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Fulltekst (Pdf) Konstvetenskapliga institutionen ISCENSATTA RYTTARINNOR OCH PERFORMATIVA HÄSTAR EN RYTTARPORTRÄTTSVIT FRÅN TIDIG MODERN TID I SKOKLOSTERS SLOTTS SAMLING Författare: Annika Williams © Masteruppsats i konstvetenskap Vårterminen 2021 Handledare: Henrik Widmark ABSTRACT Institution/Ämne Uppsala universitet. Konstvetenskapliga institutionen, Konstvetenskap Författare Annika Williams Titel och undertitel: Iscensatta ryttarinnor och performativa hästar En ryttarporträttsvit från tidigmodern tid i Skoklosters slotts samling Engelsk titel: Enacted Equestriennes and Performative Horses A Suite of Equestrian Portraits from Early Modern Time in the Skokloster Castle Collection ! Handledare Henrik Widmark! Ventileringstermin: Höstterm. (år) Vårterm. (år) Sommartermin (år) 2021 Innehåll: This essay is a study of a suite of six small-scale equestrian portraits in the Skokloster Castle Collection. The suite represents aristocratic women at the court of Louis XIV. In the portraits, the equestriennes and their horses performe advanced dressage movements. In the 17th Century the advanced dressage riding, performed in l’art du manège, was a masculine sphere. The equestrian portraits in the Skokloster suite therefore evoke questions regarding early modern female horse- and riding culture. How do we read these equestrian portraits today? In the analysis I focus on what the horses and riders do. I discuss La Querelle des femmes and how earlymodern French elite women would search for a new female role. Horseriding would open up for a possibility for women to expand their physical movements outdoors. In the 1630s a new category of female equestrian portraits surface where the equestriennes and their horses perform movements like carrière, terre-à-terre and courbette – movements which had earlier been performed in male equestrian portraits. The equestrian portraits in the Skokloster suite may be categorized to this new type of female equestrian portraits which “descript” the “social manuscript” of the genre of equestrian portraits where earlier the female riders had been depicted on walking or trotting horses, or rarely, in the advanced dressage movement passage. In the essay I discuss attribution and possible commissioner of the suite as well as possible intended viewers. For a multifaceted reading I present a historic background and context to early modern riding culture as well as equestrian portraits as an art historical genre. Keywords #Equestrian portraits #Female riding culture #l’art du manège #Early Modern Female Horse Culture #Gender and Equestrian Portraits INNEHÅLLSFÖRTECKNING DEL I 1. Inledning………………………………………………………………………………………3 1.1. Uppsatsens disposition………………………………………………………………….…...5 1.2. Syfte och frågeställningar…………………………………………………………………...6 1.3. Teoretiska utgångspunkter…………………………………………………………………..6 1.3.1. Visuell kultur …………………………………………………………....7 1.3.2. Performativitet, agens, genus och identitet……………………………....7 1.4. Material och metod……………………………………………………………………….....9 1.5. Etiska överväganden……………………………………………………………………….11 1.6 Avgränsningar och urval…………………………………………………………………....11 1.7 Begrepp……………………………………………………………………………………..12 1.8. Forskningsöversikt………………………………………………………………………....13 DEL II 2. Historisk bakgrund och kontext……………………………………………………………..18 2.1. Ridkonst, ridmästare och den europeiska eliten…………………………………………...18 2.1.1. Tidiga banbrytare – Antoine de Pluvinel och William Cavendish, hertig av Newcastle…………..23 2.1.2. Ridtraktatens illustrationer – verktyg för ideal och identiteter………………………………………………27 2.1.3. Tidigmodern kvinnlig ridkultur………………………………………..28 2.2. Visuell evidens eller visuella representationer…………………………………………...35 2.2.1. Ryttarporträttens etablerade poser……………………………………..36 2.2.2. Ryttarbildens betydelse för renässansfurstens visuella kommunikation…………………………………………………………….…41 2.2.3. 1600-talets ryttarporträtt i och utanför hovkretsar…………………......43 2.2.4. Ryttarporträtt och genus……………………………………………….44 1 DEL III 3. Iscensatta ryttarinnor och performativa hästar……………………………………………….48 3.1. Tidigmoderna kvinnors sökande efter en ny kvinnoroll………………………………..….48 3.1.1. Iscensättning och överskridning av sociala manus…………………......51 3.1.2. Françoise Angélique de la Mothe Houdancourt, Duchesse d’Aumont.………………………………………………………….53 3.1.3.Anne de Souvré, Marquise de Louvois…………………………………58 3.1.4. Marie-Anne Mancini, Duchesse de Bouillon………………………......63 3.1.5. Gabrielle Angélique de la Mothe Houdancourt, Duchesse de la Ferté………………………………………………………......69 3.1.6. Catherine de Neufville, Comtesse d’Armagnac …………………...…..73 3.1.7. Françoise Madeleine de Warignies, La Comtesse de Saint Géran…......76 3.2. Tid för tillkomst, attribueringsdiskussion, tänkbara beställare och betraktare.....................80 3.2.1. Tid för tillkomst ………………………………………………………..80 3.2.2. Attribueringsdiskussion och sannolikhetsavvägning …………………..81 3.2.3. Tänkbara beställare …………………………………………………….86 3.2.4. Proveniens, tavelhängningshistorik och tänkbara betraktare…………...87 DEL IV 4. Avslutande diskussion………………………………………………………………….……99 4.1. Historiska omständigheter kring ryttarporträtten i Skoklostersviten – Site of production………………………………………………………....………………….99 4.2. Visuell mening och innehåll – Site of the image itself…..………………………………..102 4.3. Spridning – Site of circulation……………………………………………………....…….104 4.4. Tavelhängningshistorik och tänkbara betraktare – Site of audiencing…………………....105 Slutord…...………………………………………………………………………………..…...108 Käll- och litteraturförteckning……………………………………………………..…………..109 Bildkällor……………………………………………………………………………..………..120 2 DEL I INLEDNING Fokus för denna uppsats är sex stycken ryttarporträtt som avbildar högaristokratiska kvinnor vid Ludvig XIV:s hov. Ryttarporträttsviten finns i Skoklosters slotts samling.1 I slottets inventarieförteckningar kan de spåras tillbaka till 1757 års inventering.2 De ankom till Skokloster omkring 1754 i samband med att biblioteket från godset Salsta flyttades till Skoklosters slott.3 Innan de, via arv, införlivades i slottets samlingar fanns de i greve Nils Bielkes (1644–1716) konstsamling på egendomen Salsta i Uppland. Det finns dock frågetecken kring såväl ursprunglig proveniens som attribuering. Bland 1600-talets franska elit var jaktridning en populär motionsform och såväl kungliga som aristokratiska kvinnor deltog i jaktritterna. I Skoklostersvitens ryttarporträtt har ryttarinnorna och deras hästar iscensatts när de utför rörelser som ingick i den tidens avancerade dressyrridning, l’art du manège. Ryttarporträtten väcker frågor om genus då 1600-talets manegeridning utgjorde en manlig sfär. Utgör ryttarporträtten i Skoklostersviten visuell evidens för en historisk realitet eller bör ryttarbilderna enbart ses i belysning som tolkningar av samtida ideal? Hur läser vi dessa ryttarbilder idag? Det kan kanske finnas invändningar mot att det skulle finnas en särskild ”kvinnohistoria”, men så länge som kvinnors särskilda villkor samt roller och maktställning varit utestängda från historieskrivningen under en lång tid finns det anledning att undersöka vilken plats som kvinnor haft i såväl ryttarporträttets som ridkonstens historia. Ryttarporträttet som en manifestation av en ledare som excellerar i att manövrera sin häst och som därmed visar sig kapabel att manövrera sina undersåtar är en välkänd konsthistorisk läsning.4 Under 1600-talet kom aristokrater och så småningom även det förmögna 1 Skoklosters slotts samling förvaltas av myndigheten Statens historiska museer. Den 1 januari 2018 slogs myndigheten Livrustkammaren och Skoklosters slott med stiftelsen Hallwylska museet (LSH) samman med myndigheten Statens historiska museer (SHMM). Den nya myndigheten fick namnet Statens historiska museer (SHM). 2 Inventarium öfver Sko-Kloster 1756/57; Inventarieförteckning 13 och 14 januari 1757. Skoklosters slottsarkiv. 3 Inventarium öfver Sko-Kloster 1756/57. Inventarieförteckning, Skoklosters slottsarkiv. År 1754 övergick godset Salsta i ätten Brahes ägo. Erik Brahe lät då flytta hela biblioteket från Salsta till Skoklosters slott. I Skoklosters slotts inventarieförteckning daterad 13 och 14 januari 1757 står att läsa att de sex ryttarporträtten ankommit med "bibliothequet från Salestad”. 4 Konsthistorikern Walther Liedtke har i sin undersökning av kungliga ryttarporträtt belyst hur bilden In Adulari Nescientum i Andreae Alciatis (1492–1550) Emblemata från 1531 fick spridning. In Adulari Nescientum, bilden av ryttaren som behärskar sin häst, blev en symbol för ledarskap. Se Walther Liedtke The Royal Horse and Rider: PaintinG, Sculpture and Horsemanship 1500-1800 (Norwolk Connecticut: Abaris Books in Association with The Metropolitan Museum of Art, 1989), 42-43. 3 borgerskapet att beställa ryttarporträtt. I en konsthistorisk diskurs har maktperspektiv och status varit i fokus vid läsning av ryttarbilder. Hur 1600-talets aristokrater och förmögna borgerskap använde ryttarporträtt i sin visuella kommunikation och strävan efter utökat kulturellt kapital och högre status har tidigare belysts inom det konsthistoriska fältet.5 I många av världens kulturer har hästar i århundraden representerat skönhet, styrka, makt eller andlighet. På det ceremoniella planet har hästen haft en mycket stor betydelse.1600-talet var en verklig guldålder för de europeiska ryttarporträtten och de utgjorde en viktig del i den tidens visuella kommunikation och uppvisningskultur. De allra dyrbaraste hästarna var dock förbehållna samhällseliten och hästarna tilldelades en performativ roll att visa upp sin bärares status. I furstliga och högaristokratiska
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