Uniting the Arts to Stage the Nation: Le Sueur's <i>Ossian</i> (1804) in Napoleonic Paris

Andries, Annelies

doi:10.1017/s095458672000004x

Cited by 4 publications

(2 citation statements)

References 7 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Eustache Le Sueur was a prominent figure in the context of classical and baroque art. His work exemplified a synthesis of various art forms, as observed in the coordination between music and visual elements in his piece "Ossian" (Andries, 2019). This synthesis was characterised by the fusion of harmony, stage action, machinery, local colour, instrumentation, and melody into a coherent unity where no single genre dominated.…”

Section: Eustache Le Sueur: a 17th-century French Paintermentioning

confidence: 99%

Perspective Analysis of Eustache Le Sueur and His Paintings

Yaman

2023

SPACE IJOCP

View full text Add to dashboard Cite

Eustache Le Sueur, a 17th-century French painter, is celebrated for his contributions to the Baroque movement. His artistry, profoundly influenced by Italian masters like Raphael and Poussin, is epitomised in "The Life of Saint Bruno", a series detailing the Carthusian founder's life. Notably, Sueur's exceptional skill in perspective use is a hallmark of his work. Perspective in art, the technique to create depth and distance illusions on a flat surface, was adeptly wielded by Sueur. He often employed "linear perspective", a method establishing a vanishing point with diverging lines, thus creating depth perception. This approach not only imparted a three-dimensional feel but also infused his paintings with dynamism and drama. By varying object size and placement, he enhanced the narrative and emotional intensity of his scenes. Sueur's mastery of perspective significantly contributes to his enduring legacy. His innovative use of this technique achieved depth and brought vibrancy and energy to his compositions. Today, his influence persists in modern painting, underscoring his pivotal role in the Baroque era and the enduring significance of his perspective techniques.

show abstract

Section: Eustache Le Sueur: a 17th-century French Paintermentioning

confidence: 99%

Perspective Analysis of Eustache Le Sueur and His Paintings

Yaman

2023

SPACE IJOCP

View full text Add to dashboard Cite

show abstract

“…From the articles, it appears that these theatrical encounters often disclose the effects of wartime-induced moments of self-reflection and alter processes of identity formation. It is perhaps unsurprising that the latter is a recurring theme; scholars have long contended that the eighteenth-century developments of 'nation' and 'nationhood' gained momentum during the Revolutionary and Napoleonic wars, and theatre tends to be discussed as a prominent tool in contemporary practices in nation-building (Hambridge, 2015;Andries, 2019). Still, the articles complicate the existing narratives by highlighting the fluidity of what 'nation' meant around 1800 as it intersected with other markers of identity.…”

Section: Overview and Themesmentioning

confidence: 99%

Theatrical Encounters During the Revolutionary and Napoleonic Wars

Andries

Siviter

2021

Journal of War & Culture Studies

Self Cite

View full text Add to dashboard Cite

We are at war', the French president, Emmanuel Macron repeated six times in a martial tone during a speech on 16 March 2020, calling for a 'general mobilization' (Pietralunga & Lemarié, 2020). In the face of the Covid-19 crisis, Macron and other political leaders resorted to wartime rhetoric to justify their governments' drastic emergency measures. This was a problematic move, since this was not a war in any conventional sense of the word; citizens were not called to leave their homes and families to go fight for their country but they were ordered to stay home, to avoid gatherings and travel in order to minimize physical interaction. Using a rhetoric of 'total war' has become a popular stratagem of world leaders during the pandemic when seeking their populations' compliance with the imposed measures. After all, an important characteristic of the concept 'total war' is that it entails 'the complete mobilization of a society's resources to achieve the absolute destruction of an enemy' (Bell, 2007: 7). With a highly contagious virus as the enemy, it meant that theatres and concert venues around the world were to close their doors and cancel all performances for the foreseeable future.Many artists started to advocate for the arts, framing their efforts in reference to this crisis: theatre, opera, and music were championed especially for their supposed potential to offer comfort and distraction. For instance, Joyce DiDonato and Piotr Beczała organized a house concert performing selections from the cancelled Metropolitan Opera production of Jules Massenet's Werther (1887). The plot of Goethe's 1774 novel, on which this opera was based, had first caused furore on stages across Europe around 1800 during the Revolutionary and Napoleonic wars (Cristea, 1971). Over two centuries later, the plot was rehearsed against a new background of crisis, with DiDonato stating that they performed 'at this moment of huge uncertainty' with 'the intention of remembering that there is beauty in the world, there is

show abstract

Mobilizing Historicity and Local Color inFernand Cortez(1809)

Andries¹

2022

French Historical Studies

View full text Add to dashboard Cite

This article interrogates why the creators of Napoleonic opera, specifically of Gaspare Spontini's Fernand Cortez (1809), were so eager to publicize their source-based method for representing history. The article frames this eagerness in broader developments toward historical realism in nineteenth-century France and its epistemological claims, namely, that history provides true knowledge about the past. These epistemological claims are foundational to how historians and artists sought to mobilize historicity and local color to champion narratives of empire as founded on the supposedly transhistorical process of civilization. In Fernand Cortez these mobilizations revised eighteenth-century skepticism toward sixteenth-century colonialism into a narrative of imperial success that the government hoped would garner support for Napoléon's Spanish campaign. Ultimately, the emphasis on historicist detail undermined the opera's specific propagandistic message, but it did provide a model that popularized and disseminated general ideologies about empire and civilization beyond France's intellectual circles. Pourquoi les créateurs d'opéras napoléoniens étaient-ils si zélés de souligner que leur méthode de représenter l'histoire s'appuyait sur des sources de référence ? L'analyse de Fernand Cortez de Gaspare Spontini (1809) montre que ce désir s'est développé dans le cadre d'une épistémologie du « réalisme historique » qui promet une véritable connaissance du passé. Cette confiance épistémologique a poussé les historiens et les artistes à mobiliser l’ « historicité » et la « couleur locale » pour propager des récits d'empire fondés sur le processus de civilisation. Dans Cortez, ces techniques visaient à transformer le scepticisme des philosophes vis-à-vis le colonialisme du XVIe siècle en un récit de succès, en vue de susciter l'enthousiasme pour la guerre napoléonienne contre l'Espagne. Bien que ces détails historisants aient brouillé le message propagandiste de Cortez, cet opéra a réussi à fournir un modèle qui sert à vulgariser et diffuser des idéologies d'empire et de civilisation au-delà du monde savant.

show abstract

Uniting the Arts to Stage the Nation: Le Sueur's Ossian (1804) in Napoleonic Paris

Cited by 4 publications

References 7 publications

Perspective Analysis of Eustache Le Sueur and His Paintings

Perspective Analysis of Eustache Le Sueur and His Paintings

Theatrical Encounters During the Revolutionary and Napoleonic Wars

Mobilizing Historicity and Local Color inFernand Cortez(1809)

Contact Info

Product

Resources

About