DUVIVIER, PIERRE SIMON BENJAMIN (French). Medallist, born in 1728, son of Jean Duvivier, died at the age of 91, on the 11th of July 1819. It seems that his father, fearing to be surpassed, did not wish to teach him the medallic art, although he had an avowed taste for it. One night he was caught copying a medal ; the young artist was driven from home. Tardieu, an artist and his brother-in law, took him under his protection, and helped him in his studies. On the death of Jean Duvivier, 30th of April 1761, Benjamin represented to the King his title to the reversion of the apartments which his family had occupied at the Galeries du Louvre, a concession which was granted on the following 7th of June, since which he date devoted himself entirely to the King's service, and on the 24th of November, 1764, he was elected Medallist to His Majesty, and Member of the Royal Academy of painting and sculpture. Duvivier exhibited at the Salons of 1769, 1773, 1775, 1777, 1779, 1781, 1783, 1785, 1793, and 1798. The following medals are mentioned in the Paris Mint Catalogue as works of this artist : Audience of Za?d Effendi (1742); — Laureate head of the King (1751) ; — Alliance with Maria Theresia (1756) ; — Laureate head of the King (1763); — Equestrian statue of the King (1763); — Bust of the Prince of Condé; — Marriage of the Count of Artois (1773); — Trade between Marseilles and Africa (1774); — Death of Louis XV. (1774); — Statue on the Place Louis XV. (1763); — Statue of Louis XV. at Rheims (1764); — Cathedral of Orleans (1770); — Prize medal for Natural History (1769); — Bust of Armand de Villars (1766); — Prize of the Academy of Marseilles (1766); — Bust of Louis XVI. ; — Crowned bust of the King ; — Academy of Châlons ; — Head of Washington ; — Boston taken ; — Bust of the King ; — Bust of the Queen, 1781 (3 var.); — Battle of Cowpens; — Howard on horseback; — Birth of the Dauphin ; — Busts facing of the King and Queen ; — Busts of the King and Queen superposed ; — Rejoicings at the Birth of the Dauphin ; — Prize of the Academy of Dijon (2 var.); — Central Canal; — Peace with England; — The Six Corporations of Merchants delivering prisoners ; — Birth of the Duke of Normandy ; — Journey of Lapeyrouse and Langle; — Canal of Burgundy; — Prize of the Academy of painting; — Bust of the King; — Royal Watch Manufactory; — The Louis XVI. Bridge; — Jean Duvivier; — The Good Daughter; — Prize for Virtue; — Artis obstetriciae &c, 1784; — Francois H. Honstet, Paris; — C. M. de l'Epée, Versailles; — Invalides de la Marine, 1773; — Académie et Ecole de chirurgie; — Royal Surgical Academy, 1775 ; — Louis XVI., The City of Paris; — Louis XVI. makes Paris his residence, &c. These medals are signed : B. Duviv., Duviv., D. V., B. Duvivier f., Duvivier f., Duv.f., D. v.f., &c. In 1777, Duvivier produced a model for the new seal of the Royal Academy of painting and sculpture, representing Louis XVI., another in 1778, showing a Minerva, besides which numerous medals commemorating the coronation of the King, the births of Princes and Princesses, political events, etc. ; he also engraved a series of jetons. He was the favourite artist of the Court. In 1789, he cut the dies of a beautiful medal on the Entry of Louis XVI. into Paris ; that commemorating the establishment of the Paris Mayoralty, of the same year, bears on obv. a bust of the King by his hand. Two years after, Duvivier was replaced in his post of Engraver of the Coins and Medals, by Dupré, whose artistic taste suited the leaders of the Revolution better. The artist nevertheless displayed continued activity. Of this later period are the following works : 1789, Presentation Medal to J. B. Murget (2 var.); — The Assembly of Nobles at Paris; — J. S. Bailly, Mayor of Paris (2 var.); — Lafayette; — Freedom assured; — J. Necker; — Louis XVI., Restorer of French Liberties; — The Paris Commune; — Royal Society of Agriculture ; — Double Louis; — Louis of 24 Livres ; — Ecu of 6 Livres; — Ecu of 3 Livres; — 24, 12, and 1 Sols; — 2 and 1 Liards (Since 1774, when Joseph Charles Roettiers ceded the office of Engraver at the Mint to Duvivier, the latter had engraved the coinage of France, and he did so until 1791); — 1790, Double Louis; — Louis; — Ecus of 6 and 3 Livres; — 24, 12 and i Sols; — 1791 , Life-saving Medal; — Double Louis, and Louis ; — 6 and 3 Livres {Ecu, illustrated); — Sol; — Double Liard; — Various pattern pieces; — 1792, J. B. Réveillon ; — Figure of Liberty ; — Commemoration of the 10th of August 1792 (2 var.); — Double Louis and Louis ; ':— Ecus of 6 and 3 Livres ; — 12 Deniers (2 var.); — 1793, The 10th of August 1793 ; — Jean Silvain Bailly (2 types) ; — The Good Daughter; — The Good Mother; — 12 Deniers; — 1796, Prize of the School of Soréze; — Prize of the Society of Medecine of Paris; — 1797, Bonaparte, Protector of Arts and Selences; — 1798, Medal of the State Council, Encouragement, of Industry; — Abbé de l' Epée; — Washington-; — Abbe Barthélemy,- — Napoleon First Consul; — Treaty of Campo Formio; — National Column; — Peace of Lunéville, — Coronation; — Marriage of the Emperor; — Campaign of 1809 ; — Portraits of Napoleon and Josephine, &c. M. Quatremére de Quincy has expressed his opinion on Duvivier's work as follows : « Les ouvrages de M. Duvivier sont recommandables par une rare habileté d' exécution ; car on sait qu'il possédait a un degré supérieur l'art de tailler l'acier. Mais plusieurs se recommandent encore par des qualites précieuses, par un go?t de composition qui caractérise le style de l'époque, et sa tendance au retour vers les principes de l'antique. Nous devons surtout louer M. Duvivier d'avoir connu etrespecté les limites de son art, d'avoir su se renfermer fidélement dans le cercle des convenances que la nature lui present. « L'art de la composition des médailles consiste a réduire aux moindres termes chaque sujet, chaque action, chaque image, de maniére a faire voir, non la partie insignifiante d'un tout, mais le tout clairement signifié par ce qui n'en est que la partie. L'erreur de certaines écoles modernes en ce genre a été de croire que le type d'une médaille devait ressembler á une peinture réduite en miniature. Mais que pourraient ?tre ces prétendus petits tableaux sans perspective aérienne, sans dégradation de ton, sans effet de couleur? Pour grand que soit le champ d'une médaille, e'est toujours un des plus petits espaces qu'une composition puisse occuper; et, par opposition, ce sont presque toujours les sujets les plus étendus et les plus nombreux qu'il faut y tracer. De lá done, pour l'artiste, l'obligation de saisir, dans chaque sujet, le motif ou le sentiment qui en est le point central ou capital. De lá ce systéme d'abréviation savante qui raméne chaque composition á sa plus simple expression, pour le sens moral et physique; mais de lá aussi l'obligation de donner aux personnages, aux figures, la valeur de cette langue idéale donr ils deviennent les signes; et cette valeur consiste dans la noblesse des formes, dans la grandeur du style, dans l' énergie du caractére. « Nous ne dirons point que M. Duvivier ait atteint á cette hauteur, qui est le but, mais aussi le désespoir de chaque siécle. II y aurait d' ailleurs quelque injustice á ne pas juger les talents avec la mesure des circonstances qui les-ont formés ou modifiés. Or, entre tous les arts, celui du graveur en médailles, s'il participe par des principes communs au sort des autres, dépend, quant á sa destinée, de causes qui lui sont particuliéres. « Le sort de l'art des médailles est intimement lie á celui de la politique des Etats. Historien exact, il en présente la situation ; et, véridique jusque dans son silence, il constate réellement le caractére et les inclinations des différents régnes. Peut-?tre queIque jour le nombre plus ou moins grand de médailles serait-il un- indicateur assez fidéle du degré de sagesse ou d'miitation de chaque époque. Cet état de tranquillité intérieure et extérieure qui n'admet pas de grands événements, qui-ouvre peu de routes aux passions ambitieuses ; cet état dont on ne sent le bonheur, comme celui de la santé, qu'aprés qu'il est passé, fut généralement celui de la France pendant les régnes sous la douceur desquels M. Duvivier fit la plus grande partie de ses ouvrages. II eut peu de concurrents; et aucun talent remarquable ne lui fit, pendant longtemps, sentir la pointe aiguë d'une dangereuse mais utile rivalité. Car alors, et avant que la Révolution e?t décomposé l'ordonnance de l'état social, toutes les professions, comme les assises réguliéres d'un édifice, offraient des situations durables, oú l'on se trouvait placé dans une proportion de nombre relative aux intér?ts de chacune. Alors on n'avatt pas encore imaginé de faire des travaux sans objet pour les artistes. Les artistes se faisaient pour les travaux, et en raison du besoin que l'Etat en avait. » The following medals were also engraved by Benjamin Duvivier : Literary Society of Brussels, Prize Medals, 1772, with portrait of Maria Theresia; — Peace of Paris, 1763 ; — French Company of Guyana; — Siege of Boston, 1774; — Storming of Stony Point, N. Y., 1779; — Battle of Cowpens, 1781 ; — Treaty of Paris, 1783 (2 var.); — and also several masonic medals of the latter end of the eighteenth century. After 1801, B. Duvivier does not seem to have engraved many medals, although he lived for 18 years longer. The period of his greatest fame was under the reign of Louis XVI., of whom he was the favourite medallist. Bibliography. — Chavignerie et Auvray, op. cit. — J.-J. Guiffrey, loc. cit. — Jean et Benjamin Duvivier, Réunion des Sociétés des Beaux- Arts, 1889. — R. Marx, op. cit. — Revue belge de numismatique. — Revue numismatique. — Pinchatt, op. cit. — Betts, Historical Medals of America, 1894.
Source: Biographical dictionary of medallists; coin, gem, and seal-engravers, mint-masters, ancient and modern, with references to their works B.C. 500-A.D. 1900; compiled by L. Forrer, London 1904
Source: Biographical dictionary of medallists; coin, gem, and seal-engravers, mint-masters, ancient and modern, with references to their works B.C. 500-A.D. 1900; compiled by L. Forrer, London 1904
DONADIO
DONADIO (Ital.). Medallist of the first half of the nineteenth century. He contributed to Mudie's " Series of National Medals", Durand' "Series", and to the " Galerie métallique des grands hommes francais ". The following are some of his best known works : Francis Henry Egerton, Earl of Bridgewater; — Olivier de Serres; — T. Valperga Caluso ; — Fontenelle, 1819; — Arthur, Duke of Wellington; — Vitt. Alfieri, 1820; — Charles Duclos, 1821; — Jos. Louis Lagrange; — Ennio Quirino Visconti, 1821; ...
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DONADIO (Ital.). Medallist of the first half of the nineteenth century. He contributed to Mudie's " Series of National Medals", Durand' "Series", and to the " Galerie métallique des grands hommes francais ". The following are some of his best known works : Francis Henry Egerton, Earl of Bridgewater; — Olivier de Serres; — T. Valperga Caluso ; — Fontenelle, 1819; — Arthur, Duke of Wellington; — Vitt. Alfieri, 1820; — Charles Duclos, 1821; — Jos. Louis Lagrange; — Ennio Quirino Visconti, 1821; ...
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DONATELLO
DONATELLO (Italian). One of the greatest Sculptors of the early period of the Renaissance. He was born at Florence, probably in 1386. Numerous statues, busts, marble medallions, sepulchral monuments, still extant, attest the genius of his talent, the loftiness of his conceptions, as well as the skilfulness of his chisel. Cellini, speaking of him and Michelangelo, before the Grand Duke of Florence, Cosmo de'Medici, calls them " the two greatest men that ever lived ". Donatello is the first Gem-en...
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DONATELLO (Italian). One of the greatest Sculptors of the early period of the Renaissance. He was born at Florence, probably in 1386. Numerous statues, busts, marble medallions, sepulchral monuments, still extant, attest the genius of his talent, the loftiness of his conceptions, as well as the skilfulness of his chisel. Cellini, speaking of him and Michelangelo, before the Grand Duke of Florence, Cosmo de'Medici, calls them " the two greatest men that ever lived ". Donatello is the first Gem-en...
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DONNER, IGNAZ
DONNER, IGNAZ (Germ.). Medallist and Coin-engraver at the Mint of Vienna, 1776-1804. He was a nephew of Matthäus Donner, and was born at Kremnitz in 1752. His signature appears as I. D. F. or simply D. The following medals and coins are amongst his bestknown productions : Empress Maria Theresa R. by J. N. Wirt; — Francis II. and Consort, Maria Theresa of Sicily, 1799; — Thaler of Francis, Prince Bishop of Gurk, 1801; — Medallion of same, 1775 ; — Prince G. T. von Stahremberg; — Charles Joseph, P...
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DONNER, IGNAZ (Germ.). Medallist and Coin-engraver at the Mint of Vienna, 1776-1804. He was a nephew of Matthäus Donner, and was born at Kremnitz in 1752. His signature appears as I. D. F. or simply D. The following medals and coins are amongst his bestknown productions : Empress Maria Theresa R. by J. N. Wirt; — Francis II. and Consort, Maria Theresa of Sicily, 1799; — Thaler of Francis, Prince Bishop of Gurk, 1801; — Medallion of same, 1775 ; — Prince G. T. von Stahremberg; — Charles Joseph, P...
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DONNER, MATHIAS
DONNER, MATHIAS or MATTHÄUS (Germ.). Medallist to the Imperial Court of Vienna, and Professor at the Academy of Fine Arts in that city. He was born at Kremnitz in 1699 or 1704, and he died at Vienna, not before 1767. The period of his greatest activity is comprised between 1734 and 1767. Most of his works are signed : DONNER, but on others his signature appears also as : M. D. F..-M. D.-or D. He is the author of the following medals : Empress Elizabeth Christina, consort of Charles VI. ; —Queen ...
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DONNER, MATHIAS or MATTHÄUS (Germ.). Medallist to the Imperial Court of Vienna, and Professor at the Academy of Fine Arts in that city. He was born at Kremnitz in 1699 or 1704, and he died at Vienna, not before 1767. The period of his greatest activity is comprised between 1734 and 1767. Most of his works are signed : DONNER, but on others his signature appears also as : M. D. F..-M. D.-or D. He is the author of the following medals : Empress Elizabeth Christina, consort of Charles VI. ; —Queen ...
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