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Description
English:

Identifier: gazettedesbeauxa44pari (find matches)
Title: Gazette des beaux-arts
Year: 1859 (1850s)
Authors:
Subjects: Art Collectors and collecting
Publisher: (Paris, s.n.)
Contributing Library: Wellesley College Library
Digitizing Sponsor: Boston Library Consortium Member Libraries

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
Click here to view book online to see this illustration in context in a browseable online version of this book.

Français : Texte apparaissant avant l'image :

Les eaux ternies où le soleil sait bien mettre un éclair, commencent à gambader étrangement sur un fond de blancheur, au son des crotales et darboukas, se déhanchant, se démenant, gesticulant comme des singes ivres. La sueur ruisselle surfeurs masques de bronze, et leurs grosses lèvres épanouies par de larges rires laissent briller des lueurs de nacre. »

L'audience chez un califat dans le Sahara, qui appartient aujourd'hui à M. Tabourier, et dont on a vu une répétition à l'exposition du quai Malaquais, n'éveille pas un moindre enthousiasme sous la plume de Gautier. De fait c'est un superbe et vigoureux tableau, tout enflammé d'oppositions lumineuses, d'une exécution large, tranquille et franche, métallisée par les ondes vermeilles d'un soleil qui exalte les blancs et fait vibrer les ombres. La composition est d'une simplicité émouvante. Un groupe de cavaliers s'est arrêté devant le haut péristyle en troncs de palmiers crépis à la chaux sous lequel le caïd, accroupi dans son burnous.
English: Text Appearing Before Image:

Tarnished waters where the sun knows how to cast a flash, begin to gambol strangely against a background of whiteness, to the sound of crotalas and tarboukas, swaying, wriggling, gesticulating like drunken monkeys. Sweat pours over their bronze masks, and their large lips, stretched into broad grins, reveal glimmers of pearl.

An audience with a caliph in the Sahara, which now belongs to Mr. Tabourier, and whose repetition was seen at the exhibition at Quai Malaquais, doesn’t spark any less enthusiasm under Gautier's pen. Indeed, it is a magnificent and vigorous painting, all aflame with luminous contrasts, executed with breadth, tranquility, and boldness, metallized by the crimson waves of a sun that exalts the whites and makes the shadows vibrate. The composition has a moving simplicity. A group of horsemen has stopped in front of the high peristyle made of palm trunks plastered with lime, under which the caïd, crouching in his burnous
Français : Texte apparaissant avant l'image :

La rue Bab-el-Gharbi, à El-Aghouat. (Tableau d'Eugène Fromentin au Salon de 1859.) 252 Gazette des beaux-arts, de laine, le visage bronzé, farouche, solennel, donne audience au milieu de son entourage. Le chef est descendu de cheval et vient lui donner l'accolade. La lumière frappe le fronton du péristyle et coupant la muraille du fond, comme dans la Noce juive de Delacroix (1798–1863), concentre l'effet sur le groupe central et fait saillir toutes ces figures drapées de blanc.

C'est bien là le Sahara avec sa poésie violente, héroïque, féodale. Gautier déclare ce tableau lun des plus parfaits qu'ait encore produits M. Eugène Fromentin, qui, dit-il, « s'est fait une manière à lui originale, spirituelle et vive ». Je ne saurais contredire à ce jugement. Toutefois un tableau, exposé à ce même salon et que je considère comme le chef-d'œuvre même de Fromentin, m'émeut davantage encore, c'est le Simoun. Cette petite toile, qui ne mesure que 0,76 de haut sur 1,08 de large, est en vérité une [œuvre magistrale].

English: Text Appearing After Image:

Painting title: Un rue à el-Aghouat (later known as La rue Bab el-Gharbi [The Bab El Gharbi Road] à el-Aghouat [in el-Aghouat] → "el-Aghouat" now spelled Laghouat) (painting by Eugène Fromentin, Le salon de 1859; p. 120.) The leader, wrapped in wool, with a bronzed, fierce, and solemn face, holds an audience in the midst of his entourage. He has dismounted his horse and steps forward to embrace him. Light strikes the front of the peristyle, cutting across the background wall, as in Eugène Delacroix's (1798–1863) Jewish Wedding [in Morocco], focusing attention on the central group and making the white-draped figures stand out.

This is indeed the Sahara, with its violent, heroic, and feudal poetry. Gautier declares this painting to be one of the finest Eugène Fromentin has ever produced, stating that 'he has developed a style all his own, original, spiritual, and lively.' I cannot disagree with this judgment. However, a painting exhibited at the same Salon, which I consider Fromentin's masterpiece, moves me even more: The Simoon. This small canvas, measuring only 0.76 meters high and 1.08 meters wide, is truly a work of art

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https://www.flickr.com/photos/internetarchivebookimages/14781600982/

Author Internet Archive Book Images
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Volume
InfoField
v.44
Flickr tags
InfoField
  • bookid:gazettedesbeauxa44pari
  • bookyear:1859
  • bookdecade:1850
  • bookcentury:1800
  • booksubject:Art
  • booksubject:Collectors_and_collecting
  • bookpublisher:_Paris__s_n__
  • bookcontributor:Wellesley_College_Library
  • booksponsor:Boston_Library_Consortium_Member_Libraries
  • bookleafnumber:273
  • bookcollection:Wellesley_College_Library
  • bookcollection:blc
  • bookcollection:americana
Flickr posted date
InfoField
30 July 2014

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26 September 2015

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