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Gérard Audran

man / Frans
Monogrammeert als
GA
GAU
G.A. and G. au
Kwalificaties
graveur (prentmaker), tekenaar, prentenhandelaar, prentenuitgeverij, reproductiegraveur, hofgraveur
Grivel 1986; DataBnF. His works are a mixture of etching and engraving (Thieme/Becker 1908). He was engraver to the King (Bénézit 2006). Gérard Audran became very wealthy during his life, not only through his publishing enterprise but also through investing in various pensions and bonds which allowed him to give his daughter a dowry of 40 000 livres when she got married (Saur 1992).
Nationaliteit/school
Frans
Geboren
Lyon 1640-08-02
Thieme/Becker 1908; Grivel 1986; Bénézit 2006; DataBnF; he was christened on August 2nd 1640 (Saur 1992)
Overleden
Parijs 1703-07-26
Thieme/Becker 1908; Grivel 1986; Saur 1992; Bénézit 2006; DataBnF; he was buried in the Saint-Benoit church (Saur 1992).
Familierelaties
in dit veld wordt een familierelatie met één of meer andere kunstenaars vermeld.
Third son of Claude Ier Audran, Parisian engraver established in Lyon, and Elie Frétolat (Grivel 1986). His godfather was the sculptor Girard Cibert. He married Hélène Licherie, sister of the painter Louis Licherie, at the end of 1677 (Saur 1992). They had several children : Marie-Françoise (1678-1684), Hélène (born and died 1680), a second Hélène born December 1st 1681, who married Simon Caquet on October 16th 1702, Girard (born 1683, probably died 1691), and Marie (died in 1686 at the age of 6 months). On June 10th 1680, Audran was a witness at the wedding of his brother-in-law Louis Licherie with Catherine Errard, the sister of the painter Charles Errard. On October 17th 1683 he was present at the funeral of Bernardin Deprez (Saur 1992). After the death of Gérard Audran, his wife continued his business and proceeded, in November 1704, to exchange engravings with Nicolas Clément, manager of the Cabinet du Roi (Grivel 1986; Saur 1992). After the widow's death on December 4th 1718, the 'Deux Piliers d'Or' shop was undertaken by the engraver and publisher François Chéreau (Saur 1992).
Zie ook
in dit veld vindt u verwijzingen naar een groepsnaam of naar de kunstenaars die deel uitma(a)k(t)en van de groep. Ook kunt u verwijzingen naar andere kunstenaars aantreffen als het gaat om samenwerking zonder dat er sprake is van een groep(snaam). Dit is bijvoorbeeld het geval bij kunstenaars die gedeelten in werken van een andere kunstenaar voor hun rekening hebben genomen (zoals bij P.P. Rubens en J. Brueghel I).
He worked on the reproduction of 'Les Batailles d'Alexandre' from 1670 on; he owed the commission for this work to Le Brun. Each of the four great battle scenes by Lebrun was engraved in several copper plates: 'Le Passage du Granique' (4 plates) was completed in 1672, 'la Bataille d'Arbèles' (4 plates) in 1674, 'L'Entrée d'Alexandre dans Babylone' (2 plates) in 1675, 'Porus blessé amené devant Alexandre' (4 plates) in 1678 (Thieme/Becker 1908). In 1680 he received payement from the Cabinet du Roi for 3 engravings after sculptures : 'L'enlevement de Proserpine' after Girardon (1680), 'Le point du jour' and 'L'Afrique' after G. de Marsy (1681) (Saur 1992). A contract was signed with him for the engraving of the 'Galerie du petit appartement du Roi' in Versailles in 1686, for which he received 5000 livres. This contract engaged him to 'engrave for the King, on copper, with etching retouched with the chisel [...] all that is painted by Mr. Mignard's hand in the gallery' (Thieme/Becker 1908). Independently of his own work, he published several plates engraved by his nephews Benoit the Elder, Jean and Louis. He also published several pieces by Van der Cabel, Sébastian Le Clerc and Focus (Bénézit 2006),
Deze persoon/entiteit in andere databases
Verder zoeken in RKDartists&
Biografische gegevens
Werkzame periode
1660 - 1703
His oldest work is a copper plate, 'Les Pseaumes de David mis en vers français...' dated 1660 (Thieme/Becker 1908).
Werkzaam in
Hier wordt vermeld waar de kunstenaar (langere tijd) heeft gewerkt en in welke periode. Ook relevante studiereizen worden hier vermeld.
  • Lyon
    a pupil of his father in Lyon (Grivel 1986; Saur 1992). As a young man, his fame peaked with his 'Portrait of Pope Clément IX', and he was summoned to Paris (Bénézit 2006).
  • Parijs 1666
    He was a pupil in his brother's workshop (Claude II Audran) in Paris (Grivel 1986; Saur 1992). Before 1666, Charles Lebrun entrusted him with the work of two large-scale engravings after his paintings 'Le Triomphe de Constantin'and 'La Bataille de Constantin contre Maxence'; thanks to this success, Audran was the able to travel to Italy to perfect himself (Saur 1992).
  • Rome 1666 - 1670
    Departure for Rome in 1666 (Thieme/Becker 1908) or 1667 (Bénézit 2006). He worked in Carlo Maratta's workshop in Italy (Grivel 1986) and also took advice from Ciro Ferri (Bénézit 2006). In Rome, he stood out in particular in 1668 with his engravings 'l'Histoire de David et de Goliath' (the ceiling of the Vigna Sacchetti) and 'l'Histoire d'Enée' (from the Palazzo Pamfili) both after P. da Cortona (Thieme/Becker 1908; Saur 1992).
  • Parijs 1670 - 1703-07-26
    He must have been back to France at the beginning of the year 1670 at the latest, as he received a payement for his work 'Les Batailles d'Alexandre' this same year (Thieme/Becker 1908). Probably returned at the end of 1669 or beginning 1670 (Saur 1992). On this occasion, Lebrun asked Colbert to encourage Gérard Audran to come to Paris and give him an appartment in the Gobelins (Thieme/Becker 1908). He was thus appointed engraver to the King, with a pension and an apartment in the Gobelins (Bénézit 2006). The date Audran moved in the Gobelins is not known, presumably shortly after returning from Italy; he was established there in 1674, according to the adress on his engraving 'Le jeune Pyrrhus sauvé'. The 'Comptes des Bâtiments' mentions 2 payments of 200 livres to Gérard Audran for works in the Gobelins in 1675 and 1677. It seems that the latter date refers to his departure from the Gobelins (Saur 1992). He left to establish his shop in the rue Saint-Jacques under the commercial sign 'Aux Deux Piliers d'Or'. The catalogue of engravings he sold there has been kept: 'Catalogue des estampes qui se vendent chez G. Audran, graveur ordinaire du Roi, rue St. Jacques aux Deux-Piliers d'or' (Thieme/Becker 1908). After his death, the house with insigna 'Aux Deux Piliers d'Or' was taken by François Chéreau (Grivel 1986). The non commercial sign of this building was 'L'Image Saint-Prosper' (Saur 1992).
  • Rome 1675
    Around 1675, Audran travelled to Rome again (Bénézit 2006).
geboren
werkzaam in
overleden
Onderwerpen
In dit veld worden de diverse onderwerpscategorieën of genres vermeld die in het oeuvre van de beschreven kunstenaar voorkomen. De inhoud van dit veld is doorgaans meer gebaseerd op het aanwezige beeldmateriaal in het RKD dan op de literatuur.
christelijk religieuze voorstelling, portret, historie (genre)
One may mention two portraits (Samuel Sorbières and Jordanus Hilling) but Audran preferred to reproduce historical subjects (Thieme/Becker 1908; Bénézit 2006).
Product
prent
The Oeuvre of Gérard Audran actually comprises hardly more than 200 engravings (Saur 1992).
Lid van
  • Académie Royale de Peinture et de Sculpture (Parijs)
    On May 31st 1674, he was admitted at the Academy with 'Le jeune Pyrrhus sauvé' after Nicolas Poussin (Saur 1992). On November 21st 1681, the Royal Academy elected him 'conseiller' [counsellor] (Grivel 1986); he was appointed a 'pensionnaire' [resident] in 1674 (DataBnF).
Project
Gerson Digital : Frankrijk
Externe links
this artist on DataBnF
Permalink
https://rkd.nl/explore/artists/2916
Ingevoerd op: 1991-11-20; Laatste wijziging: 2023-02-09

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