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Philippe Chaperon
Philippe Chaperon (2 February 1823 – 21 December 1906) was a French painter and scenic designer, particularly known for his work at the Paris Opera. He produced stage designs for the premieres of numerous 19th-century operas, including Verdi's '' Don Carlos'' and '' Aida'', Massenet's '' Le Cid'', Saint-Saëns's '' Henri VIII'', part two of Berlioz's ''Les Troyens'' and the first performances in France of Verdi's ''Otello'' and ''Rigoletto'' and Wagner's '' Tannhäuser''. Life and career Chaperon came from a modest background. He was born in Paris, where his father was an employee at the Caisse d'Épargne. He attended the Lycée impérial Bonaparte and then the École des Beaux-Arts where he studied painting and architecture. He won a Prix de Rome scholarship and spent three years at the Villa Medici. He also studied architecture in the atelier of Victor Baltard and painting in the atelier of Léon Riesener where he received guidance from Riesener's cousin Eugène Delacroi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Les Huguenots
() is an opera by Giacomo Meyerbeer and is one of the most popular and spectacular examples of grand opera. In five acts, to a libretto by Eugène Scribe and Émile Deschamps, it premiered in Paris on 29 February 1836. Composition history ''Les Huguenots'' was some five years in creation. Meyerbeer prepared carefully for this opera after the sensational success of ''Robert le diable'', recognising the need to continue to present lavish staging, a highly dramatic storyline, impressive orchestration and virtuoso parts for the soloists – the essential elements of the new genre of Grand Opera. Meyerbeer and his librettist for ''Robert le Diable'', Eugène Scribe, had agreed to collaborate on an epic work concerning the French Wars of Religion, with a drama partly based on Prosper Mérimée's 1829 novel ''A Chronicle of the Reign of Charles IX''. Coming from a wealthy family, Meyerbeer could afford to take his time, dictate his own terms, and to be a perfectionist. The very detai ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Prix De Rome
The Prix de Rome () or Grand Prix de Rome was a French scholarship for arts students, initially for painters and sculptors, that was established in 1663 during the reign of Louis XIV of France. Winners were awarded a bursary that allowed them to stay in Rome for three to five years at the expense of the state. The prize was extended to architecture in 1720, music in 1803 and engraving in 1804. The prestigious award was abolished in 1968 by André Malraux, then Minister of Culture, following the May 68 riots that called for cultural change. History The Prix de Rome was initially created for painters and sculptors in 1663 in France, during the reign of Louis XIV. It was an annual bursary for promising artists having proved their talents by completing a very difficult elimination contest. To succeed, a student had to create a sketch on an assigned topic while isolated in a closed booth with no reference material to draw on. The prize, organised by the Académie Royale de Peintu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
La Favorite
''La favorite'' (''The Favourite'', frequently referred to by its Italian title: ''La favorita'') is a grand opera in four acts by Gaetano Donizetti to a French-language libretto by Alphonse Royer and Gustave Vaëz, based on the play ''Le comte de Comminges'' by Baculard d'Arnaud with additions by Eugène Scribe based on the story of Leonora de Guzman. The opera concerns the romantic struggles of the King of Castile, Alfonso XI, and his mistress, the "favourite" Leonora, against the backdrop of the political wiles of receding Moorish Spain and the life of the Catholic Church. It premiered on 2 December 1840 at the Académie Royale de Musique (Salle Le Peletier) in Paris. Background Originally, Donizetti had been composing an opera by the name of ''Le Duc d'Albe'' as his second work for the Opéra in Paris. However, the director, Léon Pillet, objected to an opera without a prominent role for his mistress, mezzo-soprano Rosine Stoltz. Donizetti therefore abandoned ''Le ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hôtel Goüin
__NOTOC__ The Hôtel Goüin is a ''hôtel particulier'' in Tours, France. History The mansion was built in the 15th century and is incorrectly considered to have been the home of Jean de Xaincoings, treasurer of the assets of Charles VII. The house was the property of René Gardette, a descendant of a family of silk merchants from Tours. The reworking of the facade that dates from the 16th century includes the addition of the porch and loggia and the left wing in early Renaissance style. The sub-basement contains Galloroman remains. The name Goüin is taken from a wealthy family of Breton bankers who purchased the building in 1738. The family undertook several improvements including the balcony over the rear courtyard, demolition of two houses on the roadside, the enlargement of the south yard, removal of the south balcony, and construction of the entry gate. In 1944 during the Second World War World War II or the Second World War (1 Septe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Éden-Théâtre
The Éden-Théâtre was a large theatre (4,000 seats) in the rue Boudreau, Paris, built at the beginning of the 1880s by the architects William Klein and Albert Duclos (1842–1896) in a style influenced by orientalism. It was demolished in 1895. History Éden-Théâtre Inspired by Mughal architecture, Moghol architecture, it was inaugurated on 7 January 1883 with the ballet ''Excelsior!'' with music by Romualdo Marenco, and this was followed in subsequent years by other spectacular ballets. The theatre witnessed the single performance of the first Paris production of Wagner's ''Lohengrin (opera), Lohengrin'', on 3 May 1887 (in French) with Ernest van Dyck and Fidès Devriès, conducted by Charles Lamoureux, which aroused enormous opposition among the Parisian public. This was followed in 1888 by ''La fille de Madame Angot'' with Anna Judic and Jeanne Granier and ''Le petit duc'' with José Dupuis and Granier. The four-act version of ''Orphée aux enfers'' with Christian Pe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
La Monnaie
The Royal Theatre of La Monnaie (, ; , ; both translating as the "Royal Theatre of the Mint") is an opera house in central Brussels, Belgium. The National Opera of Belgium, a federal institution, takes the name of this theatre in which it is housed—La Monnaie in French or De Munt in Dutch—referring both to the building as well as the opera company. As Belgium's leading opera house, it is one of the few cultural institutions to receive financial support from the Federal Government of Belgium. Other opera houses in Belgium, such as the Vlaamse Opera and the Opéra Royal de Wallonie, are funded by regional governments. La Monnaie is located on the Place de la Monnaie/Muntplein, not far from the Rue Neuve/Nieuwstraat and the Place de Brouckère/De Brouckèreplein. The current edifice is the third theatre on the site. The façade dates from 1818 with major alterations made in 1856 and 1986. The foyer and auditorium date from 1856, but almost every other element of the presen ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Palais Garnier
The (, Garnier Palace), also known as (, Garnier Opera), is a historic 1,979-seatBeauvert 1996, p. 102. opera house at the Place de l'Opéra in the 9th arrondissement of Paris, France. It was built for the Paris Opera from 1861 to 1875 at the behest of Emperor Napoleon III. Initially referred to as ''le nouvel Opéra de Paris'' (the new Paris Opera), it soon became known as the Palais Garnier, "in acknowledgment of its extraordinary opulence" and the architect Charles Garnier (architect), Charles Garnier's plans and designs, which are representative of the Napoleon III style. It was the primary theatre of the Paris Opera and its associated Paris Opera Ballet until 1989, when a new opera house, the Opéra Bastille, opened at the Place de la Bastille. The company now uses the Palais Garnier mainly for ballet. The theatre has been a of France since 1923. The Palais Garnier has been called "probably the most famous opera house in the world, a symbol of Paris like Notre-Dame de Pa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Trompe-l'Å“il
; ; ) is an artistic term for the highly realistic optical illusion of three-dimensional space and objects on a Two-dimensional space, two-dimensional surface. , which is most often associated with painting, tricks the viewer into perceiving painted objects or spaces as real. Forced perspective is a related illusion in architecture. History in painting The phrase, which can also be spelled without the hyphen and Typographic ligature, ligature in English as ''trompe l'oeil'', originates with the artist Louis-Léopold Boilly, who used it as the title of a painting he exhibited in the Paris Salon of 1800. Although the term gained currency only in the early 19th century, the illusionistic technique associated with dates much further back. It was (and is) often employed in murals. Instances from Greek and Roman times are known, for instance in Pompeii. A typical mural might depict a window, door, or hallway, intended to suggest a larger room. A version of an oft-told ancient Gr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Auguste Alfred Rubé
Auguste Alfred Rubé (20 June 1817 – 13 April 1899) was a French painter noted especially for his theatre decorations. Biography Born in the 9th arrondissement of Paris, Rubé was an innovator in the field of theatrical set design. This "decorator of rare ingenuity" focused on a local color search corresponding to the Romantic movement. He had been at a good school with his master Pierre-Luc-Charles Ciceri, the designer of the Opéra-Comique, whose daughter he had just married. Ciceri had the confidence of Alexandre Dumas, who reported to him and his students, Rubé, Charles Séchan, Jules Diéterle, Édouard Desplechin, but Rubé wanted to do even better: not only did he try to reproduce the landscapes accurately, he made them picturesque. The setting of the 2nd act of ''Âme en peine'', by Friedrich von Flotow to a libretto by Jules-Henri Vernoy de Saint-Georges, made for the Paris Opera, served him, in a way, as a premiere. The operas for which he then brushed the set ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Paris Salon
The Salon (), or rarely Paris Salon (French: ''Salon de Paris'' ), beginning in 1667 was the official art exhibition of the in Paris. Between 1748 and 1890 it was arguably the greatest annual or biennial art event in the Western world. At the Salon of 1761, thirty-three painters, nine sculptors, and eleven engravers contributed. Levey, Michael. (1993) ''Painting and sculpture in France 1700–1789''. New Haven: Yale University Press, p. 3. From 1881 onward, it was managed by the Société des Artistes Français. Origins In 1667, the royally sanctioned French institution of art patronage, the (a division of the Académie des beaux-arts), held its first semi-public art exhibit at the Salon Carré. The Salon's original focus was the display of the work of recent graduates of the École des Beaux-Arts, which was created by Cardinal Mazarin, chief minister of France, in 1648. Exhibition at the Salon de Paris was essential for any artist to achieve success in France for at le ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Eugène Delacroix
Ferdinand Victor Eugène Delacroix ( ; ; 26 April 1798 – 13 August 1863) was a French people, French Romanticism, Romantic artist who was regarded as the leader of the French Romantic school.Noon, Patrick, et al., ''Crossing the Channel: British and French Painting in the Age of Romanticism'', p. 58, Tate Publishing, 2003. In contrast to the Neoclassicism, Neoclassical perfectionism of his chief rival Ingres, Delacroix took for his inspiration the art of Rubens and painters of the Venetian Renaissance, with an attendant emphasis on colour and movement rather than clarity of outline and carefully modelled form. Dramatic and romantic content characterized the central themes of his maturity, and led him not to the classical models of Greek and Roman art, but to travel in North Africa, in search of the exotic. Friend and spiritual heir to Théodore Géricault, Delacroix was also inspired by Lord Byron, with whom he shared a strong identification with the "forces of the Sublim ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
