The Committee On Moral Books
Technique: Giclée quality print
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Jehan Georges Vibert's painting, "The Committee on Moral Books," immerses viewers in a scene brimming with rich details and subtle storytelling, reflecting the artist's renowned satirical style. Set in an opulent, wood-paneled library, this work shows two clerical figures, presumably high-ranking Catholic ecclesiastics, engaged in an evocative examination of literature.The central figure, clad in vivid cardinal red, is seated comfortably by a roaring fireplace, a book in hand that draws his pensive gaze. His expression, one of critical contemplation, hints at the weight of decisions about the moral content of the texts up for review. Beside him, stacks of books and scattered papers suggest the overwhelming volume of works subject to scrutiny.To his side, an older man in brown clerical attire stands by a rolling ladder, perusing another volume. His slightly amused look contrasts with the cardinal's stern focus, adding a layer of complexity to the scene—perhaps indicating a divergence in their perspectives or the irony of their task.The scene is replete with symbolic elements: the fire burning questionable books denotes the censorship exerted by the church over literary materials. Decorative elements like a stately antlered skull above the mantelpiece and lavish furnishings underscore the power and wealth often associated with religious authority of the time.Through "The Committee on Moral Books," Jehan Georges Vibert offers not just a visual delight with his impeccable craftsmanship and attention to detail but also a poignant critique of the church's role in regulating culture and knowledge.
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Jehan Georges Vibert or Jean Georges Vibert was a French academic painter.
He was born in Paris, the son of engraver and publisher Théodore Vibert, and grandson of the influential rose-breeder Jean-Pierre Vibert. He began his artistic training at a young age under the instruction of his maternal grandfather, engraver Jean-Pierre-Marie Jazet. Vibert was more interested in painting than engraving and entered the studio of Félix-Joseph Barrias and eventually the École des Beaux-Arts when he was sixteen. He remained at the École for six years under the instruction of historic painter François-Edouard Picot.