Hugo Collection at Christie's Victor, Charles, Georges, Jean
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La Fuerza Del Sino Romántico En Don Álvaro, Hernani Y Antony
LA FUERZA DEL SINO ROMÁNTICO EN DON ÁLVARO, HERNANI Y ANTONY M.a Mercedes Guirao Silvente Correo electrónico: [email protected] Resumen Muchos críticos románticos se esforzaron en alejar Don Álvaro o la fuerza del sino de los dos dramas franceses que le sirvieron de modelos indirectos: Hernani de Victor Hugo y Antony de Alexandre Dumas, por considerarlos corruptos e inmorales. Pero no hay que olvidar que la obra de Rivas fue gestada en Francia, durante el exilio del autor; en pleno contacto con la revolución liberal y romántica en Europa. Este artículo pretende, a través de un estudio comparativo entre estos tres dramas fundamentales del Romanticismo europeo, demostrar su estrecha relación. Las tres obras sorprenden por la fuerza de ese destino nefasto, causante de desgracia y muerte, que está directamente vinculado con la schicksalstragödie alemana y evidencian la superación de la vieja y rígida frontera entre Orden y Caos; entre lo Apolíneo y lo Dionisíaco. Palabras clave: drama romántico, Don Álvaro o la fuerza del sino, Hernani, Antony. THE FORCE OF THE ROMANTIC FATE IN DON ÁLVARO, HERNANI AND ANTONY Abstract 237 Many romantic critics strove to separate Don Álvaro or the force of the fate from the two French dramas which served as indirect models: Victor Hugo’s Hernani and Alexandre Dumas’ Antony, for considering them corrupt and immoral. But it should not be forgotten that Rivas’ play was conceived in France, during the exile of the author; in full contact with the liberal and romantic revolution in Europe. This article aims, through a comparative study of these three fundamental dramas of European romanticism, to demonstrate their close relationship. -
Conference Programme Guernsey 28-30 June 2019 Organised by the Victor Hugo in Guernsey Society
IN GUERNSEY CONFERENCE 2019 Conference Programme Guernsey 28-30 June 2019 Organised by The Victor Hugo in Guernsey Society Supported by the Guernsey Arts André Gill illustration for L’Eclipse, 25 April 1869, from the Gérard Pouchain collection. from the Gérard Pouchain April 1869, 25 L’Eclipse, André Gill illustration for Commission About The Victor Hugo In Guernsey Society Welcome from The Victor Hugo In Guernsey Society Victor Hugo wrote many of his greatest works on The Victor Hugo in Guernsey Society welcomes you to its 3rd In~ a letter to his publisher, Lacroix, in December the island of Guernsey, a small British dependency Victor Hugo in Guernsey conference. This weekend in the 1868, after he had announced the publication of 20 miles off the coast of France. Hugo was in exile, but island of Hugo’s exile will focus on the novel Hugo published a new work by Hugo which he characterised as a Roman despite his grief for his family and his homeland he was 150 years ago in 1869, L’Homme qui rit, (The Man who Laughs), historique, the famous novelist wrote: inspired by the beauty of the rocky landscape and seas written on Guernsey and set in England. Our sister island of “When I paint history I make my historical characters that surrounded him to produce magnificent novels – Alderney plays a pivotal part in the narrative, and even our old do only what they have done or could do, their characters including Les Misérables, and Les Travailleurs de la mer – Norman law finds its way into the text. -
PICASSO Les Livres D’Artiste E T Tis R a D’ S Vre Li S Le PICASSO
PICASSO LES LIVRES d’ARTISTE The collection of Mr. A*** collection ofThe Mr. d’artiste livres Les PICASSO PICASSO Les livres d’artiste The collection of Mr. A*** Author’s note Years ago, at the University of Washington, I had the opportunity to teach a class on the ”Late Picasso.” For a specialist in nineteenth-century art, this was a particularly exciting and daunting opportunity, and one that would prove formative to my thinking about art’s history. Picasso does not allow for temporalization the way many other artists do: his late works harken back to old masterpieces just as his early works are themselves masterpieces before their time, and the many years of his long career comprise a host of “periods” overlapping and quoting one another in a form of historico-cubist play that is particularly Picassian itself. Picasso’s ability to engage the art-historical canon in new and complex ways was in no small part influenced by his collaborative projects. It is thus with great joy that I return to the varied treasures that constitute the artist’s immense creative output, this time from the perspective of his livres d’artiste, works singularly able to point up his transcendence across time, media, and culture. It is a joy and a privilege to be able to work with such an incredible collection, and I am very grateful to Mr. A***, and to Umberto Pregliasco and Filippo Rotundo for the opportunity to contribute to this fascinating project. The writing of this catalogue is indebted to the work of Sebastian Goeppert, Herma Goeppert-Frank, and Patrick Cramer, whose Pablo Picasso. -
Pablo Picasso, One of the Most He Was Gradually Assimilated Into Their Dynamic and Influential Artists of Our Stimulating Intellectual Community
A Guide for Teachers National Gallery of Art,Washington PICASSO The Early Ye a r s 1892–1906 Teachers’ Guide This teachers’ guide investigates three National G a l l e ry of A rt paintings included in the exhibition P i c a s s o :The Early Ye a rs, 1 8 9 2 – 1 9 0 6.This guide is written for teachers of middle and high school stu- d e n t s . It includes background info r m a t i o n , d i s c u s s i o n questions and suggested activities.A dditional info r m a- tion is available on the National Gallery ’s web site at h t t p : / / w w w. n g a . gov. Prepared by the Department of Teacher & School Programs and produced by the D e p a rtment of Education Publ i c a t i o n s , Education Division, National Gallery of A rt . ©1997 Board of Tru s t e e s , National Gallery of A rt ,Wa s h i n g t o n . Images in this guide are ©1997 Estate of Pa blo Picasso / A rtists Rights Society (ARS), New Yo rk PICASSO:The EarlyYears, 1892–1906 Pablo Picasso, one of the most he was gradually assimilated into their dynamic and influential artists of our stimulating intellectual community. century, achieved success in drawing, Although Picasso benefited greatly printmaking, sculpture, and ceramics from the artistic atmosphere in Paris as well as in painting. He experiment- and his circle of friends, he was often ed with a number of different artistic lonely, unhappy, and terribly poor. -
Jean Hugo Paris, 1894 - Lunel, 1984
Jean Hugo Paris, 1894 - Lunel, 1984 ... Great-grandson of Victor Hugo (grandson of Charles and son of Georges Hugo), Jean Hugo was an important figure of the intellectual and artistic period between the two World Wars. His oeuvre comprises oil paintings and gouaches (often of small dimensions), book illustrations, theatre sets, sketches for stained-glass windows and ceramics. Brought up in an abundant artistic milieu, Jean Hugo was strongly attracted to drawing and painting from a very early age. Self-taught, he never sought to follow any particular teaching. He was also an avid reader and, in the years leading up to the First World War, he composed essays and poetry. His literary friendships, particularly with Jean Cocteau, led him to take part in a number of theatrical and ballet productions. His contemporaries thus saw him above all as a set designer for the entertainment world (fig.1). Room Hugo ... The Post-war Years : Between Figuration and Abstraction fig.1- Jean Hugo Three Costume Studies for “The Wedding on the Eiffel Tower”, 1921 Private collection Jean Hugo’s painting remains in a class of its own in the artistic panorama of the first ... half of the twentieth century. While it often calls to mind certain avant-gardist currents such as magical realism or metaphysical painting, it champions a real sense of originality. Alongside cheerful and naïve scenes or theatrical projects (The Wedding on the Eiffel Tower), he produced a series of canvasses in strange, solemn tonalities in the early 1930s (Solitude, 1933). The artist demonstrated an interest in forest scenes (The Hermit of Meudon, 1933) and religious themes (The Last Supper, 1933), as may be seen in the Well*. -
California State University, Northridge Jean Cocteau
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE JEAN COCTEAU AND THE MUSIC OF POST-WORLD WAR I FRANCE A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Music by Marlisa Jeanine Monroe January 1987 The Thesis of Marlisa Jeanine Monroe is approved: B~y~ri~jl{l Pfj}D. Nancy an Deusen, Ph.D. (Committee Chair) California State University, Northridge l.l. TABLE OF CONTENTS Chapter Page ABSTRACT iv INTRODUCTION • 1 I. EARLY INFLUENCES 4 II. DIAGHILEV 8 III. STRAVINSKY I 15 IV • PARADE 20 v. LE COQ ET L'ARLEQUIN 37 VI. LES SIX 47 Background • 47 The Formation of the Group 54 Les Maries de la tour Eiffel 65 The Split 79 Milhaud 83 Poulenc 90 Auric 97 Honegger 100 VII. STRAVINSKY II 109 VIII. CONCLUSION 116 BIBLIOGRAPHY 120 APPENDIX: MUSICAL CHRONOLOGY 123 iii ABSTRACT JEAN COCTEAU AND THE MUSIC OF POST-WORLD WAR I FRANCE by Marlisa Jeanine Monroe Master of Arts in Music Jean Cocteau (1889-1963) was a highly creative and artistically diverse individual. His talents were expressed in every field of art, and in each field he was successful. The diversity of his talent defies traditional categorization and makes it difficult to assess the singularity of his aesthetic. In the field of music, this aesthetic had a profound impact on the music of Post-World War I France. Cocteau was not a trained musician. His talent lay in his revolutionary ideas and in his position as a catalyst for these ideas. This position derived from his ability to seize the opportunities of the time: the need iv to fill the void that was emerging with the waning of German Romanticism and impressionism; the great showcase of Diaghilev • s Ballets Russes; the talents of young musicians eager to experiment and in search of direction; and a congenial artistic atmosphere. -
› Le Roi S' Amuse ‹ Und › Rigoletto
GIUSEPPE VERDI RIGOLETTO OPER IN DREI AUFZÜGEN LIBRETTO VON NACH DEM DRAMA ›LE ROI S’AMUSE FRANCESCO MARIA PIAVE VON VICTOR HUGO ‹ PREMIERE 28. JUNI 2015 MUSIKALISCHE LEITUNG: SYLVAIN CAMBRELING REGIE: JOSSI WIELER, SERGIO MORABITO BÜHNE: BERT NEUMANN KOSTÜME: NINA VON MECHOW LICHT: LOTHAR BAUMGARTE CHOR: JOHANNES KNECHT ← HANDLUNG › LE ROI S’ AMUSE ‹ UND › RIGOLETTO ‹ – DRAMATURGIE DES BÜHNENRAUMS BRUNO FORMENT 16 Wir befinden uns am Stadtrand Mantuas im 16. Jahrhundert, am »öden Ufer des Mincio«. Im »halbverfallenen« Haus des Auftragskillers Sparafucile ereignet sich tief in der Nacht ein Drama. Im Parterre stimmt der Herzog von Mantua ein Loblied auf die Reize Maddalenas, der Schwester des Hausherrn, an (»Bella figlia dell’amore« – »Schöne Tochter der Liebe«); ihr Lachen gibt ihm Antwort (»Ah! Ah! rido ben di core« – »Ha, ha, ich lache recht von Herzen«). Vor der Ein- gangstür belauscht Gilda die Unterhaltung. Die Treulosigkeit des Herzogs stürzt sie in Verzweiflung: Sie glaubte sich von ihm geliebt (»Ah così parlar d’amore / a me pur l’infame ho udito« – »Ach, so habe ich den Schändlichen auch zu mir von Liebe sprechen hören«). Gildas Vater, der Hofnarr Rigoletto, will sie mit dem Versprechen trösten, sie zu rächen (»Taci, il piangere non vale« – »Schweig, Weinen nützt nichts«). Wie wir wissen, ist sein Racheplan die Ursache einer grauenvollen Verwechslung, die Gildas Tod herbeiführen wird. Das Quartett »Un dì, se ben rammentomi« (»Einst, wenn ich mich recht erinnere«) im dritten Akt von Rigoletto (1851) gilt als ein Höhepunkt von Verdis Ensemble- kunst: In mitreißender Vereinigung von musikalischer Dramatik und Theater- spiel verleiht es den Absichten und Gefühlen von vier Individuen simultan Aus- druck. -
Paris Modern the Swedish Ballet 1920-1925
PARIS MODERN THE SWEDISH BALLET 1920-1925 Nancy Vim Norman Baer with contributions by Jan Torsten Ahlstrand William Camfield Judi Freeman Lynn Garafola Gail Levin Robert~.~urdock Erik Naslund Anna Greta Stahle FINE ARTS MUSEUMS OF SAN FRANCISCO Distributed by the University of Washington Press ~~ETS SJ". ~~ v~ .:z;.~ ~0 f.... ~ RIVALS FOR THE NE-W Lynn Garafola n the early 192 0S the Ballets Russes faced a rival had been a "turn" on the English music-hall stage, while that challenged its monopoly of avant-garde ballet its grand postwar comeback at the Paris Opera early in I -the Ballets Suedois. Organized by Rolf de Mare, 1920 had been marred by a two-week strike of Opera the new company made its debut at the Theatre des personnel. And where the opening season of the Ballets Champs-Elysees on 25 October 1920 with an ambitious Suedois would offer fifty-odd performances, the Ballets program of works choreographed by Jean Borlin, the Russes season that followed would consist of fewer than company's star. Four ballets were given on the opening a dozen. night-Iberia, Jeux (Games), Derviches (Dervishes), and Still, Diaghilev must have found some consolation in Nuit de Saint-Jean (Saint John's Night, or Midsummer the identity-or lack of identity-of the rival enterprise. Night's Revel)-and in the course of the season, which To all appearances the new company was a knock-off of lasted for nearly six weeks, five new ones were added the Ballets Russes, from its name, which meant "Swedish Diver1:isse71lent, Maison de flus (Madhouse), Le To71lbeau Ballet," to its repertory, roster of collaborators, and de Couperin (The Tomb of Couperin), El Greco, and Les general aesthetic approach. -
Designs in Glass •
Steuben Glass, Inc. DESIGNS IN GLASS BY TWENTY-SEVEN CONTEMPORARY ARTISTS • • STEUBEN TH E CO LLE CT IO N OF DE S IG NS I N GLASS BY TWE N TY- SEVEN CONTE iPORARY ARTISTS • STEUBE l G L ASS lN c . NEW YORK C ITY C OP YTIT G l-IT B Y ST EUBEN G L ASS I NC . J ANUA H Y 1 9 40 c 0 N T E N T s Foreword . A:\1 A. L EWISOH Preface FRA K JEWETT l\lATHER, JR. Nalure of lhe Colleclion . J oH 1\1. GATES Number THOMAS BENTON 1 CHRISTIA BERARD . 2 MUIRHEAD BO E 3 JEA COCTEAU 4 JOH STEUART CURRY 5 SALVADOR DALI . 6 GIORGIO DE CHIRICO 7 A DRE DEHAI s RAO L DUFY 9 ELUC GILL 1 0 DU TCA T GRANT . 11 JOTI GREGORY 12 JEA HUGO 13 PETER HURD 14 MOISE KISLI. G 15 LEON KROLL . 16 MARIE LA RE TCIN 17 FERNAND LEGER. IS AlUSTIDE MAILLOL 19 PAUL MANSHIP 20 TT E TRI MATISSE 21 I AM OGUCHI. 22 GEORGIA O'KEEFFE 23 JOSE MARIA SERT . 24 PAVEL TClfELlTCHEW. 25 SID EY WAUGII 26 GHA T WOOD 27 THE EDITION OF THESE PIECE IS Lil\1ITED • STEUBEN WILL MAKE SIX PIECES FROM EACH OF THESE TWENTY SEVE DESIGNS OF WHICH ONE WILL BE RETAINED BY STEUBEN FOR ITS PERMANE T COLLECTIO TIIE REMAI I G FIVE ARE THUS AVAILABLE FOR SALE F 0 R E w 0 R D SAM: A. LEWISOHN This is a most important enterprise. To connecl lhe creative artist with every-day living is a difficult task. -
By Victor Hugo P
BRUSSELS COMMEMORATES 150 YEARS of ‘LES MISÉRABLES’ SIZED FOR VICTOR HUGO PRESS KIT CONTENTS Brussels commemorates 150 years of ‘Les Misérables’ by Victor Hugo p. 3 On the programme p. 4 Speech by the Ambassador of France in Belgium p. 5 I. Les Misérables, Victor Hugo and Brussels: a strong connection p. 6 II. Walk : in the footsteps of Victor Hugo p. 8 III. Book : In the footsteps of Victor Hugo between Brussels and Paris p. 12 IV. Brusselicious, gastronomic banquet : les Misérables p. 13 V. Events «Les Misérables : 150th anniversary» • Gastronomy p. 15 • Exhibitions p. 15 • Conferences p. 17 • Film p. 19 • Theater p. 20 • Guided tours p. 21 Contacts p. 23 Attachment P. 24 BRUsseLS COMMEMORAtes 150 YEARS Of ‘Les MisÉRABLes’ BY ViCTOR HUGO LES MISÉRABLES IS ONE OF THE GREATEST CLASSICS OF WORLD LITERATURE. THE MASTERPIECE BY VICTOR HUGO ALSO REMAINS VERY POPULAR THANKS TO THE MUSICAL VERSION AND THE MANY MOVIES. Over thirty films have been made of ‘Les Miserables’ and Tom Hooper (The King’s Speech) is currently shooting a new version with a top cast. In March, it is exactly 150 years since ‘Les Misérables’ by Victor Hugo was published. Not in Paris as is often assumed, but in Brussels. The first theatrical performance of ‘Les Misérables’, an adaptation of the book by his son Charles, also took place in Brussels. In addition to these two premieres of ‘Les Misérables’, Brussels played a crucial role in Victor Hugo’s life and his career as a writer and thinker. Closely related to Hugo’s connection with Brussels is also his call for a United States of Europe. -
The Example of Jean Cocteau AUTHOR: Joyce Anne Funamoto, B
THE SEARCH FOR NEW EXPRESSION IN THE THEATRE: THE EX~lPLE OF JEAN COCTEAU THE SEARCH FOR NEW EXPRESSION IN THE THEATRE: THEEXM1PLE OF JEAN COCTEAU by JOYCE ANNE FUNAMOTO, B. A., B. ED. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster University June 1981 I~~STER OF ARTS (1981) McMASTER UNIVERSITY ( Roman ce Languages) Hamilton, Ontario. TITLE: The Search for New Expression in the Theatre: The Example of Jean Cocteau AUTHOR: Joyce Anne Funamoto, B. A. (MCMaster University) B. Ed. (University of Toronto) SUPEHVISOR: Dr. B. S, Pocknell NUMBER OF PAGES: iv, 117 SCOPE AND CONTENTS: The purpose of this paper is to examine the theatre of Jean Cocteau in its search for new expression. The first chapter presents Jean Cocteau's precursors and their parallels with his theatre, and his early fOlJmation in the theatre. The second chapter deals with his contemp- oraries in the areas of dance, music and art. Chapter three treats the plays of Jean Cocteau in the light of their sources and innovations. ii ACKNOWLEDGEMENTS My sincere thanks goes to Dr. B. S. Pocknell, whose patience, encouragement and enthusiasm will continue to provide inspiration. I would also like to express my debt to Professor N. Jeeves for his careful reading and guidance. iii TABLE OF CONTENTS Page LIST OF PHOTOGRAPHS 1 INTRODU CTION 2 CHAPTER I - COCTEAU'S PRECURSORS AND HIS EARLY 5 FORMATION IN THE THEATRE CHAPTER II - COCTEAU AND HIS CONTEMPORARIES 33 CHAPTER III - THE DEVELOPMENT OF JEAN COCTEAU'S 59 THEATRE CONCLUSION 98 APPENDIX A 103 APPENDIX B 105 APPENDIX C 107 APPENDIX D 109 APPENDIX E· III BIBLIOGRAPHY 113 iv LIST OF PHOTOGRAPHS Photo 1 - Le Dicu Bleu. -
Les Mis Education Background.Indd
ABOUT VICTOR HUGO Victor was an excellent student who During the next 15 years he excelled in mathematics, physics, produced six plays, four volumes philosophy, French literature, Latin, of verse, and the romantic historical and Greek. He won fi rst place in a novel The Hunchback of Notre national poetry contest when he was 17. Dame, establishing his reputation as As a teenager, he fell in love with the greatest writer in France. a neighbour’s daughter, Adele Foucher. However, his mother In 1831, Adele Hugo became discouraged the romance, believing romantically involved with a well that her son should marry into a known critic and good friend of fi ner family. When his mother died Victor’s named Sainte-Beuve. Victor in 1821, Victor refused to accept became involved with the actress fi nancial help from his father. He Juliette Drouet, who became his lived in abject poverty for a year, but mistress in 1833. Supported by a then won a pension of 1,000 francs small pension from Hugo, Drouet a year from Louis XVIII for his fi rst became his unpaid secretary and volume of verse. Barely out of his travelling companion for the next teens, Hugo became a hero to the fi fty years. common people as well as a favourite of heads of state. Throughout his After losing one of his daughters lifetime, he played a major role in in a drowning accident and VICTOR HUGO’S enormously France’s political evolution from experiencing the failure of his successful career covered most of dictatorship to democracy.