Rappel de votre demande:
Format de téléchargement: : Texte
Vues 486 à 486 sur 490
Nombre de pages: 1
Notice complète:
Titre : Gazette des beaux-arts : courrier européen de l'art et de la curiosité
Éditeur : Gazette des beaux-arts (Paris)
Éditeur : G. WildensteinG. Wildenstein (New York)
Éditeur : Gazette des beaux-artsGazette des beaux-arts (New York)
Éditeur : Gazette des beaux-artsGazette des beaux-arts (Paris)
Date d'édition : 1930-01-01
Contributeur : Blanc, Charles (1813-1882). Directeur de publication
Contributeur : Reinach, Théodore (1860-1928). Directeur de publication
Contributeur : Wildenstein, Georges (1892-1963). Directeur de publication
Contributeur : Wildenstein, Daniel (1917-2001). Directeur de publication
Notice du catalogue : http://catalogue.bnf.fr/ark:/12148/cb343486585
Notice du catalogue : https://gallica.bnf.fr/ark:/12148/cb343486585/date
Type : texte
Type : publication en série imprimée
Langue : français
Format : Nombre total de vues : 86102
Description : 01 janvier 1930
Description : 1930/01/01 (A72,T3)-1930/06/30.
Description : Collection numérique : Originaux conservés à l'INHA
Droits : Consultable en ligne
Droits : Public domain
Identifiant : ark:/12148/bpt6k61119501
Source : Bibliothèque nationale de France
Conservation numérique : Bibliothèque nationale de France
Date de mise en ligne : 01/12/2010
Le texte affiché peut comporter un certain nombre d'erreurs. En effet, le mode texte de ce document a été généré de façon automatique par un programme de reconnaissance optique de caractères (OCR). Le taux de reconnaissance estimé pour ce document est de 97%.
ENGLISH SUMMARY
3
The entry of an African land into European history was to exercise a great influence : it was destined to facilitate the aequirement of an exact knowledge of landscapes, types of humanity and customs ol countrics, about which westerners had long been dreaming.
We know what was the bearing of Delacroix' journev to northern Africa ( 1S32J upon his life as an artist: up to the end ol his life the oriental élément in Africa formed the pivot of his aesthetic ideas. The painting in the Louvre, Les Femmes d'Alger, the one in the Montpellier Gallery, the drawings and water-colours, in which lie depicted his most vivid impressions ol Algeria, ail thèse works introduce something new into painting.
Delacroix' influence was not as deep as might hâve been supposed. The attention of painters, attracted by African subjects, was more drawn to Decamps or Marilhat. In this way, after 1830 and 1831, was formed a real artistic System, which brought into being a Lyrical East.
'Théodore Frère brought back from his journev in Algeria some productions, which were meant to be startling ; his '' Place du Gouvernement at Algiers is literally devoured by the Sun" ('The Artiste 1842, 8"' séries, 1, 289). Moreover it was especially médiocre artists who after 1832 undertook the journey to Algeria; neither 'Théodore Rousseau, nor Corot, nor Huet, nor the young Daubigny were attracted bv exccptional scènes; they prelerred simplcr compositions. Who were those who visited Algeria from 1832 to 1846, between the journevs of Delacroix, Chassériau and Fromentin? Bavot, .Karl Girardet, Ginain, 'Thuillier. Adrien Dauzats, the painter of Les portes de fer, tries his utmost to be accurate; his work is calm and impartial. He lias left us a remarkable
painting of the Government Square at Algiers. Chassériau's journey to Algeria took place in 1846. Lie observed nature in Algeria both as a poet and as a painter ; he was anxious to analyse the inner life and penetrate the soûl ol Islam. 'There is in the Juives qui bercent le nouveau-né (Jewish women rocking the newborn babe), in the Arthur Chassériau collection, that melancholv strain, which already strikes one in lus early work. Fromentin looked at Algeria with diJcrent eyes; the author ol Un Eté dans le Sahara A sumnicr in the Sahara prelerred landscapes in hall' shades and harmonious feelings. Ile realised that the light and colours o:" the Sahel an.l even of the Sahara were mueh more complex than the paintings ol Decamps or Diaz scemed to suggest; this light lias so spécial aqualitv that it never dazzles us, but giv. s strength to our vision and introduces into the depthsof our soûls a mysterious serenity. Fromentin, both in his paintings and writings, renovated the picture which the East had conjurée! up till then. Moreover for some time onwards the conceptions of the romantic painters reproduced the spirit of the orientalists. Neither Dehodencq, nor Léon Belley, nor even Guillaumet cntirely freed themsclves from it; as for Henri Regnault, lie was too olten a slave to it. Orienfalism was not long in degenerating and art cr'tics pointed out the tact. Fabius Brest and Berchère became absolutely trite, whilst Gérome, llugeretand Benjamin Constant were lacking in sinecrity.
.Among the impressionists Lebourg and Renoir paid some short visits to such parts of Africa as hâve an oriental character. I lowever it must lie stated t'.iat Renoir was 110 more an orientalist bv conviction than Lebourg; once lie had lelt Algeria he never returned to those types and landscapes lie had so earnestly studied.
THE HISTORY OF ALGERIA AND ICONOGRAPHY
by M. FERNAND BRANDEL
Professeur au lycée d'Alger
'The historical iconography of Algeria provides us with a considérable amount
of accurate informat'on about its past. The documents, which may be used, corne