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Bonne semaine 🤍
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Good week 🍀
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The Grande Singerie of the Château de Chantilly, a boudoir originally intended to house the porcelain of the Duke of Bourbon, offers a decor characteristic of the rocaille style mixing antics and Chinoiserie treated in a fanciful or allegorical way. It owes its name to the fact that the scenes represent monkeys serving men and vice versa.
These paintings on paneling, attributed to Christophe Huet (1700-1759), present an exceptional example of the taste quite common in the 18th century for Chinese oriental exoticism.
In 1710 the Château de Chantilly returned to Louis-Henri Bourbon-Condé (1692-1740), Duke of Bourbon who continued the development undertaken by his grandfather, the great Condé. The decor of the small castle was thus remodeled in 1737, the date of the execution of the Grande Singerie which is attributed to Christophe Huet, a renowned painter of paintings of animals and birds. But for a long time we hesitated about the author (Watteau, Claude Gillot, Audran?) because the archives do not reveal any payment made by the duke for the decor of the two antics: the Grande Singerie is one of the large apartments on the first floor while the Petite Singerie is located on the ground floor. However, recent restorations have revealed the date of execution of the boudoir: the inscription “1737” is painted on the block of marble that the monkey sculptor models. This is how we were able to eliminate the long-suspected authors: Watteau, who died in 1721, Claude Gillot, who died in 1722 and Claude Audran, who died in 1734. From then on, the decorations of the Singeries were attributed to Christophe Huet who, moreover, worked for the Condé family in 1734-1735. The workmanship and style of two other decorations still visible and created by Huet made it possible to make these connections: the Cabinet des Singes of the Hôtel de Rohan (today National Archives in Paris) in 1749-1752 and the Chinese Salon of Château de Champs-sur-Marne before 1755.
Huet was a student of Gillot and we know that he collaborated with Audran for the Château d'Anet in 1733. His style is borrowed from those of Berain, Audran and Watteau and Boucher. He had two collaborators: Dutour for the animals and Crépin for the landscapes.
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