“他边听边看”:约翰·辛格·萨金特与管弦乐意象

IF 0.3 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Nineteenth-Century Contexts-An Interdisciplinary Journal Pub Date : 2023-01-01 DOI:10.1080/08905495.2023.2161804
Marte Stinis
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引用次数: 0

摘要

据称,小提琴家约瑟夫·约阿希姆(Joseph Joachim)曾这样评价他的朋友约翰·辛格·萨金特(John Singer Sargent, 1856-1925;引用自《宪章》1927年第137页)。如果他这样做了,许多博物馆将因此变得更空了。萨金特的演员、作家、音乐家、朋友和赞助人的肖像充斥着许多西方博物馆,比如大都会艺术博物馆臭名昭著的《X夫人的肖像》(1883-1884),或者奥赛穆斯海姆的《卡门西塔》(1890)。然而,在公共展览和大多数学术研究中,几乎持续不断地关注肖像画,掩盖了萨金特多方面的才能;他同样精通水彩画、风景画、壁画、素描,甚至是平版版画和单字版画。在他所有的灵感中,他对音乐的兴趣仍然没有得到充分的研究,特别是考虑到他不仅与著名音乐家和作曲家的积极交流和友谊,而且考虑到他对作曲家加布里埃尔·福尔的赞助,他自己的钢琴音乐能力,以及他经常参观卡姆萨伊姆音乐会,音乐厅和管弦乐演出(兰利2018)。音乐是萨金特一生和职业生涯中作为画家身份的一部分。在这篇文章中,我将集中讨论一些萨金特对管弦乐队和舞台表演的描述,以确定这些音乐作品在他的全部作品中所处的位置。因为萨金特与音乐的情感和感官联系在视觉层面上激发了音乐的参与,从而产生了如此令人回味的、令人印象深刻的和神秘的图像,值得进一步研究。带着这样的想法,我想回到萨金特早年在巴黎的学生时代,那时他才刚刚形成自己的风格。1874年至1879年间,他是查尔斯·奥古斯特·Émile杜兰德(Charles Auguste Durand)工作室的学生,杜兰德通常被称为卡罗尔-杜兰(Carolus-Duran),他为更保守和新古典主义风格提供了一种不同的方法,比如让-莱姆森Gérôme推广的那些风格。正是在这个形成时期,萨金特画了著名指挥家朱尔斯·帕斯德卢普(Jules Pasdeloup, 1819-1887)在巴黎冬季马戏团(Cirque d’hiver)举行的管弦乐队排练(Bernard 1971)。他对帕斯德鲁的《人民音乐会》的印象使他创作了两幅几乎一模一样的油画,都命名为《帕斯德鲁管弦乐队在希弗马戏团的排练》(都创作于1879年左右)。萨金特制作了单色版和彩色版,分别在波士顿美术博物馆和芝加哥艺术学院展出。在
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“While he listened he looked”: John Singer Sargent and orchestral imagery
“Had Sargent taken to music instead of painting he would have been as great a musician as he was a painter,” the violinist Joseph Joachim is claimed to have said of his friend, John Singer Sargent (1856-1925; as quoted in Charteris 1927, 137). If he had done so, many museums would be emptier for it. Sargent’s portraits of actors, writers, musicians, friends, and patrons fill many Western museums, such as the infamous Portrait of Madame X (1883-1884) in the Metropolitan Museum of Art or the vibrant Carmencita (1890) in the Musée d’Orsay. Yet the near-continual focus on portraiture in public exhibitions and most scholarship obscures Sargent’s multifaceted talents; he was equally proficient in watercolor, landscape, murals, drawings, and even prints like lithographs and monotypes. Of all his inspirations, his interest in music remains thoroughly under-researched, especially considering not only his active communication and friendship with prominent musicians and composers, but also his patronage of the composer Gabriel Fauré, his own musical abilities on the piano, and his frequent visits to café-concerts, music halls, and orchestral performances (Langley 2018). Music was part of Sargent’s identity as a painter throughout his life and career. In this essay I will focus on a number of Sargent’s depictions of orchestras and stage performances to determine what place these musical works held in his oeuvre. For Sargent’s emotional and sensuous connection with music instigated musical engagement at the visual level that resulted in imagery so evocative, imposing, and enigmatic that it warrants further investigation. It is with this in mind that I want to return to Sargent’s earlier years as a student in Paris, when he was only just developing his own style. Between 1874 and 1879, he was a pupil in the atelier of Charles Auguste Émile Durand, popularly known as Carolus-Duran, who provided a different approach to more conservative and neoclassical styles such as those popularized by Jean-Léon Gérôme. It was during this formative time that Sargent painted the orchestral rehearsals of the famous conductor Jules Pasdeloup (1819-1887) as they were held at the Cirque d’Hiver, or Winter Circus, in Paris (Bernard 1971). His impressions of Pasdeloup’s Concerts Populaires resulted in two nearly identical oil paintings, both entitled Rehearsal of the Pasdeloup Orchestra at the Cirque d’Hiver (both dated c. 1879). Sargent made both a monochromatic and a color version, held in the Museum of Fine Arts, Boston, and the Art Institute of Chicago, respectively. In the
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来源期刊
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期刊介绍: Nineteenth-Century Contexts is committed to interdisciplinary recuperations of “new” nineteenth centuries and their relation to contemporary geopolitical developments. The journal challenges traditional modes of categorizing the nineteenth century by forging innovative contextualizations across a wide spectrum of nineteenth century experience and the critical disciplines that examine it. Articles not only integrate theories and methods of various fields of inquiry — art, history, musicology, anthropology, literary criticism, religious studies, social history, economics, popular culture studies, and the history of science, among others.
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