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Female Spectators in the July Monarchy and Henry Scheffer's Entrée De Jeanne D’Arc À Orléans

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Female Spectators in the July Monarchy and Henry Scheffer's Entrée De Jeanne D’Arc À Orléans Brigham Young University BYU ScholarsArchive Theses and Dissertations 2011-12-15 Female Spectators in the July Monarchy and Henry Scheffer's Entrée de Jeanne d’Arc à Orléans Kalisha Roberts Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Art Practice Commons BYU ScholarsArchive Citation Roberts, Kalisha, "Female Spectators in the July Monarchy and Henry Scheffer's Entrée de Jeanne d’Arc à Orléans" (2011). Theses and Dissertations. 3191. https://scholarsarchive.byu.edu/etd/3191 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Female Spectators in the July Monarchy and Henry Scheffer’s Entrée de Jeanne d’Arc à Orléans Kalisha Roberts A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Heather Belnap Jensen, Chair Martha Moffitt Peacock Corry Cropper Department of Visual Arts Brigham Young University April 2012 Copyright © 2012 Kalisha Roberts All Rights Reserved ABSTRACT Female Spectators in the July Monarchy and Henry Scheffer’s Entrée de Jeanne d’Arc à Orléans Kalisha Roberts Department of Visual Arts, BYU Master of Arts In this thesis I consider Henry Scheffer’s Entrée de Jeanne d’Arc à Orléans, le 8 mai 1429 (1843) in relation to female audiences of the July Monarchy. As a part of the larger Galerie des Batailles in the Musée Historique instituted in 1837 by Louis-Philippe, Entrée de Jeanne d’Arc has been addressed relative to the political objectives of the monarchy. Limited scholarship surrounding the Galerie des Batailles has focused on its evolution from royal apartments in the château de Versailles to public museum. However, the broadening of audiences during the July Monarchy and potential points of engagement between viewer and artwork have remained largely overlooked, especially in relation to Scheffer’s Entrée de Jeanne d’Arc. Though feminist scholars have addressed the formation of the female spectator in post-revolutionary France, women in the art world during the July Monarchy remain understudied. This thesis discusses the expanding of audiences to whom Salon artists and Louis-Philippe were trying to appeal. The emergence of books and periodicals directed toward women during the July Monarchy, as well as the renewed interest in historicism affected female viewers’ interaction with Scheffer’s Entrée de Jeanne d’Arc. Additionally, the unrecognized fervor surrounding women of the July Monarchy who sought to emulate noble women of the past reflects these opportunities for women viewers. The emergence of contemporary women who were associated with the historical heroine, including Marie d’Orléans, expanded women’s understanding of their place in history and their engagement in political, religious, and literary change within the public sphere. I attempt to show how all of these overlooked contextual circumstances empowered the viewing position of the female viewer in relation to Scheffer’s Entrée de Jeanne d’Arc. Keywords: Jeanne d’Arc, July Monarchy, Louis-Philippe, Galerie des Batailles, women spectator ACKNOWLEDGEMENTS This thesis emerged out of a critical period of growth in my life and would not have been possible without the encouragement, advisement, and support of many individuals. As the supervisor of my academic internship, curator Valérie Bajou introduced me to the extensive collection of the château de Versailles and inspired me with her passion for this national treasure. Several staff members at the château facilitated research in their archives and encouraged me in my research. Funds for the invaluable opportunity to complete this internship as well as to conduct extensive research at the Bibliothèque Nationale de France were provided by the Brigham Young University Graduate Research Fellowship. I would like to thank the Art History faculty for their undying support, both professionally and personally, through trying times. The honesty, passion, and dedication which they poured into their teaching and scholarship instilled in me a love for research. Many thanks to Mark Johnson, Martha Moffit Peacock, Mark Magleby, and James Swensen. I express the utmost gratitude to Heather Belnap Jensen, whose figuration into my life as a professor, advisor, travel partner, mentor, and dear friend has been a determining factor in bringing this thesis to fruition and shaping the person I have become. Finally, I thank my family for being my foundation and for fostering a spirit of inquiry that led to my educational pursuits. The understanding, patience, encouragement, and grace with which my parents have strengthened me can never be acknowledged enough. iv TABLE OF CONTENTS List of Figures ......................................................................................................................................................... v Introduction ............................................................................................................................................................ 1 Setting the Stage .................................................................................................................................................... 5 Imagery of Jeanne d’Arc ...................................................................................................................................15 Female Spectatorship in Relation to Scheffer’s Entrée de Jeanne d’Arc .........................................21 Conclusion..............................................................................................................................................................38 Images .....................................................................................................................................................................40 Bibliography ..........................................................................................................................................................51 v List of Figures Figure 1. Interior view of the Galerie des Batailles, château de Versailles. Figure 2. Henry Scheffer, Entrée de Jeanne d’Arc à Orléans, le 8 mai 1429, oil on canvas, 1843, Musée national des châteaux de Versailles et de Trianon. Figure 3. Jacques-Louis David, Intervention of the Sabine Women, oil on canvas, 1799, Musée du Louvre, Paris. Figure 4. François-Auguste Biard, Four o’Clock at the Salon, oil on canvas, 1835, Musée du Louvre, Paris. Figure 5. Paul Delaroche, Jeanne d’Arc malade est interogée dans sa prison par le cardinal de Winchester, oil on canvas, 1824, Musée des Beaux-Arts, Rouen. Figure 6. Pierre-Henri Revoil, Jeanne d’Arc prisonnière à Rouen, oil on canvas, 1819, Musée des Beaux-Arts, Rouen. Figure 7. Eugène Deveria, La Mort de Jeanne d’Arc, oil on canvas, 1831, Musée des Beaux- Arts, Angers. Figure 8. Henry Scheffer, Jeanne d’Arc arrivant sur la place de Rouen: le prêtre qui l’avait trahie se jette à ses pieds, et invoque son pardon, oil on canvas, 1835, Musée des Beaux-Arts, Orléans. Figure 9. François Gérard, Entrée d’Henri IV à Paris, le 22 mars, 1594, oil on canvas, 1817, Musée national des châteaux de Versailles et de Trianon. Figure 10. Detail, Henry Scheffer, Entrée de Jeanne d’Arc à Orléans, le 8 mai 1429, oil on canvas, 1843, Musée national des châteaux de Versailles et de Trianon. Figure 11. Michel Delaporte, Les Parisiennes du 27, 28, et 29 juillet 1830, lithograph, 1830, Bibliothèque Nationale, Cabinet des Estampes, Paris. Figure 12. Anonymous, Héroïsme des dames de Paris dans les journées des 27, 28, 29 juillet 1830, lithograph, 1830, Bibliothèque Nationale, Cabinet des Estampes, Paris. Figure 13. Marie d’Orléans, Jeanne d’Arc, marble, 1837, Musée national des châteaux de Versailles et de Trianon. Figure 14. Marie d’Orléans, Jeanne d’Arc pleurant à la vue d’un Anglais blessé, bronze, 1834- 1835, private collection. Figure 15. Franz Xaver Winterhalter, Louis-Philippe I, roi des Français, oil on canvas, 1841, Musée national des châteaux de Versailles et de Trianon. vi Figure 16. Auguste Vinchon, Louis-Philippe et la famille royale, vistant les Galeries Historiques 1839, oil on canvas, 1848, Musée national des châteaux de Versailles et de Trianon. Figure 17. Gervais, d’après Deveria, La Princesse Marie auprès de sa statue de Jeanne d’Arc, Frontispice des Chants du soir de Chéri Pauffin, engraving, 1844, Bibliothèque Nationale, Paris. Figure 18. Pierre Étienne Rémillieux, Couronne de fleurs. Hommage à S.A.R. la princesse Marie, oil on canvas, 1844, private collection. Figure 19. Hector Lemaire, Tomb of Marie d’Orléans, marble, 1894, Dreux, chapelle royale. 1 Introduction In the year 1837 Louis-Philippe opened an entire wing of Versailles, the Musée de l’Histoire de France, and devoted it to paintings and sculptures that illustrated “toutes les gloires de la France.” 1 As part of his attempt to make the French feel a democratic ownership of what had so long been an icon of restricted access and monarchic dominance, he transformed the château de Versailles into a space of communal history shared via the grace of the “King of the French.” The galleries were filled with contemporary sculptures dedicated to the great rulers, authors, philosophers, and artists who created the cultural legacy of France. One area of this museum, the Galerie des Batailles,
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