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拍品專文
Accepted into the Academy in 1755, Pierre-Antoine Demachy studied under the painter and architect Servandoni. A teacher of perspective, he specialized in painting historical subjects and architectural scenes.
The present work is one of the Demachy's masterpieces. Dated 1767 and exhibited at the Salon of the same year, it represents the façade of the colonnade of the Louvre, built by Claude Perrault in 1660, and the demolition site of the Hôtel Rouillé. The latter had been destroyed the year before -- a mere thirty-five years after its construction -- and replaced by a lawn in order to create a vista betwen the colonnade and the portal of Saint Germain l'Auxerrois, as part of the plans of the newly elected Dirécteur des Bâtiments du Roi, Marquis du Marigny, to clear the area around the Louvre.
The Hôtel Rouillé was not a totally new residence but rather the extension and expansion of the existing Hôtel d'Aumont, owned by Antoine-Louis Rouillé (1689-1761), Comte de Jouy, who was Minister of the Navy. In 1713 Rouillé acquired a small house and a part of the garden of the Hôtel Conti, which adjoined his property. To this he added, in 1730, the rest of the gardens and the building itself after they failed to sell at auction. Two years later work began on this site under the direction of the architect Jacques-François Blondel. Blondel restored the Hôtel d'Aumont and added a wing to it overlooking the garden to form the new Hôtel Rouillé. On the other side of the garden Rouillé also had the Hôtel Beuvron built for his son-in-law, Marquis de Bevron.
Information about the apartments and decor of the Hôtel Rouillé is recorded in Blondel's descriptions and supplemented by Gabriel's inventory. The interior was richly decorated, with all rooms parqueted and half-panelled, and sculptural decoration by Nicolas Pineau. In the dining room, there were four overdoors by Oudry, while an overmantel by Lajoüe is recorded in the antechamber of the library. The two other apartments were decorated with the same richness: in the large cabinet four paintings by Watteau and Lancret are mentioned. Between the two hôtels, there was an exquisite formal French garden with an ornamental lake, in the middle of which stood a statue of Apollo by Lemoyne.
The present picture will be included in Marie-Pierre Petkovska's forthcoming Catalogue raisonné of works by the artist.
The present work is one of the Demachy's masterpieces. Dated 1767 and exhibited at the Salon of the same year, it represents the façade of the colonnade of the Louvre, built by Claude Perrault in 1660, and the demolition site of the Hôtel Rouillé. The latter had been destroyed the year before -- a mere thirty-five years after its construction -- and replaced by a lawn in order to create a vista betwen the colonnade and the portal of Saint Germain l'Auxerrois, as part of the plans of the newly elected Dirécteur des Bâtiments du Roi, Marquis du Marigny, to clear the area around the Louvre.
The Hôtel Rouillé was not a totally new residence but rather the extension and expansion of the existing Hôtel d'Aumont, owned by Antoine-Louis Rouillé (1689-1761), Comte de Jouy, who was Minister of the Navy. In 1713 Rouillé acquired a small house and a part of the garden of the Hôtel Conti, which adjoined his property. To this he added, in 1730, the rest of the gardens and the building itself after they failed to sell at auction. Two years later work began on this site under the direction of the architect Jacques-François Blondel. Blondel restored the Hôtel d'Aumont and added a wing to it overlooking the garden to form the new Hôtel Rouillé. On the other side of the garden Rouillé also had the Hôtel Beuvron built for his son-in-law, Marquis de Bevron.
Information about the apartments and decor of the Hôtel Rouillé is recorded in Blondel's descriptions and supplemented by Gabriel's inventory. The interior was richly decorated, with all rooms parqueted and half-panelled, and sculptural decoration by Nicolas Pineau. In the dining room, there were four overdoors by Oudry, while an overmantel by Lajoüe is recorded in the antechamber of the library. The two other apartments were decorated with the same richness: in the large cabinet four paintings by Watteau and Lancret are mentioned. Between the two hôtels, there was an exquisite formal French garden with an ornamental lake, in the middle of which stood a statue of Apollo by Lemoyne.
The present picture will be included in Marie-Pierre Petkovska's forthcoming Catalogue raisonné of works by the artist.