Exhibition labels & didactics - National Gallery of Victoria
Exhibition labels & didactics - National Gallery of Victoria Exhibition labels & didactics - National Gallery of Victoria
46 Charles-Eloi ASSELIN French 1743–1804 Design and decoration for a cup and saucer, called Conical cup with two handles Éléments décoratifs, Tasse et soucoupe, appelé Tasse Conique à deux anses 1802 watercolour and pen and ink Sèvres Cité de la Céramique, Paris inv. 2011.3.1097 MANUFACTURE DE SÈVRES manufacturer France est. 1756 Etruscan-style cup and saucer Tasse à pied, figure étrusque et soucoupe 1793–95 porcelain (hard-paste) Musée Carnavalet – Histoire de Paris, France inv. C 1912 Emerging on the eve of the Revolution, the Etruscan style became the leading fashion during the Directory period. In contrast to the earlier phase of Neoclassicism, influenced by the public grandeur of Roman architecture, the Etruscan style embodied a more domestic aesthetic. The term ‘Etruscan’ was a mistaken reference to a largely ancient Greek style (Greek vases having been found in Etruria). The style also incorporates influences from the Roman interiors and objects discovered at Pompeii and Herculaneum. © COPYRIGHT This document remains the property of the National Gallery of Victoria and must be returned upon request. Reproduction in part or in whole is prohibited without written authorisation.
Louis GAUFFIER French 1762–1801 The family of André-François, Count Miot de Melito, (1762–1841) consul of France to Florence La famille d’André-François, comte Miot de Melito, (1762–1841) consul de France, accrédité à Florence 1795–96 oil on canvas National Gallery of Victoria, Melbourne Purchased with funds donated by Andrew Sisson, 2010 2010.513 In November 1794 André-François Miot was appointed as representative of the new French Republic in Florence, a difficult role in a society where revolutionaries were widely perceived as savages. Miot resolved to undo such stereotypes through personal example. Well-read and multilingual, he entered Florence’s artistic and literary circles, where he met his countryman, Louis Gauffier. Gauffier has shown Miot (far right) wearing the red, white and blue of the French tricolore with a cockade upon his hat, amid classical statuary of Minerva and Brutus, both popular Republican symbols. © COPYRIGHT This document remains the property of the National Gallery of Victoria and must be returned upon request. Reproduction in part or in whole is prohibited without written authorisation. 47
- Page 1 and 2: Exhibition labels & didactics
- Page 3 and 4: Jean-Baptiste LEMOYNE French 1704-7
- Page 5 and 6: NAPOLEON AND JOSEPHINE Napoleone Bu
- Page 7 and 8: Louis Antoine MILET-MUREAU French 1
- Page 9 and 10: J. M. MOREAU le Jeune French 1741-1
- Page 11 and 12: ANCIEN RÉGIME Though literally mea
- Page 13 and 14: PAINTERS OF THE CABINET DU ROI Éli
- Page 15 and 16: THE FRENCH REVOLUTION AND REIGN OF
- Page 17 and 18: ATELIER BASSET, Paris France active
- Page 19 and 20: NEVERS, Burgundy Revolutionary plat
- Page 21 and 22: FRANCE Cockade Cocarde 1790 fabric
- Page 23 and 24: FRANCE The French Constitution as d
- Page 25 and 26: Jacques Louis PERÉE engraver Frenc
- Page 27 and 28: Jacques Julien Houtou de LABILLARDI
- Page 29 and 30: Jean-François GARNERAY French 1755
- Page 31 and 32: Jean-François SABLET Swiss 1745-18
- Page 33 and 34: Hubert ROBERT French 1733-1808 A co
- Page 35 and 36: FRANCE M. and Mme. Darbouville in t
- Page 37 and 38: Charles BENAZECH English 1767/68-17
- Page 39 and 40: FRANCE Claude BORNET (after) Marie-
- Page 41 and 42: Isidore-Stanislas HELMAN engraver F
- Page 43 and 44: NAPOLEON’S RISE TO POWER The prom
- Page 45: Joseph COTEAU enameller French 1740
- Page 49 and 50: Charles-Louis CORBET French 1758-18
- Page 51 and 52: FRANCE Pair of Sphinx fireplace gua
- Page 53 and 54: François-Louis-Joseph WATTEAU Fren
- Page 55 and 56: TURKEY The First Consul’s sabre,
- Page 57 and 58: Jacques-Nicolas Paillot de MONTABER
- Page 59 and 60: MANUFACTURE DE SÈVRES manufacturer
- Page 61 and 62: FRANCE Antoine-Denis CHAUDET (after
- Page 63 and 64: MANUFACTURE DE SÈVRES manufacturer
- Page 65 and 66: Constant BOURGEOIS French 1767-1841
- Page 67 and 68: JACOB FRÈRES manufacturer France 1
- Page 69 and 70: FRANCE Jean-Baptiste ISABEY (after)
- Page 71 and 72: Jean-Baptiste-Jacques AUGUSTIN Fren
- Page 73 and 74: FRANCE Badge of the Grand Eagle of
- Page 75 and 76: THE ANTECHAMBER, DINING ROOM, COUNC
- Page 77 and 78: Robert LEFÈVRE French 1755-1830 Po
- Page 79 and 80: THE CONSULATE, 1799-1804 In Novembe
- Page 81 and 82: MANUFACTURE DE SÈVRES manufacturer
- Page 83 and 84: MANUFACTURE JACQUEMART ET BÉNARD,
- Page 85 and 86: MANUFACTURE DE SÈVRES manufacturer
- Page 87 and 88: NAPOLEON AND AUSTRALIA: THE BAUDIN
- Page 89 and 90: Louis-Claude de Desaulses FREYCINET
- Page 91 and 92: Charles-Alexandre LESUEUR French 17
- Page 93 and 94: Charles-Alexandre LESUEUR French 17
- Page 95 and 96: THE BAUDIN EXPEDITION AND THE ABORI
Louis GAUFFIER<br />
French 1762–1801<br />
The family <strong>of</strong> André-François,<br />
Count Miot de Melito, (1762–1841)<br />
consul <strong>of</strong> France to Florence<br />
La famille d’André-François,<br />
comte Miot de Melito, (1762–1841)<br />
consul de France, accrédité à Florence<br />
1795–96<br />
oil on canvas<br />
<strong>National</strong> <strong>Gallery</strong> <strong>of</strong> <strong>Victoria</strong>, Melbourne<br />
Purchased with funds donated by Andrew Sisson, 2010 2010.513<br />
In November 1794 André-François Miot<br />
was appointed as representative <strong>of</strong> the<br />
new French Republic in Florence, a difficult<br />
role in a society where revolutionaries were<br />
widely perceived as savages. Miot resolved<br />
to undo such stereotypes through personal<br />
example. Well-read and multilingual, he<br />
entered Florence’s artistic and literary circles,<br />
where he met his countryman, Louis Gauffier.<br />
Gauffier has shown Miot (far right) wearing<br />
the red, white and blue <strong>of</strong> the French tricolore<br />
with a cockade upon his hat, amid classical<br />
statuary <strong>of</strong> Minerva and Brutus, both popular<br />
Republican symbols.<br />
© COPYRIGHT<br />
This document remains the property <strong>of</strong> the <strong>National</strong> <strong>Gallery</strong> <strong>of</strong> <strong>Victoria</strong> and must be returned upon request. Reproduction in part or in whole is prohibited without written authorisation.<br />
47
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