The French Reproductive Engraver in the Seventeenth Century with Special Reference to Gerard Edelinck (1640-1707)

Abstract

At the end of the seventeenth century, French reproductive engravers were recognised artists. By the end of the nineteenth century in their status was reduced to that of'mere craftsmen' and their role rendered obsolete by the invention of photography. This thesis considers the phenomenon of the French reproductive engraver during the latter half of the seventeenth century, with particular reference to its foremost practitioner, Gerard Edelinck, and the factors which led to the subsequent erosion of the status of the engraver and the art-form. Chapter One re-evaluates Edelinck's current status by questioning modern claims that engraver, Robert Nanteuil, and the family of his niece, Magdeleine Regnesson, were largely responsible for Edelinck's successful career It challenges the bases for comparison between Edelinck's and Nanteuil's respective artistic achievements and shows Edelinck to have been misrepresented by twentieth century art historians. Chapter Two considers the traditional role of engraving as a tool of royal propaganda and its use by Louis XIV and his administration. It investigates the importance of French art to the economic policy of Colbert and demonstrates the role of reproductive engraving in its promotion Chapter Three establishes, for the first time, the details of the early career of Gérard Edelinck. It examines his position as graveur du Roi at the Gobelins and his role of conseiller at the Académie Royale de peinture et de sculpture, and considers his seventeenth-century reputation. Chapter Four considers the relationship between Edelinck and Charles Le Brun and examines contemporary records and images relating to that relationship. Chapter Five investigates the status of reproductive engraving and engravers at the end of the seventeenth century and reviews a crucial contemporary debate concerning the status of engraver-members within the Académie Royale. Chapter Six surveys changes in attitude to and the practice of reproductive engraving in France from the last quarter of the seventeenth century until the invention of photography. It considers the effects of those changes on the perceived status of its practitioners. This thesis argues that the reproductive engraver in France during the second half of the seventeenth century was held in high esteem The career of Gérard Edelinck, premier dessinateur du Roi, who was granted a high social status, and honours which were comparable to those accorded the premier peintre du Roi, is evidence of this. His success was derived from his ability to deny his own creativity in favour of that of the painter. This has not been understood by modern art historians who dismiss Edelinck for his lack of originality and show a marked preference for original engravers It concludes that the current perception of Edelinck and reproductive engraving has been determined by modern attitudes which are inappropriate in the historic context, and that a greater appreciation of the role, status and artistic demands made of the reproductive engraver is necessary, for the proper recognition one of the most accomplished art forms to have evolved in early modern Europe and the extraordinary technical skills achieved by its practitioners.