La peinture européenne à la cour des premiers Stuarts, 1603-1649 : esthétique et politique

European painting at the court of the early stuarts (1603-1649) : aesthetics and politics

• Auteur / Autrice : Chrystèle Orcel
• Direction : Gérard Labrot
• Type : Thèse de doctorat
• Discipline(s) : Histoire
• Date : Soutenance en 1997
• Etablissement(s) : Grenoble 2

Mots clés

Mots clés contrôlés

Peinture -- 17e siècle

Grande-Bretagne

Portraits

XVIIe siècle 1601 1700

Stuart -- famille

Collections d'art

Grande-Bretagne -- 1603-1714 (Stuarts)

Mots clés libres

Grande bretagne

Histoire

1603-1714 (stuarts)

Résumé

L'examen de la reussite des amateurs anglais et du foisonnement de portraits s'articule autour de trois etapes. De 1603 a 1632, la cour s'affirma avec ses collections et ses portraits qui s'ecarterent, grace a rubens notamment, d'une esthetique rigide. La famille royale fut desunie, en particulier au sujet du dilemme entre la guerre et la paix face au continent. De 1632 a 1641, de l'installation a londres de van dyck a sa mort, la peinture refleta la vision d'un monde pacifie nourrie par charles ier, qui s'entendit avec l'espagne et le vatican, tandis que les nobles multipliaient les coups d'eclat (achat du cabinet della nave par hamilton. . . ). Charles et ses courtisans beneficierent de la metamorphose des portraits d'apparat, en armure et familiaux orchestree par van dyck, dont la connaissance de titien fut cruciale pour son ideal de la grace. Alors que trois portraits equestres de van dyck voient triompher le roi et qu'a la maison de la reine a greenwich furent loues la paix et les arts par gentileschi, les aristocrates poserent pour des portraits amicaux et amoureux. Les projets mythologiques pour greenwich commandes a jordaens et reni echouerent alors que grandissaient les tensions. Durant la guerre civile, dobson portraitura des royalistes, walker et lely des parlementaires ; cooper s'imposa aupres des deux camps et d'autres montrerent les refuges de la sociabilite. Le reflux des oeuvres collectionnees s'opera vers bruxelles (archiduc leopold-guillaume), madrid (philippe iv) et paris (mazarin et jabach). Ceci ne correspond pas a la geographie qui prevalut de 1603 a 1641 (flandres et provinces-unies fournissant des artistes et l'italie des oeuvres), periode marquee par la dualite entre l'eclat des courtisans (arundel, buckingham. . . ) et les ruptures dues aux stuarts. La peinture n'apparait pas pleinement comme un instrument qui aurait servi a legitimer un pouvoir royal dont les prerogatives furent combattues, et qui fut finalement aboli.

The examination of the successes achieved by english amateurs and of the profusion of portraits is divided into three stages. From 1603 to 1632, the court asserted itself thanks to its collections and its portraits, which deviated from rigid aesthetics, notably through rubens. The royal family was disunited, particularly about the dilemma between war and peace facing the continent. From 1632 to 1641, from van dyck's settling in london to his death, painting reflected the vision of a pacified world nurtured by charles i, who came to terms with spain and the vatican, while the nobility multiplied glorious deeds (hamilton's purchase of the della nave cabinet. . . ). Charles and his courtiers profited by the metamorphosis of portraits of state, in armour and family ones, which was orchestrated by van dyck, whose knowledge of titian was crucial for his ideal of grace. While three equestrian portraits by van dyck display the king's triumph and while peace and the arts were praised by gentileschi in queen's house at greenwich, aristocrats sat for friendly and loving portraits. Two mythological projects designed for greenwich, which were given to jordaens and reni, failed as tenseness grew. During the civil war, dobson portrayed royalists, walker and lely parliamentarians : cooper asserted himself on both sides, and others showed the refugees were sociability lay. The ebb of collected works was orientated towards brussels (archduke leopold-william), madrid (philip iv) and paris (mazarin and jabach). This does not square with the geography which prevailed from 1603 to 1641 (flanders and the united provinces providing london with artists, and italy providing pictures), a period characterized by the duality between the courtiers' brilliance (arundel, buckingham. . . ) and the ruptures caused by the stuarts. Painting doesn't wholly seem as a means which would have helped royal power to be recognized, a power whose prerogatives were contended and which was finally abolished.