis-Simon Boizot (1743–1809) was a French sculptor whose models for biscuit figures for Sèvres porcelain are better-known than his large-scale sculptures.

Contents

Biography

Bust of Claude-Joseph Vernet, 1783 CE. From Paris, France. By Louis-Simon Boizot. The Victoria and Albert Museum, London Bust of Claude-Joseph Vernet, 1783 CE. From Paris, France. By Louis-Simon Boizot. The Victoria and Albert Museum, London.jpg
Bust of Claude-Joseph Vernet, 1783 CE. From Paris, France. By Louis-Simon Boizot. The Victoria and Albert Museum, London
The Toilet of Madame, Sevres, after a model by Louis-Simon Boizet Sevres Porcelain Manufactory - The Toilet of Madame - Walters 48995.jpg
The Toilet of Madame, Sèvres, after a model by Louis-Simon Boizet

Boizot was the son of Antoine Boizot, a designer at the Gobelins manufacture of tapestry. At sixteen, he became a student at the Académie royale de peinture et de sculpture and worked in the atelier of the sculptor René-Michel Slodtz (1705–1764), with whom Houdon also trained. Boizot took the Prix de Rome for sculpture in 1762, for a sojourn at the French Academy in Rome (1765–70).

On his return to Paris he married Marguerite Virginie Guibert, daughter of the sculptor Honoré Guibert. He was admitted to the Académie royale de peinture et de sculpture in 1778 and exhibited at the annual salons until 1800. His portrait busts of Louis XVI and Joseph II, executed during the Emperor's visit to his sister Marie Antoinette, were executed in 1777 and reproduced in biscuit porcelain at Sèvres. A subtly nuanced decorative panel in very low relief, an allegory of Les Eléments, ca. 1783 is at the Getty Museum.

In 1787, a royal commission from the comte d’Angiviller director of the Bâtiments du Roi, for a series of heroic statues of illustrious French men for Versailles, resulted in Boizot's bust of Racine. [1] Boizot was one of the main artists whose work was included in the collection of the Comédie-Française at the end of the 18th century. Others were Jean-Baptiste d'Huez, Jean-Joseph Foucou, Augustin Pajou and Pierre-François Berruer. [2]

Venus crowning Beauty, Sevres biscuit, after a model by Boizot Louvre biscuit.jpg
Venus crowning Beauty, Sèvres biscuit, after a model by Boizot

From 1773 to 1800 Boizot directed the sculpture workshop at Manufacture nationale de Sèvres, producing the series of white unglazed biscuit figures with a matte finish imitating marble, in which Neoclassicism was softened by a Rococo sweetness, or by a sentimental moralizing, such as in his hard-paste Sèvres porcelain group of a woman giving aid to a crouching woman with two children, allegorical of Charity, ca 1785, now at the Getty Museum. [3] Such figures were designed for chimneypieces or could be combined in a surtout de table . A vase produced at Sèvres, c 1787, in a classic amphora shape was known as a Vase Boizot [4] Boizot's connection with the piece is unclear: perhaps he provided the models for the gilt-bronze snakes that form handles. [5]

Boizot also produced terracotta models for gilt-bronze clock cases, such as the allegorical figures of the "Avignon" clock in the Wallace Collection, London, cast and chased by Pierre Gouthière, 1777, [6] and, exceptionally, for gilt-bronze furniture mounts on French royal furniture, where the meticulously kept accounts of the Garde-Meuble permit his role as modeller to be identified. Such a case is provided by the pair of draped female caryatid figures, balancing baskets on their heads and holding flowers and grapes in their laps applied to the corners of a drop-front secretary (secrétaire à abattant) that was produced under the direction of the sculptor and entrepreneur Jean Hauré for Louis XVI's Cabinet-Intérieur at Compiègne, 1786-87. Among a host of craftsmen (Guillaume Beneman stamped the carcase) Boizot received 144 livres for his terracotta model, "de stil antique". (Watson 1966, I, no. 107).

L'Etude L'Etude-Boizot-BMA.jpg
L'Étude

Boizot's models for seated reading and writing female figures, conventionally called L'Étude and La Philosophie (1780), originally destined to be executed in Sèvres biscuit porcelain, [7] were also copied in gilt-bronze by the ciseleur-doreur François Remond [8] and assembled as mantel clocks retailed by the marchand-mercier Dominique Daguerre. Three were purchased for Louis XVI at Saint-Cloud; examples are in numerous public collections. [9]

gilded Victory at the 1808 Fontaine du Palmier Fontaine du Palmier 240907 03.jpg
gilded Victory at the 1808 Fontaine du Palmier

During the Revolution, he was a member of the Commission des Monuments in 1792. From 1805 he held a chair at the Academie des Beaux-Arts. He executed the sculpture for the Fontaine du Palmier erected in 1808 in the Place du Châtelet, Paris, in a more severe and bombastic Empire style. It celebrates Napoleon's return from Egypt. with a gilded Victory (finished in 1806) that surmounts a column with sphinxes spouting water at the base. The original of the Victory is in the gardens of the Musée Carnavalet.

Related Research Articles

Wallace Collection Museum in London, England

The Wallace Collection is a museum in London occupying Hertford House in Manchester Square, the former townhouse of the Seymour family, Marquesses of Hertford. It is named after Sir Richard Wallace, who built the extensive collection, along with the Marquesses of Hertford, in the 18th and 19th centuries. The collection features fine and decorative arts from the 15th to the 19th centuries with important holdings of French 18th-century paintings, furniture, arms and armour, porcelain and Old Master paintings arranged into 25 galleries. It is open to the public and entry is free.

François Joseph Bosio French sculptor

Baron François Joseph Bosio was a Monegasque sculptor who achieved distinction in the first quarter of the nineteenth century with his work for Napoleon and for the restored French monarchy.

Étienne Maurice Falconet French sculptor

Étienne Maurice Falconet was a French baroque, rococo and neoclassical sculptor, best-known for his equestrian statue of Peter the Great, the Bronze Horseman (1782), in St. Petersburg, Russia, and for the small statues he produced in series for the Royal Sévres Porcelain Manufactory

Vincennes porcelain

The Vincennes porcelain manufactory was established in 1740 in the disused royal Château de Vincennes, in Vincennes, east of Paris, which was from the start the main market for its wares.

Biscuit porcelain Unglazed white porcelain

Biscuit porcelain, bisque porcelain or bisque is unglazed, white porcelain treated as a final product, with a matte appearance and texture to the touch. It has been widely used in European pottery, mainly for sculptural and decorative objects that are not tableware and so do not need a glaze for protection.

<i>Manufacture nationale de Sèvres</i>

The Manufacture nationale de Sèvres is one of the principal European porcelain factories. It is located in Sèvres, Hauts-de-Seine, France. It is the continuation of Vincennes porcelain, founded in 1740, which moved to Sèvres in 1756. It has been owned by the French crown or government since 1759, and has always maintained the highest standards of quality. Almost immediately, it replaced Meissen porcelain as the standard-setter among European porcelain factories, retaining this position until at least the 19th century.

Mintons English pottery company (1793–2005)

Mintons was a major company in Staffordshire pottery, "Europe's leading ceramic factory during the Victorian era", an independent business from 1793 to 1968. It was a leader in ceramic design, working in a number of different ceramic bodies, decorative techniques, and "a glorious pot-pourri of styles - Rococo shapes with Oriental motifs, Classical shapes with Medieval designs and Art Nouveau borders were among the many wonderful concoctions". As well as pottery vessels and sculptures, the firm was a leading manufacturer of tiles and other architectural ceramics, producing work for both the Houses of Parliament and United States Capitol.

Martin Carlin

Martin Carlin was a Parisian ébéniste (cabinet-maker), born at Freiburg, who was received as Master Ébéniste at Paris on 30 July 1766. Renowned for his "graceful furniture mounted with Sèvres porcelain", Carlin fed into the luxury market of eighteenth-century decorative arts, where porcelain-fitted furniture was considered among "the most exquisite furnishings" within the transitional and neoclassical styles. Carlin's furniture was popular amongst the main great dealers, including Poirier, Daguerre, and Darnault, who sold his furniture to Marie Antoinette and many amongst the social elite class. He died on 6 March 1785.

Pierre-Philippe Thomire French sculptor

Pierre-Philippe Thomire (1751–1843) a French sculptor, was the most prominent bronzier, or producer of ornamental patinated and gilt-bronze objects and furniture mounts of the First French Empire. His fashionable neoclassical and Empire style furnishing bronzes established the highest standard in refined finish in the craft that the French called that of the fondeur-ciseleur, "founder-finisher". In his pre-Revolutionary training, Thomire appeared first as a ciseleur, in the division of duties that went into the production, for example, of a set of gilt-bronze wall-lights delivered for Marie-Antoinette's card-room, her Salon des Jeux at Compiègne: under the general supervision of Hauré, the wax and wooden model was carved by Martin, cast by Forestier, and chased by Thomire, as Pierre Verlet was able to show over fifty years ago.

Jules Coutan French sculptor and educator (1848–1939)

Jules-Félix Coutan was a French sculptor and educator.

Louis XVI style Neoclassical style within architecture and design

Louis XVI style, also called Louis Seize, is a style of architecture, furniture, decoration and art which developed in France during the 19-year reign of Louis XVI (1774–1793), just before the French Revolution. It saw the final phase of the Baroque style as well as the birth of French Neoclassicism. The style was a reaction against the elaborate ornament of the preceding Baroque period. It was inspired in part by the discoveries of Ancient Roman paintings, sculpture and architecture in Herculaneum and Pompeii. Its features included the straight column, the simplicity of the post-and-lintel, the architrave of the Greek temple. It also expressed the Rousseau-inspired values of returning to nature and the view of nature as an idealized and wild but still orderly and inherently worthy model for the arts to follow.

Jean-Joseph Foucou French sculptor

Jean-Joseph Foucou was a French sculptor.

Guillaume Beneman

Guillaume Beneman or Benneman was a prominent Parisian ébéniste, one of several of German extraction, working in the early neoclassical Louis XVI style, which was already fully developed when he arrived in Paris. Beneman arrived in Paris already trained; he was settled in the rue du Faubourg Saint-Antoine when he was received master in 1785 by royal command. He rapidly became the last of the royal cabinet-makers before the French Revolution, working under the direction of the sculptor-entrepreneur Jean Hauré, fournisseur de la cour.

Achille Valois French sculptor

Achille-Joseph-Étienne Valois was a French designer and sculptor who studied for a time in the atelier of Jacques-Louis David and whose sculptural works may be seen in Paris. He also studied with Antoine-Denis Chaudet.

French porcelain

French porcelain has a history spanning a period from the 17th century to the present. The French were heavily involved in the early European efforts to discover the secrets of making the hard-paste porcelain known from Chinese and Japanese export porcelain. They succeeded in developing soft-paste porcelain, but Meissen porcelain was the first to make true hard-paste, around 1710, and the French took over 50 years to catch up with Meissen and the other German factories.

Jean-Claude Chambellan Duplessis

Jean-Claude Chambellan Duplessis, called Duplessis père to distinguish him from his son, Jean-Claude-Thomas Chambellan Duplessis, was a goldsmith, sculptor and ceramics modeller, bronze-founder and decorative designer working in the Rococo manner. He served as artistic director of the Vincennes porcelain manufactory and its successor at Sèvres from 1748 to his death in 1774 and as royal goldsmith from 1758 to 1774.

Sèvres pot-pourri vase in the shape of a ship Sèvres pot-pourri vase shape

Pot pourri à vaisseau or pot pourri en navire is the shape used for a number of pot-pourri vases in the form of masted ships, first produced between the late 1750s to the early 1760s by the Sèvres manufactory near Paris. The colours and details of the painted decoration vary between examples, as is typical of Sèvres porcelain, and one example is on a later gilt wood stand. The openwork lid lifts off to allow refilling of the pot-pourri. The shape was eventually produced in two or three versions, at slightly different sizes. It was first designed in 1757, probably by Jean-Claude Duplessis, the artistic director of the factory. The first surviving finished example dates to 1759. Another name for them is vaisseau à mat.

François Rémond

François Rémond was a French master metalworker and bronze gilder who achieved renown in his day, and whose work is still greatly valued. It included stand-alone works such as candelabras, the decorative casings for clocks and bronze ornamentation for the elaborate furniture made for the elite at the time.

Lignereux is a French company, founded in 1787, which produces objets d'art. Established in Paris and London, Lignereux plays a major role in decorative arts. Lignereux makes objects which are intended for art collectors. In 2015 Lignereux began to produce new objects, decorated by contemporary artists and craftspeople.

Londonderry Vase

The Londonderry Vase is a hard-paste porcelain vase, standing at 54 inches tall. It is decorated with polychrome enamels, gilding and gilt bronze mounts. It bears the Sèvres mark, two intersecting Ls with a letter in the center denoting its creation year (1813-1815) and a crown over the L's to mark it as hard-paste. The vase was commissioned by Napoleon around 1805 to be created by the Sèvres Manufactory. The vase is currently on display at the Art Institute of Chicago.

References

  1. Now in the foyer of the Odéon, in the foyer of the l’Odéon, Place du Palais-Royal.
  2. Daufresne, Jean-Claude (2004-01-01). Théâtre de l'Odéon: architecture, décors, musée. Editions Mardaga. p. 151. ISBN   978-2-87009-873-8 . Retrieved 2014-07-01.
  3. illustrated)
  4. An example is in the Royal Collection.
  5. The designation "Vase Boizot" was applied at Sèvres in the 1880s to an entirely different model Archived 2011-07-20 at the Wayback Machine .
  6. Wallace Collection F 258.
  7. An example of Boizot's L'Étude, seated in an oil lamp of antique form, Sèvres, marked for 1786 Archived 2006-04-27 at the Wayback Machine .
  8. Remond's drawing after Boizot's model is in Remond's business archive.
  9. See Sotheby's New York,. 21 May 2004, lot 28 [ permanent dead link ]. A pair, L'Étude and La Philosophie, in patinated and gilded bronze, ca 1786, at the Getty Museum, are said to be perhaps by Pierre-Philippe Thomire, nevertheless (illustrated).

Further reading