{"id":519,"count":5,"description":"<span data-contrast=\"auto\">In 1737, with\u00a0the death\u00a0<\/span><span data-contrast=\"auto\">with no heirs<\/span><span data-contrast=\"auto\"> of the grand duke Giangastone de\u2019 Medici, the <\/span><span data-contrast=\"auto\">government<\/span><span data-contrast=\"auto\">\u00a0of\u00a0Tuscany passed to\u00a0Francesco Stefano\u00a0<\/span><span data-contrast=\"auto\">of Lorraine<\/span><span data-contrast=\"auto\">\u00a0(1737-1765). Even though he permanently\u00a0resided\u00a0in Vienna,\u00a0he\u00a0had the chance to visit the workshop during a brief stay in Tuscany.<\/span><span data-ccp-props=\"{\">\u00a0<\/span>\r\n\r\n<span data-contrast=\"auto\">In the early Lorraine period,<\/span><span data-contrast=\"auto\"> the creations of the workshop continued the well-known naturalistic repertoire of flowers and birds, just as during the <\/span><span data-contrast=\"auto\">later\u00a0Medici<\/span><span data-contrast=\"auto\">\u00a0period.<\/span><span data-ccp-props=\"{\">\u00a0<\/span>\r\n\r\n<span data-contrast=\"auto\">A turning point in style\u00a0<\/span><span data-contrast=\"auto\">occurred from 1748<\/span><span data-contrast=\"auto\">, when the artistic direction was assigned to the French goldsmith Louis Siries, founder of the dynasty of artists who held the guide of the workshop for four generations. He decided to abandon \u201cthe ancient tendency to represent <\/span><span data-contrast=\"auto\">grotesques and flowers\u00a0on a black background<\/span><span data-contrast=\"auto\">\u201d, to create <\/span><span data-contrast=\"auto\">pictures<\/span><span data-contrast=\"auto\"> with architectures and figures instead. After a century of\u00a0<\/span><span data-contrast=\"auto\">predominance<\/span><span data-contrast=\"auto\"> of flowered wreaths, multi-colored birds and fruity festoons, <\/span><span data-contrast=\"auto\">contemporary<\/span><span data-contrast=\"auto\">\u00a0painting made its appearance\u00a0<\/span><span data-contrast=\"auto\">in the semiprecious stones of Florentine<\/span><span data-contrast=\"auto\">\u00a0mosaics.<\/span><span data-ccp-props=\"{\">\u00a0<\/span>\r\n\r\n<span data-contrast=\"auto\">The taste\u00a0<\/span><span data-contrast=\"auto\">for\u00a0the pictorial genre of\u00a0landscapes\u00a0can be seen in naturalistic panels<\/span><span data-contrast=\"auto\">\u00a0made after models by the Florentine painter Giuseppe Zocchi,\u00a0<\/span><span data-contrast=\"auto\">collaborator of the workshop from 1750 to 1767.<\/span><span data-contrast=\"auto\">\u00a0<\/span><span data-ccp-props=\"{\">\u00a0<\/span>\r\n\r\n<span data-contrast=\"auto\">At the end of the eighteenth century, the success of Neoclassicism led to the realization of\u00a0<\/span><span data-contrast=\"auto\">ar<\/span><span data-contrast=\"auto\">tworks with antique-style vases, musical instruments, shells and\u00a0<\/span><span data-contrast=\"auto\">so\u00a0on: these<\/span><span data-contrast=\"auto\">\u00a0motifs were suitable for the decoration of furniture, tabletops and small precious objects, abundantly produced under the French dominion, when the workshop was allowed to\u00a0accept orders not only\u00a0<\/span><span data-contrast=\"auto\">from<\/span><span data-contrast=\"auto\">\u00a0the court but\u00a0<\/span><span data-contrast=\"auto\">also<\/span><span data-contrast=\"auto\">\u00a0from\u00a0the\u00a0<\/span><span data-contrast=\"auto\">cosmopolitan<\/span><span data-contrast=\"auto\">\u00a0society\u00a0of Florence.<\/span>","link":"https:\/\/opificiodellepietredure.cultura.gov.it\/en\/sezioni-tematiche\/section-vi-the-lorraine-period\/","name":"SECTION VI. The Lorraine period","slug":"section-vi-the-lorraine-period","taxonomy":"sezioni-tematiche","parent":0,"meta":[],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>SECTION VI. The Lorraine period Archivi - Opificio Pietre Dure<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/opificiodellepietredure.cultura.gov.it\/en\/sezioni-tematiche\/section-vi-the-lorraine-period\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"SECTION VI. The Lorraine period Archivi - Opificio Pietre Dure\" \/>\n<meta property=\"og:description\" content=\"In 1737, with\u00a0the death\u00a0with no heirs of the grand duke Giangastone de\u2019 Medici, the government\u00a0of\u00a0Tuscany passed to\u00a0Francesco Stefano\u00a0of Lorraine\u00a0(1737-1765). Even though he permanently\u00a0resided\u00a0in Vienna,\u00a0he\u00a0had the chance to visit the workshop during a brief stay in Tuscany.\u00a0 In the early Lorraine period, the creations of the workshop continued the well-known naturalistic repertoire of flowers and birds, just as during the later\u00a0Medici\u00a0period.\u00a0 A turning point in style\u00a0occurred from 1748, when the artistic direction was assigned to the French goldsmith Louis Siries, founder of the dynasty of artists who held the guide of the workshop for four generations. He decided to abandon \u201cthe ancient tendency to represent grotesques and flowers\u00a0on a black background\u201d, to create pictures with architectures and figures instead. After a century of\u00a0predominance of flowered wreaths, multi-colored birds and fruity festoons, contemporary\u00a0painting made its appearance\u00a0in the semiprecious stones of Florentine\u00a0mosaics.\u00a0 The taste\u00a0for\u00a0the pictorial genre of\u00a0landscapes\u00a0can be seen in naturalistic panels\u00a0made after models by the Florentine painter Giuseppe Zocchi,\u00a0collaborator of the workshop from 1750 to 1767.\u00a0\u00a0 At the end of the eighteenth century, the success of Neoclassicism led to the realization of\u00a0artworks with antique-style vases, musical instruments, shells and\u00a0so\u00a0on: these\u00a0motifs were suitable for the decoration of furniture, tabletops and small precious objects, abundantly produced under the French dominion, when the workshop was allowed to\u00a0accept orders not only\u00a0from\u00a0the court but\u00a0also\u00a0from\u00a0the\u00a0cosmopolitan\u00a0society\u00a0of Florence.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/opificiodellepietredure.cultura.gov.it\/en\/sezioni-tematiche\/section-vi-the-lorraine-period\/\" \/>\n<meta property=\"og:site_name\" content=\"Opificio Pietre Dure\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"CollectionPage\",\"@id\":\"https:\\\/\\\/opificiodellepietredure.cultura.gov.it\\\/en\\\/sezioni-tematiche\\\/section-vi-the-lorraine-period\\\/\",\"url\":\"https:\\\/\\\/opificiodellepietredure.cultura.gov.it\\\/en\\\/sezioni-tematiche\\\/section-vi-the-lorraine-period\\\/\",\"name\":\"SECTION VI. 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The Lorraine period Archivi - Opificio Pietre Dure","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/opificiodellepietredure.cultura.gov.it\/en\/sezioni-tematiche\/section-vi-the-lorraine-period\/","og_locale":"en_US","og_type":"article","og_title":"SECTION VI. The Lorraine period Archivi - Opificio Pietre Dure","og_description":"In 1737, with\u00a0the death\u00a0with no heirs of the grand duke Giangastone de\u2019 Medici, the government\u00a0of\u00a0Tuscany passed to\u00a0Francesco Stefano\u00a0of Lorraine\u00a0(1737-1765). Even though he permanently\u00a0resided\u00a0in Vienna,\u00a0he\u00a0had the chance to visit the workshop during a brief stay in Tuscany.\u00a0 In the early Lorraine period, the creations of the workshop continued the well-known naturalistic repertoire of flowers and birds, just as during the later\u00a0Medici\u00a0period.\u00a0 A turning point in style\u00a0occurred from 1748, when the artistic direction was assigned to the French goldsmith Louis Siries, founder of the dynasty of artists who held the guide of the workshop for four generations. He decided to abandon \u201cthe ancient tendency to represent grotesques and flowers\u00a0on a black background\u201d, to create pictures with architectures and figures instead. After a century of\u00a0predominance of flowered wreaths, multi-colored birds and fruity festoons, contemporary\u00a0painting made its appearance\u00a0in the semiprecious stones of Florentine\u00a0mosaics.\u00a0 The taste\u00a0for\u00a0the pictorial genre of\u00a0landscapes\u00a0can be seen in naturalistic panels\u00a0made after models by the Florentine painter Giuseppe Zocchi,\u00a0collaborator of the workshop from 1750 to 1767.\u00a0\u00a0 At the end of the eighteenth century, the success of Neoclassicism led to the realization of\u00a0artworks with antique-style vases, musical instruments, shells and\u00a0so\u00a0on: these\u00a0motifs were suitable for the decoration of furniture, tabletops and small precious objects, abundantly produced under the French dominion, when the workshop was allowed to\u00a0accept orders not only\u00a0from\u00a0the court but\u00a0also\u00a0from\u00a0the\u00a0cosmopolitan\u00a0society\u00a0of Florence.","og_url":"https:\/\/opificiodellepietredure.cultura.gov.it\/en\/sezioni-tematiche\/section-vi-the-lorraine-period\/","og_site_name":"Opificio Pietre Dure","twitter_card":"summary_large_image","schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"CollectionPage","@id":"https:\/\/opificiodellepietredure.cultura.gov.it\/en\/sezioni-tematiche\/section-vi-the-lorraine-period\/","url":"https:\/\/opificiodellepietredure.cultura.gov.it\/en\/sezioni-tematiche\/section-vi-the-lorraine-period\/","name":"SECTION VI. 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