Suchergebnisse

This article examines the problem of depicting a home interior as a setting with reference to the French literary illustration of the eighteenth century. Referring to the interior scenes from two different series of illustrations to the same literary texts, the author considers the role of the texts in the formation of visual images of a home interior; the methods of depicting a home interior by different artists; the visual prototypes of the image of the interior. The main sources of the research are illustrations of two French editions of Molière's Works: a series of engravings based on drawings by F. Boucher (1734) and ones by J.-M. Moreau (Moreau le Jeune) (1773). The texts of some comedies are compared with illustrations from two different editions. The comparison demonstrates that the interior, schematically described by Molière, was arbitrarily depicted by the artists as the apartments of a noble house. They used typology, dйcor, and furnishings that are relevant to their time. Boucher chose the Rococo style (1730s), while Moreau preferred the Transition style (1760–1770s). The comparison of the illustrations with each other proves that the artists copied the details of similar illustrations by P. Brissart (1682). Also, Moreau used Boucher's compositions as prototypes. The comparison of the illustrations with architectural engravings proves that the interior projects were also prototypes for the artists. As a result, the author notes the patterns of depicting a home interior as a setting: the image of visual interiors did not literally depend on the text; the interior model was determined by the illustrator's creative credo and followed the fashionable design style; the artists created the image of the interior using analogous illustrations and projects of architects and decorators.

This article is devoted to the comparative study of images of the incense burner, i.e. a device for filling the interior with a pleasing scent. The author refers to materials from French design and book engravings of the eighteenth century. The article contains descriptions and results of a comparative analysis of engraved images of incense burners in the works of French decorators and illustrators of the eighteenth century. A comparative study of incense burners as a sketch of an interior item and as the entourage of a book illustration makes it possible to trace the changes in their typology, style, and semantics over the eighteenth century. The article refers to engraved sketches of incense burners in the projects of French architects and ornamentalists of the eighteenth century, such as J. Bйren, B. Turreau, J.-M. Oppenord, J.-F. Blondel, J.-Ch. Delafosse, J.-F. de Nefforge, J.-F. Boucher, R. De La Londe, and J.-F. Forty. Secondly, it draws upon book engravings depicting incense burners created by such artists as C. Gillot, L.-F. Dubourg, H.-F. Gravelot, F. Boucher, Ch. Eisen, J.-J.-F. Le Barbier, K.-P. Marillier, J.-M. Moreau le Jeune, J. de Sиve, and A. Borel. As a result of the description and analysis of images, the author determines the genres and features of the iconography of the incense burner. A comparative analysis of design and book engravings helps address the problem of the genesis of the image of the incense burner in illustrations. The author substantiates the direct influence of design engravings on the images of incense burners in book illustrations and at the same time, the absence of a "literal" influence of literary texts, pointing out the stable continuity of images of the incense burner in similar works of illustrators for different editions of the same literary text. In a comparative aspect, the article analyses the semantics of images of the incense burner in the design and book engravings, noting the predominance of the sensual-hedonistic connotation of the images of the incense burner over the eighteenth century.