Catalog of an exhibition held at the Metropolitan Museum of Art, New York, October 1, 2013-January 5, 2014.

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Excerpt from French Portrait Engraving of the Xviith and Xviiith Centuries French Portrait Engraving has not been entirely neglected in books dealing with the general field of engraving, but it has always been treated rather summarily, and generally from a very limited point of view. The whole subject, in fact, has never been covered. The great engravers of the XVIIth century - Mellan and Morin, Nanteuil, Masson and Edelinck - have been fairly well recognized (though it yet remains to do full justice to Nanteuil), - but the XVIIIth century has been largely ignored, and almost entirely misunderstood. Commonly, it has been looked at through XVIIth century eyes, and regarded only as a gradual decline from XVIIth century standards. The style of the Drevets has been regarded only as an excessive elaboration of the classic XVIIth century manner - as the starting-point of a decadence which gradually brought the whole school into decline; - while the less pretentious portrait engravings of the Louis XVI period have generally been ignored as rather trivial, or hastily dismissed as being merely delicate technical achievements. Actually, there was no decadence and no decline. The XVIIIth century portrait engravers continued the XVIIth century traditions, and maintained its high standard of technical skill. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

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Once considered the golden age of French printmaking, Louis XIV’s reign saw Paris become a powerhouse of print production. During this time, the king aimed to make fine and decorative arts into signs of French taste and skill and, by extension, into markers of his imperialist glory. Prints were ideal for achieving these goals; reproducible and transportable, they fueled the sophisticated propaganda machine circulating images of Louis as both a man of war and a man of culture. This richly illustrated catalogue features more than one hundred prints from the Getty Research Institute and the Bibliothèque nationale de France in Paris, whose print collection Louis XIV established in 1667. An esteemed international group of contributors investigates the ways that cultural policies affected printmaking; explains what constitutes a print; describes how one became a printmaker; studies how prints were collected; and considers their reception in the ensuing centuries. A Kingdom of Images is published to coincide with an exhibition on view at the Getty Research Institute from June 18 through September 6, 2015, and at the Bibliothèque nationale de France in Paris from November 2, 2015, through January 31, 2016.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.