François Girardon

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Girardon, François

 

Born Mar. 17, 1628, in Troyes, in Champagne; died Sept. 1, 1715, in Paris. French sculptor; representative of French 17th-century classicism.

Girardon studied in Troyes and then in Rome with L. Bernini (until 1650) and was influenced by baroque art. He was elected to the Royal Academy of Painting and Sculpture in Paris in 1657 (a professor from 1659). Girardon was a master of monumental and decorative sculpture. He created sculptural groups (The Rape of Persephone, marble, 1699), decorative vases for the palace and park in Versailles, the monument for Cardinal Richelieu in the church of the Sorbonne (marble, 1675–94), an equestrian statue of Louis XIV for the Place Vendome in Paris (bronze, 1683–99; destroyed, 1792), and a number of portrait busts.

REFERENCES

Francastel, P. Girardon. Paris, 1928.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
Portrait of Francois Girardon, 1701, Joseph Vivien (1657-1734), pastel on paper, 91.8x74.60m.
Myth-making is a major theme of the exhibition as witnessed in the massive seven-piece sculpture of "Apollo Tended by the Nymphs" by Francois Girardon, the greatest sculpture of Louis' reign.
The first is a metre-high equestrian portrait of the Sun King by his court sculptor, Francois Girardon. Cast some time between 1690 and 1699, it is a reduced-scale version of the monumental seven-metre-high statue made for the Place Vendome and destroyed during the French Revolution.
If this were to happen, one may well believe that these productions of our own time would be placed side by side with the finest works of Antiquity.' (2) The sculpture Voltaire refers to is the work of Francois Girardon and Thomas Regnaudin, which shows Louis XIV in the guise of Apollo, served by six nymphs (Fig.
Francois Girardon (1628-1715), arguably the most influential sculptor in France under Louis XIV, was also an extraordinary collector of sculpture, amassing over 800 pieces that ranged from classical antiquities and copies after the antique to the contemporary.
They entered the French artistic bloodstream equally soon by way of Francois Girardon (who owned 30 casts of Du Quesnoy's work) and yet were not reproduced so widely there.