scholarly journals Art in Tights: Tableaux Vivants as Commercial Entertainment in Sweden and Finland, 1840–1860

2021 ◽  
pp. 1-18
Author(s):  
Leif Runefelt
Keyword(s):  
Tableaux Vivants

scholarly journals Living Pictures (Tableaux Vivants).

1895 ◽  
Vol 36 (626) ◽  
pp. 242
Author(s):  
May Gillington ◽  
Arthur E. Godfrey
Keyword(s):  
Tableaux Vivants

scholarly journals O revivalismo medieval pelas lentes do gênero: as fotografias De Julia Margaret Cameron para a obra the Idylls of the King e outros poemas de Alfred Tennyson

2017 ◽  
Vol 11 (20) ◽  
pp. 119
Author(s):  
Maria Cristina Pereira
Keyword(s):  
Tableaux Vivants ◽  
Idylls Of The King

Pioneira na arte da fotografia, Julia Margaret Cameron (1815-1879) produziu centenas de retratos e tableaux vivants. Estes últimos, embora inseridos no movimento Pré-Rafaelita então em voga na Inglaterra, davam mostra de uma visão da Idade Média um pouco distinta da que seus contemporâneos ajudaram a construir: menos heroica e mais íntima, com grande quantidade e protagonismo de mulheres. A fim de estudar suas ideias a esse respeito, analisaremos neste artigo um conjunto de imagens feitas por ela em 1874 para a obra The Idylls of the King, de Alfred Tennyson, com histórias da corte do rei Artur (além de cinco outros poemas também marcados pelo medievalismo), e faremos comparações com outro conjunto de imagens feitas para aquela mesma obra: as 36 gravuras que o ilustrador francês Gustave Doré publicou entre 1867 e 1868

On the reception and agency of neoclassical sculpture and its material: case studies from Viennese sculpture galleries (c. 1780-1820)

2021 ◽  
Vol 30 (2) ◽  
pp. 177-314
Author(s):  
Anna Frasca-Rath
Keyword(s):  
Case Studies ◽  
Late Eighteenth ◽  
Tableaux Vivants ◽  
New Type ◽  
Artistic Self ◽  
Shed Light

The last two decades have seen a surge in publications and exhibitions on neoclassical sculpture, exploring histories of collecting, transnational artistic exchange, artistic self-fashioning strategies, workshop processes, new biographical insights and art-theoretical questions. However, there is relatively little research regarding the display and staging of neoclassical sculpture in comparison with earlier periods. The years around 1800 marked the peak of a fashion for purpose-built galleries that appeared all over Europe. The multimedia setting for sculpture in this new type of building tied in with contemporary patterns of staging and viewing artworks in different contexts, such as tableaux vivants and phantasmagorias. This article investigates the different modes of communication between viewer and object in neoclassical sculpture galleries to shed light on the reception of these objects and their respective material. Case studies are centred on the Viennese sculpture galleries of Nicolas II, Prince Esterházy, Andrej Razumovsky and Joseph Count of Fries in the late eighteenth and early nineteenth centuries.

The Sculptor’s Dream: Living Statues in Early Cinema

2017 ◽  
pp. 29-45
Author(s):  
Vito Adriaensens ◽  
Steven Jacobs
Keyword(s):  
Nineteenth Century ◽  
Early Cinema ◽  
Popular Entertainment ◽  
Before And After ◽  
Tableaux Vivants ◽  
Traditional Arts ◽  
Tableau Vivant ◽  
As If

In its earliest years of existence, cinema seems to have been fascinated by stasis and stillness. As if emphasizing its capacity to represent movement, early cinema comprises many scenes in which moving people interact with static paintings and sculptures. Moreover, films made shortly before and after 1900 often make explicit the contrast between the new medium of film and the traditional arts by means of the motif of the statue or the painting coming to life. In so doing, early film continued a form of popular entertainment that combined the art of the theater with those of painting and sculpture, namely the tableau vivant, or living picture. Focusing on the trick films of Georges Méliès and the early erotic films by the Viennese Saturn Company, this chapter reveals the importance and continuity of nineteenth-century motifs and traditions with regard to tableaux vivants as they were presented on the legitimate stage, in magic, in vaudeville, and in burlesque.

The ‘Chemistry’ of Art(ifice) and Life: Embodied Paintings in East European Cinema

2016 ◽  
Author(s):  
Ágnes Pethő
Keyword(s):  
The Other ◽  
The Real ◽  
East European ◽  
European Cinema ◽  
Tableaux Vivants ◽  
Postmodern Art ◽  
Tableau Vivant

The essay focuses on the manifold uses and re-conceptualization of the tableau vivant in recent East European cinema through several examples from Hungarian and Russian films directed by György Pálfi, Kornél Mundruczó, Benedek Fliegauf, Béla Tarr, and Andrei Zvyagintsev. The tableau vivant in these films is not conceived primarily as an embodiment of a painting, the introduction of ‘the real into the image’ (Brigitte Peucker), but it appears more like the objectification of bodies as images, and something that we can associate with what Mario Perniola considers the ‘sex appeal of the inorganic’. The author discusses the case of the paradoxical ‘cadaverous’ tableaux vivants (among them the recurring cinematic paraphrases of Mantegna’s Dead Christ), in which a live body is displayed as a corpse, or the other way round, a corpse is presented as an embodied picture, or an object of art made of flesh. By repeatedly showing us bodies dying into art, and ideas reified as images, these films present us with uncanny rituals of ‘becoming an image’, with a yearning for a reintegration into something universal and lasting, and can be viewed in the context of the reconstructive tendencies of contemporary post-postmodern art.

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