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"Beyond the easel": the rise of the decorateur.

New Criterion

| September 01, 2001 | Wilkin, Karen | COPYRIGHT 2001 Foundation for Cultural Review. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan.  All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)Copyright

For English-speakers, the word "decoration" has a pejorative flavor when it's used in relation to art, so much so that it's often qualified with a dismissive "mere." Yet the French term decoration has no such negative connotation; it simply signifies (among other things) art that ignores the conventional boundaries of the easel picture to become an integral part of an architectural setting. Fragonard's The Progress of Love, a series of tableaux enacted by flirtatious couples in idyllic garden settings, now in the Frick Collection, was a decoration designed to enliven the walls of a pavilion constructed for Madame du Barry, the mistress of Louis XV. Matisse's celebrated ...

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