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AVIS Ce Document a Été Numérisé Par La Division De La Gestion Des Direction des bibliothèques AVIS Ce document a été numérisé par la Division de la gestion des documents et des archives de l’Université de Montréal. L’auteur a autorisé l’Université de Montréal à reproduire et diffuser, en totalité ou en partie, par quelque moyen que ce soit et sur quelque support que ce soit, et exclusivement à des fins non lucratives d’enseignement et de recherche, des copies de ce mémoire ou de cette thèse. L’auteur et les coauteurs le cas échéant conservent la propriété du droit d’auteur et des droits moraux qui protègent ce document. Ni la thèse ou le mémoire, ni des extraits substantiels de ce document, ne doivent être imprimés ou autrement reproduits sans l’autorisation de l’auteur. Afin de se conformer à la Loi canadienne sur la protection des renseignements personnels, quelques formulaires secondaires, coordonnées ou signatures intégrées au texte ont pu être enlevés de ce document. Bien que cela ait pu affecter la pagination, il n’y a aucun contenu manquant. NOTICE This document was digitized by the Records Management & Archives Division of Université de Montréal. The author of this thesis or dissertation has granted a nonexclusive license allowing Université de Montréal to reproduce and publish the document, in part or in whole, and in any format, solely for noncommercial educational and research purposes. The author and co-authors if applicable retain copyright ownership and moral rights in this document. Neither the whole thesis or dissertation, nor substantial extracts from it, may be printed or otherwise reproduced without the author’s permission. In compliance with the Canadian Privacy Act some supporting forms, contact information or signatures may have been removed from the document. While this may affect the document page count, it does not represent any loss of content from the document. Université de Montréal La figure aristocratique dans le portrait d'apparat européen (1650-1800) Positions, danse et civilité par Mickaël Bouffard-Veilleux Département d'histoire de l'art et d'études cinématographiques Faculté des arts et des sciences Mémoire présenté à la Faculté des études supérieures en vue de l'obtention du grade Maître ès arts (M.A.) en histoire de l'art Juillet 2007 © Mickaël Bouffard-Veilleux, 2007 Université de Montréal Faculté des études supérieures Ce mémoire intitulé: La figure aristocratique dans le portrait d'apparat européen (1650-1800) Positions, danse et civilité présenté par : Mickaël Bouffard-Veilleux a été évalué par un jury composé des personnes suivantes: Alain Laframboise, président-rapporteur Luis de Moura Sobral, directeur de recherche Lorenzo Pericolo, membre du jury 1II RÉSUMÉ Ce mémoire s'intéresse à un cas particulier du problème de la pose dans le portrait d'apparat européen produit entre 1650 et 1800. L'auteur identifie cinq positions récurrentes dans la représentation peinte de la figure aristocratique comme étant les cinq positions de la danse noble française. Ces dernières, qui comptaient parmi les attitudes honnêtes requises par la bienséance, devinrent des lieux communs du portrait d'apparat à cette époque, au même titre que la colonne et le drapé. Le premier chapitre montre comment ces cinq positions ont été utilisées dans l'enseignement des bonnes manières et de la civilité tout en tenant compte de l'importance qu'occupait la danse au sein de l'éducation de l'aristocratie européenne. Après avoir comparé les positions de la figure de l'aristocrate avec celles que décrivent plusieurs sources (traités illustrés sur la danse, images de bals, costumes de ballet, portraits de danseurs célèbres ... ), le chapitre deux suggère qu'il s'agit d'une nouveauté iconographique en rupture avec les traditions posturales précédentes. Au chapitre trois, les différentes significations de ces positions sont débattues et les traces de ce phénomène dans la théorie du portrait et la pratique de l'esquisse sont mises en relief. En comprenant le portrait d'apparat comme un genre panégyrique visant à faire la promotion et l'éloge des mérites du portraituré, ce mémoire défend l'idée que les cinq positions de la danse noble française agissaient comme les attributs de son honnêteté, c'est-à-dire de son savoir-vivre, du raffinement de ses mœurs et de sa supériorité aristocratique. Mots-clés Histoire de l'art. Peinture. Portrait d'apparat. XVIIe siècle. XVIIIe siècle. Danse noble. Positions. Aristocrate. Civilité. Honnêteté. IV ABSTRACT This master's thesis concerns specifie cases of posture from mid-seventeenth- to eighteenth-century full-Iength portraiture. The author identifies five recurrent poses of the aristocratie figure as the five positions of French noble dance. These positions, which were numbered among the well-mannered attitudes of genteel behavior, became stereotypes of the swagger portraiture, alongside the column and drapery. The first chapter focuses on how the five positions were used in the teaching of civility, considering the place that was occupied by dancing within the education of European aristocrats. After a comparison between the posture of the aristocratie figure and those described in several dance sources (illustrated treatises, images of formaI balls and ballet costumes, famous dancer portraits ... ), chapter two emphasizes the iconographical novelty of this phenomenon as compared to previous postural traditions. Finally, chapter three discusses the various meanings of these positions and highlights the traces of this practice inside theory of portraiture and preparatory sketches. Understanding swagger portraiture as a panegyric genre praising the qualities and status of the sitter, this thesis argues that the five positions of French noble dance served as attributes of his honnêteté, reflecting his good-breeding, the refinement of his mores and his aristocratie superiority. Keywords History of art. Portraiture. Seventeenth-century. Eighteenth-century. Noble dance. Positions. Aristocrat. Civility. Honnêteté. Body. v TABLE DES MATIÈRES RÉSUMÉ.......... ... .... .... ............. ....... ... ......... .... ...... ... ... ... .... ....... ................. 111 ABSTRACT................................................................................... .............. IV TABLE DES MATIÈRES. ... ... ... ... ... ... ... .. .. .. ... .. .. ... ... ... ... .... .... ....... .. V LISTES DES FIGURES................................................................................ .... Vl1 REMERCIEMENTS.... .... ... ....... ............. .... .... .... .... ... ... ... ... ... ..... ...... ......... ...... XV INTRODUCTION De Versailles vers les autres cours européennes............................................... 1 CHAPITRE 1 Le corps aristocratique en position dans le Théâtre du Monde............................ 14 1. La nature visuelle et esthétique de la civilité et de la politesse aux XVIIe et XVIIIe siècles: primauté des apparences.................................................................... 15 Origines de la civilité......................................................................... 15 La nature visuelle de la civilité............................................................ ... 20 La nature esthétique de la civilité. .. .... ..... .. ... ... .. ... ... ... ... ... .. ... ... 24 2. La danse et l'enseignement des civilités..................................................... .... 26 La place de la danse dans l'éducation et son rôle dans l'apprentissage des bonnes manières .......................... :.............................................................. 26 Le contenu pédagogique du maître à danser. ... ... .... ... ... ............... ... ....... ... 32 3. Apprentissage du maintien honnête: positions de la danse et de la civilité françaises... 35 Deux éléments essentiels: la rectitude du corps et l'ouverture des pieds........... ... 35 Positions de danse, positions civiles...................................................... ... 38 CHAPITRE 2 La figure aristocratique en position dans l'image..... ......... ... ......... ... .......... ...... 43 1. Les cinq positions de la danse noble............................................................. 44 La première position....................................................................... .... 47 La deuxième position......................................................................... 50 La troisième position.......................................................................... 55 VI La quatrième position......................................................................... 58 La cinquième position........ .. .............................................................. 62 2,. L'aristocrate dans ses « justes positions».. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 64 Dans les images de la sociabilité............................................................ 64 Dans le portrait. .... ... .... ..... .. ....... .... .. .. ... ................ .... .... ........ 70 3. Une nouveauté dans l'iconographie.............................................................. 76 Datation et origine.. .... ... .. .. ....... ....... ... ... ... ....... ... ... ... .... ....... ....... 76 Cadre spatio-temporel....... .... .. ......................................................... ... 79 Nouveauté, rupture et continuité iconographique.......................... ............... 83 CHAPITRE 3 La figure idéalisée de l'aristocrate en position dans le portrait d'apparat............... 89 l.Attributs de l'honnête homme et fonction panégyrique du portrait d'apparat.
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