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Galerie Léage
Nicolas Pineau
PAIR OF THREE-ARM WALL LIGHTS
This pair of wall lights features a central openwork Rocaille shaft with C- and S-shaped scroll.
Height 23 1/6 inches - 60 cm Width: 15 3⁄4 inches - 40 cm Depth: 11 inches - 28 cm
description
Nicolas Pineau (1684-1754)
A French sculptor, ornamentalist and architect, he was the son of Jean-Baptiste Pineau, Sculpteur Ordinaire du Roi1, who died when he was less than ten years old. A pupil of Hardouin Mansart and Hermain Boffran, he attended sculpture classes at the Académie de Saint-Luc, under the guidance of Antoine Coysevox for figures, before joining the workshop of Thomas Germain, Orfèvre du Roi.
He left for Russia in 1716, where he was appointed premier sculpteur de Sa Sacrée Majesté Césarienne4, and produced numerous designs in a wide variety of fields: plans for a palace, an arsenal, a festival hall, carriage body sculptures, statue pedestals, table centerpieces in silverware, gilt bronze lanterns, etc. He was also responsible for the paneling in Peter the Great's cabinet at Peterhof Palace.
A precursor of the Rocaille style, he returned to France in 1727 and gave up architecture stricto sensu to specialize in paneling and interior designs.
In 1738, Jean-Pierre Mariette began publishing some of Nicolas Pineau's designs in L'Architecture française, ensuring rapid dissemination of his aesthetic. This aesthetic blended elegance and fantasy, breaking the linearity of door panels and paneling with sinuous compositions featuring Rocaille scrolls and sculpted plant motifs. Nicolas Pineau also developed decorations of asymmetrical foliage and undulations from the aquatic world on lintel keys, mirror frames and console bases.
His extraordinary vogue found expression for the kingdom’s greatest figures, and he became the appointed sculptor of architect Jacques Hardouin Mansart, for whom he created the ornaments for the Cathédrale Saint-Louis in Versailles and the Château d'Asnières. He also exercised his talents for the Duchesse Mazarin, the Prince d'Isenghien, the Comte de Middelbourg, King Louis XV (Paneling for the lavatory in the King's apartment at the Château de Petit-Bourg) and the Marquise de Pompadour (candelabra models), each time breaking with the old symmetry.
Dominique Pineau (1718-1786)
Son and pupil of Nicolas Pineau, Dominique Pineau benefited from his father's success, collaborating with him to such an extent that their two names were associated in most projects of the mid-18th century. He specialized in woodcarving, an art in which he made a name for himself through his skill. He also created a number of furniture designs. After Nicolas Pineau's death in 1754, Dominique Pineau continued to work in a style more influenced by the beginnings of Classicism than his father's Rocaille work was. The decor for the dining room at the Château d'Asnières (1750-1760) can be attributed to him. Already neoclassical, it can be compared with the work of Charles de Wailly (1730-1798).
A French sculptor, ornamentalist and architect, he was the son of Jean-Baptiste Pineau, Sculpteur Ordinaire du Roi1, who died when he was less than ten years old. A pupil of Hardouin Mansart and Hermain Boffran, he attended sculpture classes at the Académie de Saint-Luc, under the guidance of Antoine Coysevox for figures, before joining the workshop of Thomas Germain, Orfèvre du Roi.
He left for Russia in 1716, where he was appointed premier sculpteur de Sa Sacrée Majesté Césarienne4, and produced numerous designs in a wide variety of fields: plans for a palace, an arsenal, a festival hall, carriage body sculptures, statue pedestals, table centerpieces in silverware, gilt bronze lanterns, etc. He was also responsible for the paneling in Peter the Great's cabinet at Peterhof Palace.
A precursor of the Rocaille style, he returned to France in 1727 and gave up architecture stricto sensu to specialize in paneling and interior designs.
In 1738, Jean-Pierre Mariette began publishing some of Nicolas Pineau's designs in L'Architecture française, ensuring rapid dissemination of his aesthetic. This aesthetic blended elegance and fantasy, breaking the linearity of door panels and paneling with sinuous compositions featuring Rocaille scrolls and sculpted plant motifs. Nicolas Pineau also developed decorations of asymmetrical foliage and undulations from the aquatic world on lintel keys, mirror frames and console bases.
His extraordinary vogue found expression for the kingdom’s greatest figures, and he became the appointed sculptor of architect Jacques Hardouin Mansart, for whom he created the ornaments for the Cathédrale Saint-Louis in Versailles and the Château d'Asnières. He also exercised his talents for the Duchesse Mazarin, the Prince d'Isenghien, the Comte de Middelbourg, King Louis XV (Paneling for the lavatory in the King's apartment at the Château de Petit-Bourg) and the Marquise de Pompadour (candelabra models), each time breaking with the old symmetry.
Dominique Pineau (1718-1786)
Son and pupil of Nicolas Pineau, Dominique Pineau benefited from his father's success, collaborating with him to such an extent that their two names were associated in most projects of the mid-18th century. He specialized in woodcarving, an art in which he made a name for himself through his skill. He also created a number of furniture designs. After Nicolas Pineau's death in 1754, Dominique Pineau continued to work in a style more influenced by the beginnings of Classicism than his father's Rocaille work was. The decor for the dining room at the Château d'Asnières (1750-1760) can be attributed to him. Already neoclassical, it can be compared with the work of Charles de Wailly (1730-1798).
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