John P Lambertson - Academia.edu (original) (raw)
ARTICLES by John P Lambertson
On 24 August 1824, a vaudeville entitled La St-Louis des artistes announced the opening of the mo... more On 24 August 1824, a vaudeville entitled La St-Louis des artistes announced the
opening of the most important artistic event in France during the Restoration,
the Salon of 1824. This article analyses popular theatre in relation to French
Romantic painting and emphasizes the link between popular spectacle, high art
and politics during the Restoration. The comparison of popular theatre and Romantic painting by artists like Eugène Delacroix and Charles-Emile Champmartin
underscores the "intermediality" of visual culture during the Restoration
and suggests the importance of popular culture for the critical debate over
Romanticism, for the innovative form of Romantic painting, and for state patronage
of this controversial art.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, a... more JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.
Oxford Art Journal, 2002
... 89105; Linda Nochlin, 'The Imaginary Orient' in The Politics of Vi... more ... 89105; Linda Nochlin, 'The Imaginary Orient' in The Politics of Vision (Harper & Row: New York, 1989), p. 42; Frederick Bohrer ... Philhellenic sympathies ran high among this group, and shortly after his homecoming, Champmartin painted Hugo's mistress Juliette Drouet (Fig. ...
Woman's Art Journal, 1997
... 1. Lizinka de Mirbel, Portrait of illhe 'r xs epil ripe-eol.iselt-Caroline, Duchesse... more ... 1. Lizinka de Mirbel, Portrait of illhe 'r xs epil ripe-eol.iselt-Caroline, Duchesse de Berry (1823), ed sihe sho l (l ct()mil t(O on llr miniature on ivory, 1 1.1 x 8.7 cm. ... Mirbel," Histoire des peintres de toutes les 6coles: Ecole franfaise, II (Paris: Jules Renouard, 1865), 51. 11. ...
The Art Bulletin, Dec 1, 1998
BOOK REVIEWS by John P Lambertson
French Studies a Quarterly Review, 2012
Nineteenth Century French Studies, 2006
Nineteenth Century French Studies, 2002
Papers by John P Lambertson
French Studies, Apr 1, 2012
output of the same period. Discussion of the different elements of the mise en scène, decor, musi... more output of the same period. Discussion of the different elements of the mise en scène, decor, music, and acting fostered by both companies is more inclusive and is both engaging and insightful. Detailed analysis and visual elucidation of scenic attempts to realize Maurice Denis’s vision of ‘la sensation transposée dans le plan ornemental’ (p. 45) go some way towards substantiating the publisher’s claim that this is the first French publication dedicated to the symbolist scenic aesthetic. This claim is further strengthened by means of a tantalizing discussion, in the opening chapter, of the spectral nature of audience engagement; here, the author makes a sensitive attempt to define the dreamlike engagement of the audience, who turn aside from the cumbersome reality of the scene before their eyes to become ‘un metteur en scène inconscient’ (p. 21). What is somewhat disappointing is the way in which scholarly references cited are not securely anchored in an overarching argumentative framework. The strength of this study lies less in its articulation of a persuasive, well-supported academic argument than in the vivacity of the writing and the opening up of the material to a general readership.
UMI Dissertation Services eBooks, 1994
Scholars have presented innumerable definitions of Romanticism, which are often predicated on the... more Scholars have presented innumerable definitions of Romanticism, which are often predicated on the ideologies of individualism and the avant-garde. In contrast, this dissertation argues French Romantic painting was actually defined in the realm of the bourgeois public sphere, where painters, the press, pamphleteers, agents of artistic institutions, and private citizens debated and ultimately determined the very nature of French Romantic painting.This study rejects the time-honored equation of French Romantic painting with Eugene Delacroix to maintain that the movement materialized through public debate at the Salon of 1824. Here, the public identified a coterie of Romantic painters from P.-N. Guerin's studio, whose art it felt challenged artistic tradition. Romanticism seen through the public sphere underscores that Guerin's students Leon Cogniet, Ary Scheffer, Xavier Sigalon, and Charles-Emile Champmartin were as central to the movement as was Delacroix. This dissertation also elucidates the centrality of the Count Forbin, Director of the Louvre, within public debate on Romanticism, and his patronage of this controversial art contradicts the widely held notion that officialdom rejected the movement.The contentious debate on Romanticism at the Salons of 1824 and 1827 encouraged the common assumption that Romanticism was an early avant-garde movement. Although publicly accused of challenging the sanctity of history painting and the humanistic mission of art, Romantic painters had thoroughly absorbed tradition during their long academic training and did not seek to rebel against their artistic heritage. Rather, their painting may be understood as an attempt to advance tradition as understood by the French Academy and taught by Guerin. The novelty of their art issued from a desire to convey the moral lessons of history painting to a modern audience absorbed with such popular cultural productions as horror novels and public executions. In such pictures as Champmartin's Massacre of the Janissaries, the Romantics actually advanced tradition by presenting a lesson to the French public on the nature of civilization through the techniques of melodrama. French Romanticism, therefore, transformed the entire character of history painting and was the last major artistic movement to develop from within tradition.U of I OnlyETDs are only available to UIUC Users without author permissio
Art Bulletin, Dec 1, 1998
Nineteenth-Century Art Worldwide, 2011
Nineteenth Century Theatre and Film, 2013
On 24 August 1824, a vaudeville entitled La St-Louis des artistes announced the opening of the mo... more On 24 August 1824, a vaudeville entitled La St-Louis des artistes announced the opening of the most important artistic event in France during the Restoration, the Salon of 1824. This article analyses popular theatre in relation to French Romantic painting and emphasises the link between popular spectacle, high art and politics during the Restoration. The comparison of popular theatre and Romantic painting by artists like Eugène Delacroix and Charles-Emile Champmartin underscores the ‘intermedialityrsquo; of visual culture during the Restoration and suggests the importance of popular culture for the critical debate over Romanticism, for the innovative form of Romantic painting, and for state patronage of this controversial art.
The Burlington Magazine, 2009
Charles-Emile Champmartin's recently rediscovered oil-sketch Portrait of Eugene Delacroix and... more Charles-Emile Champmartin's recently rediscovered oil-sketch Portrait of Eugene Delacroix and Alphonse Vee sheds new light on the early days of Romanticism. At the time the double-portrait was painted, Champmartin, Delacroix, and Vee were apprentices in Pierre-Narcisse Guerin's studio. The portrait remains with Vee's descendants and, according to family tradition, represents a young Delacroix standing slightly behind and to the side of Vee. It documents the camaraderie of Guerin's pupils, elucidates their apprenticeship, and underscores Champmartin's significance for the genesis of Romanticism.
Nineteenth-Century Art Worldwide
On 24 August 1824, a vaudeville entitled La St-Louis des artistes announced the opening of the mo... more On 24 August 1824, a vaudeville entitled La St-Louis des artistes announced the
opening of the most important artistic event in France during the Restoration,
the Salon of 1824. This article analyses popular theatre in relation to French
Romantic painting and emphasizes the link between popular spectacle, high art
and politics during the Restoration. The comparison of popular theatre and Romantic painting by artists like Eugène Delacroix and Charles-Emile Champmartin
underscores the "intermediality" of visual culture during the Restoration
and suggests the importance of popular culture for the critical debate over
Romanticism, for the innovative form of Romantic painting, and for state patronage
of this controversial art.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, a... more JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.
Oxford Art Journal, 2002
... 89105; Linda Nochlin, 'The Imaginary Orient' in The Politics of Vi... more ... 89105; Linda Nochlin, 'The Imaginary Orient' in The Politics of Vision (Harper & Row: New York, 1989), p. 42; Frederick Bohrer ... Philhellenic sympathies ran high among this group, and shortly after his homecoming, Champmartin painted Hugo's mistress Juliette Drouet (Fig. ...
Woman's Art Journal, 1997
... 1. Lizinka de Mirbel, Portrait of illhe 'r xs epil ripe-eol.iselt-Caroline, Duchesse... more ... 1. Lizinka de Mirbel, Portrait of illhe 'r xs epil ripe-eol.iselt-Caroline, Duchesse de Berry (1823), ed sihe sho l (l ct()mil t(O on llr miniature on ivory, 1 1.1 x 8.7 cm. ... Mirbel," Histoire des peintres de toutes les 6coles: Ecole franfaise, II (Paris: Jules Renouard, 1865), 51. 11. ...
The Art Bulletin, Dec 1, 1998
French Studies, Apr 1, 2012
output of the same period. Discussion of the different elements of the mise en scène, decor, musi... more output of the same period. Discussion of the different elements of the mise en scène, decor, music, and acting fostered by both companies is more inclusive and is both engaging and insightful. Detailed analysis and visual elucidation of scenic attempts to realize Maurice Denis’s vision of ‘la sensation transposée dans le plan ornemental’ (p. 45) go some way towards substantiating the publisher’s claim that this is the first French publication dedicated to the symbolist scenic aesthetic. This claim is further strengthened by means of a tantalizing discussion, in the opening chapter, of the spectral nature of audience engagement; here, the author makes a sensitive attempt to define the dreamlike engagement of the audience, who turn aside from the cumbersome reality of the scene before their eyes to become ‘un metteur en scène inconscient’ (p. 21). What is somewhat disappointing is the way in which scholarly references cited are not securely anchored in an overarching argumentative framework. The strength of this study lies less in its articulation of a persuasive, well-supported academic argument than in the vivacity of the writing and the opening up of the material to a general readership.
UMI Dissertation Services eBooks, 1994
Scholars have presented innumerable definitions of Romanticism, which are often predicated on the... more Scholars have presented innumerable definitions of Romanticism, which are often predicated on the ideologies of individualism and the avant-garde. In contrast, this dissertation argues French Romantic painting was actually defined in the realm of the bourgeois public sphere, where painters, the press, pamphleteers, agents of artistic institutions, and private citizens debated and ultimately determined the very nature of French Romantic painting.This study rejects the time-honored equation of French Romantic painting with Eugene Delacroix to maintain that the movement materialized through public debate at the Salon of 1824. Here, the public identified a coterie of Romantic painters from P.-N. Guerin's studio, whose art it felt challenged artistic tradition. Romanticism seen through the public sphere underscores that Guerin's students Leon Cogniet, Ary Scheffer, Xavier Sigalon, and Charles-Emile Champmartin were as central to the movement as was Delacroix. This dissertation also elucidates the centrality of the Count Forbin, Director of the Louvre, within public debate on Romanticism, and his patronage of this controversial art contradicts the widely held notion that officialdom rejected the movement.The contentious debate on Romanticism at the Salons of 1824 and 1827 encouraged the common assumption that Romanticism was an early avant-garde movement. Although publicly accused of challenging the sanctity of history painting and the humanistic mission of art, Romantic painters had thoroughly absorbed tradition during their long academic training and did not seek to rebel against their artistic heritage. Rather, their painting may be understood as an attempt to advance tradition as understood by the French Academy and taught by Guerin. The novelty of their art issued from a desire to convey the moral lessons of history painting to a modern audience absorbed with such popular cultural productions as horror novels and public executions. In such pictures as Champmartin's Massacre of the Janissaries, the Romantics actually advanced tradition by presenting a lesson to the French public on the nature of civilization through the techniques of melodrama. French Romanticism, therefore, transformed the entire character of history painting and was the last major artistic movement to develop from within tradition.U of I OnlyETDs are only available to UIUC Users without author permissio
Art Bulletin, Dec 1, 1998
Nineteenth-Century Art Worldwide, 2011
Nineteenth Century Theatre and Film, 2013
On 24 August 1824, a vaudeville entitled La St-Louis des artistes announced the opening of the mo... more On 24 August 1824, a vaudeville entitled La St-Louis des artistes announced the opening of the most important artistic event in France during the Restoration, the Salon of 1824. This article analyses popular theatre in relation to French Romantic painting and emphasises the link between popular spectacle, high art and politics during the Restoration. The comparison of popular theatre and Romantic painting by artists like Eugène Delacroix and Charles-Emile Champmartin underscores the ‘intermedialityrsquo; of visual culture during the Restoration and suggests the importance of popular culture for the critical debate over Romanticism, for the innovative form of Romantic painting, and for state patronage of this controversial art.
The Burlington Magazine, 2009
Charles-Emile Champmartin's recently rediscovered oil-sketch Portrait of Eugene Delacroix and... more Charles-Emile Champmartin's recently rediscovered oil-sketch Portrait of Eugene Delacroix and Alphonse Vee sheds new light on the early days of Romanticism. At the time the double-portrait was painted, Champmartin, Delacroix, and Vee were apprentices in Pierre-Narcisse Guerin's studio. The portrait remains with Vee's descendants and, according to family tradition, represents a young Delacroix standing slightly behind and to the side of Vee. It documents the camaraderie of Guerin's pupils, elucidates their apprenticeship, and underscores Champmartin's significance for the genesis of Romanticism.
Nineteenth-Century Art Worldwide