Pierre Le Gros the Younger
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| - | [[Image:Bracelli.jpeg|thumb|right|200px|From the ''[[Bizzarie di varie figure]]'' ([[1624]]) by [[Giovanni Battista Braccelli]]]] | ||
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| - | An '''ornamental print''' or '''ornament print''' is the name given to prints showing ornaments or decorative works. In the words of the British museum: "The term refers to a print with decorative ornament for craftsmen in all fields of the applied arts, and is often published in sets. See also '[[pattern-book]]'." | ||
| - | The [[Österreichisches Museum für angewandte Kunst in Wien]] has a large collection of [[Baroque grotesque]] [[ornamental print]]s. In their own words: | + | '''Pierre Le Gros''' (12 April 1666 - 3 May 1719) was a French sculptor, active almost exclusively in [[Baroque]] Rome. Nowadays, his name is commonly written '''Legros''', while he himself always signed as '''Le Gros'''; he is frequently referred to either as 'the Younger' or 'Pierre II' to distinguish him from his father, [[Pierre Le Gros the Elder]], who was also a sculptor. The "ardent drama" of his work and its Italian location make him more an Italian, than a French, sculptor. Despite being virtually unknown to the general public today, he was the pre-eminent sculptor in Rome for nearly two decades, until he was finally superseded at the end of his life by the more classicizing [[Camillo Rusconi]]. |
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| - | :Apart from the many uses of ornamental designs in all kinds of applied arts, ornamental artists have always been interested in designing ornaments purely for their own sake as well. Many artists may be mentioned in this respect; in the following we will call attention to only three as being exemplary for their times. One is the French court artist [[Jean Bérain I]] (1640–1711), whose designs for wall decorations in the grotesque style influenced all types of interior decoration and applied arts (wood, glass and enamelwork in equal measure) of his period. Also worthy of mention is the sequence “[[Mascarade à la Grecque]]”, designs for a parade at the Court of Parma created in 1711 by [[Ennemond Alexandre Petitot]] (1720–1772), one of the pioneers of classicism. | + | |
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| - | :A third outstanding example is the “opus maximum” of the German grotesque by [[Christoph Jamnitzer]] of Nuremburg, dating from around 1610, which, as the frontispiece of the book reveals, was named “[[Neuw Grotteßken Buch]]”. It includes 60 folios with panels, goldsmith ornaments, ornaments in the [[auricular style]] and [[scrollwork]] ornaments, [[putti]], erotic drawings and monstrous forms. Because of the wide variety of designs it contains, the volume enjoyed great popularity among craftspersons of the time. [http://www.ornamentalprints.eu/en/info_mak.html] | + | |
| - | ==German text== | + | |
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| - | '''Ornamentstiche''' sind grafische Darstellungen in [[Metall]]-, oder [[Holz]]druckverfahren von [[Ornament (Bildende Kunst)|Ornamententwürfen]], die einzeln oder in Buchform zwischen dem 15. und 19. Jh. [[Künstler|Künstlern]], [[Kunsthandwerk|Kunsthandwerkern]], [[Bildhauer|Bildhauern]] sowie [[Architekt]]en Formgedanken vermittelten und sich zu einer eigenen [[Kunstgattung]] entwickelten. Die zusammenfassende Begriff Ornamentstich entstand um 1870 in [[Deutschland]] im Rahmen der Rückbesinnung auf vorindustrielle Handwerkstraditionen. Sammlungen mittelalterlicher Vorlagen entstanden zuerst im beginnenden 19. Jahrhundert in [[Paris]]. Der erste bekannte Versteigerungskatalog wurde 1846 durch O. Reynard in Paris verfasst. Eigene Ornamentstichsammlungen wurden zuerst durch das [[Museum für angewandte Kunst (Wien)|Österreichische Museum für Kunst und Industrie]] in [[Wien]] und in der Folge durch das [[Kunstgewerbemuseum Berlin|Kunstgewerbe- Museum]] in [[Berlin]] angelegt. Der "Illustrierte Katalog der Ornament-Stichsammlungdes k.k. österreichischen Museums für Kunst und Industrie" erschien zuerst 1871 in Wien. Nachträge folgten 1889 und 1918. Verzögert und umfangreicher folgte der "Katalog der Ornamentstich-Sammlung des Kgl. Kunstgewerbemuseums zu Berlin " 1894. | + | |
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| - | ==Bedeutende Künstler (Auswahl)== | + | |
| - | * ''[[Thomas Chippendale]]'' | + | |
| - | * ''[[Jean Bérain der Ältere]]'' | + | |
| - | * ''[[Frans Floris]]'' | + | |
| - | * ''[[Daniel Hopfer]]'' | + | |
| - | * ''[[Ernest Meissonier]]'' | + | |
| - | * ''[[Pierre Le Gros der Jüngere]]'' | + | |
| - | * ''[[Gilles-Marie Oppenordt]]'' | + | |
| - | * ''[[Hans Vredeman de Vries]]'' | + | |
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| - | ==See also== | + | |
| - | * [[Grotesque]] | + | |
| - | *[[Ornament (art)]] | + | |
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Pierre Le Gros (12 April 1666 - 3 May 1719) was a French sculptor, active almost exclusively in Baroque Rome. Nowadays, his name is commonly written Legros, while he himself always signed as Le Gros; he is frequently referred to either as 'the Younger' or 'Pierre II' to distinguish him from his father, Pierre Le Gros the Elder, who was also a sculptor. The "ardent drama" of his work and its Italian location make him more an Italian, than a French, sculptor. Despite being virtually unknown to the general public today, he was the pre-eminent sculptor in Rome for nearly two decades, until he was finally superseded at the end of his life by the more classicizing Camillo Rusconi.
Unless indicated otherwise, the text in this article is either based on Wikipedia article "Pierre Le Gros the Younger" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License; or on research by Jahsonic and friends. See Art and Popular Culture's copyright notice.
