scholarly journals Noël Coypel’s educational journey to Rome at the end of 1672 and the beginning of 1673

2021 ◽  
Vol 27 (2) ◽  
pp. 217-232
Author(s):  
Barbara Hryszko
Keyword(s):  
Seventeenth Century ◽  
Royal Academy ◽  
Comparative Method ◽  
Synthetic Method ◽  
Louis Xiv ◽  
Administrative Records ◽  
French Academy ◽  
Direct Exposure ◽  
The Alps ◽  
French Academy In Rome

The aim of this article is to present the circumstances of Noël Coypel’s appointment as rector of the French Academy in Rome and to trace the route of his didactic journey from Paris to Rome with the Prix de Rome scholars entrusted to him. The paper is an attempt to answer the following questions: why a more difficult route through the Alps was chosen (and not, for example, a river and sea route), in what way was the journey educational, and what role did the documents given to Coypel play in securing the expedition. The article is based on an analysis of administrative records during the reign of Louis XIV, lists of superintendents and directors of the French Academy in Rome, accounts of royal buildings, and minutes of the Royal Academy of Painting and Sculpture in Paris. The paper uses the analytical method, the comparative method, the synthetic method, source criticism, argumentum ex silentio inference, and the geographical method when discussing the itinerary. Although the trip was purposeful and related to Coypel’s new position, he designed it in such a way as to not so much get to the destination quickly, but to show his students as much as possible. Coypel introduced the royal scholars to masterpieces of painting and sculpture at centers along a route through Dijon, Lyon, Chambéry, the Mont Cenis Pass, Turin, Milan, Bologna and Florence. The crossing of the Alps, though dangerous, was most often chosen because of the artistic reputation of the cities there. The trip was educational at the expense of comfort or safety. Coypel, as a guide and teacher (paidagōgós – παιδαγωγός) led his charges by overseeing their learning during and through the journey. Wandering to the Eternal City was part of a painter’s education (paideía – παιδεία) in the seventeenth century and was part of Coypel’s didactic work allowing young people to be inspired by direct exposure to masterpieces. The journey had an eminently didactic and artistic character, but also an initiatory one, as it gradually initiated and prepared the students for the experience of Rome, the center of artistic life at that time.

The Baroque as Anti-Classicism: The French Case

2019 ◽  
pp. 622-641
Author(s):  
Larry F. Norman
Keyword(s):  
Comparative Literature ◽  
World War Ii ◽  
Seventeenth Century ◽  
Cultural History ◽  
Cultural Evolution ◽  
World War ◽  
Louis Xiv ◽  
Critical Tradition ◽  
Counter Reformation ◽  
French Case

This chapter examines the rising mid-twentieth-century attention to the Baroque as a challenge to “French Classicism.” The concept of the literary Baroque faced strong opposition in France, where it undermined a critical tradition that isolated the “Age of Louis XIV” from European-wide currents. After World War II, the transnational Baroque provided a model for a more cosmopolitan view of the seventeenth century. Its integration into French literary and cultural history, however, reverses established paradigms of cultural evolution and periodization according to which Renaissance Classicism is followed by Counter-Reformation Baroque. This development also raises questions concerning the intellectual and ideological underpinning of the Baroque, including its relation to monarchy and Cartesian modernity. Authors examined include foundational figures of comparative literature (Erich Auerbach, E. R. Curtius, Leo Spitzer, René Wellek), art critics and historians (Eugenio d’Ors, Arnold Hauser, Victor-L. Tapié), and pioneers of the French Baroque (Jean Rousset, Marcel Raymond).

The Album De Colbert: The Image of Shipbuilding

2021 ◽  
Vol 163 (A3) ◽  
Author(s):  
M Corradi
Keyword(s):  
Seventeenth Century ◽  
Methodological Approach ◽  
17Th Century ◽  
Royal Navy ◽  
Louis Xiv ◽  
Shipbuilding Industry ◽  
The World ◽  
The Creation

The Album de Colbert compiled by an anonymous author in the second half of the seventeenth century is among the most important illustrated testimonies of the art of shipbuilding. Probably commissioned by Jean-Baptiste Colbert, Minister of Finance and Minister of the Navy of the kingdom of France, the Album was composed to make Louis XIV understand the complexity of shipbuilding. It was also made to support the creation of a navy with the ambition of being competitive with the Royal Navy and with the intent of modernising and expanding the French shipbuilding industry. The fifty plates that make up this illustrated treatise unravel the story of the construction of a first-rank 80-gun line vessel, from the laying of the keel to the launch. It is a unique document that has no contemporaries or precursors because it is not a didactic collection of boats, like the previous treaties that had a completely different methodological approach, more technical-descriptive than illustrative, but it wants to go beyond the scientific treatise. Its purpose was instead to measure itself with representation, showing through the strength of drawing and images the peculiar aspects of the reality of shipbuilding, using iconography as a means of transmitting knowledge related to the world of shipyards and shipbuilding in the 17th century.

scholarly journals Architecture, that wins peaks – triumph or confusion

2018 ◽  
Vol 44 ◽  
pp. 00191
Author(s):  
Anna Wojtas Harań
Keyword(s):  
High Altitude ◽  
Natural Environment ◽  
Comparative Method ◽  
Specific Character ◽  
Natural Landscape ◽  
Natural Forms ◽  
Mountain Environment ◽  
The Alps ◽  
Tourist Infrastructure

The natural landscape provokes artists to revive it with architecture. Architects overcome technical limitations, physiographic, customary more or less picturesquely incorporating their works into the richness of natural forms. Many benefits come from this recklessness for the region. The hit trend is also appreciated for the triumph of technical thought. It puts into confusion at once because of the gradual takeover of the natural environment. The aim of the work is to search for solutions that would help preserve the beauty of the mountain environment and at the same time make the widest group of recipients available. Analyzing the above issues, the comparative method was used, presenting achievements in the field of high-altitude objects design in extreme physiographic conditions, implemented in the Alps region. The region has a developed ski and tourist infrastructure. It is an example of maintaining moderation and specific character, despite growing new needs and expectations from tourists and sportsmen. However, it is not free from the over-investment trap.

The Rise of Confessional Tension in Brandenburg's Relations with Sweden in the Late-seventeenth Century

2004 ◽  
Vol 37 (4) ◽  
pp. 568-592
Author(s):  
Daniel Riches
Keyword(s):  
Seventeenth Century ◽  
Common Sense ◽  
Great Majority ◽  
Northern Europe ◽  
Louis Xiv ◽  
The North ◽  
Political Cooperation ◽  
The Reformation ◽  
Edict Of Nantes ◽  
South Of Europe

Thediplomatic and religious climate in Protestant Northern Europe during the era of Louis XIV was filled with competing and at times contradictory impulses, and the repercussions of Louis's expansionist and anti-Protestant policies on the relations between the Protestant states were varied and complex. Taken in conjunction with the ascension of Catholic James II in Britain in February 1685 and the succession of the Catholic House of Neuburg in the Palatinate following the death of the last Calvinist elector in May of that year, Louis's reintroduction of the mass ins the “reunited” territories and his increasing persecution of the Huguenots in France added to an acute sense among European Protestants that the survival of their religion was threatened. It is a well-established theme in the standard literature on seventeenth-century Europe that the culmination of Louis's attack on the Huguenots in his revocation of the Edict of Nantes in October 1685 galvanized the continents Protestant powers in a common sense of outrage and united them in a spirit of political cooperation against France. Indeed, such an astute contemporary observer as Leibniz was to write in the early 1690s that it appeared now “as if all of the north is opposed to the south of Europe; the great majority of the Germanic peoples are opposed to the Latins.” Even Bossuet had to declare that “your so-called Reformation … was never more powerful nor more united. All of the Protestants have joined forces. From the outside, the Reformation is very cohesive, more haughty and more menacing than ever.”

Baroque Relations

2017 ◽  
Author(s):  
VK Preston
Keyword(s):  
Seventeenth Century ◽  
Precious Metals ◽  
Visual Effects ◽  
Performance Practices ◽  
Spanish Colonial ◽  
French Academy ◽  
Founding Member ◽  
Dance Theater ◽  
Performance Traditions ◽  
And Performance

This chapter approaches dance archives and reenactment through analyses of the use of precious metals in drawings of dancers by the seventeenth-century French artist Daniel Rabel. Examining the artist’s album at the Louvre, Preston studies the visual effects of images and materials, testifying to French reimaginings of Indigenous performance practices in early seventeenth-century ballets in Paris. Turning to verse and livrets by René Bordier and Claude de l’Estoile, a founding member of the French Academy, she relates Rabel’s drawings to Andean dance, theater, and performance traditions in Cuzco, Peru. The Ballet de la Douairière de Billebahaut (1626) stages the Inca emperor Atahualpa (“Atabalipa”) as an effigy, satirizing Spanish colonial ambitions. Her approach situates global and trans-Atlantic circulations of performance in major works in the early archives of theatrical ballet in France, addressing reenactment through the work of spectatorship and its ties to archives of conquest.

Jacques Autreau, a Forgotten Dramatist

PMLA ◽  
1931 ◽  
Vol 46 (2) ◽  
pp. 498-532 ◽  
Author(s):  
H. Stanley Schwarz
Keyword(s):  
Seventeenth Century ◽  
Louis Xiv ◽  
The Law ◽  
Comedie Italienne

When, in 1697, the actors of the Comédie Italienne announced their intention of producing Fatouville's La finta matrigna ou la belle-mère supposée, readily associated with La fausse prude, a novel published in Holland againt Mme de Maintenon, the machinery of the law-moved swiftly. On May 14th of that year M. d'Argenson, head of the police, closed the theater, thereby terminating the activities of the Italian troupe in the seventeenth century. For so long a time did Mme de Maintenon deprive the court of amusements that, as soon as the period of mourning for Louis XIV was ended, the regent Philippe d'Orléans hastened to re-establish in France the theater which had previously supplied an abundant source of entertainment. In 1716 he succeeded in bringing to Paris, under the leadership of Luigi Riccoboni, a troupe which began performances on May 18 at the Palais-Royal but removed on June 1 to the repaired and redecorated Hôtel de Bourgogne.

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