- Pierre-Philippe Choffard (1730-1809)
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Pierre-Philippe Choffard (1730-1809)
Auction Houses. Featured Timed Sales. Buy Now Items. Fine Art. Drawings Fine Art - General Mixed Media Art Paintings Photography Posters Prints Sculptures View All Fine Art. Decorative Art. American Indian Art Decorative Art - General Glass With Philippe Lebas, an early master of Cochin's, he engraved sixteen plates in the series Ports of France , of which fifteen are after paintings by Vernet and one designed by himself.
In , a typeface named Cochin , in honor of the artist, was designed by Georges Peignot.
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The style was inspired by Cochin's engravings, however, it is not a direct copy of those presented in the prints. Cochin's published and unpublished texts, including over six hundred surviving letters, and the lectures he gave at meetings of the Academy, are listed by Michel. From Wikipedia, the free encyclopedia. Paris , France. Namespaces Article Talk. Views Read Edit View history.
A winged figure descends in a cloud at the upper left and points toward the goddess. In the foreground, a lion lies at the left, an eagle stands in the center, and a child, Telephus, suckles from a deer at the far right. Upon discovering the infant at a temple of Athena, the king took the child and abandoned him on Mount Parthenius.
Nursed by a doe, the child survived and was saved by shepherds who called him Telephus. The engraver of the Miller etching is unknown, but the plate was included in a book by Johann Joachim Winckelmann , Critical account of the situation and destruction by the first eruptions of Mount Vesuvius Discoveries had previously been made at Herculaneum in the early s but, after , Charles III began serious explorations of the site. The excavations and the subsequent discoveries were carried out largely in secret. Foreign visitors were allowed into the tunnels beneath Herculaneum, but they were not allowed to draw or copy any of the artifacts while on site.
Some fresco paintings and sculptures had already been removed from the site and had been placed in the royal palace of Charles III in Portici. These, too, were carefully guarded and access to them was monitored closely. The accuracy of detail in some of the drawings suggests that the artists received some plans and descriptions of the excavations secretly. Because of the severe restrictions, however, some of the drawings the artists made were done quickly, or from memory.autoconfig.simonetti.eu.org/200.php
PDF Macbeth The Graphic Novel - Original Text
Cochin made five drawings from memory of some of the fresco paintings at the palace at Portici, one of which is the painting, Hercules and Telephus , on which the Miller print is based. Cochin made etchings from his drawings of the frescoes at Portici and they were published for the first time in Paris in in Lettre sur les Peintures d'Herculanum, Aujourd'hui Portici.
The Cochin etchings have the same orientation as the original frescoes, that is, they are not reversed. They were subsequently reused, though unsigned, in a jointly authored book by Bellicard and Cochin on Herculaneum that included more than forty plates, most etched by Bellicard.
Their book was published in six editions - three in English and three in French. Bellicard wrote the preface to the London editions, while Cochin wrote the preface to the French editions. Though the texts are quite different, each author does explain that the book was organized into three parts with Bellicard writing the first and third sections on the architectural remains at Herculaneum and Cochin writing the second section which describes the wall paintings and sculpture.
Both Bellicard and Cochin kept notebooks and made drawings of artifacts discovered at Herculaneum, but the majority of the plates in the six editions published in London and Paris were etched by Bellicard, the exceptions being the five unsigned plates by Cochin of the wall paintings, and Cochin's signed vignette of the arms of the Marquis de Marigny and, in the Paris editions, his plate of Mount Vesuvius.
Bellicard's notebook is at the Metropolitan Museum of Art. The Miller print is a mirror image of the original Cochin etchings in the and to publications. The original etchings by Cochin have a very light, sketchy quality. In particular, the background figures - the faun and winged figure in a cloud - are very faintly etched and have a "ghostly" quality. The Miller copyist has modified the original versions by adding more modeling to the figures, giving them more substance and three-dimensionality.
Also added by the copyist are the fine vertical lines in the background which set off the wall painting. The Miller print is slightly larger than the Cochin originals, the dimensions of the wall painting itself being slightly larger in the Miller copy - about one-half an inch taller and about one-quarter inch wider. Other than being a mirror image of the Cochin originals and the slightly larger dimensions of the wall painting itself, the unknown artist of the Miller print has copied the Cochin etching very closely. Charles-Nicolas Cochin the younger, draughtsman and engraver, Charles-Nicolas Cochin the younger was born in and died in Paris.
Both of his parents were engravers, and other relatives and close friends of the family were artists.