Мода 18 века. Панье- (1730-1775)

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Margot distribuant ses paniers (1845)




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TOURNIÈRES, Robert
Count Ferdinand Adolf von Plettenberg and his Family
1727
Oil on canvas, 92 x 74 cm
Museum of Fine Arts, Budapest

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The Family of Philip V
1743
Oil on canvas, 406 x 511 cm
Museo del Prado, Madrid
LOO, Louis Michel van
French painter (b. 1707, Toulon, d. 1771, Paris)


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Madame Elisabeth, Duchess of Parma, daughter of Louis XV-Family


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Maria Theresia Familie 1754

Martin van Meytens (1695(1695)–1770(1770)

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PESNE, Antoine
French painter (b. 1683, Paris, d. 1757, Berlin)
Self-Portrait with Daughters
1754


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Конец 18 века
The Sharp Family by Johann Zoffany-oil on canvas, 1779-1781



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--------------Гранд-панье-------------

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Marie Leczinska, Queen of France
1740
TOCQUÉ, Louis
Oil on canvas, 277 x 191 cm
Musйe du Louvre, Paris


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Empress Maria Theresa
-MEYTENS, Martin van
Dutch painter (b. 1695, Stockholm, d. 1770, Vienna)
Oil on canvas
Town Hall, Ghent





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GAINSBOROUGH, Thomas
Conversation in a Park
c. 1740
Oil on canvas, 73 x 68 cm
Musée du Louvre, Paris


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PASCH, Lorentz the Younger
Portrait of Queen Sophie-Magdalene
1773-75
Oil on canvas, 243 x 179 cm
The Hermitage, St. Petersburg
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Louise Elisabeth of France, Duchess of Parma, wife of Duke Felipe I. of Parma, daughter of King Louis XV. of France, mother of Isabelle of Parma, Duke Ferdinand I. of Parma and Queen Maria Luisa of Spain, Parma, Galleria Nazionale
Louis-Michel van Loo (1707-1771) e Pietro Melchiorre Ferrari (1735-1787)


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LOO, Carle van
Portrait of Marie Leszczynska, Queen of France
c. 1748
Oil on canvas, 224 x 152 cm
Galleria Palatina (Palazzo Pitti), Florence


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Laurent Pécheux (French, 1729–1821)
TitleMaria Luisa of Parma (1751–1819), Later Queen of Spain
Date1765
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All Anton Raphael Mengs's Paintings.
1765
Maria Luisa de Parma

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velazquez-
Maria Luisa de Parma

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Maria Carolina of Austria
between 1752(1752) and 1770


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BOUCHER, François
Portrait of Marquise de Pompadour
1756
Oil on canvas, 201 x 157 cm
Alte Pinakothek, Munich


Платье состояло из плотно облегающего спереди лифа с низким декольте, сильно обнажавшим грудь и шею, исчезающего на спинке в широких складках свободно ниспадающей массы ткани, переходящей в шлейф.
Наряду с парчой вошел в моду более легкий и светлый шелк, а также ситец. Увеличение объема женского костюма сказалось на характере декора тканей- появились ткани в полоску, а также ткани с крупными рисунками с большим раппортом.
Юбка на панье, лежащая на каркасе, почти не имела складок, узкие вверху и расширенных книзу рукава заканчивались несколькими рядами пышных широких кружев. Этот новый женский облик был опоэтизирован в живописном творчестве Антуаном Ватто, поэтому спустя время своеобразный покрой спинки платья 20—50-х гг. получил название "контуш" или «складки Ватто»:


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WATTEAU, Jean-Antoine
The Festival of Love
c. 1717
Oil on canvas, 61 x 75 cm
Gemäldegalerie, Dresden
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WATTEAU, Jean-Antoine
L'Enseigne de Gersaint (detail)
1720
Oil on canvas
Schloss Charlottenburg, Berlin

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WATTEAU, Jean-Antoine
L'Enseigne de Gersaint (detail)
1720
Oil on canvas
Schloss Charlottenburg, Berlin
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Declaration of Love, 1731
Jean François de Troy
складки Ватто



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BOUCHER, François
Portrait of Marquise de Pompadour
1759
Oil on canvas, 91 x 68 cm
Wallace Collection, London



-----------------Повседневные платья--------------------

Повседневный женский костюм не имел громоздких панье. Его юбка поддерживалась волосяным чехлом со слегка расширенными боками. В конце века самым распространенным было платье полонез в многочисленных вариантах- в ткань верхней юбки продергивали шнурок, от чего получались горизонтальные сборки, переходящие в полукруглые драпировки.

Oil on canvas, 167 x 150 cm
Staatliche Museen, Berlin
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Marquise de Pompadour
c. 1755
Pastel on seven sheets of blue paper mounted on canvas, 178 x 2136 cm
Musйe du Louvre, Paris
LA TOUR, Maurice Quentin de
French painter (b. 1704, Saint-Quentin, d. 1788, Saint-Quentin)

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BOUCHER, François
Madame Boucher (?)
1743
Oil on canvas, 57 x 68 cm
Frick Collection, New York



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FRAGONARD, Jean-Honoré
The Musical Contest
c. 1754
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FRAGONARD, Jean-Honoré
The Swing
1767
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FRAGONARD, Jean-Honoré
The Progress of Love: The Meeting
1773


--В большой моде были пасторальные мотивы-----------------


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FRANCOIS BOUCHER The Love Letter 1750

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BOUCHER, François
An Autumn Pastoral
1749


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BOUCHER, François
A Summer Pastoral
1749


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Jean Honore Fragonard Shepherdess about 1752

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Jean-Frederic Schall
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Jean-Frederic Schall


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PESNE, Antoine
French painter (b. 1683, Paris, d. 1757, Berlin)

The Dancer Barbara Campanini
c. 1745
Oil on canvas, 221 x 140 cm
Schloss Charlottenburg, Berlin

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PESNE, Antoine
French painter (b. 1683, Paris, d. 1757, Berlin)
Marianne Cochois
c. 1750
Oil on canvas, 79 x 107 cm
Schloss Charlottenburg, Berlin
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------------Корсажи------------------

-------------Дочери Louis XV-1756---------------

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Madame Victoire, daughter of Louis XV
portrait by Nattier

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Madame Adélaïde, Daughter of Louis XV

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Madame Louise, Venerable Mother Thérèse de Saint-Augustin, daughter of Louis XV


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Madame Sophie, daughter of Louis XV
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VISHNYAKOV, Ivan Yakovlevich
Portrait of S.S. Yakovleva
after 1756
Oil on canvas, 90 x 72 cm
The Hermitage, St. Petersburg




---------------Детские костюмы--------------------------


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TROY, Jean-François de
Portrait of Louis XV of France and Maria Anna Victoria of Spain
1723
Oil on canvas, 195 x 129 cm
Galleria Palatina (Palazzo Pitti), Florence
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TOCQUÉ, LouisPortrait of Louis, Grand Dauphin of France
1739
Oil on canvas, 80 x 64 cm
The Hermitage, St. Petersburg
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Enfants de Charles-Emmanuel III
This picture shows king Charles Emmanuel III's children. Paint of Maria Giovanni Clémenti (1690-1761). 1730-31


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Nattier, Isabella de Parme
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Portrait of Sarah Eleonor Fermor. Портрет Сарры Элеоноры Фермор Ivan Vishnyakov
1750


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NATTIER, Jean-Marc
French painter (b. 1685, Paris, d. 1766, Paris)
Portrait of Madame Maria Zeffirina
1751
Oil on canvas, 70 x 82 cm
Galleria degli Uffizi, Florence
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ARTIST Mariano Salvador Maella-(1739-1819)
Infanta Carlota Joaquina



--------------Фото платьев из музеев--------------------

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1730-1750

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1740-1745
This is a magnificent example of English court dress of the mid-18th century. It would have been worn by a woman of aristocratic birth for court events involving the royal family. The style of this mantua was perfectly suited for maximum display of wealth and art; this example contains almost 10lb weight of silver thread worked in an elaborate 'Tree of Life' Design.
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1740-1745
Court dress' was an exclusive and very ornate style of clothing worn by the aristocracy, the only people usually invited to attend at Court. The style of the robe is quite old-fashioned, and based on the 17th-century mantua.
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1740-1745

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An English court mantua
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Robe à la française

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Robe parée 1780-1790

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Свадебное платье
Wedding dress of Edwige Elisabeth Charlotte de Holstein-Gottorp (wife of Prince Karl of Sweden and sister-in-law of King Gustave III of Sweden), 1774

-------------Детали--------------


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1759-65
This court mantua of the 1750s features the triple-sleeve ruffle also found in fashionable dress. By the 1740s, the mantua was worn only at court, although it continued to evolve slowly in style through the remainder of the 18th century.
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The tangled garden of chenille decoration on this court mantua enhances the white silk satin fabric.
1770-1780

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Finely petalled rosettes punctuate the fly fringe (braid) adorning this 1760s sack-back gown
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1780
This magnificent embroidered panel was intended for a woman's Court mantua. It shows the high standard of French needlework and the sequence of decorating and sewing up these opulent formal garments. A length of cream silk satin has had the outline of a panel drawn onto it, which has then been decorated to shape

--------------------Обычные платья--------------


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Robe and petticoat, Sack back gown, Dress


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1780

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Платье для девочки
For a girl: back-fastening with a trained skirt; made of ivory silk hand embroidered with motifs of birds, butterflies, etc in coloured silks; woven and embroidered in China, sewn in England ca. 1760
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Fashion doll 1775
Кукла-модель, по их нарядам узнавали о новых фасонах.



---------------Конец 18 века----------------------


Панье практически исчезает:


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Jean-Honoré Fragonard (1732(1732)–1806(1806))
Late 1780s


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Adélaïde Labille-Guiard (1749(1749)–1803(1803))
Labille-Guiard, Adélaïde - Selfportrait - 1785 Victoire Louise Marie Thérèse de France, dite Madame Victoire (1733-1799)
Year 1788
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Adélaïde Labille-Guiard (1749(1749)–1803(1803))
Labille-Guiard, Adélaïde - Selfportrait - 1785
English: Portrait of Madame Adélaïde
Year 1787

-----------------Обувь----------------

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The Garter
Jean François de Troy

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Сатирическая картинка- модный обувщик
The fashionable shoe-maker trying on an Italian slipper
1784

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This pair of elegant women's shoes, in kid leather, is beautifully decorated with a painted design. The pattern on the toe, with its flower, vertical lines and scalloped edges, resembles Brussels bobbin lace. The latchets would have been fastened with a buckle. In 1767 Lady Mary Coke recorded in her diary that she had bought six pairs of painted shoes from a shop in Brussels.
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1730s-1740s (made)

Очень высокий каблук:
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This pair of women's shoes is notable for their sensuously curving French heels. The style was called ‘Pompadour’ after Madame de Pompadour, mistress of the Louis XV. The heel, placed directly under the instep, made the foot look small.
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Chopine-"платформы" для защиты от воды и грязи- продолжают носить и в 18 веке; как традиционные, похожие на итальянские, так и на металлической подставке:
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chopines from Italy dated 1580-1620.

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17th Century Swedish Chopine
----18 век:
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Chopine, possibly 1740s, Venetian, Silk cut velvet with gilt-metal lace trim and linen lining, silk satin ribbon, metallic woven trim, metal nails, wood, and leather, Museum of Fine Arts, Boston. The Elizabeth Day McCormick Collection, Photograph © Museum of Fine Arts, Boston.


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Они привязывались лентами или галуном.
1720s-1730s (made)
Pattens were worn to lift the shoe out of the dirt and damp.
These pattens, however, have pointed toes to fit a fashionable woman's shoe and a depression at the back where a small heel could sit. The shoe would have been fastened into the patten by means of ribbon-laced latchets. All this, and the fact that the latchets are covered in velvet, suggests that the patterns were worn by someone of considerable wealth.


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Pair of pattens, early 19th century, Wood, leather, and metal




---------------Карикатуры---------

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Age and Folly, or the Beauties.
Published by Sayer & Bennett
Date
1776

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The old beau in an extasy


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Be not amaz'd Dear Mother - It is indeed your Daughter Anne.
Satire: a farmer's wife come to town starts back in horror at seeing her daughter dressed as a macaroni with high hair and hat perching on top; her black page boy holds her lap-dog. 1774
Hand-coloured mezzotint
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How d'ye like me.
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The Macaroni Painter, or Billy Dimple sitting for his Picture
a painter in macaroni dress and hair seated at an easel painting the portrait of a fellow macaroni. 1772
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Bob Blunt in Amaze, or Female Fashionable Follies
Satire: a man seated on a bench in a park stares at two women with fashionable macaroni hair pieces, who are accompanied by a lap-dog and a black page boy. 1776
Hand-coloured mezzotint

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Затягивание корсета
Tight Lacing, or Fashion before Ease


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Мода на страусовые перья и недовольные страусы.
The Feather'd Fair in a Fright

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The Feather'd Fair in a Fright


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The Appointment overheard and prevented


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Miss Dumplin Ducktail and Tittup return'd from watering
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Long Thomas and Madle G-d going to the Pantheon in their natural masks
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The bum-bailiff outwitted; or the convenience of fashion.

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Сатира на "милитаризованные" женские костюмы конца 18 века.
Capt. Jessamy learning the proper discipline of the couch
A young man, in military dress, of elegant and effeminate appearance, sprawls on a sofa, looking towards a young woman (right) who leans towards him. She is of meretricious appearance, and wears the quasi-military riding-dress fashionable at this time in connexion with the militia camps

Карикатуры не успела все выложить- их очень много, но обязательно выложу позже.
У меня посты по 18 веку не в хронологической последовательности,а наоборот- поэтому даю ссылки на них:

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Chloe's cushion or the cork rump:
Женский костюм и прически конца 18 века и карикатуры на них-ТУТ
Карикатуры на прически конца 18 века. Часть 2-ТУТ
Мужской костюм, прически и мужчины-модники 18 века-ТУТ
Мода 70-90-х годов 18 века-ТУТ
Мода и модники конца 18-начала 19 века-ТУТ
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http://images.google.ru/images?hl=ru&newwindow=1&q=court+mantua++with+wide+panniers&sa=N&start=63&ndsp=21
http://www.wga.hu/frames-e.html?/welcome.html
http://collections.vam.ac.uk/
http://commons.wikimedia.org/wiki/Category:Panniers
http://blog.catherinedelors.com/2009/01/20/madame-victoire-daughter-of-louis-xv.aspx
http://fashionismymuse.blogspot.com/search/label/Marie%20Antoinette
http://www.britishmuseum.org/
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