Sylvain Bédard - Academia.edu (original) (raw)
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Papers by Sylvain Bédard
RACAR : Revue d'art canadienne, 1990
This article examines a work painted by David in Rome in 1779 when t.he artist was a pensioner of... more This article examines a work painted by David in Rome in 1779 when t.he artist was a pensioner of the Ring in the Academy of France (1775-80). An academie figure study on the theme of St. Jerome, the work was executed in the framework of assignments required of young pensioners at the time. Since its "reappearance" 40 years ago, the St. Jerome has received but little attention until now from Davidian criticism. An exception was Antoine Schnapper's initial investigation of the work in an important article in the Revue du Louvre (1974) where he sought to establish a chronology of David's works from his first stay in Rome. Schnapper noted for example the "strongly Caravaggesque character" of the painting, which he related to Ribera's aesthetic and also to that of the Bolognese who often treated the subject, Guercino in particular. But
RACAR Revue d art canadienne, 1994
I n this article, the author proposes that the physiognomy of the painter Jacques-Louis David sho... more I n this article, the author proposes that the physiognomy of the painter Jacques-Louis David should be recognized in a Portrait d'homme belonging to the Musée Bonnat in Bayonne.This comparison is first of ail based on the fairly close resemblance that exists be tween this head, painted by Nicolas-Bernard Lépicié (1735-84), and reliable, known effigies of David, such as his self-portrait of 1794 in the Louvre. It must be said that the quite particular characteristics of the painter hâve always facilitated his identification. David, in fact, had the
Revue De L Art, 2014
David's Patrocles: an enigmatic route finally resolved? The "Patrocles" in the Cher... more David's Patrocles: an enigmatic route finally resolved? The "Patrocles" in the Cherbourg museum would appear to be a key work from David's first stay in Rome when he was a "pensionnaire du roi" at the Academie de France (1755-1780). This study re-examines the historical background of the canvas, which until now, has remained vague on many points, while placing the work in the special context of the statutory duties of the Roman residents, obliged to produce an annual study painted after a live model. This article above all provides the occasion for a reevaluation of the "Patrocles" as catalyst of the personal style of David, this severe manner, partially borrowed from the Antique that the artist developed just before his departure for Rome, which makes this "Academie d'homme", an exercise supposedly pedagogical, his first truly "Neoclassical" creation.
RACAR : Revue d'art canadienne, 1990
This article examines a work painted by David in Rome in 1779 when t.he artist was a pensioner of... more This article examines a work painted by David in Rome in 1779 when t.he artist was a pensioner of the Ring in the Academy of France (1775-80). An academie figure study on the theme of St. Jerome, the work was executed in the framework of assignments required of young pensioners at the time. Since its "reappearance" 40 years ago, the St. Jerome has received but little attention until now from Davidian criticism. An exception was Antoine Schnapper's initial investigation of the work in an important article in the Revue du Louvre (1974) where he sought to establish a chronology of David's works from his first stay in Rome. Schnapper noted for example the "strongly Caravaggesque character" of the painting, which he related to Ribera's aesthetic and also to that of the Bolognese who often treated the subject, Guercino in particular. But
RACAR Revue d art canadienne, 1994
I n this article, the author proposes that the physiognomy of the painter Jacques-Louis David sho... more I n this article, the author proposes that the physiognomy of the painter Jacques-Louis David should be recognized in a Portrait d'homme belonging to the Musée Bonnat in Bayonne.This comparison is first of ail based on the fairly close resemblance that exists be tween this head, painted by Nicolas-Bernard Lépicié (1735-84), and reliable, known effigies of David, such as his self-portrait of 1794 in the Louvre. It must be said that the quite particular characteristics of the painter hâve always facilitated his identification. David, in fact, had the
Revue De L Art, 2014
David's Patrocles: an enigmatic route finally resolved? The "Patrocles" in the Cher... more David's Patrocles: an enigmatic route finally resolved? The "Patrocles" in the Cherbourg museum would appear to be a key work from David's first stay in Rome when he was a "pensionnaire du roi" at the Academie de France (1755-1780). This study re-examines the historical background of the canvas, which until now, has remained vague on many points, while placing the work in the special context of the statutory duties of the Roman residents, obliged to produce an annual study painted after a live model. This article above all provides the occasion for a reevaluation of the "Patrocles" as catalyst of the personal style of David, this severe manner, partially borrowed from the Antique that the artist developed just before his departure for Rome, which makes this "Academie d'homme", an exercise supposedly pedagogical, his first truly "Neoclassical" creation.