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Les Scènes De Théâtre De Cornelis Troost (1696-1750)

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Les Scènes De Théâtre De Cornelis Troost (1696-1750) Université de Montréal Peinture et comédie : Les scènes de théâtre de Cornelis Troost (1696-1750) par Julie Cadotte Département d’histoire de l’art et d’études cinématographiques Faculté des arts et sciences Mémoire présenté en vue de l’obtention du grade de Maître ès arts (M.A.) en histoire de l’art Octobre, 2012 © Julie Cadotte, 2012 i Identification du jury Université de Montréal Département d’histoire de l’art et d’études cinématographiques Faculté des arts et sciences Peinture et comédie : Les scènes de théâtre de Cornelis Troost (1696-1750) Mémoire présenté par Julie Cadotte Todd Porterfield, Président-rapporteur Luís de Moura Sobral, Directeur de recherche Denis Ribouillault, Membre du jury ii Résumé Le présent mémoire porte sur l’un des peintres néerlandais les plus connus de son époque, Cornelis Troost (1696-1750). Celui-ci tire son succès du traitement et de l’originalité de ses sujets dans la confection de ses scènes de théâtre, dont cinq sont abordées ici. Troost fut lui-même acteur de profession avant de se consacrer au métier de peintre. Tout comme les œuvres de Troost, l’art hollandais du XVIIIe siècle est un sujet rarement abordé en histoire de l’art. Plusieurs éléments historiques des Pays-Bas, notamment certains des bouleversements politiques, sont indispensables afin d'acquérir une meilleure compréhension des œuvres théâtrales de Troost. Dans ses scènes de théâtre, Troost embrasse le côté théâtral de celles-ci. Ses œuvres portent le même titre que les pièces desquelles elles sont tirées. De plus, Troost introduit ses personnages de près et cette particularité met l'accent sur les émotions des personnages et sur l’action. Un parallèle est tracé avec Jan Steen et Gérard De Lairesse, eux-mêmes des artistes hollandais s’inspirant du théâtre. La narration dans les œuvres de Troost est également un point important afin de bien comprendre ses scènes de théâtre. Mots clés : Cornelis Troost, théâtre, scènes de théâtre, Pays-Bas, art hollandais du XVIIIe siècle, narration. iii Abstract This master’s thesis focuses on one of the most famous Dutch painters of his time, Cornelis Troost (1696-1750). Troost’s success derives from the originality of his subjects in the theatrical scenes he depicts five of which are discussed here. Troost himself was a professional actor before devoting himself to the art of painting. Dutch art of the eighteenth century is a topic rarely discussed in art history. Several elements of Netherlandish history, including political changes, are essential in order to acquire a better understanding of Troost's theatrical work. Troost embraces the theatrical source. His works of art bear the same title as the plays from which they are drawn. Troost puts the emphasis on his characters, and this feature helps to put the focus on the emotions of the characters and the action. A parallel is made with Jan Steen and Gerard De Lairesse, other Dutch artists who were inspired by the theatrical world. The narrative aspect in the works of Troost is also an important aspect which needs to be approached in order to understand his theater scenes. Key words: Cornelis Troost, theater, theater scenes, Netherlands, dutch art of the eighteenth century, narration. iv Table des matières Identification du jury ......................................................................................................... i Résumé ............................................................................................................................... ii Abstract ............................................................................................................................. iii Table des matières ........................................................................................................... iv Liste des figures ............................................................................................................... vi Remerciements ................................................................................................................ ix Introduction .......................................................................................................................1 État de la question ...........................................................................................................3 Problématique et méthodologie .......................................................................................7 Cadre théorique ................................................................................................................7 Présentation des chapitres .............................................................................................10 1. Le théâtre aux Pays-Bas ..............................................................................................12 1.1 La tradition théâtrale ...............................................................................................13 1.2 Le théâtre d’Amsterdam au XVIIIe siècle ..............................................................28 1.3 Cornelis Troost............................................................................................................33 2. Les scènes de théâtre de Cornelis Troost ...................................................................44 2.1 Pefroen et la tête d’agneau .........................................................................................46 2.2 Scène du Tartuffe .....................................................................................................53 2.3 La découverte de Jan Claazs ...................................................................................58 2.4 Prétendue Vertu exposée: la découverte de Volkert dans le panier à linge ...........64 2.5 Le mariage de Kloris et Roosje ...............................................................................68 v 3. La question de la narration ........................................................................................72 3.1 Le traitement théâtral en représentation picturale ...................................................75 3.1.1 Jan Steen .....................................................................................................77 3.1.2 Gérard De Lairesse .....................................................................................80 3.2 Les adaptations de pièces étrangères .........................................................................84 3.3 L’aspect comique dans les œuvres de Cornelis Troost ...............................................86 3.4 La narration dans les œuvres de Cornelis Troost ........................................................88 Conclusion ........................................................................................................................94 Bibliographie ..................................................................................................................100 Illustrations .....................................................................................................................107 vi Liste des Figures Figure 1.1 : Willem Isaaksz. Swanenburch d’après David Vinckboons, Préparatifs pour une représentation en plein air par des Rhétoriciens à une fête de village (détail), v. 1608, gravure, Atlas Van Stolk, Rotterdam. Figure 1.2 : Jan Steen, Les Rhétoriciens, 1665-68, huile sur toile, 86 x 100 cm, Musées Royaux des Beaux-Arts, Bruxelles, inv. No. 1366. Figure 1.3: Cornelis Troost, Autoportrait, 1739, huile sur toile, 103 X 83 cm, Rijksmuseum, Amsterdam, inv. No. Sk-a-4225. Figure 1.4: Adriaan Van der Laan d’après Hendrick de Leth, Décor de théâtre d’Amsterdam avec « Le nouveau portal de la Cour » peint par Cornelis Troost, 1738, eau forte et gravure, Theater Instituut Nederland, Amsterdam, inv. No. TL 1-4. Figure 1.5: Jan Punt d’après P. Van Liender, Décor pour le théâtre d’Amsterdam pour “Le Nouveau Jardin, n.d. eau fort et gravure. Figure 1.6: Jan Punt, Autoportrait en Achille, 1770, Tooneelmuseum, Amsterdam. Figure 2.1: Cornelis Troost, Pefroen et la tête d’agneau, 1739, pastel et pinceau en couleurs sur papier, 63,0 X 50,5 cm, Mauritshuis, La Haye, inv. No. 185. Figure 2.2: Jan Steen, Le bourgeois de Delft et sa fille, 1655, huile sur toile, 82.5 x 68.5 cm, Rijksmuseum, Amsterdam, inv. No. SK-A-4981. Figure 2.3: Charles Lebrun, La Crainte, 1698. Figure 2.4: Cornelis Troost, Pefroen et la tête d’agneau, 1740, pinceau gouache et aquarelle sur papier, 27,3 X 26,9 cm, Rijksprentenkabinet, Amsterdam, inv. No. 1909:9. Figure 2.5: Cornelis Troost, Scène de Tartuffe, n.d, pastel, 60,5 X 48 cm, collection privée. Figure 2.6: D’après François Boucher, Le Tartuffe ou L’imposteur, n.d., gravure sur papier, Nationalmuseum, Stockholm, Inv. No. NMG 924/1874. Figure 2.7: Peter Paul Rubens, L’Adoration des bergers, 1619, huile sur panneau, 32,5 X 24,0 cm, Herzog Anton Ulrich Museum, Braunschweig, inv. No. L1. Figure 2.8: Jean-Antoine Watteau, L’embarquement pour l’île de Cythère (détail), 1717, huile sur toile, 129 X 194 cm, Louvre, Paris, inv. No. 8525. vii Figure 2.9: Gabriël Metsu, La visite à la chambre d’enfant, 1661, huile sur toile, 77,5 X 81,3 cm, Metropolitan Museum of Art, New York, inv. No. 17.190.20. Figure 2.10: Cornelis Troost, La découverte de Jan Claazs, 1738, pastel et gouache sur papier, 60,5 X 49,0 cm, Mauritshuis, La Haye, inv. No. 182. Figure 2.11: Le combat pour la culotte ou l'histoire de Klaas et Griet (détail), vers 1800, gravure sur bois, 210 X15 cm, Amsterdam, Cabinet des estampes, Collection Waller. Figure 2.12: Cornelis Troost, Prétendue Vertu exposée: la
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