English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Zendy Plus

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Zendy Tools

Zendy Open

The development of printing in the eighteenth century facilitated the diffusion of current political, scientific, cultural, and artistic events. While newspapers and gazettes remained products largely reserved for the upper classes because of the cost of subscriptions, they were nevertheless also read by domestic servants, merchants, and students, and in cafés.1 Certain sensational incidents were illustrated and publicized in engravings or popular imagery such as broadside woodcuts and lithographs, and sometimes painters would seize on them as such incidents became a source of inspiration in high art. Through their interest in certain events, engravers and artists both provoked and participated in veritable fads. To satisfy the consumer’s curiosity and tastes, decorative artists also appropriated current events as subjects and exploited the contents of newspapers, engravings, and paintings. The industry of printed fabrics that developed in France beginning in 17592 did not escape this trend, especially since production techniques permitted the frequent updating of compositions and the introduction of new ones. Political and cultural happenings are represented most notably in the monochromes printed from copperplates on textiles for interior design and clothing.3 Monochrome upholstery, called camayeux meuble, constitutes a category of printed textiles that customers appreciated for their figurative depictions in decorative ensembles. These fabrics were produced in large factories, which were sufficiently financed to be able to acquire topical designs, to print from copperplates, and to employ specialized workers. From c. 1760 to c. 1821 the textile factory at Jouy-en-Josas west of Paris distinguished itself with the creation of large figurative designs depicting important occurrences of the time in order to appeal to their buyers. The Jouy factory was founded in 1760 to produce printed cottons by Christophe-Philippe Oberkampf (1738-1815), who had emigrated to France in 1758 from Switzerland to meet the need for specialized textileprinting workers. The plant developed rapidly thanks to the quality of its products and the attention given to the creation of new designs. The

Topical Themes from the Oberkampf Textile Manufactory, Jouy-en-Josas, France, 1760-1821