Pierre-Jean Mariette

Pierre-Jean Mariette (Paris 1694–Paris 1774) was a collector of and dealer in old master prints, a renowned connoisseur, especially of prints and drawings, and a chronicler of the careers of French Italian and Flemish artists. He was a central figure in the artistic culture of Paris for decades.

Mariette was born to a long-established and highly successful family of engravers, book publishers and printsellers in Paris: when his grandfather Pierre Mariette (1634–1716) bought the business from his father in 1657, it was valued at 30,000 livres. [The family papers of the Mariette family are deposited at the University of Essex [http://www.library.ex.ac.uk/special/guides/archives/031-40/036_01.html] ] The family connections put him in contact as a young man with antiquarians such as the comte de Caylus, for whom Mariette would write his "Lettre sur Leonardo da Vinci", printed as a preface to Caylus's book on Leonardo's caricatures, 1730. In 1722 he first met the immensely rich patron of the arts Pierre Crozat, whom he advised, whose collection he catalogued and from whose sale he purchased outstanding drawings.

After he attended the Jesuit college in Paris, his father, Jean Mariette (1660–1742), sent him on tour in 1717, to sharpen his connoisseurship and further family connections. First he went to Amsterdam, which was the center of the art trade, and then to Germany. In Vienna Mariette catalogued the art collection of Prince Eugene of Savoy. Everywhere the affable, curious and sociable Mariette made acquaintances and formed contacts with the scholarly and artistic community in Europe, which he maintained through correspondence.

Through his artistic connections, Mariette was named a member of the prestigious Accademia dell'Arte del Disegno, Florence, in 1733. His knowledge of prints and his close friendship with Caylus and the artist Charles-Antoine Coypel secured him a position reorganizing the old master print collection of the Bibliothèque Royale. In 1741 Mariette was asked to write the sale catalogue of Crozat's collection of paintings and antiquities, the first example of the modern descriptive sale catalogue. He purchased some of Crozat's drawings at the sale himself; a provenance from Mariette's collection, with its discrete collector's stamp, adds allure even to great Old Master drawings: a head by Andrea del Sarto, from the collections of Giorgio Vasari, Crozat and Mariette fetched £6,504,000 (ca $11,740,072) at auction in 2005 [Christie's London, 5 July 2005]

Mariette engraved and printed several plates, an aspect of the family business. His engravings illustrated the "Cours d'architecture qui comprend les ordres de Vignole ä ceux de Michel-Ange" of Augustin-Charles d'Aviler (Paris, 1760), Before the death of his father in 1742, Mariette had already been running the family publishing and print-making business, an aspect of his career often overlooked by art historians. The firm had published Pierre Fauchard's "Le chirurgien dentiste, ou traité des dents" 1728, the first modern work on dentistry and a milestone of medical history [P.-J. Mariette oversaw the second edition, 1746] ,

By 1750 he sold the family business that he had inherited in 1744, in order to purchase the office of "Contrôleur Général de la Grande Chancellerie", a sinecure that allowed him to devote the rest of his life to his researches and to increasing his celebrated collection. He concentrated on prints and drawings, but also included paintings, bronzes and terracottas. Among his great drawings was a Michelangelo study of a nude for the Sistine Chapel [Cleveland Museum of Art, 1940.465 [http://www.amico.org/AMICOlibrary/samplerecords/ex.CMA_.1940.465.a.html] ] . He shared Crozat's taste for the drawings of Rubens: at Crozat's sale he purchased sixty-two of the finest for his own collection [Patrick Michel, in Michèle-Caroline Heck (editor), "Le Rubénisme en Europe aux XVIIe et XVIIIe siècles" 2005.] . When his collections were dispersed at auction after his death [The sale catalogue is Frits Lugt, Répertoire des catalogues de ventes publiques 1600-1900", 1852.] , 1266 drawings were acquired by the Crown; they now form part of the collection at the Bibliothèque National. The albums of more than 3500 prints mounted on fine paper, which had been begun by his father, Jean Mariette, passed into the collection of the Earls Spencer. These "Spencer Albums" of Mariette's prints are one of the most important acquisitions made by the Harvard University Art Museums in recent years. The albums include etchings and engravings in a near-perfect state of preservation by Italian, Dutch, and Flemish printmakers, including Jacques Callot, Jusepe de Ribera, and Adriaen van Ostade.

Mariette also collected contemporary French paintings, Although he was immune to the forceful realism of Chardin [ [http://www.newcriterion.com/archive/19/sept00/wilkin.htm Karen Wilkin, "The splendid Chardin" in "The New Criterion"] ] , the more sentimental charm of Greuze found a place on his walls: Greuze's "Young Peasant Boy", shown at the Salon of 1763 [Metropoltian Museum of Art, 32.100.137 [http://www.metmuseum.org/Works_Of_Art/viewOne.asp?dep=11&isHighlight=0&viewmode=1&item=32.100.137] ] had already been purchased by Mariette, together with its pendant, before it was exhibited.

Mariette's further published works were not many. In 1750 he published a "Traité historique des pierres gravées du Cabinet du Roi", on the hardstone carvings in the royal collection. His reputation as a connoisseur, who laid down the principles by which the hands of Italian master drawings could be ascertained, led to him being made an associate, then an honorary (1757) member of the Académie royale de peinture et de sculpture.

In 1764-65 he got into a public dispute in the pages of the "Gazette littéraire de l'Europe" with Giovanni Battista Piranesi, whom Mariette admired greatly as an artist, over Piranesi's polemical stand that the magnificence of Roman art derived from its Etruscan roots, rather than from its Greek borrowings [A reprint of the letters, with commentary is "Giovanni Battista Piranesi, Observations on the letter of Monsieur Mariette, Opinions on Architecture, and Preface to a New Treatise on the Introduction and Progress of the Fine Arts in Europe in Ancient Times." Introduction by J. Wilton-Ely. Translation by C. Beamish and D. Britt. Los Angeles: The Getty Research Institute, 2002. ( [http://ccat.sas.upenn.edu/bmcr/2003/2003-03-10.html Bryn Mawr Classical Review 20, 2003] )]

Mariette's dictionary of artists

His major ambition was to write a history of engraving and a dictionary of artists. In preparation, he compiled numerous annotations to the "Abecedario pittorico" (1704) of Pellegrino Antonio Orlandi. His father's notes on artists, accumulated in the course of the art trade, and his own wide experience and correspondence among the "cognoscenti", were the basis of these projects, none of which, however, ever came to fruition. Caylus used Mariette's notes on Vasari's "Lives" for his manuscript "Vies d’artistes du XVIIIe siècle".

Fortunately a "corpus" of Mariette's assembled materials— pamphlets, manuscripts, salon and exhibition catalogues, including the salon criticism of Diderot—came into the hands of Charles-Nicolas Cochin, an artist and guiding spirit of Neoclassicism, and, greatly augmented, was deposited in 1880 at the Bibliothèque Nationale [From Cochin the collection passed to M. Deloynes, auditor at the Cour des Comptes. In 1880, the Bibliothèque Nationale acquired the 63-volume collection, in 63 volumes, where it is known as the Deloynes Collection. [http://www.library.utoronto.ca/robarts/microtext/collection/pages/collpibe.html] ]

Not until 1851 were Mariette's notes and anecdotes entered in the "Abecedario" compiled by Philippe de Chennevières and Anatole de Montaiglon, in the six volumes of "Abecedario de P.J. Mariette et autres notes inédites de cet amateur sur les arts et les artistes" (Paris, 1851–60).

Mariette's circle of friends was large, broad enough almost to define the state of art connoisseurship in France during his time, beginning with the circle he met at the houses of the prodigious collection Pierre-Antoine Crozat, where besides artists like Watteau and the classicizing sculptor Jacques Edmé Bouchardon, Mariette met the abbé de Maroulle and the comte de Caylus,, who helped sharpen his eye.

Mariette married Angélique-Catherine Doyen in 1724. He acquired a country house at Croissy, which he named "Le Colifichet" [A "colifichet" is a little decorative nothing, a bagatelle.] was ennobled during the reign of Louis XV, and honored with the Order of the Saint-Esprit.

An exhibition at the Musée du Louvre in 1967 drew together materials to honour his memory, occasioning a rich catalogue and a "vita" by the editor of "The Burlington Magazine" [Jean Cailleux, "Apud Mariette et Amicos" "The Burlington Magazine" 109 No. 773 (August 1967), pp. i-vi.]

Notes

References

* [http://www.dictionaryofarthistorians.org/mariettej.htm "Dictionary of Art Historians": "Pierre-Jean Mariette"]
*Marjorie B. Cohn, 1992. "A Noble Collection: The Spencer Albums of Old Master Prints" (Harvard University) ISBN 0-916724-80-8
*Jules Dumesnil. "Histoire des plus célèbres amateurs français et de leurs relations avec les artistes," vol. I "Pierre-Jean Mariette 1694-1774", (Paris: Renouard) 1856.
*Exhibition catalogue Musée du Louvre. "Le Cabinet d'un Grand Amateur: P.-J. Mariette 1694-1774", (Paris: Musée du Louvre) 1967.