First Considerations on Colour in France at the Turn of the 17th and 18th Centuries
DOI:
https://doi.org/10.12775/RF.2018.011Keywords
French Academy, colour, colouration, drawing, Roger de PilesAbstract
A dispute concerning the importance of various artistic devices arose unexpectedly as a result of meetings held in the Royal Academy of Painting and Sculpture in Paris at the end of the 17th century. Its consequences, however, reiterated 100 years later in considerations on philosophical aesthetics in works by authors such as Denis Diderot, Johann Wolfgang Goethe, or even Immanuel Kant. In 1667, in the Royal Academy of Painting and Sculpture, a wide-ranging program of meetings was initiated in order to discuss theoretical aspects of art as well as comment on particular works later prepared for printing by André Félibien. For the Academy, one of the main aims was to prove that the status which painters, graphic artists, and sculptors enjoyed was comparable to that achieved by poets and musicians and that all the above mentioned artists are more than mere craftsmen. Drawing is the common point to all these fields of art and as s composition can justify the recognition of painting, graphics, and sculpture as art rather than craft since these primarily require intellectual work, then skills. The situation drastically changed in 1673 due to Roger de Piles who claimed that in art colouration (or a well-developed colour-matching skill) not colour itself is the key issue. Owing to that he was able to differentiate between a craftsman and an artist without referring to a drawing.
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