20世紀初頭におけるコローの人物画の受容について

• 古川 法子

  成城大学文学研究科博士課程後期修了

書誌事項

タイトル別名

• The Reception Camille Corot's Figure Painting in the Early 20th Century

抄録

Camille Corot (1896-75), one of the greatest French landscape painters, devoted the last part of his career to figure painting. In spite of several studies undertaken on Corot's figure works, little has been said so far about how it was posthumously received and its influence. This paper seeks to show how Corot's figure painting became much admired by Cubist artists and critics during the 1900-30s period, as is evident from numerous articles from journals or magazines, and from various artists' works of the same period. First of all, I shall discuss Corot's raising reputation during the 1900-10s period. As far as publications are concerned, the most important ones were Robout and Moreau-Nelaton's Catalogue Raisonne, which appeared in 1905. For the first time, the artist's career was presented in its entirety. The subsequent major donations to the Louvre by Moreau-Nelaton, as well as a private collector Rouart's sale of Woman in blue brought to light the excellence of Corot's figure works and attracted public attention. Moreover, the 1909 Salon d'Automne showed a set of Corot's figure pieces that caught the attention of the public, critics and contemporary artists. They praised the simplicity, freshness and naivety taken directly from nature in the early sketches and figures, and saw in the artist a precursor of Impressionism. Secondly, I shall examine Corot's influence on cubist art. Pablo Picasso (1881-1973), who sought to refine his plastic vocabulary from French masters, found classical and primitive elements in Corot's figures. For example, Picasso painted his 'woman with mandolin' with the same type of Italian costume that we find in Corot. He even made a copy of Corot's Mademoiselle de Foudras (1872). However, the most obvious instance of Corot's influence on the cubists is Juan Gris's (1887-1927) Woman with mandolin, in 1916. He transformed the depicted figure and her musical instrument according to the Cubist plastic system, while preserving the poetics and simplicity of Corot's art. These examples show the extent to which the avant-garde, at that time, greatly admired and respected his art. Finally, I shall highlight the Purists' enthusiasm for Corot in the 1920-30s together with the revival of the great 'French' tradition. After World War I, the Purist artists and critics actively strove to retrieve the 'essence' of the French tradition and to recover its own values. For instance, critics and writers in L'Esprit Nouveau and Document praised the sense of 'order', 'harmony' and 'reason' in Corot's works, whose sources were to be found in the French masters. This was also the time when Paul Jamot, cutaror of the Musee du Louvre, played an active role to show how artists such as Le Nain, Poussin, Chardin, Ingres and Corot all belonged to the same traditional French lineage - something that was clearly displayed in the exhibition of the Orangerie in 1936. Thus, the great reputation of Corot's figure painting originated posthumously from a complex of discourses, the works of other artists, as well as particular museums' exhibitions during the 1900-30's. It is important to be aware of these facts if we want to understand the unfolding of 'French Art History'.

収録刊行物

• 成城美学美術史

  成城美学美術史 (14), 41-61, 2008-03

  成城大学

詳細情報

• CRID: 1570572702322303616
• NII論文ID: 110006657817
• NII書誌ID: AN10440186
• ISSN: 13405861
• 本文言語コード: ja
• データソース種別:
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