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Charton, Fabrice. "« Vetat Mori » : une institution au service du Prince, de la Petite Académie à l’Académie royale des Inscriptions et Belles-Lettres (1663-1742)". Paris, EHESS, 2011. http://www.theses.fr/2011EHES0030.
Pełny tekst źródłaIn 1663, Jean-Baptiste Colbert, Superintendant of the King’s Buildings, gathered a small team composed of members of the Académie Française: the petite Académie was born. Entrusted with the responsibility of writing the history of the Roi Soleil (Louis xiv) in tokens, inscriptions and medals, it soon became an essential actor of royal propaganda. In 1701, it was institutionalised and became the Académie Royale des Inscriptions et Belles Lettres (Royal Academy of Inscriptions and Letters). In the early 18th century, the institution started to add some finer historical studies to its panegyric task. The Académie, a royal institution, then became a reflection of the figure of the Lettered Prince. It thus became an essential link in the Republic of Letters. The way this academy functioned during a century reflects a changing world, between the values of the Grand Siècle (17th century) and the innovations of the period of Enlightment in the 18th century
Rivet, Elisabeth. "Etude du premier prix distribué de 1720 à1792, par l'Académie royale des Sciences de Paris, le prix Rouillé de Meslay d'astronomie". Paris 7, 2000. http://www.theses.fr/2000PA070128.
Pełny tekst źródłaThe aim of this study is to try to better define the requirement which had to be met for the awarding of the first prize of the Académie royale des sciences de Paris, and the motivations of its founder, Jean Baptiste Rouillé de Meslay. The subject is so wide that it would be of little use to attempt to reduce it to a small size booklet. This work is therefore limited to a description and analysis of the various phenomena involved in the awarding of this prize during the period 1720-1792. It details: the lawsuit brought against the Académie by the legator's heirs, the elaboration of the rules of procedure concerning this prize, the financial management of the Rouillé de Meslay fund, the involvement of the academicians themselves in the various activities relating to this prize, the way of diffusing the topics subject to consideration, the evolution of the number of candidates and their identity, the topics of the essays and their analysis, the impact of the prize on the development of the sciences in the 18th century. The development of the Rouillé de Meslay prize during that century - either by the subjects under consideration or by the contents of the prize-winning essay - is closely linked to the acceptance in France, of Newton's ideas. Ten annexes to be found at the end of the last part of this study summarize the main above mentioned ideas. Based on a set of documents mainly preserved in the department of archives of the Académie des sciences, this study has also benefited from the collections available at the Archives départementales d'Eure-et-Loir, the Archives nationales, as well as of those of the library of the Observatoire de Paris and of the Bibliothèque nationale de France
Delaunay, Bernard. "La pensée technique de l'Académie Royale des Sciences (1699-1750)". Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010637/document.
Pełny tekst źródłaAs an institution of the absolute French Monarchy first founded in 1666 and later "renewed' by royal decree in 1699, the "Académie Royale des Sciences" brings together the best scientific minds of the Eighteenth Century. Becoming a major player in the technical field did not represent an obvious task for a scientific Academy. The present thesis analyzes how and why such an action came to be while measuring its importance. Starting with an examination of inventions and moving on to technical studies, taking into consideration technical assessments as well as the descriptions of currently employed techniques, we see the emergence of a new type of operational thinking characterized by the rule of technology. Once established during the first half of the 18th century, such a conceptual régime enables a new relationship to develop between science and techniques. Progressively abandoning the current techniques with the aim of studying new techniques and uncovering the principles and causes of their functioning rather than merely describing the latter, the Academy thus began to apply the methods of early modem science to techniques. Gaining currency in ever wider circles, this way of thinking was both taught and shared in new places. Hence technical training moves from transmission and apprenticeship to a specifically French way of training engineers scientifically. During this period special links are established between the Academy and military engineering schools as well as with a school of "practical mathematics” founded in Reims. Those scientists who first endowed technical thinking with a scientific outlook will in tum give way to engineers who become scientists
Suberchicot, Jean-Luc. "Le service de santé de la Marine Royale (1661-1793)". Paris 4, 1998. http://www.theses.fr/1998PA040010.
Pełny tekst źródłaLunel, Alexandre. "L'organisation des professions médicales sous l'Ancien régime : entre corporatisme et autorité royale : XVIe siècle-XVIIIe siècle". Paris 2, 2004. http://www.theses.fr/2004PA020017.
Pełny tekst źródłaCachau, Philippe. "Jacques Hardouin-Mansart de Sagonne, dernier des Mansart (1711-1778)". Paris 1, 2004. http://www.theses.fr/2004PA010548.
Pełny tekst źródłaVigroux, Perrine. "Les femmes à l'Académie royale de peinture et de sculpture (1663-1793) : sociabilité, pratique artistique et réception". Thesis, Montpellier 3, 2016. http://www.theses.fr/2016MON30030.
Pełny tekst źródłaFifteen women artists will be admitted to the Royal Academy of Painting and Sculpture between 1663 and 1793. Sincethe Renaissance, Europe and France, a small number of women enjoys a certain reputation both nationally andinternationally, in arts, literature and science, thus opening the way for new talent. These women are particularlyencouraged by the philosophical theses of Francois Poulain de la Barre (1647-1723) which will enable them to occupy amore privileged in a society that crystallizes around lounges. They are small and scholarly meetings where artists invitehome men and women to discuss literature, philosophy, art but also politics. These very popular places with greatsuccess in the late seventeenth century and throughout the eighteenth century. The reception of the first women to theAcademy is in this climate quite favorable to women both socially and culturally, and politically.But this admission only remains precarious. Indeed after the entry of Catherine Perrot, January 31, 1682, it will takealmost forty years, October 26, 1720, that is again admitted a painter Rosalba Carriera. Certainly, they open the doors ofthis institution, but they are nonetheless excluded from many activities and many privileges. They do not have the rightto attend classes of the living model - which poses naked - yet fundamental lessons in teaching promoted by theAcademy, nor to compete with great prices, yet in the heart of the system emulation in fact the academicians will neverhave access to positions of responsibility. Yet they have helped to reinvent the French artistic landscape and especiallythe portrait genre. Advocating natural, they helped to renew the female locker room with more light and gauzy outfits.Badly perceived by critics, these new shirts called saplings, took part in the simplification of official portraits. At thesame time, the feminization of court portraitists offer greater opportunities to women painters. Pushing the limits stillfurther, they succeeded through portraits to invest storied history painting, genre reserved for the most accomplishedpainters and good command of anatomy.Their contemporaries through their writings or artistic works proposed an idealized image, faked sometimes deceivedthese academicians. talented women, ambitious women, academicians still managed to impose a new vision of thewoman painter
Guillin, Marjorie. ""L'anéantissement des arts en province ?" : l'Académie royale de peinture, sculpture et architecture de Toulouse au XVIIIe siècle (1751-1793)". Thesis, Toulouse 2, 2013. http://www.theses.fr/2013TOU20080.
Pełny tekst źródłaThe Royal Academy of Painting, Sculpture and Architecture of Toulouse was founded in 1751 by royal letters patent. Until its termination by a Convention decree on 8th August 1793, it has been the only art academy outside Paris of that stature ever. In the 19th century, the French art historian Philippe de Chennevières-Pointel, an active advocate of provinces, presented it as a showcase of thriving guardian of regional arts that balanced the centralizing and inhibiting Paris' Royal Academy of Painting and Sculpture. Leveraging a rich corpus of documents and illustrations, most of them undescribed to this day, this study sheds a brand new light on the Toulouse Academy: its origins, the details of its rise, its daily teachings, its shortcomings and its achievements
Chastagnol, Karen. "La seconde génération des peintres de Louis XIV (1665-1715) : peindre l'Histoire : formation, culture visuelle et production". Thesis, Lille 3, 2014. http://www.theses.fr/2014LIL30035.
Pełny tekst źródłaThrough which terms History painting is changing under the reign of Louis XIV? History painting evolves during the period which covers the second part of the reign of Louis XIV. This change is due to modifications dependent on the evolution of the Royal commissions and of the Academic framework itself, as well as the transformation of the context of creation apart from the Royal Academy which renews the way of apprehending and conceiving the History painting. From the study and analysis of the works of History painters members of the Royal Academy of Painting and Sculpture between 1673 and 1694, this thesis reconsiders the criteria of evolution of historical style in painting at the turn of the XVIIe Century. To begin with, the artists’ training and the definition of History painting at that time shall be discussed (I). Then we shall analyze the production of these painters for the Royal Academy and for the King after their approval within the Royal institution (II). Furthermore, in order to define better the History painting characteristics at this time, the study of the works for private individuals and religious institutions (i.e. apart from the Royal Academy) will question the historiographic vision which claims that History painting comes from a crisis; it will also clarify its new ways of transformation, in particular through the hybridization of styles (III)
Manceau, Nathalie. "La mise en mots de l'oeuvre d'art : les écrits de Baillet de Saint-Julien et la genèse de la critique d'art en France au XVIIIe siècle". Paris 10, 2009. http://www.theses.fr/2009PA100130.
Pełny tekst źródłaThe purpose of this paper is to study the first documented art review published in the press and in brochures on the exhibitions by the Académie Royale de Peinture et de Sculpture at the Salon du Louvre. Greater emphasis is given to the work of Guillaume Baillet de Saint-Julien (1726-1795) who wrote texts on several “salons” as well as the first French poem on painting. Through research into archives, it was possible to piece together his biography and career as both a critic and collector who particularly appreciated drawings, engravings and French paintings. His “salons” are set against those of his contemporaries (La Font de Saint-Yenne, Gougenot, Laugier, Estève, Fréron, etc. ) as well as articles printed in the Mercure de France and the Journal de Trévoux to give both an overall and specific account of the origins of art reviews around 1750. This text focuses on the way in which works of art are translated into words and how judgment is expressed. Reviews are not transparent reflections of the work and consist of many diverse and contradictory dimensions. The authors use artistic discourse, follow the literary expectations of the time (while rejecting any form of erudition) to improve their position in society. The Baron de Saint-Julien was following his personal ambitions at a time when laymen were taking an interest in fine arts, much to the dismay of the Académie. Fascination with works of art does not include the artist whose role is minimised while critics use various strategic arguments to legitimise their positions. These new texts are written by non-specialists for laymen who crave greater ownership of these works of art through oral and written assessment
Laurenti, Jean-Noël. "Valeurs morales et religieuses sur la scène de l'Académie royale de musique (1669-1737) : étude du Recueil général des opéras". Paris 4, 2000. http://www.theses.fr/2000PA040104.
Pełny tekst źródłaJoly, Morwena. "La polémique anatomique dans les arts visuels français du XVIIIe siècle ou l'imaginaire de l'intérieur du vivant". Paris 1, 2005. http://www.theses.fr/2005PA010653.
Pełny tekst źródłaFaure-Carricaburu, Emmanuel. "La hiérarchie des genres dans l’Académie Royale de Peinture et de Sculpture : institution, discours, œuvres". Electronic Thesis or Diss., Paris 8, 2017. http://www.theses.fr/2017PA080045.
Pełny tekst źródłaThe hierarchy of genres has long been presented by art historians with an interest in the French Royal Academy of Painting and Sculpture, as the symbol of an « official doctrin » supposedly dominating the institution. Because it was never meticulously defined in conjonction with the study of archives such as statutes and conference reports, it slowly became common knowledge, to the point where the complexity of its terminology was sometimes reduced to nothing more than the foreword to Conférences by Félibien. So it became the subject of a theoretical conflict between on the one hand detractors of the Academy, which they accused of suffocating the creativity of artists, and on the other, people who believed in its rehabilitation against the exaggerations of traditional historiography since the 19th century. The perspective of this research takes root in the cracks of these approaches : because questioning the institutional meaning and function of the hierarchy of genres, as well as the internal resistance to it, allows us to assess the Academy as the host of a conflict born from the connection between the notions of art and power one can find within. My focus is precisely the incorporation of this rule within a program (in Foucault’s sense of the term) – which materialised through the writing of the statutes of 1663, which afford superior status to history painting over other genres, as well as through the production of an official discourse. The work of Desportes, Santerre, Chardin for instance are all responsible for destablising hardened genre identities through regulations, and they suggest a prolific line of thought relating to the use of the dynamic notion of genres
Huchet, de Quénétain Christophe. "Nicolas Besnier (1686-1754) : architecte, orfèvre du roi, directeur de la Manufacture royale de tapisseries de Beauvais, et échevin de la Ville de Paris". Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040025.
Pełny tekst źródłaNicolas Besnier (1686-1754) is the son of François Besnier, head of the Gobelet du Roi and Henriette Delaunay. His uncle is Nicolas Delaunay and his godfather is Corneille Van Clève. As an architect, Nicolas Besnier traveled to Italy from 1709 to 1712. As student at the Academy of France in Rome, he obtained the first prize of architecture of the Académie de Saint-Luc in 1711. He became master goldsmith in 1714, partner with Delaunay, and was housed in the Galeries du Louvre from 1718. He was appointed goldsmith of the king by a patent in 1723. He worked for the court of France, notably for the replacement of the king's ordinary serveware and for the Foreign Affairs, as well as for the Counts of Tarroca, of Pontchartrain, the Duchess of Retz, of Harcourt, the Marshal de Castries, the Dukes of Bouillon, of Levy, Horatio Walpole, Gaspard-Caesar-Charles de Lescalopier,William Bateman... He became the alderman of the city of Paris in 1729. At that time, he decided to collaborate with his son in law Jacques Roëttiers de La Tour, who led the his workshop of goldsmith. From 1734, and until 1753, he was director of the Royal Manufacture of Tapestry of Beauvais. He supervised the creation of newhangings by Jean-Baptiste Oudry - Metamorphosis of Ovide, Fine verdures, by Charles Joseph Natoire - History of Don Quixote and by François Boucher - Italian festivals, Story of Psiché, the second Chinese hangings, the Loves of the gods, the Noble pastoral, Fragments of opera. This period is truly the « golden age » ofmanufacturing. He left his lodging at the galleries of the Louvre in 1739 and in 1744 gave back his hallmark of goldsmith
Nestola, Barbara. "L'air italien sur la scène des théâtres parisiens (1687-1715)". Thesis, Tours, 2015. http://www.theses.fr/2015TOUR2026.
Pełny tekst źródłaThe study concerns the reception of Italian airs in Paris between 1687 and 1715. It consists of two parts: the first one is devoted to the analysis of French volumes containing Italian airs, manuscript and printed, circulating in Paris among the two centuries; the second one concerns the performance of the repertoire of Italian airs in Parisian theatres (Comédie Italienne, Comédie Française and Opera) between the death of Lully (1687) and the death of Louis XIV (1715). As a complementary part of this work, a catalogue of the sources has also been constituted. The documentary corpus consists of Italian airs of the last quarter of the l7th century as the core of the reception of the Italian repertoire and of its impact on the Parisian theatrical world. The identification of the sources, mainly anonymous at the beginning, shows that the airs are Italian opera excerpts. As far as the geographical area concerned. the axis Versailles-Paris appeared as the most appropriate for following the circulation of this repertoire: firstly known by the élite (aristocracy. collectors), it subsequently reached Paris as the consequence of the artistic decentralization from the court to the city at the end of the reign of Louis XIV. The analysis of the Italian airs sung at the Comédie Italienne, the Comédie Française and the Opera show how performers, poets and composers seized this repertoire, closing the ideal cercle of the path of the Italian opera excerpt from its originary stage to the French stage. The continuity of this practice in Parisian theatres during several decades shows the growing interest of the public for this repertoire, anticipating the Goûts réunis and the inclination towards Italian music of the Regency
Faure-Carricaburu, Emmanuel. "La hiérarchie des genres dans l’Académie Royale de Peinture et de Sculpture : institution, discours, œuvres". Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080045.
Pełny tekst źródłaThe hierarchy of genres has long been presented by art historians with an interest in the French Royal Academy of Painting and Sculpture, as the symbol of an « official doctrin » supposedly dominating the institution. Because it was never meticulously defined in conjonction with the study of archives such as statutes and conference reports, it slowly became common knowledge, to the point where the complexity of its terminology was sometimes reduced to nothing more than the foreword to Conférences by Félibien. So it became the subject of a theoretical conflict between on the one hand detractors of the Academy, which they accused of suffocating the creativity of artists, and on the other, people who believed in its rehabilitation against the exaggerations of traditional historiography since the 19th century. The perspective of this research takes root in the cracks of these approaches : because questioning the institutional meaning and function of the hierarchy of genres, as well as the internal resistance to it, allows us to assess the Academy as the host of a conflict born from the connection between the notions of art and power one can find within. My focus is precisely the incorporation of this rule within a program (in Foucault’s sense of the term) – which materialised through the writing of the statutes of 1663, which afford superior status to history painting over other genres, as well as through the production of an official discourse. The work of Desportes, Santerre, Chardin for instance are all responsible for destablising hardened genre identities through regulations, and they suggest a prolific line of thought relating to the use of the dynamic notion of genres
Bedard, Sylvain. "Les académies dans l'art français au XVIIe siècle (1630-1720)". Paris 4, 1999. http://www.theses.fr/1999PA040064.
Pełny tekst źródłaGuichard, Charlotte. "Les amateurs d'art à Paris dans la seconde moitié du XVIIIe siècle". Paris 1, 2005. http://www.theses.fr/2005PA010617.
Pełny tekst źródłaBlaney, Gerald W. "Nicolas Poussin, Charles Le Brun and the Royal Academy of Painting and Sculpture, Paris 1648, a kinship of aesthetics". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ50497.pdf.
Pełny tekst źródłaLoustalot, Bernard. "Desgenettes : 1762-1837 : un homme de réseau dans la transformation de l'art de guérir". Paris, EHESS, 2016. http://www.theses.fr/2016EHES0041.
Pełny tekst źródłaRené Nicolas Dufriche des Genettes, known as Desgenettes, is a doctor who lived between two centuries. He had been through a tumultuous period, both on the political levels and on the military issues. Thus, he had the opportunity to meet several historic characters: Benjamin Franklin, Madam Rolland. . . And above ail Napoléon Bonaparte. Familiar with the salons of the period, he had been a witness of the transformation of the French society more than the political events, and as chief doctor of Bonaparte army's then Napoléon, he followed several campaign of the great gênerai of the time. His career survived to the Empire, tormented by the political vicissitudes. Historical character himself, he first of ail played a rôle in the military medicine in Egypt and in the Great Army after 1807. Two "prowess" are generally at his crédit: his inoculation of the plague, and his opposition to Bonaparte about the poisoning of the sick people of Jaffa. On a routine basis, he had managed health service that had to be adapted on the daily movement and the situation of an army more and more numerous and uncoordinated, often in foreign territories and with frequent and deadly epidemics. Nevertheless, Desgenettes had also had a significant civil activity, first a scientific activity with some publications about the absorbing system (lymphatic), about education (anatomy defence), spreading of knowledge by taking part of the edition of several revues, second, as a Professor of Hygiene at the school subsequently university of medicine of Paris. Besides, it is as mayor of the 10th district of Paris and Professor of Hygiene that he will faced in 1832 the first modern plague epidemic: the cholera-morbus. Born in a family part of the bourgeoisie that pretended to be aristocratic, Desgenettes is a remarkable image of this ambitious people that embraced the Enlightenment ideas (intellectual cosmopolitanism, operative freemasonry), and managed to get through the revolutionary turmoil to compose the Napoleonic meritocracy. Very cultivated but sceptical about religious, medical (friend of Broussais but fighting his doctrines) or politic (loyal but not docile to the Emperor), his strong character and his independent spirit (opposition to Bonaparte and resignation of the Academy of Medicine) ostracised him
Guilois, Bruno. "La communauté des peintres et sculpteurs parisiens : de la corporation à l’Académie de Saint-Luc". Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL098.
Pełny tekst źródłaThe community of Parisian master painters and sculptors went through important evolutions between the 17th and 18th centuries. The creation of the Royal Academy in 1648 corresponds to a time of upheaval: the old and the new profession then came together and tried to coexist within the same structure. In the late 17th century, the population of the maîtrise increased and the list of its members as well as its statutes were published, in an overall re-ordering of the community. Thus, in 1705, the guild was strong in numbers and well-organised when it obtained a declaration from Louis XIV allowing it to open a drawing school based on live models : the brand-new Academy of St Luke became established in the artistic landscape of the early 18th century. It purchased new premises on rue du Haut-Moulin-en-la-Cité. From there, it significantly altered its statutes, giving an important role to a body of artists who was put in charge of teaching within its school. In the years 1750 to 1775, things moved faster for the Academy of St Luke. Several well-attended exhibitions put members of the Academy of St Luke on the map and involved the small academy in mid-18th century artistic debates. The improvement in the life-drawing school in the years 1765-1775 led to an even better recognized status for artists within the community. Over more than a century, this spectacular evolution shows the remarkable adaptation of the old guild, which thus managed to integrate its academic functioning to the hierarchical organization of a professional community
Baudez, Basile. "Pouvoir et architecture dans l'académie des Lumières : Paris au regard de Rome et Madrid, 1750-1800". Paris, EPHE, 2006. http://www.theses.fr/2006EPHE4108.
Pełny tekst źródłaWe focus our study on the French Académie royale d'architecture in the second half of the Eighteenth Century and we compare its specificities with two of the most proeminent art academies of Europe, the Roman Accademia di San Luca and the Spanish Academia de San Fernando, in Madrid. If they all bare the title "academy", they are profoundly different, as a result of the specific relationship they maintain with the local political power. For the academy can be distinguished from the art school by the closeness of their link with the government. We studied the way the institution and the prince and his ministers interacted in three parts : the foundations and the part of the architecture in the academic project; the direction of the institution and the architects who belonged to it ; finally, the type of architecture created within the academy schools. The French Academy was at the center of the architectural world and debates of the Enlightenment. The institution derived its strength from its protean form: an architectural council for the prince and the society, a club and an art school. The specificity of the Ancien Régime academies lay in the fact that there was no clear choice between their activity of expertise and the important part they played in the transmission of the architectural knowledge. It was one of the reason why they were partly condemned by the new political powers which needed before all, efficiency
Salama, Benjamin. "Gabriel François Doyen (1726-1806), peintre du roi". Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL007.
Pełny tekst źródłaAs one of main pioneer in the regeneration movement of history painting in the second half of the eighteenth century, Gabriel François Doyen (1726-1806) must undoubtedly be considered one of the most important artists of his generation. Student of Carle Vanloo and then at the École royale des élèves protégés, he is illustrated with a first great masterpiece presented at the Salon of 1759, La mort de Virginie, which made him consider by critics as one of the new hopes of the renewal of French painting. His glory culminates with a great religious command, Le Miracle des Ardents exposed to the Salon of 1767 and remained famous thanks to a long criticism that Diderot dedicated to him, in which he contrasted the powerful lyric style of the artist like Vien, announcer of neoclassical aesthetics. He was in charged with important royal commands in the 1770s, appreciated for his powerful poetic works inspired by the Iliad, Doyen eventually lost the public 's favor in the 1780s, at the very same moment when the generation of David is needed . Under the French Revolution, the artist will be in charged with important functions within the Comission des monuements and will work for the preservation of French heritage alongside Alexandre Lenoir, his former student. In 1792, he finally chose to go to Russia to complete his career ; he held the position of professor at the Imperial Academy of Fine Arts in St. Petersburg, but also the rank of painter of the Empress Catherine II and his son Paul I
Mathis, Véronique. "Louis Lafitte : un peintre d'histoire de la Révolution à la Restauration". Thesis, Normandie, 2020. http://www.theses.fr/2020NORMR081.
Pełny tekst źródłaAll his life Louis Lafitte (1770-1828) insisted on introducing himself, with pride, as a history painter, a statement which his artistic training fully justified. After an apprenticeship with the engraver Gilles-Antoine Demarteau, he was the pupil of Jean-Baptiste Regnault, a competitor and rival of Jacques Louis David's in the 1780s. Introduced by his master, he was enrolled at the Royal Academy of Painting, Sculpture and Architecture in 1784; his studies there were honourable: first medal in October 1788, and above all the grand prize in painting, when he first took part in the competition in 1791. This course of excellence earned him a place at the Académie de France in Rome, but he could hardly take advantage of this privilege, as the political situation in France was not acceptable to the Roman authorities. The population could not stand the French presence and in January 1793, it was mayhem; the Mancini Palace, the seat of the Academy, was burnt down and the residents dispersed. All of them returned to France more or less quickly; some, like Lafitte, took refuge in Florence until the neutrality of Tuscany was ruptured in October 1793. On his return to France, a period of uncertainty began: an official resident of the Republic until September 1800, he received modest compensation. His desire to return to Rome was unfulfilled as was his aspiration to become a history painter, as he was unable to obtain a studio, despite repeated requests. Nor did he enter the cenacle of artists regularly solicited by successive governments, but he sometimes gave timid signs of assent to the regime in power, from the year II to the Empire, where he received more important official commissions, such as the simulacrum of the Arc de Triomphe de L'Etoile for the wedding of Napoleon and Marie-Louise. His enthusiastic rallying to the Restoration undoubtedly shows the true face of Lafitte's political affinity. The result was a very official position as draughtsman in the King's Cabinet, which concluded his artistic career which is often difficult to reconstruct. For most of his life, he was not in the limelight, lacking public clients, he very quickly turned to a private clientele, which he obtained by using his title of a history painter. He was mainly asked to paint works in line with the tastes of the time, Pompeian interior decorations, or portraits, which we have little trace of today. A skilled draughtsman, he worked for print engravers, producing famous pieces such as figures from the republican calendar, but also for publishers of refined illustrated editions, very appreciated by the readers of the time. One thinks, in particular, of the luxurious Didot edition of Paul and Virginie, directed from beginning to end by Bernardin de Saint Pierre himself. In the publishing field, he earned such a reputation that he remained a book illustrator for a large number of 19th-century authors. He was also interested in the applied arts and provided drawings for both the goldsmiths and wallpaper trade. These were luxury objects, produced in small numbers but mechanically manufactured. As an artist, Louis Lafitte accepted the demands of consumer society, his eclectic career showed his constant ability to adapt during the revolution and although he is not remembered as a history painter, he succeeded in making a living from his trade
Pichet, Isabelle. "Expographie, critique et opinion : les discursivités du Salon de l'Académie de Paris (1750-1789)". Thèse, 2009. http://www.archipel.uqam.ca/5476/1/D1890.pdf.
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