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The Portraits of Rameau: A Methodological Approach

Identifieur interne : 000280 ( Hal/Curation ); précédent : 000279; suivant : 000281

The Portraits of Rameau: A Methodological Approach

Auteurs : Florence Gétreau [France]

Source :

RBID : Hal:halshs-00632744

Descripteurs français

mix :
- Augustin de Saint-Aubin, Charles-Nicolas Cochin II, Charles-Philippe Campion de Tersan, Claude Mathieu Fessard, Dominique Chassel, Gabriel Lemonnier, Guillaume Philippe Benoist, Jacques André Aved, Jean-Baptiste Félix France, Jean-Baptiste Gautier Dagoty, Jean-Bernard Restout, Jean-Jacques Caffieri, Jean-Jacques Le Barbier, Jean-Marie Delatre, Jean-Philippe Rameau, Joseph Marie Vien, Louis Carrogis dit Carmontelle, Louis-Joseph Masquelier, portraits.

Abstract

Within the project of Jean-Philippe Rameau's opera omnia, edited by Sylvie Bouissou at the Institut de recherche sur le patrimoine musical en France, CNRS, compiled is a catalogue of visual sources related to Rameau which includes portraits of the composer ; scenographies and costumes used in performances of his works ; and theaters where his works were performed. The corpus of his likenesses includes eleven portraits from which have been produced some derivatives ; caricatures and their variants ; apotheoses ; and posthumous hagiographies. One sees that the greatest French composer of the eighteenth century has inspired curiously few truly original portraits executed during his lifetime. A small number of compositions were largely exploited each time without great originality. The posthumous likenesses are more numerous and varied. Many transmit an allegorical image of his eminent and then controversial role in French music. But they continue, according to apologetic outlines, to be inspired by the bust by Caffieri and the medallion by Saint-Aubin.

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https://halshs.archives-ouvertes.fr/halshs-00632744

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Le document en format XML

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<front><div type="abstract" xml:lang="en">Within the project of Jean-Philippe Rameau's opera omnia, edited by Sylvie Bouissou at the Institut de recherche sur le patrimoine musical en France, CNRS, compiled is a catalogue of visual sources related to Rameau which includes portraits of the composer ; scenographies and costumes used in performances of his works ; and theaters where his works were performed. The corpus of his likenesses includes eleven portraits from which have been produced some derivatives ; caricatures and their variants ; apotheoses ; and posthumous hagiographies. One sees that the greatest French composer of the eighteenth century has inspired curiously few truly original portraits executed during his lifetime. A small number of compositions were largely exploited each time without great originality. The posthumous likenesses are more numerous and varied. Many transmit an allegorical image of his eminent and then controversial role in French music. But they continue, according to apologetic outlines, to be inspired by the bust by Caffieri and the medallion by Saint-Aubin.</div>
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<term xml:lang="fr">Louis Carrogis dit Carmontelle</term>
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<term xml:lang="fr">Jean-Marie Delatre</term>
<term xml:lang="fr">Dominique Chassel</term>
<term xml:lang="fr">Louis-Joseph Masquelier</term>
<term xml:lang="fr">Jean-Bernard Restout</term>
<term xml:lang="fr">Guillaume Philippe Benoist</term>
<term xml:lang="fr">Jean-Baptiste Gautier Dagoty</term>
<term xml:lang="fr">Charles-Philippe Campion de Tersan</term>
<term xml:lang="fr">Joseph Marie Vien</term>
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<abstract xml:lang="en">Within the project of Jean-Philippe Rameau's opera omnia, edited by Sylvie Bouissou at the Institut de recherche sur le patrimoine musical en France, CNRS, compiled is a catalogue of visual sources related to Rameau which includes portraits of the composer ; scenographies and costumes used in performances of his works ; and theaters where his works were performed. The corpus of his likenesses includes eleven portraits from which have been produced some derivatives ; caricatures and their variants ; apotheoses ; and posthumous hagiographies. One sees that the greatest French composer of the eighteenth century has inspired curiously few truly original portraits executed during his lifetime. A small number of compositions were largely exploited each time without great originality. The posthumous likenesses are more numerous and varied. Many transmit an allegorical image of his eminent and then controversial role in French music. But they continue, according to apologetic outlines, to be inspired by the bust by Caffieri and the medallion by Saint-Aubin.</abstract>
<abstract xml:lang="fr">Dans le cadre de l'édition des opera omnia de Jean Philippe Rameau préparées sous la direction de Sylvie Bouissou à l'Institut de recherche sur le patrimoine musical en France (CNRS), est prévu le catalogue des sources visuelles ayant trait à Rameau et à ses œuvres : les portraits du compositeur exécutés au XVIIIe siècle ; les documents iconographiques relatifs à ses œuvres scéniques (projets de décors, maquettes de costumes, plans, châssis, ...) et les représentations graphiques ou picturales de certains spectacles. Les effigies du compositeur comprennent onze portraits et leurs dérivatifs, des caricatures et leurs variantes, des apothéoses et des images hagiographiques posthumes. Le plus grand compositeur français du XVIIIe siècle a donc laissé curieusement fort peu de portraits vraiment originaux exécutés de son vivant. Un petit nombre de compositions a été chaque fois largement exploité sans grande originalité. Les effigies posthumes sont finalement plus nombreuses et plus variées. Beaucoup transmettent une image allégorique de son rôle éminent puis controversé dans la musique française. Mais elles continuent, selon des schémas apologétiques, à s'inspirer du buste de Caffieri et du médaillon de Saint-Aubin.</abstract>
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The Portraits of Rameau: A Methodological Approach

The Portraits of Rameau: A Methodological Approach

Source :

Descripteurs français

Abstract

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