À propos de Robert de Cotte
The few studies of Robert de Cotte published – that for the most important are now some twenty years old – have always looked at the architect in terms of his work, paying little attention to his family or to his fortune. These works too often describe him as a pale copier of the art of Jules Hardou...
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| Formato: | Article ou chapitre numérique |
| Idioma: | Français |
| Publicado em: |
2018
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| Acesso em linha: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Resumo: | The few studies of Robert de Cotte published – that for the most important are now some twenty years old – have always looked at the architect in terms of his work, paying little attention to his family or to his fortune. These works too often describe him as a pale copier of the art of Jules Hardouin-Mansart, his brother-in-law, and as an architect without any particular talent. It would be thanks to the latter that Robert de Cotte gained access to the highest spheres of the Court and took over the charge of Premier Architecte du Roi. In fact, Robert de Cotte is a much more interesting figure than that. On the one hand because of his family and the ties that he maintained early on with Hardouin-Mansart, on the other hand through his fortune that made him “the Cresus of architects” as Pierre-Alexis Delamair called him. The study of his fortune – partially visible in the posthumous inventory of his wife Catherine Bodin – leads to further knowledge of this complex person who was not merely a simple transition between Jules Hardouin-Mansart and the Gabriels. The rich furnishings, the several paintings, sculptures and especially the non-negligible library make this inventory one of the most interesting to study in order to complete what we already know about Robert de Cotte. |
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