French architects and sculptors of the XVIIIth century (1900) (14741679726)

Augustin Pajou (French, 1730-1809), Madame Dubarry No. 774, S.T.M., Musée du Louvre.
Identifier: frencharchitects00dilk (find matches)
Title: French architects and sculptors of the XVIIIth century
Year: 1900 (1900s)
Authors: Dilke, Emilia Francis Strong, Lady, 1840-1904
Subjects: Architects Sculpture, French Sculptors
Publisher: London, G. Bell and sons
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute



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the new ideas, which drew him into an attitude as uncompromising as that of David when the Academy was troubled by the movementof the Revolution.5 It is curious to note in this connection that Pajou, who, like many other artists, had remained insensible to the direct appeal to classic precedent as long as it was only a novel element in artistic 1 There are busts, replicas of the head of the statue, both in marble and plaster, at the Jardin des Plantes. In. gen. Mon. civ. Paris, t. ii., pp. 97, 103, ill, 115, 116. 2 N. A., 1872, p. 388. 3 Musee de Montpellier. In. gen. Mon. civ. Prov., t. i., p. 363. 4 G. B. A., 1889. 5 The drawings which, like Bouchardon, he was in the habit of exhibiting at theSalon, show an increasing bias towards examples of classic heroism. One of these, exhibited in 1771, The soldiers of Camillus surprising the Veiens at their sacrifices,etc., was engraved by Martin in 1776 and dedicated to dAngiviller. 128 Mme. Dubarry. By Pajou.(Nd. 774, Sc. T. M., Musee du Louvre.)
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The Pupils of Jean-Baptiste Lemoyne: Jean-Jacques Caffieri and Augusstin Pajouinterpretation, succumbed to its influence as soon as it was presented as a guarantee of moral regeneration. Neither Pajou, nor any who were in the same case, could however escape the Nemesis of a divided purpose. Certainly the most genuine examples of Pajous art are to be found either in his earlier works, inspired by purely decorative motives, or amongst the immense series of admirable and interesting; busts which he produced at every period in his career.1 If the Buffon of 1773, now in the Louvre,2 must yield the palm to Houdons remarkable version of the same subject, the Carlo Bertinazzi,3 which seems to have been one of the three anonymous portraits exhibited at the Salon of 1763 — as Pajou dates and signs it in that year — the Louis XVI. at the Trianon,4 and the famous Mme. Dubarry,5 are all characterized by an easy suavity and breadth, distinct from the alert aspect of Jean-Jacques Caffieris best works if outmatched by the splendid vigour of Houdon