Contributor VIAF URI: 14971350
Artist of print:
Engraver of Print: S.2.02 L’eté, S.2.03 L’automne, S.2.06 Le racomodement, S.2.09 Le prêtre d’esculape, S.2.10 L’enlévement, S.2.13 Le loup garou, S.2.14 L’heureux mariage, S.2.15 L’amour frére quêteur, S.2.16 L’ombre d’Hylas, S.2.18 Le juge intégre, S.2.19 La rupture, S.2.20 La promenade du matin, S.2.21 Les derniers regrets d’un amant, S.3.01 Anaximandre, S.3.05 La leçon, S.3.06 L’heureuse plainte, S.3.07 Le recuëillement, S.3.08 Les plaintes mutuelles, S.3.09 L’avare et la jeune esclave, S.3.12 La leçon offerte, S.3.16 Le berger amoureux, S.3.17 Les souvenirs, S.3.18 La douleur de l’absence, S.3.19 Regrets de Petrarque, S.3.24 Le berger mécontent, S.3.25 Le melancolique, S.4.02 La consolation, S.4.04 L’ heureux maladroit, S.4.06 La raison deraisonable, S.4.07 Le danger de se deffendre, S.4.10 Les effets du bonheur, S.4.12 Dame françoise, S.4.13 L’heureux naufrage, S.4.14 La bagatelle, S.4.20 Le dernier parti a prendre, S.4.21 Le danger de tomber, S.4.22 La resolution inutile, S.4.23 Le lever de l’aurore, S.4.24 L’heureuse loterie,
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Author of (Song 2):
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Composer of (Song 2):
Biography:
Louis-Joseph Masquelier, (the Elder), 1741 – 1811
Born near Lille, Louis-Joseph Masquelier came to Paris where he joined the workshop of Jacques-Philippe Le Bas. There he became a friend and close collaborator with another of the key engravers of the Choix de Chansons, François Denis Née (1732-1817). Together they were responsible for 37 of the engravings in volumes 2, 3 and 4 of the Chansons.
At the time of his involvement with Née and Moreau le Jeune on the Choix de Chansons Masquelier was also working with Attiret on the ambitious project directed by Charles Nicolas Cochin, Les Conquêtes de l’Empereur de la Chine.
Masquelier was especially known for his landscape and topographical engravings, which included seascapes after Claude-Joseph Vernet and views of the low countries and Italy. He was, with Née, the key engraver on Laborde’s ambitious essay in the travel picturesque, the Tableaux topographiques, pittoresques, historiques, moraux et politiques de la Suisse (4 vols, Paris, 1780-88) for which he and Nee produced over 300 illustrations.
Perhaps Masquelier’s most accomplished work though, was his direction of the ambitious project of the Galerie de Florence from 1789 onwards, for which he engraved and marshalled engravings after the drawings of one of David’s more revolutionary pupils, and Lille native, Jean-Baptiste Wicar. This work earned him and the project a gold medal in the Salon of 1802. On his death from apoplexy in Paris at the age of 70 in 1811, Masquelier was on the point of completing this immense and ambitious project.
Masquelier’s Revolutionary acquaintances probably sheltered him from the only-too-aristocratic association with Laborde, and he remained highly active under the Revolution and Empire, working assiduously for the project of the “Histoire de la Révolution” and later, on the engraved history of the Napoleonic Military Campaigns in Italy, Les Campagnes d’Italie after Carle Vernet. He notably engraved sumptuous plates for the 1797 publication of the Atlas du Voyage de la Perouse.
Masquelier’s son, Charles-Louis Masquelier, (1781-1852) was also a distinguished and prize-winning engraver and worked with and for his father on several projects.
Bibliography
Arthur Dinaux, “Iconographie Lilloise: Graveurs et Amateurs d’Estampes de Lille”, Archives historiques et littéraires du nord de la France, et du midi de la Belgique / par MM. Aimé Leroy, le docteur Le Glay et Arthur Dinaux III (1841), 229-233 ark:/12148/bpt6k32100114
Roles (Getty AAT Term): engravers (printmakers)
Roles Getty AAT URI: 300025165
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