#chaudet

[empirearchives]

Bust of Napoleon Bonaparte by Antoine-Denis Chaudet, c. 1800s

Musées d'Angers

[cmonbartender]

Portrait of a lady as a novice (1811) - Jeanne-Elisabeth Chaudet

[wgm-beautiful-world]

Cupid Presenting a Rose to a Butterfly by Denis Antoine Chaudet. C 1802 - Louvre Museum, PARIS

[carloskaplan]

L'Amour par Antoine-Denis Chaudet

[graceandfamily]

Princess Grace, right, talks to Federal Councilors Paul Chaudet, left, and Max Petitpierre, center, on November 8, 1960 in the Federal Palace in Bern. The Princely Couple of Monaco are in Switzerland for a state visit.

[abwwia]

Jeanne-Elisabeth Chaudet (née Gabiou; died 18 April 1832) was a French painter, 🖼 Little girl eating cherries, 1817, Musée Marmottan Monet

[castelnou]

sculpture by antoine denis chaudet

[heepthecheep]

Feel like pure shit just want them back xx

[dixvinsblog]

Perle de nuit - Christine Chaudet

Perle de nuitCristal de deuilTu es la vie sous l’éteignoirTu es mon double quelque part. Et sous mes doigts passe le motLe mot de passe, passe partout, la clé des champsOù tu t’envoles. Perle de nuitCristal de deuilBerceau, cercueilEst ma mémoireCe soir ma placeEst près de toi.

[starlingorange]

Jeanne-Elisabeth Chaudet - L’Amour qui vient de dérober une rose (ca. 1796)

[frostedmagnolias]

Ring with Cupid Chasing a Butterfly

18th century

“This ring uses naturally occurring color variations in a slice of agate to create a miniature relief of Cupid chasing a butterfly, which represents the human soul. Other neoclassical artists also represented this theme, perhaps most famously the marble by Antoine-Denis Chaudet, which is in the Louvre in Paris. The cameo is set in a pierced gold ring.”

made by a Venetian artist

The Walters Art Museum

[eddy25960]

Cupid Presenting a Rose to a Butterfly (1802)

Denis Antoine Chaudet (French, 1763-1810)

Marble, Louvre, París

[mythologer]

Chaudet

[miffy-junot]

Because Thorvaldsen had never made a portrait of Napoleon during his lifetime, he took his inspiration from the funerary mask, of which he owned a copy in plaster. This mask was moulded in St Helena by Antonmarchi, the Emperor's doctor, two days after the Emperor's demise, and was very widely circulated. The sculptor mingled features of the mask with other references, in particular the canonical image of Napoleon's face provided by Chaudet's 1804 bust, marble versions of which were produced in large numbers by the workshops in Carrara during the Empire (production topped over 1,000 copies); copies were also produced in biscuit-ware by the Sèvres Porcelain Factory, and in bronze. The Danish sculptor chose a grandiose setting for his bust, one that recalls the apotheoses of classical antiquity. On the right shoulder of his hero he has placed the aegis (the shield of the gods, in particular of Jupiter and, above all, Minerva), adorned with the head of Medusa entwined with snakes; here his inspiration came from Roman models such as the cameo portrait of the first Roman Emperor, Augustus, now in the British Museum, London. Napoleon is perched on the terrestrial globe, an indication of the universal scope of his power. The ensemble is supported at the front by an eagle with spread wings, the insignia of imperial glory, and, on the reverse, by a palm tree with spreading branches; the palm frond was as an accessory to the victorious hero.

source: Citizens and Kings - portraits in the age of revolution 1760-1830

[arsenicetvieillesenseignes]

L'Hôtel Chaudet hier et aujourd'hui.

[ardenrosegarden]

The name that Constance chose for her son predisposes him to his succession. The symbolic figure of King Arthur was reclaimed by Henry II. Amaury Chauou explains that the English King wishes to endow himself with “a conquering past and to legitimize his accession of the throne”. The objective is to compete with the sanctification of the Capetian dynasty through Charlemagne. This new cult of King Arthur is supported by so-called discoveries. Firstly, Arthur's sword, named Excalibur, is found in Glastonbury, converted into a sanctuary of English royalty. The tomb of Arthur was exhumed in 1191. The Arthurian legend experiences, at this period, a real renewal of interest and great success. This instrumentality is reversed by Constance. If Henry II reinvests the Arthurian figure to make it a protective king of his people, then the newborn symbolizes Bretons' hope fighting for their independence, which appears as a challenge in Henry II's eyes. By calling him that, Constance gave a certain power and value to the future title of her son. By selecting this name, she binds her son to kinship and honors. In fact, names identify kinship groups and belong to family patrimonies. But Constance did not name her son Alan, Conan, or even Hoël, common names of the dukes of Brittany in the high middle ages and also belong to a ducal heritage. Arthur’s name gives the future duke a symbolic value that is mythical, giving the Duke’s future title a superior, almost heroic and protective dimension.

-Élodie Chaudet, La duchesse Constance de Bretagne et le gouvernement en héritage à la fin du XIIe siècle