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Travelling in a Palimpsest
MARIE-SOFIE LUNDSTRÖM Travelling in a Palimpsest FINNISH NINETEENTH-CENTURY PAINTERS’ ENCOUNTERS WITH SPANISH ART AND CULTURE TURKU 2007 Cover illustration: El Vito: Andalusian Dance, June 1881, drawing in pencil by Albert Edelfelt ISBN 978-952-12-1869-9 (digital version) ISBN 978-952-12-1868-2 (printed version) Painosalama Oy Turku 2007 Pre-print of a forthcoming publication with the same title, to be published by the Finnish Academy of Science and Letters, Humaniora, vol. 343, Helsinki 2007 ISBN 978-951-41-1010-8 CONTENTS PREFACE AND ACKNOWLEDGEMENTS. 5 INTRODUCTION . 11 Encountering Spanish Art and Culture: Nineteenth-Century Espagnolisme and Finland. 13 Methodological Issues . 14 On the Disposition . 17 Research Tools . 19 Theoretical Framework: Imagining, Experiencing ad Remembering Spain. 22 Painter-Tourists Staging Authenticity. 24 Memories of Experiences: The Souvenir. 28 Romanticism Against the Tide of Modernity. 31 Sources. 33 Review of the Research Literature. 37 1 THE LURE OF SPAIN. 43 1.1 “There is no such thing as the Pyrenees any more”. 47 1.1.1 Scholarly Sojourns and Romantic Travelling: Early Journeys to Spain. 48 1.1.2 Travelling in and from the Periphery: Finnish Voyagers . 55 2 “LES DIEUX ET LES DEMI-DIEUX DE LA PEINTURE” . 59 2.1 The Spell of Murillo: The Early Copies . 62 2.2 From Murillo to Velázquez: Tracing a Paradigm Shift in the 1860s . 73 3 ADOLF VON BECKER AND THE MANIÈRE ESPAGNOLE. 85 3.1 The Parisian Apprenticeship: Copied Spanishness . 96 3.2 Looking at WONDERS: Becker at the Prado. 102 3.3 Costumbrista Painting or Manière Espagnole? . -
Georges, Jules, Victor Clairin (1843-1919)
Georges, Jules, Victor Clairin (1843-1919) Portrait de Madame Legendre Huile sur toile signée et datée 1893 en bas à droite 97 x 115 cm Élève d'Isidore Pils et de Picot à l'École des Beaux-Arts de Paris, Georges Clairin travaille surtout en compagnie de son ami le peintre Henri Regnault, avec qui il entreprend plusieurs voyages, en Bretagne d'abord, puis en Espagne et au Maroc dans les années 1869-70. Tous deux sont mobilisés pendant la guerre de 1870, et Clairin perd son compagnon au combat. Après la guerre, il retourne au Maroc où il séjourne 18 mois, trouvant son inspiration dans les paysages de Tanger, Fès et Tétouan. Il est fasciné par les spectaculaires" fantasias ", ces joutes qui engagent plusieurs centaines de cavaliers dans des batailles simulées et qu'il dépeint dans ses tableaux avec toute l'énergie et la vigueur des scènes dont il est témoin. Du Maroc, il rapporte également des portraits rutilants de femmes orientales, vêtues d'étoffes chatoyantes et colorées.? Clairin expose régulièrement ses oeuvres au Salon des Peintres Orientalistes Français (1909), au Salon des Artistes Algériens et Orientalistes d'Alger, à la Société Coloniale des artistes Français (1910), et au Salon des Artistes Français (1914). Récompensé de nombreuses fois, il reçoit notamment une médaille d'argent à l'Exposition Universelle de Paris en 1889. Grand admirateur et ami intime de Sarah Bernhardt, il possède dans sa maison de Belle-Ile-en-Mer un atelier. Il réalise de nombreux portraits de l'actrice d'une réelle finesse et d'une grande poésie, dont le célèbre "Portrait de SarahBernhardt", exposé en 1876 à Paris au Petit-Palais. -
Jean-Joseph Benjamin-Constant 1845-1902
Jean-Joseph Benjamin-Constant 1845-1902 32 avenue Marceau 75008 Paris | +33 (0)1 42 61 42 10 | +33 (0)6 07 88 75 84 | [email protected] | galeriearyjan.com Jean-Joseph Benjamin-Constant 1845-1902 Biography Born in Paris in 1845, Benjamin-Constant studied at the Ecole des Beaux-Arts in Toulouse where he was the student of Jules Garipuy. He learned anatomy, drawing from the ancient statuary and the composition of history painting. His brilliant studies were rewarded by the great painting prize he shared with his friend the painter Jean-André Rixens. Benjamin-Constant became Alexandre Cabanel's student at the Ecole des Beaux-Arts in Paris, where he entered in 1867. His first subjects were mostly inspired by ancient history. Admirer of Delacroix, Rubens and Watteau, he already showed his style and his taste for color. He left the Ecole des Beaux-Arts and participated at the Salon of 1869 with romantic subjects. He obtained a quick recognition, since his painting "Hamlet and the King" (1867) was bought by the state. This dark-colored painting highlighted the painter's interest in the dramatic function of light. In 1870, he made a long trip to Spain and then to Morocco with Georges Clairin and Henri Regnault. In 1871, he made a second trip of eighteen months to Morocco. These travels, from which he brought back many precious objects, were essential for this artist who made Orientalism his specialty. The city of Tangier with picturesque streets, architecture and light particularly inspired the painter. The famous white terraces where the women of the harems were sitting and lying down inspired his most famous compositions. -
Making Love / Making Work the Sculpture Practice of Sarah Bernhardt
Making Love / Making Work The Sculpture Practice of Sarah Bernhardt Volume II Miranda Eve Mason Submitted in accordance with the requirements of the degree of Doctor of Philosophy The University of Leeds, School of Fine Art, History of Art and Cultural Studies May 2007 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. Table of Contents 3 Making Work: The Sculpture Practice of Sarah Bernhardt 242 3. 1 A Body of Work The Catalogue of Works Overview of Bernhardt's Oeuvre 3.2 The Labour and Love of Writing Art History 3. 3 Representing Works Apres la tempete (1876) Statuette de Sarah Bernhardt (c. 1880) Ophelie (1880) 3.4 Sculpture Training in Nineteenth-Century France: A Brief Synopsis 3.5 Becoming This Sculptor: Bernhardt's Training and Daily Studio Practice Bernhardt's Teachers: Roland Mathieu-Meusnier and Jules Franceschi Why Mathieu-Meusnier? What did Mathieu-Meusnier do? Why Franceschi? What did Franceschi do? How Did Bernhardt Not Learn Sculpture? Tall Tales, Silly Rumours, Misreadings 3.6 What Does a Sculptor Do? .An 'Aptitude for Sculpture' Drawing Anatomy Working from the Life Model Modelling Clay Casting Plaster Carving Marble ii Praticiens, Founders, Merchants, Transportation Domestic Labour, Studio Assistance, Taking Care of the Sculptor Reading about Sculpture, Thinking about Sculpture, Speaking about Sculpture 3. 7 A Sculptors' World: Bernhardt and her Peers 3.