273:"He who makes perfect landscapes is above another who only paints fruit, flowers, or seashells. He who paints living animals is worthier of estimation than those who paint only things that are dead and without movement. And as the figure of man is the most perfect work of God on earth, it is also certain that he who becomes an imitator of God by painting human figures is much more excellent than all the others. However, even though it is no small thing to make the figure of a man appear as if alive, and to give the appearance of movement to that which has none, nevertheless a painter who only makes portraits...may not pretend to the honor accorded to the most learned. For that, it is necessary to progress from the single figure to the representation of several together, to depict history and myth...the virtue of great men and the most elevated mysteries".
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69:. His residence at Rome he turned to good account by diligent study of its ancient monuments, by examination of the literary treasures of its libraries, and by cultivating the acquaintance of men eminent in literature and in art, with whom he was brought into contact through his translation of
100:. Three years later Colbert procured him the appointment of court historian to the king, in which one of his commissions was the minute descriptions of court fêtes, an essential element of the king's cultural propaganda. In 1671 he was named secretary to the newly founded
81:, whose counsels were of great value to him, and under whose guidance he even attempted to paint and whose biography Félibien wrote, which remains "the most persuasive guide to the work, as to the life" of Poussin, as the biography's modern editor Claire Pace observed.
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also served the purpose of advancing the reputations of French artists, sometimes at the expense of artists of other nationalities. An example of this is Félibien's condemnation of
Giovanni Bazzi, also known as Il Sodoma, in the
417:"Discussions concerning the lives and works of the most excellents painters, ancient and modern" Paris, 1666, fifth ed. 1688; it was republished with several additions at Amsterdam in 1706, and again at Trévoux in 1725.
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Félibien's diaries are among the bound volumes of his papers conserved in the public library of his birthplace, Chartres. The only recent work wholly devoted to Félibien is Stefan Germer,
365:, (Paris 1688). The Sieur de Chantelou provided him with essential source material. Félibien's sojourn in Rome is the subject of an essay by Y. Delaporte, "André Félibien en Italie,"
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Félibien found time in the midst of his official duties for study and research, and produced many literary works. Among these the best and the most generally known is the
156:(c. 1517) was an uncomfortably close source of inspiration for Charles Le Brun's celebrated version of 1660–1661, about which Félibien composed a panegyric entitled
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Principles of architecture, sculpture, painting, and other arts dependent: with a dictionary of terms specific to each of these arts (1699)
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wrote the account of the fête of 1664; Félibien those of 1668 and 1674; they were reissued in glamorous folios with engravings by
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He is sometimes credited with being an architect, but no architectural training and no built structures can be ascribed to him.
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he eventually published. He married and was ultimately induced, in the hope of employment and honors, to settle in Paris. Both
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223:(Paris, 1673) "were and are the best-known writers on fine arts in seventeenth-century France". He died in Paris in 1695.
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anonymously in Paris, 1676; in it H. W. van
Helsdingen has detected that he made use of an unpublished work of critical
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183:, and of the pictures and statues of the royal residences. He published a straightforward work of information,
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211:, "Do well, and tell the truth". Félibien's codification of the aesthetic values of the classic arts in the
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French
Paintings in The Metropolitan Museum of Art from the Early Eighteenth Century Through the Revolution
227:
192:
401:(Barbara Coeyman, "Social Dance in the 1668 Feste de Versailles: Architecture and Performance Context"
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Zarucchi, Jeanne Morgan (2017). "Félibien's
Biography of 'Le Sodoma' and the Politics of Immorality".
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230:(c. 1658–1733), was also an architect who left a number of works on his subject; and a younger son,
104:, where he gave lectures, and in 1673 he was appointed keeper of the cabinet of antiquities in the
207:. His personal character commanded the highest esteem, agreeing with the motto which he adopted -
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Des principes de l'architecture, de la sculpture, de la peinture... avec un dictionnaire des terms
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Kunst, Macht, Diskurs. Die intellektuelle
Karriere des André Félibien im Frankreich von Louis XIV
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Entretiens sur les vies et sur les ouvrages des plus excellents peintres anciens et modernes.
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One or more of the preceding sentences incorporates text from a publication now in the
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On his return to France he immediately began working up his notes for the eight volumes of
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With these words H. W. van
Helsdingen begins his "Remarks on a Text Borrowed by Félibien"
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in their turn recognized his abilities; he was one of the first members (1663) of the
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on sound logical footings, which Félibien set forth most coherently in his
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Tableaux du
Cabinet du Roy, Statues et bustes antiques des Maisons royales
195:. Among other literary works, he edited the published Conferences of the
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Principes de l'architecture, de la sculpture, de la peinture, &c.
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Lives of the Most
Excellent Painters, Sculptors, and Architects
253:(Munich), 1997; it supplants the brief report in A. Fontaine,
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Members of the Académie royale de peinture et de sculpture
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in 5 vols., a work indispensable to the student of Paris.
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Later editions bore his name (van
Helsdingen 1970:109ff).
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is perhaps his most enduring legacy. André Félibien and
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that of deputy controller-general of roads and bridges.
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to continue his studies; and in May 1647 he was sent to
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Simiolus: Netherlands Quarterly for the History of Art
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The Women of Darius' Family before Alexander the Great
265:In 1667 Félibien stated the following views on the
152:' fourth volume (1672). Sodoma's mural painting of
65:in the capacity of secretary in the embassy of the
37:, was a French chronicler of the arts and official
131:(first edition, 1550; second edition, 1568). The
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500:Histoire de labbaye royale de S. Denys en France
160:(1663). In his biography of "Le Sodoma" in the
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197:Académie royale de peinture et de sculpture
517:. Metropolitan Museum of Art. p. 15.
234:(c. 1666–1719), was a Benedictine monk of
33:(May 1619 – 11 June 1695),
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408:.2 (May 1998:264-85) p. 269).
255:Les doctrines d'art en France
35:sieur des Avaux et de Javercy
175:(1660), and descriptions of
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511:Baetjer, Katharine (2019).
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209:Bene facere et vera dicere
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221:Dialogue sur les coloris
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168:(second edition, 1568).
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589:French historiographers
429:French Studies Bulletin
385:(London: Zwemmer 1981).
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367:Gazette des Beaux-Arts
359:Vie de Nicolas Poussin
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110:Description sommaire
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201:Castle of the Soul
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558:Categories
363:Entretiens
347:Entretiens
177:Versailles
162:Entretiens
150:Entretiens
145:Entretiens
133:Entretiens
86:Entretiens
226:His son,
49:Biography
530:3 August
55:Chartres
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114:Louvois
94:Colbert
90:Fouquet
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108:. His
278:Notes
179:, of
166:Lives
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