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← Pierre Alexandre Aveline Pierre Alexandre Aveline — Fourth Book of Groups of Children

Fourth Book of Groups of Children

Original title: Fourth Book of Groups of Children

Artist
Pierre Alexandre Aveline
Medium
Etching and engraving
Dimensions
Sheet: 15 3/4 x 11 5/16 in. (40 x 28.7 cm) Plate: 10 1/8 x 8 11/16 in. (25.7 x 22 cm)
Credit line
Bequest of Phyllis Massar, 2011

kurzbeschreibung

A cluster of putti gathers around an open book in this print by Pierre Alexandre Aveline. Etched and engraved, it served in the 18th century as the title page for a series of groups of children. François Boucher is considered the author of the designs on which the image is based.

Description

Squatting on a plinth, one putto presents a thick book whose lettering reads “QUATRIEME LIVRE de Groupes d'Enfans Par FRANÇOIS BOUCHER Peintre du Roy Gravé par P. Aveline.” A second putto leans over the first's shoulder to peer inside; a third lies stretched out on the ground, also holding a book. A fourth sits higher up on the plinth, eyes fixed on the open volume. Behind the group stands an easel, while palette and brushes lie scattered on the floor. The rendering stays in shades of grey, as the printing technique dictates.

Context

This sheet belongs to a four-part series of books with groups of children, engraved after drawings by François Boucher. Boucher served as “Peintre du Roy” – a title that signals royal patronage. Although no firm date is known, the visual language matches 18th-century French art. Graphic series of this kind often served as models for decorators and collectors.

Impact

Because the putti are symmetrically distributed, the layout feels ordered and formal. The monochrome grey tones give the print a restrained, graphic elegance. With the painting utensils included in the image, the artisanal character of the scene is emphasized.

Technique

Etching and engraving were both used for this print, allowing fine lines and precise shading. The plate measures 25.7 x 22 cm and was printed on a sheet of 40 x 28.7 cm. Combining the two techniques permits detailed rendering of both the figures and the background.

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Source: Metropolitan Museum of Art · Public Domain (CC0 1.0)