Line Tragćdie Symbolique: „Les Pierres Vivantes”

Total Page:16

File Type:pdf, Size:1020Kb

Line Tragćdie Symbolique: „Les Pierres Vivantes” Le lunero, 40 centimes sulsses (80 groszy) Direction: Varsovie, Złota 8, tel. 732-82; administration, publi­ city Królewska 13, tel. 223-04 Succursale d'admini- stration: Paris, 123, boul. St. Germain, Librairie Gebethner et Wolff Abonnement d un an: 4 francs suisses REV UE MENSUELLE__________________________________ Nr. 78 Varsovie, 15 mars 1933 Huitićme annee Rene Lalou line tragćdie symbolique: „Les pierres vivantes” „Ił jouait les trisłesses et les pour qu'elles s'imp os ent ainsi des le pre­ couvrir ce qu elle imagine etre son Mont- declare-t-il ailleurs, il ne suffit pas d'etre un „bonheur de papillons"; c'est pair de qu'ils sioient con d amn es ä fuir ap res un desirs des heros, I’eternelle cica­ mier contact. sal vat. Enfin ce grand flot de passions re- j femme, bien que toutes aient Vhabitude semblables detours que Torgueil masculin bref sejour dans les cites dont aucune ne trice de lesprit de 1’homme Jan-Topass nous avertit que ,,1’oeuvre tombe; les noma des s’eloigineot; la ville, ! den raisonner ä perte de vue“. Misogy- atteint parfois ä la sagesse... les satis fait ? I Is laissent, derriere eux, Si Tallegorie des „Pierres vivantes" dans nos coeurs, un eveil, un mecontente- (Berent: „Les pierres vivantes“) de Berent est .intellectuelle par excellence", que 1'auteur est avant tout un artiste: ,,chez est claire, eile ne s en der oule pas moins ment qui est le premir signe de tout elan 11 est toujours fort imprudent de pre- Berent, ecrit-il, La phrase tient dune me­ dans deux plans de la- pensee. Le premier redempteur. Non, nous n'avons pas encore tendre j tiger un ecrivain sur un seul de dalik pour la nettete die la frappe et d un sens, le plus evident, touche au röle des vu triompher ce royaume de TEsprit sur ses ouvrages. Or, -on na encore tr adult en beau vers par la melodie et l eclat". Ce poetes dans la vie quotidienne. L'entree l a terre dont les ingenus oontemp ora ins France qu'-un livre de Wacław Berent, lero- gout de Berent pour les recits tres fine- des baladins dans la cite, Berent la com- des „Pierres vivantes" annonęaient le pro- man-fresque des „Pierres vivantes“*). Aus- ment ciseles, nous Taurions devine rien mente ainsi: „vraiment, c'est 1’enfer meme che avenemetit. Tons leurs calcu Is etaient si ai-je longtemps hesite ä exprimer dans qu’au plaisir avec lequel, dans „Les pier­ qui a fait invasion dans la ville paisible". faux; les no tres ne sont probablement la „Pologne Litteraire“ des impressions res vivantes“, ill module ä nouveau la Mais I'enfer, ce sera le reveil pai'en de guere plus exacts. Mais la valeur du mes­ qu aur ait pu dissiper une -connnissance chanson de Sire Lancelot. Ajoutons que, tou-tes les tentations: .„les grandes pro­ sage des chevaliers errants ne dependait complete des oeuvres de Berent. Mais j'ai grace ä la maitrise du traducteur Paul messes du monde et de la vie sortent point de ces esperances qui furent toujours lu la belle etude que lui consacre Jan-To- Cazin, la prose framęaise dies „Pierres vi­ comme des tentatrices de totites ces bouti­ deques; Tessentiel, c'etait leur foil dans pass dans ses „Visages d'ecrivains“: et tout vantes'' reflete Les preoccupations raffinees ques foraines. Les marchands et les poetes TEsprit: „mieux vaut, peut-etre, conclut ce que je pourral dire prend si natur elle- d un subtil musicien du verbe. Quant aux accumulent dans le secret des arnes les Berent, que nous ne voyions pas se rdali- rnent place dans le cadre qu il a -trace que sentiments, dans une remarquable analyse desiirs de la jouissance", Les marchands ser le royaume de TEsprit, s'il nous en je ne cr-ains plus de m'egairer. II f-aut que de „La vermoulure", roman qui date de vendent, les poetes distribuent ces magni- reste en revanche Inspiration". Tel est son la personnalite de Berent seit bien mar­ 1903, Jan-Topass observait que les person- fiques etoffes de pourpre dont nous re- dernier mot. Et notre reponse sera de voir quee et pnofonde l’unite de son oeuvre nages de Berent eprouvent, comme une couvrlrons la grisaille de nos mediocres dans „Les pierres vivantes" beaucoup plus „vertigineuse attraction", la hantise de la existences. Le supreme hommage aux bi­ qu'une Symphonie pitt ores que et fougueuse; *) Collection Polonaise. 5. Venceslas mort, Pour quo! done Berent fait-il peser str ions et aux saltimbanques, un vieux ! j entends: une veritable somrne de ces Berent. Les pierres vivantes. Traduction sur tons ses acteurs cette obsession? C'est, mait-re-mire le leur rendra, dans une heure : aspirations humaines dont la pathetique de Paul Cazin. Paryż, „N. R. F.“, (1932); repondra This to,rien litteraire, „que la ou Tivresse augmente sa lucidite avec sa grandeur est sans doute llee ä la conscience p. 376. substance morale et la substance intellec­ franchise: „C est un medecin qui vous le qu'elles ne seront jamais apaisees. tuelle de ces jours d hier lui repugnent". dit: vous etes les domptears du cauchemar Rien die surprenant si, pendant la Grande de ce monde, de VAcedia". Est-il indis­ Guerre, Berent s'est cree une sorts d'alibi kret d entendre ici 1'echc d'une confession en comp os ant 1 epopee medievale des „Pier­ per sonn eile? Un penseur aus si hautain res vivantes“, Jan-Topass Ta suivi jusqu'en que Berent ne fut-il pas expose ä souffnir, ce refuge; c’est dans cette for ter esse que lui aussi, maintes fois, de cette „acedie", nous Tabor dons, recons tituamt aisement le des crises d'humeur sombre dont il nous mouvement de pensee qui Ty conduisit, dit qu'elles assiegent les moines en leurs Avec „Les pierres vivantes" Berent retraltes? Parlant de leur art aux jongleurs, nous pLonge au plus anonyme de ce moyen- le vieux mire leur dit encore: „11 n'y a que äge „enorme et delicat“ que notre Verlaine ce jeu diviin pour echapper aux tristesses admirait en bloc et de confiance. Le nom de la vie". „Les pierres vivantes" prouvent de la cite, nous Tignorons; nous savons phot. Ryś assez quelle somptueuse evasion un Be­ seulement que Rome est situee „de Tautre WACŁAW BERENT rent salt trouver dans ce „jeu divin" de cöte des moots". Nulle indication precise a reęu le Prix d’Etat litteraire 1932 Tart. sur le siecle oti se deroule Taction, sauf Mais Toeuvre justifiierait mal son titre qu'un pur souffle die charite franciscaine de nouveau, se blottit dans sa hideuse ba- nie? Peut-etre, plutöt: mefiance p-our les si eile ne liber a it que son auteur; eile ne attendriit parfois cette vision d antes que. nalite. femmes qui proclament leur independance nous laisserait alors que le droit de re­ Un morne ennui accable La ville au centre Comme la cite par sa cathedrale, cette et refusent d'etre ces instruments de per- peter la plainte du Goliard: „delivrez de de laquelle une cathedrale got hique dr esse prestiigieuse resurrection des „Pierres vi­ fectionnemeot intime que Tecrivain sou- leurs tourments ceux qui ne peuvent ac- son inebranlable certitude. Et voici que vantes" est done dominee par une volonte haite trouver en el les. Ainsi, du moiins, me complir leur destinee". Aussi Berent a-t-il parait une troupe de baladins, menee par d'alldgorie. Si touffu que soft par end-roits semble-t-il permis d interpreter telle com- voulu que ces pierres du passe revivent le Goliard. Sous leur influence, la foule ce puissant rec.it, la pensee qui Tinspire paraison de TAcrobate: „La femme est pour nous aussi, nous donnent un enseigne- s'eveille, foule bigarree oü se coudoient appairait clairement, Bien avant que Be­ pour le p oete ce qu est p our moi la cor de ment universel. II le revele dans un epi­ les seigneurs et les marchands, les moines rent ne le confirme, nous avons coimpris raide et ce qu est Tours pour le dompteur, logue, tour ä tour railleur et lyrique: ,,Ce- et les truands, les jongleurs et les escho- que ,,ce n est pas seulement le moyen-age II y a un grand danger pour le corps et ci est le roman des ämes vagabond es et liers. La foil et Theresie se melent; tons qui se deroule dians ce roman". Ne Ta-t-il pour Tame dans tout art". Et pourtant de 1 eternelle inquietude de 1 esprit humain les mythes, chretiens, parens, chevaleres- pas de ja signifie, un p-eu plus rudement, lorsqu'il depeint un couple d’amants en­ qui vous est oonte ici sous la figure des ques, reprennent leur force explosive; Dio­ en observant que „les femmes trouveront laces, levres seellees, membres confondus, choses anciennes... Gar en chacun de vous nysos reparait et Pan excite les charnel- partout des conteurs ä leur convenance“ Berent, un instant, desarme: „Tous, nous reste latente la force indomptable de ces les concupiscences; la Mort, ä son tour, et qu'il n'appartient point ä ce genre d'a- volons nos meilleurs moments de vie ä la epoques". II faiut, en effet, que persistent, entre dans le jeu et la danse de vie de- museurs? Lorsqu'il parle des femmes, Be­ tristesse de la vie et ä la mort qui nous tres differents en apparence, unis dans un vient une ronde macabre, La masse s e- rent, tradlucteur du „Zarathoustra“ et es­ guette". Ne nous etonnons pas qu’ensuite commun ideal, en tous les temps, des che­ branle; guidee par le fantome du Goliard, say is te nietzscheen, n'oublie pas de se mu­ il conseille ä tous les passants de regarder valiers errants qui nous fassent rougir de MARJA DUNIN: Illustrations pour eile part en quete du Graal pour Je­ tt ir du fouet: „pour comprendre un roman, avec „un sour ire de pitie" ce qu'il nomme notre veulerie quotidienne.
Recommended publications
  • Uncivil Alliances: Delacroix, the Private Collector, and the Public Author(S): Elisabeth A
    Uncivil Alliances: Delacroix, the Private Collector, and the Public Author(s): Elisabeth A. Fraser Source: Oxford Art Journal, Vol. 21, No. 1 (1998), pp. 89-103 Published by: Oxford University Press Stable URL: http://www.jstor.org/stable/1360698 . Accessed: 13/03/2011 09:56 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at . http://www.jstor.org/action/showPublisher?publisherCode=oup. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Oxford University Press is collaborating with JSTOR to digitize, preserve and extend access to Oxford Art Journal. http://www.jstor.org Uncivil Alliances: Delacroix, the Private Collector, and the Public Elisabeth A. Fraser Eugene Delacroix was probablythe most controversialartist of the Bourbon Restorationperiod in France.
    [Show full text]
  • Old Master Paintings a Private Selling Exhibition Old Master Paintings a Private Selling Exhibition
    OLD MASTER PAINTINGS A PRIVATE SELLING EXHIBITION OLD MASTER PAINTINGS A PRIVATE SELLING EXHIBITION LOCATION Christie’s New York 20 Rockefeller Plaza New York, NY 10020 VIEWING January 22–February 7, 2016 Monday-Saturday, 10am-5pm Sunday, 1pm-5pm CONTACTS Ben Hall Deputy Chairman, Old Master Paintings 212 636 2121 BHall @christies.com François de Poortere Head of Department, Old Master Paintings 212 636 2469 [email protected] Thomas Baston, (British, active c. 1721) Nicolas Bertin (Paris 1668-1736) Nicolas Henry Jeurat de Bertry A view of Her Majesty’s Ship Royal Sovereign Moses defending the daughters of Jethro (Paris 1728-after 1796) inscribed and signed ‘To His RoyL. HIGHNSPRINCE GEORGE of oil on panel A manual, a quill, a conch shell, a snake in a jar and objects DENMARK / Lord High ADMIRAL of GREAT BRITIAN, IRELAND, / and 19¼ x 27⅞ in. (49 x 70.8 cm.) on a table above a globe, books, musical instruments, of all Her…ons in GENERAL And / of all Her Majies… / THIS PIECE OF PARchment Drawing A VIEW / of Her Majies SHIP ... SOVERAIGN / this IN COLLABORATION WITH: sheet music and other objects is most humbly Dedicated / By his Most / Faithful Servant ThoBaston’ Derek Johns Ltd signed ‘Jeurat de Bertry / pxit. En 1775.’ (lower center, on the sheet music) (lower center) 12 Duke Street, St James’s, London SW1Y 6BN oil on canvas penschilderij on parchment +44 (0) 20 7839 7671 35¼ x 46⅜ in. (89.5 x 117.5 cm.) 13 x 11¾ in. (33 x 29.8 cm.) [email protected] IN COLLABORATION WITH: IN COLLABORATION WITH: Robilant + Voena Rafael Valls Ltd 1 Lumley Street, 5th Floor, London W1K 6TT 11 Duke Street, St.
    [Show full text]
  • The Image of Mary of the Miraculous Medal: a Valiant Woman
    Joyce C. Polistena The Image of Mary of the Miraculous Medal: A Valiant Woman Nineteenth-Century Art Worldwide 11, no. 2 (Summer 2012) Citation: Joyce C. Polistena, “The Image of Mary of the Miraculous Medal: A Valiant Woman,” Nineteenth-Century Art Worldwide 11, no. 2 (Summer 2012), http://www.19thc- artworldwide.org/summer12/joyce-polistena-the-image-of-mary-of-the-miraculous-medal. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Polistena: The Image of Mary of the Miraculous Medal: A Valiant Woman Nineteenth-Century Art Worldwide 11, no. 2 (Summer 2012) The Image of Mary of the Miraculous Medal: A Valiant Woman by Joyce C. Polistena “Gentlemen, whether you like it or not, the feeling for religion has in the last six years regained a power which no one could have foreseen.”[1] A member of France’s Chamber of Deputies made this surprising declaration in 1837, noting the dramatic religious revival that had taken place in France in recent years. One particular religious event, a Mariophanic occurrence, may have contributed to this phenomenon. It also led to a new iconography for the Virgin Mary (fig. 1). This is the subject of my article, in which I attempt to show how a new, potent image of the Virgin became popular because it emerged at a propitious moment, politically, and because new technologies helped to widely propagate it. Fig. 1, Anon., Catherine Labouré’s Vision of the Miraculous Medal, ca.
    [Show full text]
  • Girodet (1767-1824)
    Brooks Beaulieu exhibition review of Girodet (1767-1824) Nineteenth-Century Art Worldwide 5, no. 1 (Spring 2006) Citation: Brooks Beaulieu, exhibition review of “Girodet (1767-1824),” Nineteenth-Century Art Worldwide 5, no. 1 (Spring 2006), http://www.19thc-artworldwide.org/spring06/164- girodet-1767-1824. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2006 Nineteenth-Century Art Worldwide Beaulieu: Girodet (1767-1824) Nineteenth-Century Art Worldwide 5, no. 1 (Spring 2006) Girodet (1767-1824) Musée du Louvre, Paris, 22 September 2005-2 January 2006 The Art Institute of Chicago, 11 February 2006-30 April 2006 The Metropolitan Museum of Art, 22 May 2006-27 August 2006 Musée des Beaux-Arts, Montreal, 12 October 2006-21 January 2007 Girodet (1767-1824) Sylvain Bellenger Paris: Editions Gallimard / Musée du Louvre Edition, 2005 495 pp; 175 b/w figures and 300 color illustrations; index 49 € (hard cover) ISBN 2-35031-038-8 The art of the brilliant French maverick Anne Louis Girodet-Trioson (1767-1824) was first presented to the modern public almost forty years ago, in a legendary exhibition held at the Musée des Beaux-Arts in Montargis, the painter's birthplace 100 kilometers south of Paris. For the occasion the Montargis museum was completely emptied, and almost the entire Girodet holdings of the Louvre transferred and installed there. Major loans were secured, and in the end the exhibition included fifty paintings, fifty drawings and numerous prints, illustrated books and documents.
    [Show full text]
  • Wilfrid Cumbermede: a Novel in the Context of European Symbolism
    Wilfrid Cumbermede: A Novel in the Context of European Symbolism Adelheid Kegler ee that cloud! Isn’t it like death on the pale horse? What fun it must be“S for the cherubs, on such a night as this, to go blowing the clouds into fantastic shapes with their trumpet cheeks!” (300).1 This comment by Charley Osborne, a central figure in George MacDonald’s novel Wilfrid Cumbermede, uttered suddenly during a philosophical discussion, illuminates the mental landscape of the novel. The apocalyptic ghost horse galloping across the sky of night, fun for the cherubs? As a metaphysical shadow-show it reflects both the role of Wilfrid as the White Horseman of the Apocalypse and the Judge (19.11-21) pointing to the future, and the destiny of his darker soul-twin Charley, whose despairing life is ended by suicide. This quotation (by its multi-layered allusions, its central topics of death and apocalypse, and its concern with the partly visible, partly invisible hereafter) represents the form of art the novel is moulded into, and reveals it as a work of Symbolism. Symbolism here is understood as an all-pervading movement within the arts in Europe during the period from the 1850s to 1890s, a movement concerned with penetrating the veil of appearances—with discovering “rifts in the veil.”2 Alongside the realistic and materialistic tendencies of the later nineteenth century, Symbolism manifested itself in the fields of painting, sculpture, narrative and lyrical forms of literature, and—no less importantly—in the beginnings of psychology, in some branches of science, in comparative religion, and in research on myths—all, in the words of G.
    [Show full text]
  • All at Sea: Romanticism in Géricault's Raft of the Medusa
    All at Sea: Romanticism in Géricault's Raft of the Medusa Galven Keng Yue Lee All at sea. We – receptacles, tentacles Of ingestion and Assemblage. A mass of ever-dying, ever-living Vapid waves. All at sea. ~ Galven Keng Yue Lee Plate 1: Théodore Géricault, Raft of the Medusa, 1819, oil on canvas, 491 x 716 cm. Source: Musée du Louvre, Paris. Fair use is claimed for not-for-profit educational & scholarship purposes. Abstract Théodore Géricault’s painting, Raft of the Medusa, has long been regarded as a quintessentially Romantic painting. Yet it was unprecedented when it was exhibited at the 1819 Salon by its raw and direct appeal to the viewer’s 1 The ANU Undergraduate Research Journal emotions, and represented an early stage in French Romantic painting. In this paper, I argue that the painting was an original, logical outcome of the social and political turbulence that plagued French society in the early nineteenth century and which also impinged itself on the personal circumstances of Géricault’s life. It is through this general malaise and sense of crisis that the painting can not only be seen as an authentic product of its time, but also one that reflected the distinctly personal nature of the Romantic painting, through the intense personal involvement and identification of Géricault with its creation and subsequent legacy. Romanticism in Géricault’s Raft of the Medusa Théodore Géricault’s Raft of the Medusa is a stunning piece that strikes the viewer with its intense, emotional representations of hope and hopelessness. The pointless suffering of the denizens of the raft eradicate any pretensions to heroic achievement or tragic sacrifice; only the surging waves of the ocean respond without sympathy to their cries for salvation from a suffering which has only brought them to the pits of unheroic despair—drawing us within the vacant expression of the older man in the left foreground clutching onto the limp body of a younger male, possibly his son.
    [Show full text]
  • The Invisible “Sculpteuse”: Sculptures by Women in the Nineteenth-Century Urban Public Space—London, Paris, Brussels
    Marjan Sterckx The Invisible “Sculpteuse”: Sculptures by Women in the Nineteenth-century Urban Public Space—London, Paris, Brussels Nineteenth-Century Art Worldwide 7, no. 2 (Autumn 2008) Citation: Marjan Sterckx, “The Invisible ‘Sculpteuse’: Sculptures by Women in the Nineteenth- century Urban Public Space—London, Paris, Brussels,” Nineteenth-Century Art Worldwide 7, no. 2 (Autumn 2008), http://www.19thc-artworldwide.org/autumn08/90-the-invisible- sculpteuse-sculptures-by-women-in-the-nineteenth-century-urban-public-spacelondon-paris- brussels. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2008 Nineteenth-Century Art Worldwide Sterckx: Sculptures by Women in the Nineteenth-Century Urban Public Space–London, Paris, Brussels Nineteenth-Century Art Worldwide 7, no. 2 (Autumn 2008) The Invisible “Sculpteuse”: Sculptures by Women in the Nineteenth-century Urban Public Space—London, Paris, Brussels[1] by Marjan Sterckx Introduction The Dictionary of Employment Open to Women, published by the London Women’s Institute in 1898, identified the kinds of commissions that women artists opting for a career as sculptor might expect. They included light fittings, forks and spoons, racing cups, presentation plates, medals and jewelry, as well as “monumental work” and the stone decoration of domestic facades, which was said to be “nice work, but poorly paid,” and “difficult to obtain without
    [Show full text]
  • The Woman Singer and Her Song in French and German Prose Fiction (Circa 1790-1848)
    The Woman Singer and her Song in French and German Prose Fiction (circa 1790-1848) Julia Irmgard Effertz A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Oxford Brookes University November 2008 8863 8 11,1001111Ill 111111111IN103 IIIlill To my mother, Irmgard Effertz (nee Pelz), and to her mother, Gertrud Pelz (nee Salewski), two exceptionally strong women. Contents Acknowledgments v Conventions vi Abbreviations usedforjoumals throughoutthe thesis vi Abstract ix 1 Introduction Methodology 9 The Questionof Otherness 10 Performance,Subversion and the Possibility of FemaleAgency 14 2 Writing in Context: 18'h- and 19th- Century Musical Culture 19 The Reality of Literature: Court Culture and BourgeoisPastimes 20 The Rift Within the Myth: Femaleand Feminine Music 25 Idle Pursuits:Educating the Muses 29 Negotiating Ideal and Performance:Real-Life Singers 35 3. Conceptualising Female Song: 18'h-and 19'h- Century Musical-Literary Aesthetics 43 Finding the Original Language:Musical Aesthetics and the RousseauesqueTradition 45 Literary Conceptsof the Singer 53 Writing Otherness 55 Sublime Eroticism: Writing the Singing Body 57 Questionsof Life and Death 61 Genius 63 4 Goethe's Mignon and Madame de StaEl's Corinne: Creating a Literary Archetype (1795-1807) 68 (1) The Poeticsof Performance:Mignon 68 Existing Scholarship 70 Born from Song:Mignon in the Context of Goethe'sLied Aesthetics 74 A Poetic Cipher?Mignon's Existencethrough Song 80 Genderand Performance 91 (2) A French Soul Mate? Madamede Stadland
    [Show full text]
  • 1 Le Salon De 1824, Ou L'ombre Du Beau Moderne. Stendhal N'a Pas Bonne Réputation En Tant Que Critique D'art. Son Approch
    Le Salon de 1824, ou l’ombre du beau moderne. Stendhal n’a pas bonne réputation en tant que critique d’art. Son approche serait trop littéraire, insuffisamment formaliste, sa conception du romantisme déroutante. Pour le Salon de 1824, on sait qu’il a fait les mauvais choix : il a méprisé Delacroix et annoncé que l’obscur Schnetz serait encore admiré en 19241. Or le bon critique d’art n’est-il pas celui qui sait, « parmi tous les artistes de son époque, distinguer les plus grands, c’est-à-dire ceux que nous tenons aujourd’hui pour tels2 » ? Cependant, pour apprécier la pertinence et la valeur d’un compte rendu d’exposition, il semble nécessaire de le comparer avec précision à ceux des autres salonniers. Stendhal le dit lui-même : en 1824, c’est d’abord dans la presse que se livre la bataille romantique. Avant même d’évoquer l’Exposition au Louvre, il présente la violente polémique qu’elle entraîne dans les deux plus grands quotidiens du royaume : « La guerre est déjà commencée. Les Débats vont être classiques, c’est-à- dire ne jurer que par David, et s’écrier : Toute figure peinte doit être la copie d’une statue, et le spectateur admirera, dût-il dormir debout. Le Constitutionnel, de son côté, fait de belles phrases un peu vagues, c’est le défaut du siècle ; mais enfin il défend les idées nouvelles3 ». L’Exposition de 1824, parue en onze articles dans le Journal de Paris4, s’inscrit au cœur de ce débat esthétique. Stendhal suggère son intention de s’opposer à Delécluze, qu’il présente comme le défenseur d’une doctrine néoclassique caricaturale, et affiche sa sympathie pour les convictions progressistes du jeune Thiers5.
    [Show full text]
  • Museum Visit
    MUSEUM VISIT GROUND FLOOR FIRST FLOOR 1 ANTECHAMBER 5 THE ROMANTIC PORTRAITS ROOM 2 ROOM OF TREASURES 6 THE ORLEANS ROOM 3 GEORGE SAND’S DRAWING ROOM 7 ARY SCHEFFER’S STUDY 4 THE SMALL BLUE DRAWING ROOM 8 THE RENAN ROOM Information Tickets 7 8 Toilets Bookshop 4 Stairs Cloakroom 2 1 Tea Room 6 5 3 4 GREEN HOUSE 3 2 1 ENTRANCE GARDEN STUDIO LARGE STUDIO MUSEUM ENTRANCE rue Chaptal rue Chaptal Built in 1830 in the recently urbanized neighborhood LE MUSÉE DE LA known as La Nouvelle Athènes, this home remained with the descendants of the Ary Scheffer (1795-1858) VIE ROMANTIQUE and Ernest Renan (1823-1892) families until 1983, HOME OF THE when it became a City of Paris Museum that evokes PAINTER the artistic and literary life of the first half of the nineteenth century. Including a paved courtyard ARY SCHEFFER and garden, this “Musée de la Vie romantique” is (1795-1858) built on land adjoining the estate of Count Chaptal that had belonged to the Abbesses of Montmartre. Today, it is one of the last remaining artist’s homes built under the Bourbon Restoration and the July Monarchy. On the ground floor of the house, memorabilia, furniture and portraits that belonged to George Sand (1804-1876) and were bequeathed to the City of Paris in 1923 by her granddaughter Aurore Lauth Sand, evoke the writer and those close to her. On the first floor, the works of the painter Ary Scheffer are presented in all their diversity (portraits, religious and historical paintings, etc.), along with other mementos of the Romantic era.
    [Show full text]
  • A Reduced Version of Ary Scheffer's Christ Consolator
    Patrick Noon A Reduced Version of Ary Scheffer's Christ Consolator Nineteenth-Century Art Worldwide 8, no. 2 (Autumn 2009) Citation: Patrick Noon, “A Reduced Version of Ary Scheffer's Christ Consolator,” Nineteenth- Century Art Worldwide 8, no. 2 (Autumn 2009), http://www.19thc-artworldwide.org/ autumn09/new-discoveries-a-reduced-version-of-ary-scheffers-christ-consolator. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Noon: A Reduced Version of Ary Scheffer‘s Christ Consolator Nineteenth-Century Art Worldwide 8, no. 2 (Autumn 2009) A Reduced Version of Ary Scheffer's Christ Consolator by Patrick Noon In August 2007, Rev. Steven Olson, the pastor of Gethsemane Lutheran Church in Dassel, Minnesota, called the author of this article to ask for advice on how to authenticate a framed picture, inscribed "Ary Scheffer 1851," which had, for some time, languished in a storage closet of his church. Pastor Olson's immediate concerns were the preservation of the picture and finding a place for its display that would be accessible to the people of Minnesota. He had determined that the painting might have some aesthetic merit, that historically it was titled Christus Consolator (fig. 1), and that it had been church property since the 1930s. My immediate response to the telephone conversation with Rev. Olson was disbelief that a signature work by a renowned French academic painter had found its way to rural Minnesota and for seven decades passed completely unrecognized.
    [Show full text]
  • A Museum Inspired by Romanticism a Private Home Filled with Charm and Poetry from Xixth Century to Modernity
    A private home filled A museum inspired Drawings and paintings by Delacroix, Romanticism in Paris, such as portraits of Ingres, Maurice Sand, Calamatta, sculptures the famous opera singer Maria Malibran, the with charm and poetry by Romanticism by Barre, David d’Angers and Clésinger, give philosopher Ernest Renan, the journalist and an evocative insight into the arts of the 1820- poet Louis Ratisbonne. Also on view are works Located in the heart of The New Athens district George Sand’s memorabilia 1850 period. by the painter Hippolyte Debon, the sculptor – beyond the Opera House, below Montmartre « I only care for things handed to me by Théophile Bra, the silversmith François-Désiré : Loïc Le Gall / novembre 2008 and close to Pigalle, a secluded passage shaded beloved ones who are no longer » stated Ary Scheffer (1795-1858) Froment-Meurice… by Robinia trees leads to a private mansion Admission to the writer in her autobiography. among his contemporaries built in 1830 in the Italian style, during the the permanent The first floor of the main pavilion is mostly – Réalisation early days of King Louis-Philippe’s monarchy. collections In 1923, her granddaughter, Aurore Lauth-Sand, dedicated to painting. The French Dutch-born th ’aRt is free C The paved courtyard and the rose garden do bequeathed to the City of Paris some two artist arrived in Paris in 1811 as an art student. From XIX century uni keep a romantic fragrance of subtle poetry. hundred artefacts that were kept in Nohant, He soon became a renowned portrait painter to modernity mm Co : The property has been bequeathed in 1983 her grandmother’s ancient country house after completing his first commission for Général to the City of Paris by the heirs of the original in Berry.
    [Show full text]