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Esnauts and Rapilly

Selected works

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Madame Giacomelli, by Aimée Thibault (1784–1868). Work presented at Salon de Paris of 1804 (no. 461).

In addition to a number of fine Roman landscapes engraved after watercolors by Hubert Robert, Janinet also executed two series of views of Paris, in color, after the drawings of the architect Jean-Nicolas-Louis Durand which record the appearance of many buildings now destroyed: Vues des plus beaux édifices publics et particuliers de la ville de Paris [Views of the Most Beautiful Public and Private Buildings in the City of Paris] (1787) as well as 63 new views in a circular format (1792). In 1810, in collaboration with his pupil Jean-Baptiste Chapuy (1760–1802), he engraved 83 plates in the aquatint (wash manner) for the Vues des plus beaux édifices publics et particuliers de la ville de Paris et des chateaux royaux. Jean-François Janinet (1752–1814) claimed to be a physicist, and this pretension led to an abortive ascent in a balloon on 11 July 1784, which engendered much mockery and many caricatures. Besides Chapuy, his pupils included Antoine Carrée (fr) (1780–1802) and Charles-Melchior Descourtis (fr) (1752–1819); the latter became his equal in the reproduction of watercolors and was the author of the prints:

  1. Foire de Village [Village Fair] (1788)
  2. La Noce De Village [Village Wedding] (1785)
  3. Le Tambourin [The Tambourine]
  4. La Rixe [The Brawl]
Four Works
Engraved by Charles-Melchior Descourtis
Based on a painting or original artwork by Nicolas Antoine Taunay (1755–1830).
Wash-manner color engravings.
Paris chez Decourtis rue des Grands-Degrés Nᵒ. 12.

Geneviève Sophie Billé

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Janinet had a step-daughter, Sophie (née Geneviève Sophie Billé; 1779–1819). Sophie Janinet was the daughter of Marie-Madeleine-Françoise Poumentin and the engraver, Jacques-Henry Billé or Billet. When Jacques-Henry Billé died, Sophie’s mother re-married another engraver, Jean-François Janinet, who gave his name to the child. He is also the one who raised her and provided her with her first artistic training.

Sophie sometimes used a pseudonym, Madame Chomel. She exhibited a number of prints in the wash manner, under her married name of Giacomelli, at the Salons between 1799 and 1804.

On August 2, 1802, in Paris, Sophie married musician Joseph-Marie-Juvénal Giacomelli (1759–1822) and then began a new career as a singer, while exhibiting a number of prints in the wash manner at the Salons between 1799 and 1804, under her married name of Sophie Giacomelli, until her death in 1814.[1][2]

Sophia Giacomelli [Madame Chomel]. Le Paradis perdu, en douze figures (Paris: chez Salmon, 1813). Engraved title and 12 plates bound after Dante, La Divina Comedia. cioé l’Inferno, il Purgatorio, ed il Paradiso (Paris: chez Salmon, [n.d., ?1813]). Engraved title and 99 plates. Sophie Giacomelli (1779-1819) is the earliest known female illustrator of Dante. Her engravings were published in 1813 – some years after John Flaxman’s ground-breaking, privately printed, neo-classical outline illustrations in 1793. Giacomelli has patently imitated the style but her Divine Comedie has undoubtable unique approaches, as this engraving of The Simonists (Canto XIX, Inferno) demonstrate. The popes are plunged head down into infernal holes so that only their flaming feet are seen. But it’s how this illustrator has captured Dante’s occasional ‘scaredy-cat’ episodes by having him caught in the arms of his strong and protective guide, Virgil. Giacomelli was also known as Billet (paternal surname), Janinet (her stepfather’s name) and Madame Chomel.

1st ed., 1787 (42 plates; other copies have 82 plates)
  • Édifices de Paris – Vues des plus beaux édifices publics et particuliers de la ville de Paris [Buildings of Paris – Views of the Most Beautiful Public and Private Buildings in the City of Paris]. (Ex Libris Jean Furstenberg (aka Hans Fürstenberg; 1890–1982) Wikidata Q15078948. Dessinées par Durand, architecte, & gravées en couleur par Janinet; accompagnées de notices intéressantes sur l'architecture et ses révolutions en France ; avec des anecdotes curieuses de chaque monument en particulier [Drawn by Durand (1760–1834), Architect, & Engraved in Color by Janinet (1752–1814); Accompanied by Interesting Notes on Architecture and Its Revolutions in France; With Curious Anecdotes About Each Monument in Particular]. A Paris: Chez Esnauts et Rapilly, rue St. Jacques, à la ville de Coutances, no. 259. Avec Privil. du Roi. 1810.{{cite book}}: CS1 maint: others (link)[a] Free access icon OCLC 1435119931 (all editions); BnF 16886521; Pdf in Wikimedia Commons.
    1. Via HathiTrust (Getty Research Institute). Free access icon
    2. Via Internet Archive (Getty Research Institute).
    3. Via Internet Archive (Getty Research Institute). Free access icon
    Artists & engravers (88 plates): Engraved by Janinet and Chapuy, after the drawings of Durand, Garbizza, Toussaint and Mopillé, and representing views of the Louvre, the Sorbonne, the Palais-Royal, the Val-de-Grâce, the Hôtel des Invalides, the Boulevards, the Bridges, Versailles, Compiègne, Fontainebleau, etc., etc., Hôtel de M le duc de Laval, sur le boulevard.
    1. Félix Boisselier (1776–1811), artist
    2. Jean-Nicolas-Louis Durand (1760–1834), French architect
    3. Jean-François Janinet (1752–1814), French painter
    4. Jean-Baptiste Chapuy, (ca. 1760–1802) Wikidata Q18508351, French engraver draftsman and printmaker
    5. Angelo Garbizza (fr) (1777–1813), French engraver
    6. Claude-Jacques Toussaint (1781–1850) Wikidata Q64169726, French engraver
    7. Mopillé (French engraver, active ca. 1810)
    8. Boisselier (French architect, active 18th-19th centuries) → Antoine-Félix Boisselier (1790–1857)??
    9. Chal (né Jean-François-Thérèse Chalgrin; 1739–1811), architect and engraver
    10. Antoine Hénon (1748–1789), French painter and architect
    11. Charles-Melchior Descourtis (fr) (1752–1819), French printmaker
    12. Charles Dupuis (1885–1942), French engraver
2nd ed., 1810 (88 plates)

Bibliography

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Annotations

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  1. ^ Avec Privil. du Roi → Avec Privilège du Roi (sometimes abbreviated: ("A.P.D.R.") → With the King's privilege.

Notes

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  1. ^ Fétis, 1837, pp. 323–324.
  2. ^ Turner, 1996, pp. 905–906.

References

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    1. Via Internet Archive (Boston Public Library). Free access icon
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