Lustro, laca e Liotard
técnicas e texturas entre Ásia e Europa
DOI:
https://doi.org/10.26563/dobras.i31.1308Keywords:
Art History, Technology, Enlightenment, Chinoiserie, Connected HistoryAbstract
With the help of examples from the fields of decorative arts and fine art, we show that the brightness of surfaces becomes one of the major goals of the economy of chinoiseries. Swiss artisans and artists were aware of the porcelain, lacquers and fabrics that have spread throughout Europe. Its circulation is linked to the diplomatic and economic ambitions of the countries involved (China, Japan, Siam, France, Germany, England, Holland...). In Europe, therefore, it is a matter of mastering these techniques to develop and commercialize them. In addition, the actors try to translate this shine and this texture into different media: objects imported from China or Japan thus transform the sensory universe in Europe, stimulating the imitation of certain materials and plastic results, such as shiny and pearly. For example, in the still life of the Getty collection, the Geneva painter Jean-Etienne Liotard is directly confronted with the material and formal properties of Asian lacquers, introducing a new visual and tactile horizon in Europe.
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