id:			140278
accession number:	1964.25
share license status:	CC0
url:			https://clevelandart.org/art/1964.25
updated:		2023-01-19 15:22:38.184000

The Descent from the Cross, 1773. After Jean-Baptiste-Marie Pierre (French, 1713–1789), Gilles Demarteau (French, 1722–1776). Crayon manner etching; The Cleveland Museum of Art, In honor of Leona E. Prasse through The Print Club of Cleveland 1964.25

title:				The Descent from the Cross
title in original language:	
series:				
series in original language:	
creation date:			1773
creation date earliest:		1773
creation date latest:		1773
current location:		
creditline:			In honor of Leona E. Prasse through The Print Club of Cleveland
copyright:			

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culture:	France, 18th century
technique:	crayon manner etching
department:	Prints
collection:	PR - Etching
type:		Print
find spot:	
catalogue raisonne: Le Blanc Vol.II.107.4

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CREATORS

* Jean-Baptiste-Marie Pierre (French, 1713–1789) 

* Gilles Demarteau (French, 1722–1776)  - artist

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measurements: 
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support materials:


inscriptions:

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CURRENT EXHIBITIONS

	title:		French Prints and Drawings in the Age of the Bourbons, 1589-1792
	opening date:   1982-01-25T05:00:00
	<i>French Prints and Drawings in the Age of the Bourbons, 1589-1792</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 25-May 16, 1982).

	title:		Real Prints: Reproduction or Invention
	opening date:   1986-12-16T05:00:00
	<i>Real Prints: Reproduction or Invention</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 16, 1986-May 17, 1987).

	title:		A Lasting Impression: Gifts of the Print Club of Cleveland
	opening date:   2019-05-05T04:00:00
	<i>A Lasting Impression: Gifts of the Print Club of Cleveland</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 5-September 22, 2019).

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LEGACY EXHIBITIONS

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PROVENANCE

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digital description:


wall description:
Gilles Demarteau was the first artist to master crayon-manner etching—the process seen here—which replicates the appearance of a red-chalk drawing. Rather than sketching with an etching needle, Demarteau used a tool called a roulette (a small, toothed wheel) to create tiny, regular dots that were then etched into the printing plate. The text along the lower margin of the image indicates that Demarteau’s print of the dramatic removal of Christ’s body from the cross reproduces a drawing by the well-known court painter to King Louis XV, Jean-Baptiste Marie Pierre. With prints like this, Demarteau took advantage of the popularity of chalk drawings in the 1700s, selling his prints to members of a growing middle class who were interested in acquiring the trappings of wealth.
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RELATED WORKS

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CITATIONS

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IMAGES

web:	https://openaccess-cdn.clevelandart.org/1964.25/1964.25_web.jpg
print:	https://openaccess-cdn.clevelandart.org/1964.25/1964.25_print.jpg
full:	https://openaccess-cdn.clevelandart.org/1964.25/1964.25_full.tif