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Peintures À Sujet Littéraire En France Au Xviie Siècle

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Peintures À Sujet Littéraire En France Au Xviie Siècle L'art du roman : peintures `asujet litt´eraireen France au XVIIe si`ecle(du r`egnede Henri IV `ala r´egence d'Anne d'Autriche). Gabriele Quaranta To cite this version: Gabriele Quaranta. L'art du roman : peintures `asujet litt´eraireen France au XVIIe si`ecle (du r`egnede Henri IV `ala r´egenced'Anne d'Autriche).. Art et histoire de l'art. Universit´e Panth´eon-Sorbonne - Paris I, 2013. Fran¸cais. <NNT : 2013PA010615>. <tel-01124127> HAL Id: tel-01124127 https://tel.archives-ouvertes.fr/tel-01124127 Submitted on 11 Dec 2015 HAL is a multi-disciplinary open access L'archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destin´eeau d´ep^otet `ala diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publi´esou non, lished or not. The documents may come from ´emanant des ´etablissements d'enseignement et de teaching and research institutions in France or recherche fran¸caisou ´etrangers,des laboratoires abroad, or from public or private research centers. publics ou priv´es. SAPIENZA UNIVERSITÀ DI ROMA UNIVERSITE PARIS-1 PANTHEON-SORBONNE Facoltà di Scienze Umanistiche Département d’Histoire de l’Art Dipartimento di Storia dell’Arte et Archéologie UFR 03 Dottorato di Ricerca in Storia dell’Arte XXIV ciclo L’ARTE DEL ROMANZO TEMI LETTERARI NELLA PITTURA FRANCESE DEL SEICENTO (DAL REGNO DI ENRICO IV ALLA REGGENZA DI ANNA D’AUSTRIA) Tesi in regime di Cotutela Candidato: Dott. Gabriele Quaranta Direttore di Tesi: Chiar.ma Prof.sa Claudia Cieri Via Co-Direttore di Tesi: Chiar.ma Prof.sa Colette Nativel INDICE Premessa PARTE I Immagini per i sovrani: alla ricerca di una nuova mitologia I.1 Tentativi non riusciti: La Franciade di Ronsard, Dafni e Cloe di Longo sofista I-2 Eliodoro a Fontainebleau: la Chambre Ovale PARTE II Dalla pagina scritta alle pareti e alla scena: Le committenze di Maria de’ Medici, i Ballets de Cour di Luigi XIII (1605-1619) II - 1 L’ombra di Clorinda 1. Il Cabinet de Clorinde a Fontainebleau; 2. Un ciclo “tassiano” in senso lato; 3. Le avventure di Clorinda (1): l’amazzone innamorata; 4. Le avventure di Clorinda (2): condottieri a confronto; 5. Le avventure di Clorinda (3): l’eroina e la martire; 6. La peculiare scelta narrativa all’opera nel Cabinet de Clorinde; 7. Traduzioni e “riscritture; 8. Francofonie figurative: 9. Altre apparizioni di Clorinda II – 2 Il ciclo di Sofronia 1. Sofronia nel Grand Cabinet de la Reine al Louvre; 2. Il Gran Cabinet: fonti e studi; 3. Il Gran Cabinet: struttura della decorazione e tracce sopravvissute; 4. Un dipinto inedito; 5. I dipinti “medicei”; 6. Tra romanzo e storia: un immagine per la regina madre II-3 Dalle pareti alla scena. La risposta teatrale di Luigi XIII alle committenze pittoriche materne II - 4 I disegni di Laurent de La Hyre: persistenze pseudo-tassiane negli anni Venti i PARTE III Tasso, Guarini, Eliodoro e gli altri: note sulla diffusione dei temi letterari nella decorazione francese III - 1 Intorno al Pastor Fido 1. Una trama da tessere: gli arazzi parigini; 2. Il caso di Ancy-le-Franc; 3. Dipinti erratici: la “tela Changeux” del Musée Bossuet a Meaux III – 2 Un vero e proprio fenomeno di moda: le Etiopiche di Eliodoro III – 3 Note sui temi tassiani in Francia: Parigi 1626 1. Il duca di Chevreuse, nuovo Goffredo; 2. Disperse tracce tassiane III – 4 Varietà dei soggetti, folla di personaggi PARTE IV I cicli per i ministri della Corona tra anni Venti e anni Trenta IV-1 Raffigurazione come riscrittura: il caso del ciclo ariostesco del castello di Effiat 1. Da Effiat a Clermont-Ferrand; 2. Antoine Cœffier-Ruzé e il castello di Effiat; 3. Documentazione e attribuzioni: una decorazione nata per caso?; 4. Gli arazzi; 5.I precedenti, il contesto; 6. L’ombra di Estienne Durand; 7. Una riscrittura per immagini IV -2 Simon Vouet, Henri de Fourcy e la Storia di Rinaldo e Armida per il castello di Chessy 1. Jean de Fourcy; 2. Il castello di Chessy; 3. Il ciclo tassiano; 4. Gli altri dipinti; 5. I dipinti extra-tassiani; 6. Una decorazione dai contorni sfuggenti; 7. Il ministro e l’introuvable poète; 8. Dettagli eloquenti per un tema non casuale IV- 3 Immediati echi vouettiani: il ciclo tassiano del castello di Chenailles 1.Una storia movimentata: i Vallée e il castello di Chenailles; 2. Dalla Loira alle praterie: vicende conservative di un ciclo tassiano, 3. Chenailles all’epoca di François Vallée; 4. Avventure della maga Armida; 5. Pittori provinciali e influenze vouettiane; 5. François Vallée e le malie di Armida ii IV-4 Wideville, Avignone, Cheverny: le Etiopiche di Eliodoro come evocazione regale 1. Una residenza haut de gamme; 2. Le Etiopiche a Wideville? 3. Il committente e le sue immagini; 4. Una parentesi avignonese: Nicolas Mignard per l’Hôtel de Montréal; 5. Fra passione romanzesca ed evocazione regale: Perseo ed Eliodoro nella Chambre du Roi a Cheverny; 6. Ritorno a Wideville; 7. Verso più complesse costruzioni romanzesche PARTE V Da Eliodoro a Cervantes, da L’Astrée al marinismo: un trama di romanzi dipinti nel castello di Cheverny Premessa V-1 Il ciclo chisciottesco di Cheverny: un incunabolo e un enigma V-2 Tra le pieghe della storia: vicende del castello di Cheverny e della famiglia Hurault 1.Un castello da romanzo, un castello da fumetto; 2. Da un castello all’altro; 3.Uralinde nel gran mondo parigino; 4.Un matrimonio “riparatore”; 5. Anni incerti; 6.Nicolas Dufort: una nuova vita per Cheverny; 7. Ritorno in famiglia; V-3 Quasi un percorso à rebours: una sala per Don Chisciotte V-4 Un’altra parabola: percorsi di Jean Mosnier, pittore 1.Avventure critiche di un pittore “provinciale”; 2.Da Blois a Roma, da Parigi alla Loira: appunti su Jean Mosnier V-5 Dal Don Quijote al Don Quichotte: tempi e modi del ciclo cervantino di Cheverny 1.Dal ciclo attuale a quello seicentesco; 2. Pagine e pareti; 3. I dipinti di Jean Mosnier; 4.Costruzioni chisciottesche; 5.Un posto per Chisciotte V-6 Cavalieri erranti tra castelli perduti 1.Sontuose, burlesche decorazioni (1): l’ekphrasis chisciottesca di Adrien de Monluc; 2. Sontuose, burlesche decorazioni (2): l’ekphrasis chisciottesca di Antoine Gérard de Saint-Amant; 3. Mito e Romanzo: un percorso tra temi decorativi da La Chambre du Desbauché a Le Palais de la Volupté; 4. Ancora un intreccio letterario: disperse celebrazioni d’Amore, tra gli emblemi di Otto Vænius e i versi di Tristan l’Hermite; iii V-7 Un castello ritrovato 1.Riscrittura del Mito. Da Giambattista Marino a Jean Puget de la Serre: fonti per il ciclo di Venere e Adone nella Salle des Gardes; 2. L’Astrée, o la perdita come destino; V-8 Romanzi incrociati 1.Un frammento per riassumere: il Trionfo sulla Fortuna di Blois, o la versione dei fatti secondo Henri Hurault; 2. «Sur les bastiments et les yssues du Chasteau de Cheverny, en 1633»: un’ode celebrativa anche per Henri Hurault; 3. Un castello di trame dipinte: cavalieri marinisti, echi libertins VI - EPILOGO iv Premessa «Il amoit les plaisirs, il avoit une troupe de comediens, une bande de violons et une musique excellente… et avec cela lire les romans» scriveva la Grande Mademoiselle a proposito del conte di Cheverny, padre di una delle sue migliori amiche, Mme de Monglat: un aristocratico francese della prima metà del Seicento, come tanti. Come il maresciallo de La Ferté-Senneterre ad esempio che, a detta di Tallemants, citava a memoria interi passaggi della Gerusalemme Liberata. Come Tristan l’Hermite che, dietro il flebile travestimento di un page disgracié, non esitò ad attaccare briga e a battersi con un coetaneo che aveva osato criticare il suo poeta preferito, Tasso appunto. Come, infine, lo sventurato Henri de Cinq-Mars, che passava le ore della propria disgrazia rintanato nella guardaroba di Sua Maestà, a leggere il Furioso. Non desterà stupore allora ritrovare nelle dimore di questi e altri personaggi anche delle decorazioni – cicli dipinti, tappezzerie e, spesso, anche lussuosi oggetti “d’uso” – che prendevano spunto dalle opere quotidianamente lette e apprezzate dai committenti. Tuttavia nel corso degli ultimi anni è andato crescendo l’interesse degli studiosi per questo che, fino a non moltissimo tempo fa, veniva considerato semplicemente un “fenomeno di moda”. Molti saggi sono apparsi a ridosso o negli anni stessi della preparazione della tesi, da quelli di Giovanni Careri (2005, ed. italiana 2008) sulla recezione della Liberata e di Jonathan Unglaub (2006) su Poussin e Tasso, al lavoro di Thomas Kirchner (2008) che, pur trattando di sulla pittura di Storia, non può non far riferimento ai modelli letterari nel momento in cui si concentra sulla formulazione della figura de l’héros épique, per giungere al recente testo di Jean-Claude Boyer (2010) che, in breve ma con grande acume, ripercorre il medesimo periodo di cui ci occupiamo qui. Nel v 2005 la collega e amica Mylène Sarant aveva discusso una tesi dottorale sulla fortuna figurativa della Pastorale, dopo aver studiato le Etiopiche, mentre nel 2008 vedeva la luce un volume diretto da Delphine Denis, sulla recezione – anche figurativa – dell’Astrée di Honoré d’Urfé. Questione di ultimi mesi: un grande volume su Ariosto è apparso in Francia, mentre in Italia sul medesimo argomento è stato celebrato un convegno a Lecce e una mostra – con relativo catalogo – si è svolta a Pisa. Questo vivo interesse deriva senz’altro da una considerazione – più o meno esplicitamente dichiarata – che sta anche alla base della presente ricerca: che queste opere, in cui in un medesimo frangente la creazione artistica diviene prassi decorativa e si fa interprete di un testo letterario, sono un luogo privilegiato di quegli incontri tra arte e vita di warburghiana tradizione, un nodo cioè di particolare intensità dove diversi attori e diverse sfere della cultura vengono a legarsi, creando qualcosa d’inedito.
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