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Compare this state of things with the days when Audran and Coypel were producing the sets of The Seasons, The Months, and Don Quixote. It is aridness compared to talented invention. Gobelins Tapestry. Eighteenth Century. The top note of the imitation of painting was struck when the Gobelins set the task of becoming a portrait maker.
The apartments showing best the Napoleonic style in decorations and furnishings are the Salon des Huissiers, the Salle des Gardes, the Escalier d'Apollon, the Salle de Don Quichotte which contains a series of designs destined to have served for a series of tapestries intended to depict scenes in the life of the windmill knight the Galerie des Fêtes, the Galerie des Cerfs, the Salle Coypel, the Salle des Stucs and the Salon des Fleurs, through which latter one approaches the royal apartments.
I have seen a print of COYPEL in his studio, and by his side his little daughter, who is intensely watching the progress of her father's pencil. The artist has represented himself in the act of suspending his labour to look on his child. At that moment, his thoughts were divided between two objects of his love.
Coypel, at one glance of the eye we read all the interesting passages of the last act of a well-written tragedy; so much poetry is there condensed into a moment of time. B. Will you now oblige me with an account of the relationship between Poetry, and her other sister, Music?
Mansart on one occasion was called in and built a new gallery that Coypel decorated with fourteen compositions after the Ænid of Virgil. Under the regency the Salon d'Entrée was redecorated by Oppenard, and a series of magnificent fêtes was organized by the pleasure-loving queen from the Austrian court.
His painting of a barber-chirurgeon's sign drew upon him the notice of several artists of influence and he became a member of the Academy of St. Luc. When he exhibited for the first time in public, in the Place Dauphine, 1728, Watteau had been dead seven years; Coypel, Allegrain, Vanloo, Troy, and the imitators of the pompous art of Le Brun were the vogue.
Charles Coypel had gained fame by a set of hangings in which scenes were taken from Don Quixote. Oudry asked himself why he should not rival them at Beauvais. The result was a similar series, but composed by Charles Natoire, the artist who had drawn a set of Antony and Cleopatra for the Gobelins. The same idea extended to the furniture coverings which ran to this design as well as to the Fables.
The German, Flemish, and Holland schools begin at 1,146, running to 1,852. There are supplements to all of the foregoing. The French school runs from 1,969 to 2,111. But the examples in this section are not inspiring, the Watteaus excepted. There is the usual Champagne, Coypel, Claude of Lorraine , Largillière, Lebrun, Van Loo, Mignard ; one of Le Nain by both brothers.
Charles Coypel dipped into the Old Testament, and Jouvenet into the New, with the result of several suites of tapestries of great elegance all of which might much better have been painted on canvas and framed.
His father, Jean Chardin, a joiner, was a man of artistic instinct whose furniture and marquetrie were admired and in demand. The lad began his tuition under Cazes, but soon went to the atelier of Coypel. Later he worked under the eye of Carle Vanloo in the restoration of the large gallery at Fontainebleau.
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