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About Art Nouveau
Bazzanti, Niccolò
Carrier-Belleuse, Albert-Ernest
Dumont, Alexandre Augustin
Godebski, Cyprian Quentin
Laurent, Eugene
Pugi, Guglelmo
Rude, François
The Animaliers
Marioton, Eugène
Thiébaut Foundry
The Marinelli Foundry
Nelli, Alessandro
Susse Foundry
All Other Foundries
Marble and Marble Tops

ARTIST BIOGRAPHIES
Barbedienne, Ferdinand
Barye, Antoine-Louis
Besarel, Valentino
Bonheur, Isidore Jules
Caffiéri, Jacques
Chapu, Henri-Michel-Antoine
Clodion
Collas, Louis-Antoine
Coustou, Francois
Coutan, Jules-Felix
Drouot, Edouard
Dumaige, Etienne Henry
Falconet, Etienne-Maurice
Frémiet, Emmanuel
Hannaux, Emmanuel
Houdon, Jean Antoine
Le Duc, Arthur Jacques
Lequesne, Eugène Louis
Mène, Pierre-Jules
Mercié, Marius Jean Antonin
Moreau, Hippolyte Francois
Moreau, Mathurin
Puech, Denys
Picault, Emile Louis
Pradier, James
Salmson, Jean Jules
Thorvaldsen, Bertel

ART HISTORY
French Sculpture
French Sculpture : 1814-1900
More on French Sculpture
French Art Life 1789-1814
French Art Life 1815-1869
French Art Life 1870-1914
Gilding After 1800
Gilt Bronze : 1600-1800
High Renaissance
Mannerism
The Norwich School of Painters
Prix De rome
Styles of Sculpture
Italian Sculpture : 15th century
Italian Sculpture : 16th century
Italian Sculpture : 17th century
A History Of Guilds

TOP 1000 ARTISTS FOR YEAR 2002

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Marble and Marble Tops

Marble and Marble tops

Marble is frequently used to surface different pieces of furniture - commodes, secrétaires, tables, consoles, and pedestal tables. During the Renaissance, marble was applied to the facades of sculpted coffers. Louis XIV was a keen supporter of marble sculptors and by the reign of Louis XV, the use of marble was particularly widespread. Under Louis XVI, the fashion was for sobriety and the marbles used were uniform whites and grays. With the Empire, blacks and greens were added and the cuts became more angular, distinguishing them from previous styles where rounded edges were broken by one or two grooves. The Restoration of Louis XVIII and Charles X saw colors become softer - lighter grays and whites became the fashion.

Louis Philippe and Napoléon III brought back black but the edges had molding, "doucine" (a curve refined at the edges by two slight counter-curves) or grooves. In the Art Deco period, marble was often used in conjunction with wrought iron. In France, the main marble quarries are in the Pyrenees, Brittany, Flanders and the Jura, each one having different characteristics. The frequently used "breccia" (brèches in French) is composed of fragments of rocks of several different colors: the "Brèche d'Alep" (Sarcolin quarry in the Pyrenees) has a yellow background and brown, reddish, gray and black fragments. The "Brèche violet" has fragments of violet next to white or brown. The "Sainte Anne des Pyrenees" is pale gray, the "Sainte Anne français", from quarries in the north, is a deeper gray. "Campan melangé" (Pyrenees) has a pink background streaked with green and red. Red Campan was used for the Château de Versailles and was called "Royal Red"; it is deep purple with some purplish-blue and pink, white and, more rarely, pale green streaks. The "Fleur de Pêcher" is pink with ochre and gray veins. The "Rouge de Languedoc" is rosy red mottled with pale gray and with wide white veins. From Belgian quarries came a red marble "Rance" which had large white and gray splashes sprinkled with small gray and pink fragments calles "rats' tails". "Royal Belge" is a uniform deep red color.

The Italian marbles preferred for furnishing are "Portor", black finely veined with gray and white and mottled with an orangey yellow and "Bleu Turquin" - grayish blue with black and white striations.


 
 
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233 Royal St. New Orleans, LA 70130
Phone: 504-523-1605 Fax: 504-523-1669

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