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Claude-Léger Sorbet (1716–1788), collectionneur

14 July 2022

It has been my practice recently to turn my blog posts on art historical subjects into more formal essays on my website. Since they too are online, they can be updated and improved when any of you contact me with errors or new information. It’s then something of a chore to keep updates in sync. I also enjoy using Word and creating pdfs rather more than the horrid WordPress experience, particular after recent changes which make it even harder to control the layout and typography. So if you want to read what was to be my latest blogpost, about the collector Claude-Léger Sorbet (who was involved with Pigalle, Boucher, Cochin, Greuze – whose portrait, above, is in the musée des Beaux-Arts, Orléans), may I invite you simply to download the pdf from my site – here is the link: http://www.pastellists.com/Essays/Sorbet.pdf

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From → Art history

6 Comments
  1. Merci bien.

  2. As you welcome typo alerts, there is a missing ‘e’ in however on page 8 in the bottom paragraph.

  3. NuitsdeYoung permalink

    Now, there is a name to conjure with in the present weather!

  4. Joseph Baillio permalink

    http://www.pastellists.com/Essays/Sorbet.pdf http://www.pastellists.com/Essays/Sorbet.pdf

    Neil,

    I your Sorbet essay, you reproduce Robert Simon’s version of Boucher’s La Surprisez.

    Are you sure that it is autograph?

    The picture is not signed, but there there is an inscription on the back of one of the crossbars of the châssis. The painting in New Orleans is much more beautiful, especially the swag of green drapery.

    What say you?

    Joseph

    >

    • I haven’t seen either version de visu. The NOMA version is well known and documented, courtesy of your entry in the 2006/7 exh cat The Odyssey Continues, and I intended initially to reproduce it. But we don’t know which, if either, was the version Sorbet owned, and I hoped (and it seems succeeded!) to stimulate the debate by including a version of whose existence I was previously unaware. A number of Sorbet’s pictures are “versions”, and not all the best ones (perhaps not even all correctly attributed), so I wanted to resist the idea of crediting him with owning the best known versions fitting the descriptions. This is a first draft of the essay, and as with other essays on my site I may well update it as further evidence comes in.

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