art bulletin of nationalmuseum stockholm volumes...

Art Bulletin of Nationalmuseum Stockholm Volumes 24 – 25

The Troubadour Style in French Romanticism

Magnus OlaussonDirector of Collections

Art Bulletin of Nationalmuseum Stockholm Volumes 24 – 25

Foreword

Dr. Susanna PetterssonDirector General

Associate Professor

Art Bulletin of Nationalmuseum Volumes 24 –25, 2017 – 2018

(An Unpublished Drawing on Panel by Salvator Rosa Depicting a Landscape with a Philosopher and Astrological Symbols, Fig. 6, p. 22).© The Capitoline Museums, Rome. Archivio Fotografico dei Musei Capitolini, Roma, Sovrinten-denza Capitolina ai Beni Culturali.(A Drawing for Pietro da Cortona’s Rape of the Sabine Women, Fig. 2, p. 28).© Bibliothèque Nationale France, Paris.(The Entry of Queen Christina into Paris in 1656, by François Chauveau, Fig. 2, p. 32).© Finnish National Gallery/ Sinebrychoff Art Museum, Helsinki. Photo: Jaakko Lukumaa(Self-Portraits and Artists’ Portraits as Portraits of Friends – A Selection of Paintings and Drawings, Fig. 2, p. 72).© IKEA.(Spika and Tajt – Alternative Furniture for a Young Generation, Fig. 5, p. 88).© Moderna museet, Stockholm(Henry B. Goodwin – A Visual Artist with the Camera as His Tool, Fig. 2, p. 90).© The J. Paul Getty Museum, Los Angeles. Digital image courtesy of the Getty’s Open Content Program.(Per Krafft the Younger and Belisarius – One of the Foremost Swedish Examples of Neoclassical Painting in the French Style, Figs. 3–4, pp. 113–114).© Albert Bonniers Förlag, Stockholm(Nils Kreuger’s Drafts for the Covers of Bland Franska Bönder (1889) by August Strindberg and Ord och Bild (1897), Fig. 2, p. 137). © Bukowskis auktioner, Stockholm(Nils Kreuger’s Drafts for the Covers of Bland Franska Bönder (1889) by August Strindberg and Ord och Bild (1897), Fig. 3, p. 138; Acquisitions 2017: Exposé, Fig, 3, p. 178).© Pia Ulin.(The Nationalmuseum’s New Restaurant – An Artistic Collaboration, Figs. 1, 2, 4, and 5, pp. 149, 150, 152 and 153).© Wikimedia Commons/ Public Domain(Per Krafft the Younger and Belisarius – One of the Foremost Swedish Examples of Neoclassical Painting in the French Style, Fig 3, p. 112 and In the Breach of Decorum: Painting between Altar and Gallery, Figs. 1–8, 10–12, and 14–18, pp. 155–172).© Wikimedia Commons/ CC BY 3.0

Art Bulletin of Nationalmuseum, Stockholm, is published with generous support from the Friends of the Nationalmuseum.

Nationalmuseum collaborates with Svenska Dagbladet, Bank of America Merrill Lynch, Grand Hôtel Stockholm, The Wineagency and Nationalmusei Vänner.

Cover IllustrationÉtienne Bouhot (1780–1862), View of the Pavillon de Bellechasse on rue Saint-Dominique in Paris, 1823. Oil on canvas, 55.5 x 47 cm. Purchase: the Hedda and N. D. Qvist Fund. Nationalmuseum, NM 7434.

PublisherSusanna Pettersson, Director General.

EditorsLudvig Florén, Magnus Olausson and Martin Olin.

Editorial CommitteeLudvig Florén, Carina Fryklund, Eva Lena Karlsson, Audrey Lebioda, Ingrid Lindell, Magnus Olausson, Martin Olin, Cilla Robach and Lidia Westerberg Olofsson.

PhotographersNationalmuseum Photographic Studio/Linn Ahlgren, Erik Cornelius, Anna Danielsson, Cecilia Heisser, Per-Åke Persson and Hans Thorwid.

Picture EditorsLudvig Florén and Rikard Nordström.

Photo Credits© Le Gallerie degli Uffizi, Palazzo Pitti, Florence. Gabinetto Fotografico delle Gallerie degli Uffizi.(An Unpublished Drawing on Panel by Salvator Rosa Depicting a Landscape with a Philosopher and Astrological Symbols, Fig. 3, p. 19).© Teylers Museum, Haarlem. (An Unpublished Drawing on Panel by Salvator Rosa Depicting a Landscape with a Philosopher and Astrological Symbols, Fig. 5, p. 21).© The State Hermitage Museum, St. Petersburg. Photo by Pavel Demidov.

(In the Breach of Decorum: Painting between Altar and Gallery, Fig. 9, p. 163).© Wikimedia Commons/ CC BY 2.0(In the Breach of Decorum: Painting between Altar and Gallery, Fig. 13, p. 167).© The John & Mable Ringling Museum of Art, Sarasota. Bequest of John Ringling, 1936. (In the Breach of Decorum: Painting between Altar and Gallery, Fig. 19, p. 173).© Uppsala auktionskammare, Uppsala (Acquisitions 2017: Exposé, Fig 4, p. 178).

Graphic DesignBIGG

LayoutAgneta Bervokk

Translation and Language EditingClare Barnes, Gabriella Berggren, and Martin Naylor.

PublishingLudvig Florén, Magnus Olausson, and Martin Olin (Editors) and Ingrid Lindell (Publications Manager).

Art Bulletin of Nationalmuseum is publishedannually and contains articles on the history and theory of art relating to the collections of theNationalmuseum.

NationalmuseumBox 16176SE–103 24 Stockholm, Swedenwww.nationalmuseum.se

© Nationalmuseum, the authors and the owners of the reproduced works.

ISSN 2001-9238

105 Art Bulletin of Nationalmuseum Volumes 24 –25, 2017 – 2018

ACQUISITIONS/THE TROUB ADOUR STYLE IN FRENCH ROMANTICISM

The Troubadour Style in French Romanticism

Magnus OlaussonDirector of Collections

Fig. 1 Jean-Lubin Vauzelle (1776–1837), View from the Cloister of Saint-Jean-des-Vignes in Soissons, c. 1823. Watercolour and chalk on paper, 323 x 417 mm. Purchase: the Hedda and N. D. Qvist Fund. Nationalmuseum, NMH 3/2018.

106Art Bulletin of Nationalmuseum Volumes 24 –25, 2017 – 2018

entire or individual parts of monuments, placing them in an authentic historical setting – the Couvent des Petits-Augustins. One of the artists who diligently recorded interiors of this museum in the early 19th century was Jean-Lubin Vauzelle.3 He was also the author of one of the Nationalmuseum’s recent acquisitions, View from the Cloister of Saint-Jean-des-Vignes in Soissons (Fig. 1), from around 1823. The drawing served as a design for a lithographed illustration included in Baron de Taylor’s major survey of historic monuments in France, Voyages pitto-resques et romantiques dans l’ancienne


monarchs and their families violated; other symbols of royal power and the Christian church were also destroyed.

From 1791 on, though, there were moves to save threatened monuments, a driving force in that context being Alexandre Lenoir, an artist and the creator of the Musée des Monuments Français, which opened to the public three years later.2 The museum became a refuge for a wide range of sculptural and architectural works from the Middle Ages onwards that would otherwise have been lost for ever. Lenoir skilfully managed to create a variety of scenes, known as fabriques, from

In 1977, during construction work in the courtyard of the Hôtel Moreau in the 9th arrondissement of Paris, a series of frag-ments of medieval sculptures were found. Several of them turned out to be the lost Jewish kings that had been removed from Notre-Dame during the French Revolution. They had been ritually decapi-tated, probably because the revolutionary vandals believed them to represent ancient French monarchs.1 This was presumably at the same time as the royal tombs in the basilica of Saint-Denis were desecrated in late 1793 and early 1794. Not only were the human remains of France’s former

Fig. 2 Henri Louis Baup (1766–1855) after Fleury François Richard (1777–1852), Charles VII Writing a Farewell Letter to Agnès Sorel, 1810. Produced by Guerhard & Dihl. Enamel on porcelain, 37.5 x 28.5 cm. Purchase: the Wiros Fund. Nationalmuseum, NM 7437.

Fig. 3 Henri Louis Baup (1766–1855) after Fleury François Richard (1777–1852), Valentine de Milan, 1810. Produced by Guerhard & Dihl. Enamel on porcelain, 37.5 x 28.5 cm. Purchase: the Wiros Fund. Nationalmuseum, NM 7436.



Fig. 4 Marie-Philippe Coupin de la Couperie (1773–1851), Raphael Adjusts Fornarina’s Hair before Painting Her Portrait, 1824. Oil on canvas, 106 x 89 cm. Purchase: the Hedda and N. D. Qvist Fund. Nationalmuseum, NM 7498.


and lover hung at the Duchess of Ragusa’s chateau of Viry-Châtillon, where, inciden-tally, she had a Neo-Gothic garden pavilion built, fitted out in the same style.

Another of the more celebrated Troubadour painters was Jean-Antoine Laurent (1763–1832), who also included the Empress Joséphine among his patrons. His Richard the Lionheart Answers Blondel de Nesle’s Singing (Fig. 5), painted in 1822, once belonged to the artist François Gérard. Here, Laurent chose a subject that was the quintessence of the Troubadour style. It was based on the medieval legend of how the troubadour Blondel de Nesle, by his singing, managed to track down the place where the Crusader king Richard the Lionheart was held captive. The artist records the moment at which the king responds to the singer’s vocal message. Like several of his fellow artists, such as Fleury-François Richard, Laurent has made use of the window motif and the special effect which the backlighting produces. He and the other artists of the Troubadour style found inspiration for their polished, highly detailed paintingin the Dutch art of the 17th century.12 In Laurent’s case, the technique employed is also evidence of his experience of miniature painting.

The last in the series of acquisitions from the heyday of the Troubadour style was painted by Claudius Jacquand (1803–1878). He was a pupil of Fleury-François Richard and, like him, came from Lyon. Jacquand moved to Paris in 1836 to study at the Academy of Fine Arts. The following year he painted the work recently acquired by the Nationalmuseum, The Night of St. Bartholomew 1572 (Fig. 6), which was exhibited at the 1838 Salon.13 Here he demonstrates a very different kind of painting, with broader brushstrokes and greater objectivity, compared with the sweet idealisation that had previously marked the Troubadour genre. Despite this, Jacquand experienced a short period of success, which happened to coincide with the creation of King Louis-Philippe’s museum of French history at Versailles –

order appears to have been placed at the time of her divorce from the emperor in 1810. At the manufactory, the artist Henri Louis Baup painted a copy of Fleury-François Richard’s work on a large porcelain plaque, probably in preparation for the large service. At the same time, Baup made a copy of Richard’s companion piece, Charles VII Writing a Farewell Letter to Agnès Sorel, it too owned by the empress. Both these porcelain paintings, reproducing subjects from the service, have been acquired by the National-museum (Figs. 2–3).

The Empress Joséphine is generally described as an important promoter of the Troubadour style. As well as several works by Fleury-François Richard, she had many other examples of the genre in her picture gallery at Malmaison. One was The Ill-Fated Love of Francesca de Rimini by Marie-Philippe Coupin de la Couperie, which the empress had acquired at the 1812 Salon.9 Joséphine’s predilection for the Troubadour style was something she shared with one of her close confidantes, Anne Marie Hortense Perrégaux, Duchess of Ragusa (1779–1857), the wife of Marshal Marmont.10 After the empress’s death, the duchess continued to acquire paintings of this kind. From Coupin de la Couperie she commissioned Raphaël ajustant les cheveux de la Fornarina avant de la peindre, which was shown at the Salon in 1824 (Fig. 4).11 This painting was recently acquired by the Nationalmuseum and is one of the best examples of the genre. The subject, featur-ing the famous Renaissance artist, shows that anecdotal depictions from the Renais-sance also came under the heading of the Troubadour style, even though the Middle Ages were by then at an end. Nor was this a new subject. Ingres had made a version of it back in 1814, although it was far more restrained in colour temperature than Coupin de la Couperie’s work. The latter is a virtuoso example of fine painting, with an almost enamel-like lustre, a reminder that the artist began his career as a porcelain painter at the Sèvres manufactory. His image of Raphael with his favourite model


France (1820–63).4 This ambitious publication was one in a series of literary works, buildings, and works of visual and decorative art that turned the spotlight on France’s medieval heritage. Interest in the French Middle Ages did not begin, though, with the sense of loss arising from the complete or partial destruction of historic monuments in the wake of the French Revolution. It had existed even under the Ancien Régime, but the craze for early French history gathered fresh momentum and intensity as a result of the vandalism of the Revolution.5 The Troubadour style has become the umbrella term for this phenomenon. One of its distinguishing marks was its mouldability, its capacity to assume different meanings. It would be embraced in turn by the First Empire, the Restoration and the July monarchy – political regimes which, while they fought each other, were all equally keen to adopt the style and make it their own.6 The reason was that it was considered to symbolise French national identity and therefore offered legitimacy. Knightly virtues, extolled by the troubadours, gave the style its name.

One of the artists who drew inspiration from the Musée des Monuments Français was Fleury-François Richard (1777–1852). In particular, a funerary monument to Valentina Visconti, Duchess of Orléans, had seized his imagination. This, along with the medieval stained-glass windows which Lenoir had salvaged and set up in the museum, provided the inspiration for the work that established Richard’s reputation, Valentine de Milan Mourning her Husband, the Duke of Orléans.7 It was exhibited at the Salon of 1802, attracted considerable attention and was acquired by Joséphine Bonaparte, wife of the first consul, for her art collections at Malmaison. This painting is generally regarded as the foremost example of the Troubadour style. Later, as empress, Joséphine commissioned the Paris manu-factory of Dihl et Guérard to produce a porcelain service, reproducing this and other paintings from her collection.8 The



Fig. 5 Jean-Antoine Laurent (1763–1832), Richard the Lionheart Answers Blondel de Nesle’s Singing, 1822. Oil on canvas, 48 x 39 cm. Purchase: the Wiros Fund. Nationalmuseum, NM 7465.


À toutes les gloires de la France. When he attempted to become the museum’s director following the abolition of the monarchy in 1848, however, he failed. Contemporary expectations of history painting were now very different, and the days of the Troubadour style were at an end.

Notes:1. Giscard d’Estaing, Les Rois retrouvés, Paris 1977.2. Alexandra Stara, The Museum of French Monuments 1795–1816: “killing Art to Make History”, Ashgate 2013.3. L’Invention du passée: Gothique mon amour … 1802–1803 (exh. cat.), Céline Guichard (ed.), Monastère royal de Brou, Bourg-en-Bresse, Paris 2014, cat. nos. 1–2, pp. 86–87 (text Jean-Marie Bruson).4. Lithographed by Adrien Dauzats (1804–1868), cf. Elsa Cau, Le style Troubadour, l’autre romantisme, Montreuil 2017, p. 10, fig. 58.5. François Pupil, Le Style Troubadour ou la nostalgie du bon vieux temps, Nancy 1985, is still regarded as a standard work. Pupil draws attention to the long history of this type of genre painting and the various phases in its development, both before and after the Revolution.6. See Cau 2017, pp. 67–79. Cf. Pupil 1985, p. 426.7. Jean-François Luneau, “Le vitrail dans la peinture de genre ‘anecdotique’”, in L’Invention du passée, Paris 2014, pp. 30–39. Cf. Pupil 1985, p. 125.8. Staging Power: Napoleon. Charles John. Alexander, Nationalmuseum exh. cat. 661, Magnus Olausson & Eva-Lena Karlsson (eds.), Stockholm 2010, cat. nos. 342–343, pp. 352–353 (text Irina Sokolova).9. Now in the Napoleon Museum, Schloss Arenenberg. Cf. Pupil 1985, p. 423.10. Correspondance, 1782–1814 / Impératrice Joséphine; édition établie, présentée et annotée par Bernard Chevallier, Maurice Catinat et Christophe Pincemaille, Paris 1996, letter no. 90. Cf. an undated letter from the empress to the Duchess of Ragusa, thanking her friend for some drawings she had sent (“Madame la duchesse de Raguse, j’ai reçu avec plaisir les dessins que vous m’avés envoyés, mais je pense avec regret à votre prochain départ, votre absence sera pour moi une privation terrible, jusqu’à ce que vous m’en dédommagerés en me donnant de vos nouvelles”, see https://www.viali-bri.net/years/items/1232597/1779-beauharnais-josephine-de-empress-of-the-autograph-letter-signed-josephine-n-p).11. Oil on canvas, 81.5 x 65 cm, signed and dated on the lower part of the dress: “Fit ... divi Raphaelis Ur… [Urbinas] memoriam. P. Coupin faciebat 1824”. In the Salon catalogue it is listed as no. 380.12. Pupil 1985, p. 414.13. 1838 Salon, no. 959.


Fig. 6 Claudius Jacquand (1803–1878), The night of St. Bartholomew 1572, 1837. Oil on canvas, 61.5 x 50.5 cm. Purchase: the Wiros Fund. Nationalmuseum, NM 7466.

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