[PDF] ORIGINS OF MODERNISM IN FRENCH ROMANTIC SCULPTURE:

View - Download ORIGINS OF MODERNISM IN FRENCH ROMANTIC SCULPTURE:

Previous PDF

Next PDF

2011

Florence Quideau

ALL RIGHTS RESERVED

ORIGINS OF MODERNISM IN FRENCH ROMANTIC SCULPTURE:

DAVID D"ANGERS, DANTAN

-JEUNE, DAUMIER AND PRÉAULT. by

FLORENCE QUIDEAU

A Dissertation submitted to the

Graduate School-New Brunswick

Rutgers, The State University of New Jersey

in partial fulfillment of the requirements for the degree of

Doctor of Philosophy

Graduate Program in

Art History

written under the direction of

Dr. Susan Sidlauskas

and approved by ________________________ ________________________ ________________________ ________________________

New Brunswick, New Jersey

January, 2011

ii

ABSTRACT OF THE DISSERTATION

ORIGINS OF MODERNISM IN FRENCH ROMANTIC SCULPTURE: DAVID D"ANGERS, DANTAN-JEUNE, DAUMIER AND PRÉAULT.

By FLORENCE QUIDEAU

Dissertation Director:

Professor Susan Sidlauskas

This dissertation repositions the place of four Romantic artists within the current discussion of Modern sculpture.

Today,

Jean-Baptiste Carpeaux has displaced Auguste

Rodin"s paramount place as the first Modern sculptor. The dynamism, suppleness, truthful movements, appropriate gestu res, and accuracy of Carpeaux"s sculptures are considered the epitome of Modernist sculpture.

This analysis argues that the portrait-

busts and sculpted caricatures of Jean-Pierre Dantan (called Dantan-Jeune), Pierre-Jean

David (called David d"Angers), Augu

ste Préault, and Honoré Daumier exemplified audacious artistic changes made thirty years before Carpeaux. These four artists showed a distinct rejection of formal portraiture and the values of artistic decorum by creating an unprecedented avant-garde style of sculpture. They left purposely their sculpted portraits and caricatures with irregular surfaces, distorted facial features, exaggerated mops of hair, and used colorings, emphasized physiognomic and physiologic characteristics to overthrow Academic traditions of realistic and idealized beautification of sitters. They showed innovation through their use of the two "pseudo sciences", physiognomy and phrenology the latter considered at the cutting edge of progress resulting in sculpted iii portraits, which Salon art critics ridiculed as ugly, caricatural or grotesque. They also exemplified modernism by reversing the traditional making and purpose of sculpture. They subverted artistic expectations by making two -dimensional lithographs and albums based on their three-dimensional portraits and caricatures that were sold to a wide public.

The serialization of their works in small

-scale further democratized the art of sculpture. These examples show artistic and commercial innovations in the mass-market popularization of sculpted portraiture, which had been shunned by the public because of its repetitive and elitist nature. These four sculptors shattered artistic, political, social, and commercial expectations in the 1830s. Their sculpted portraits and caricatures attest to their modernity, which not only precede Carpeaux's but skip over his generation in a manner that points the way to French Expressionist sculpture of the late nineteenth century. In fact, these four sculptors far exceed Carpeaux's modernism by sho wing a rare audacity and creativity that goes well beyond the expressivity of his oeuvre. David d'Angers, Dantan-Jeune, Daumier, and Préault anticipated many of the innovations of Carpeaux, acting as generators rather than simply "forefathers". iv

Acknowledgements

My advisor, Professor Susan Sidlauskas, continually challenged my ideas and helped me improve the subject of my thesis. I am most indebted for her insightful comments and suggestions, which allowed me to expand my research into a broader context than I originally planned. I am deeply grateful for her thoughtfulness, generosity, patience, and dedicated support throughout the years. I am also appreciative of Professor Joan Marter who reinforced my interest in the art of sculpture and encouraged my project with pragmatism and kindheartedness. In addition, the commitment of Professor Jane Sharp in helping me finalize my project is truly appreciated. I am grateful to Philippe Sorel who accepted to be my outside reader. His knowledge, generosity, and humor during my time spent researching the sculpture collection of the Musée Carnavalet, Paris, turned an arduous research into an enjoyable experience. As members of my committee, I thank you from the bottom of my heart. I am also indebted to the Art History Department at Rutgers for supporting me over the years. I particularly wish to thank Professor Catherine Puglisi, Cathy Pizzi, and

Geralyn Colvil for their kindness, congeniality,

and expertise, which resulted in a most positive experience at Rutgers. I am especially grateful for the many opportunities that I was given, which helped me pursue my studies. The Rutgers University Graduate Fellowship allowed me to work at the Zimmerli Art Museum where Philip Dennis Cate's passion for non -conventional sculptures cemented my desire to pursue an understudied field of scholarship . I also want to thank the members of the University and Louis Bevier

Fellowship

and the committee of the

Andrew W. Mellon Dissertation Fellowship

for their v support and trust in the significance of my project. I am sincerely grateful for your generosity. A large part of my research was conducted in Paris, France. I am most appreciative to Anne Pingeot and Laure de Marjorie for their assistance and for allowing me to peruse dossiers at the Musée d'Orsay. I am also indebted to Individuals at the Bibliothèque de la Maison de Balzac, the Archives nationales, the Bibliothèque littéraire Jacques Doucet, the Bibliothèque de L'École nationale supérieure des beaux-arts, and the

Bibliothèque historique de la Ville de Paris.

At the Art History Library Rutgers, I want to

thank Joe Consoli and Sara Harrington for facilitating my research and for sharing their sharp sense of humor. I would like to express my gratitude to friends and family members for alleviating much pressure during the final stages of my dissertation. I am most thankful to my parents, Christiane and José Jourdren, for showing their love by sparing me from heartbreaking news. Joe Moro, "understand", I truly appreciate your wit and philosophy of life. Lorraine "Coquito" DaSilva, your sense of humor was a breath of fresh air in the midst of my research. Many thanks go to Linda and Christina Sees for their friendship and precious assistance. In addition, I want to thank Stacy Smith for her technological expertise and for her generous kindness.

Norma "Bella" Garzella, I thank you for

ensuring that I ate balanced meals when I was too engrossed in writing. Finally, I would like to express my profound gratitude to

Dr. Marjorie Garrido who never doubted my

abilities and always told me to go forward. I could not have found a better life partner. I greatly appreciate your love, generosity, patience, and care. This dissertation is dedicated to you. PhinisheD. vi

Table of Contents

Abstract ....................................................................................................................

.......................... ii ............... iv

Table of Contents .............................................................................................

................................. vi

List of Illustrations .......................................................................................................

..................... vii Introduction ..................................................... ................................................................................... 1

Chapter 1: Academism versus Romanticism ................................................................................

19

Chapter 2: Situating Romantic Sculpture ........................................................................................ 65

Chapter 3: Romantic Sculpture and Politics .................................................................................. 136

Chapter 4: Sculpted Caricature: Artistic and Political Subversion.................................................209

Chapter 5: Phrenology and Physiognomy in

Sculpted Portraiture and caricature.......................................................................... 239

Chapter 6: The Democratization and Commerce of

Sculpted Portraiture and Caricature .......................................................................... 278

Conclusion: Origins of Modernism........................................... ................................................... .362

Illustrations ...............................................................................................................

..................... 368

Bibliography of Works Cited

........................................................................................................... 460

Curriculum Vitae ............................................................................................................

................. 496 vii

List of Illustrations

Introduction

Fig. Introduction. 1

David d'Angers, Chateaubriand, 1829

Plaster

Galerie David d'Angers, Angers

Fig. Introduction. 2

Auguste Préault, Detail of Tuerie (Massacre), 1834

Bronze

Musée de Chartres, France

Fig. Introduction. 3

Jean-Baptiste Carpeaux, Portrait de Jean-Léon Gérôme, 1872

Marble

The J. Paul Getty Museum, Los Angeles,

Ref: 88. SA. 8

Fig. Introduction. 4

David d'Angers, Buste de Goëthe, 1831

Plaster

Département des sculptures, Musée d'Orsay, Paris

Fig. Introduction. 5

David d"Angers, Statue of the Grand Condé, 1827 (after model of 1816)

Plaster

Galerie David d'Angers, Angers

Fig. Introduction. 6

Dantan-Jeune, Bust of Monsieur de Sleigo, 1837

Plaster

Musée Carnavalet, Paris

Ref. S. 1637

Fig. Introduction. 7

Jean-Baptiste Carpeaux, Bust of Xavier Denon, 1847

Plaster

viii Collection of the Musée des Beaux-arts de Valenciennes, France

Ref. S. 90.57

Fig. Introduction. 8

Jean-Baptiste Carpeaux, La Danse, 1869

Stone

Façade de l'Opéra de Paris, France

Fig. Introduction. 9

Auguste Rodin, Honoré de Balzac, 1898

Plaster

Département de sculpture, Musée d' Orsay, Paris

Ref: D.O. 1986-2

Fig. Introduction. 10

Auguste Préault, Tuerie, fragment épisodique d'un grand bas-relief, 1834

Bronze

Musée de Chartres, France

Fig. Introduction. 11

Honoré Daumier, Series of Les Célébrités du Juste-milieu, 1832-35 (cast in 1927-37 after the Musée d'Orsay series),

Painted unbaked clay, terracotta and plaster

Zimmerli Art Museum, New Brunswick, New Jersey

Chapter One

1.1 Jean-Henri Cless, Un atelier d'artiste en 1804, (also called L'Atelier

de Jacques-Louis David; Jacques-Louis David' s Studio), ca.1810 Collection of Drawings, Musée Carnavalet, Paris 1.2

Jacques-Louis David, Gouvernement Anglois

(The English Government), 1794

Hand colored engraving

Bibliothèque Nationale, Paris

1.3 David d'Angers, Medallion of Charles Philipon, 1834

Bronze

Collection Maison de Balzac, Paris

Ref. BAL 01-0014

1.4 Auguste Bouquet, Parias (after Auguste Préault), 1835

Lithograph

Le Charivari, 4 May 1835

ix 1. 5 Honoré Daumier, Les Célébrités du Juste Milieu (The Celebrities of the Juste-milieu), 1833-1835

Colored unfired clay

Zimmerli Art Museum, New Brunswick, New Jersey

1.6

Honoré Daumier, Ratapoil, ca.1850

Plaster

Albright Knox Art Gallery, Buffalo

1. 7

Honoré Daumier, Ratapoil et Casmajou, 1850

lithograph

Le Charivari, October 11, 1850

Département des Estampes et de la Photographie,

Bibliothèque nationale de France, Paris

1.8 Jean-Baptiste Carpeaux, Caricature de Cherzère, chef de gare de Drouai (Caricature of Cherzère, Chief of the Train Station in Drouai), ca.1860

Plaster

Collection of the Musée des Beaux-arts de Valenciennes, France

Ref. S. 90.57

1. 9 Dantan-Jeune, Louis-Joseph-César Ducornet, ca. 1826

Plaster

Département de sculpture, Musée Carnavalet, Paris

Ref. S. 2017

1.10 Dantan-Jeune, César Ducornet, ca.1827

Ink on paper

Collection of the Musée des Beaux-arts de Lille, France

Box 52, 41-4. Ref. 44

1.11 César Ducornet. Autoportrait (Self-Portrait), ca. 1827

Oil on canvas

Collection of the Palais des Beaux-arts de Lille, France

Ref. P 884.

1.12

Anonymous. César Ducornet, 1856

Illustration in The Leisure Hour.

Vol. V. Sept. 4, 1856

1.13 David d"Angers, La Douleur (Suffering), 1811

Plaster

Galerie David d'Angers, Angers, France

1.14

Jean-Antoine Houdon, Buffon, 1793

Marble

x Département de sculpture, Musée du Louvre, Paris

Ref. RF. 379

1.15

Jean-Baptiste Carpeaux, Ernest André, 1862

Marble

Département de sculpture, Musée d'Orsay, Paris

Ref. RF. 1062

1.16

Jean-Baptiste Carpeaux, Charles Garnier, 1868

Bronze

Collection of the Musée des Beaux-arts de Valenciennes, France

Ref. 91.82

1.17 Pierre-Philippe Roland, Bust of Augustin Pajou, 1797

Terracotta

Collection des sculptures, Musée du Louvre, Paris

Ref. R.F. 778

1.18

Jean-Baptiste Carpeaux, Napoléon III,1872-73

Marble

Collection of the Heim Gallery, London

1.19

Lysippus, The Dying Alexander,

Marble

Uffizy Gallery, Florence

1.20

David d"Angers, Lieutenant Poupart,1810

Plaster

Galerie David d'Angers, Angers, France

1.21 Pierre-Philippe Roland, Bust of Denis-Sébastien Leroy, 1796

Terracotta

Collection des sculptures, Musée du Louvre, Paris

Ref. RF. 23.91

1.22 Jean-Baptiste Carpeaux, Henri-François d'Aguesseau. ca. 1853

Terracotta

Collection of the Musée d'Orsay, Paris

Ref. RF. 9878

1.23 Claude-André Deseine, Comte de Mirabeau (Count of Mirabeau), 1791

Plaster

Musée des Beaux-arts de Rennes

Ref: 877.32.1

1.24 Jean Tessier, Comte de Mirabeau (Count of Mirabeau), 1791 xi

Plaster

Département des sculptures, Musée Carnavalet, Paris

Ref. S. 1819

1.25 Jean-Antoine Houdon, Buste de Mirabeau (Bust of Mirabeau), 1791

Marble

Musée national des châteaux de Versailles et de Trianon, Versailles 1.26

David d'Angers, Fronton du Panthéon

(Pediment Relief of the Pantheon), 1833-1837 Stone

Panthéon, Paris

1. 27 David d'Angers, Detail of Fronton du Panthéon, Mirabeau (detail of Pediment Relief of the Pantheon, Mirabeau), 1833-1837 Stone

Panthéon, Paris

1.28 David d"Angers, Tête d'Ulysse (Head of Ulysses), 1815

Marble

Galerie David d'Angers, Angers, France

Chapter Two

2.1 François-Joseph Heim, Charles X distribuant des récompenses aux artistes à la fin du salon de 1824 au Louvre (Charles X Distributing Awards at the End of the Salon of 1824 at the Louvre), 1827

Oil on canvas

Collection des peintures, Musée du Louvre, Paris

RF. 5313

2.2 David d'Angers, Bernard-Germain de Lacépède, 1827

Marble

Galerie Musée d'Angers, Angers

2.3

Eugène Delacroix, La Mort de Sardanapale

(The Death of Sardanapalus), 1827

Oil on canvas

Collection du Département de peinture, Musée du Louvre 2. 4 Jean-Baptiste Carpeaux, La Danse (The Dance), 1869 Stone

Façade de l' Opéra de Paris, France

2. 5 David d'Angers. Le Grand Condé, 1827 (after the model of 1816) xii

Plaster

Galerie David d'Angers, Angers, France

2. 6

Jean-Baptiste Carpeaux, Portrait d'inconnu

(Portrait of an Unknown Man), 1849

Plaster

Collection of the Musée des Beaux-arts de Valenciennes, France

Ref. S. 71.294.

2. 7 Auguste Préault, Medallion of Xavier Sigalon, ca.1829

Bronze

quotesdbs_dbs25.pdfusesText_31

[PDF] CHAMBRE LOUIS PHILIPPE

[PDF] Chambre Louis Philippe Caractéristiques techniques : Chambre

[PDF] Chambre LT - Groupe KMC

[PDF] chambre mistral - Accueil Meubles Moreau - Anciens Et Réunions

[PDF] Chambre Mortuaire

[PDF] CHAMBRE MULTI - Anciens Et Réunions

[PDF] chambre noire et photographie - Fonds De Couverture

[PDF] Chambre nouveau 2018 Offre

[PDF] Chambre Professionnelle des Charcutiers-Traiteurs de Paris - Anciens Et Réunions

[PDF] chambre professionnelle des conseils du grand sud ouest contrat - Garderie Et Préscolaire

[PDF] CHAMBRE REGION fonds 09 - metiersdart

[PDF] chambre regionale de metiers et de l`artisanat d`ile-de

[PDF] Chambre régionale des comptes

[PDF] Chambre Régionale d`agriculture

[PDF] Chambre Régionale d`Agriculture : appel à mobilisation pour les