atelier
Language: English
Part of speech: noun
Pronunciation: ipa: /əˈtɛl.jeɪ/
ipa: /əˈtɛl.i.eɪ/
ipa: /æ.təˈljeɪ/
ipa: /ˈæ.təˌljeɪ/
ipa: /-ˌljɛ/
ipa: /əˈtɛlˌjeɪ/
ipa: /ˌæ.təlˈjeɪ/
ipa: [ˌæ.ɾəl-]
ipa: [ˌæ.ɾɫ̩-]
rhymes: (one pronunciation) -eɪ
Forms: form: ateliers
Etymology: Unadapted borrowing from French atelier, from Middle French astelier, from astelle (“small piece of wood, etc., to hold a broken bone in place, splint”) (ultimately from Proto-Indo-European *h₂eḱs- (“axis; axle”)) + -ier (suffix denoting the location of an abode).
Senses: examples: text: The Dukes de Claulne, father and ſon, had laboratories for clock and vvatch making as vvell as for machinery. Theſe ateliers, as the French name them, vvere as fine and complete for the choice of tools as it vvas poſſible to find in Europe; […]
ref: 1792 November 4, W. Blakey, “[Mr. Blakey on Pendulums]”, in Sylvanus Urban [pseudonym], editor, The Gentleman’s Magazine: And Historical Chronicle, volume LXII, part II, number 5, London: […] John Nichols, […]; [a]nd sold by Eliz[abeth] Newbery, […], published November 1792, →OCLC, page 1005, column 1:
text: I paid a visit to the celebrated [Antonio] Canova in his vast and interesting atelier. He had been at Naples a short time before to form his own judgment of the situation intended for the equestrian statue of Napoleon, which we saw already almost finished in his atelier.
ref: 1839, Mathieu Dumas [i.e., Guillaume-Mathieu Dumas], chapter VI, in [anonymous], transl., Memoirs of His Own Time; including the Revolution, the Empire, and the Restoration. […], volume II, London: Richard Bentley, […], →OCLC, page 272:
text: The life of a young artist here is the easiest, merriest, dirtiest existence possible. […] [H]e arrives at his atelier at a tolerably early hour, and labours among a score of companions as merry and poor as himself.
ref: 1840, M. A. Titmarsh [pseudonym; William Makepeace Thackeray], “On the French School of Painting: With Appropriate Anecdotes, Illustrations, and Philosophical Disquisitios. In a Letter to Mr. MacGilp of London.”, in The Paris Sketch Book, volume I, London: John Macrone, […], →OCLC, page 78:
text: At the meeting of the Society, February 6, it was stated that red glass was preferable to yellow for the windows of photographic ateliers.
ref: 1874 May 8, “Chemical News from Foreign Sources”, in William Crookes, editor, The Chemical News and Journal of Physical Science. […], volume XXIX, number 754, London: Henry Gillman, […], →OCLC, page 207, column 1:
text: [Albert de] Lautreppe is awfully nice—a quiet, gentlemanly fellow, gonflé de rêves, as he describes himself—once a sculptor in the atelier of Henry Crosse, he knows something of art, and is really a resource to me.
ref: 1894 February, Robert Louis Stevenson, “Letter XXXVII”, in S[idney] C[olvin], editor, Vailima Letters: Being Correspondence Addressed by Robert Louis Stevenson to Sidney Colvin […], London: Methuen and Co. […], published 1895, →OCLC, page 322:
text: Hats with transparent tulle and crêpe brims and hemp or leghorn crowns are succeeding the small martial styles of which this atelier made quite a feature earlier in the season.
ref: 1915 March, “Present Fad for Toques and Helmets Succeeded by Vogue for Second Empire Styles”, in The Illustrated Milliner, manufacturers’ edition, volume XVI, number 3, New York, N.Y.: The Illustrated Milliner Company, →OCLC, page 15, column 1:
text: Education opportunities improved with the advent of the Second Empire in 1850 and more ateliers began to take women students. But the atelier system, in which master painters trained a number of students in their studio, was a male-dominated world to which women's access was still restricted, even though the number of ateliers taking women increased – not just because not all artists would teach women, but because the atelier was itself a gendered social space that was not suitable for women.
ref: 1996, Reina Lewis, “Professional Opportunities for Women in Art and Literature”, in Race, Femininity and Representation, London; New York, N.Y.: Routledge, published 2003, →ISBN, page 59:
text: The first thing Diane did when she arrived home was to hurry into the atelier. She removed the half-finished portrait on the easel and replaced it with a blank canvas. She began to sketch the face of the man who had tried to kill her, but her hands were trembling so hard that she had to stop.
ref: 2004, Sidney Sheldon, chapter 1, in Are You Afraid of the Dark?, New York, N.Y.: William Morrow, →ISBN, page 11:
text: During the time Theyskens was presenting his precollection, a rumor began circulating in Paris: Procter & Gamble, the American conglomerate that owns Rochas, had decided to close the fashion branch of the company. Soon enough, the story was confirmed. The beautiful gowns would never be shown or produced; the atelier would be shuttered. […] ["T]he French world of fashion is being destroyed little by little. The French factories and ateliers were once dedicated to the little nuances. That luxurious approach and that refinement disappeared in the 80's and 90's, and I fear it may be disappearing again."
ref: 2006 August 6, Lynn Hirschberg, quoting Olivier Theyskens, “Is there a place for Olivier Theyskens?”, in The New York Times Magazine, New York, N.Y.: The New York Times Company, →ISSN, →OCLC, archived from the original on 02 Feb 2017:
glosses: A studio or workshop, especially for an artist, designer, or fashion house.