Jean-Auguste-Dominique Ingres (Montauban; 1780 ndash; Paris; 1867)Ingres sembla dabord destineacute; agrave; reprendre le flambeau de son maicirc;tre David; dans lart agrave; la fois du portrait et de la peinture historique. Il gagna le Prix de Rome en 1801; ougrave; il ne se renditque 6 ans plus tard agrave; cause de la situation eacute;conomique franccedil;aise. Mais Ingres seacute;mancipa tregrave;s vite. Il navait que 25 ans lorsquil peignit les portraits de la famille Riviegrave;re. Ils reacute;vegrave;lent un talent original et un goucirc;t pour la composition non deacute;pourvu dun certain manieacute;risme; mais celui-ci est plein de charme; et le raffinement des lignes ondulantes est aussi eacute;loigneacute; que possible du reacute;alisme simple et leacute;gegrave;rement brutal qui fait la force des portraits de David. Ses rivaux ne se laissegrave;rent pas abuser : ils tournegrave;rent en deacute;rision son style archaiuml;que et singulier en le surnommant laquo;Le Gothique raquo; ou laquo;Le Chinois raquo;. Cependant; durant le Salon de 1824 qui suivit son retour dItalie; Ingres fut promu chef de file du style acadeacute;mique; par opposition au nouveau courant romantique meneacute; par Delacroix. En 1834; il fut nommeacute; directeur de lEcole franccedil;aise de Rome; ougrave; il demeura 7 ans. Puis; agrave; peine rentreacute; au pays; il fut agrave; nouveau acclameacute; comme le maicirc;tre des valeurs traditionnelles; et sen alla finir ses jours dans sa ville natale du Sud de la France. La plus grande contradiction dans la carriegrave;re dIngres est son titre degardien des regrave;gles et des preacute;ceptes classiques; alors quune certaine excentriciteacute; est bien perceptible dans les plus belles de ses oeuvres.Un cuistre; observant le dos de la Grande Odalisque et diverses exageacute;rations de forme dans Le Bain turc; fit remarquer les indignes erreurs commises par le dessinateur. Mais ne sont-elles pas simplement le moyen par lequel un grand artiste; doteacute; dune sensibiliteacute; extrecirc;me; interpregrave;te sa passion pour le corps magnifique de la femme ? Lorsquil voulut reacute;unir un grand nombre de personnages dans une oeuvre monumentale telle que LApotheacute;ose dHomegrave;re; Ingres natteignit jamais laisance; la souplesse; la vie ni luniteacute; que nous admirons dans les magnifiques compositions de Delacroix. Il procegrave;de par accumulation et juxtaposition. Pourtant; il sait faire preuve dune grande assurance; dun goucirc;t original et dune imagination fertile lorsquil sagit de tableaux nimpliquant que deux ou trois personnages; et mieux encore dans ceux ougrave; il glorifie un corps feacute;minin; debout ou allongeacute;; qui fut lenchantement et le doux tourment de toute sa vie.
#4596455 in eBooks 2011-12-22 2011-12-22File Name: B00CR6D4V2
Review
0 of 0 people found the following review helpful. For theater loversBy N Don BrownIf you are interested in theater .. EVERYTHING about live productions this is worth having. It wants to be a coffee table book but is really more encyclopedia than pictures.2 of 2 people found the following review helpful. Dont let the cover fool you...By Arena ConneryAt first glance; "Alchemy" resembles a college textbook (which it could certainly be used for). But Viagas project is more than a standard text.He collected input from leaders in every area of the theatre world on the topic of collaboration. After a picture and brief bio of each contributor; Viagas lets these collaborators speak for themselves. Their essays describe rich and varied experiences (SO many influential people in the world of modern theatre!) Playwrights; composers; directors; stage managers; actors; sound designers; makeup artists; advertising executives - all parts of one body - some more visible; but all vital to a successful production. In Viagas words; "The essence of drama may be conflict - but the essence of creating drama turns out to be cooperation."Its interesting to compare the priorities of the different contributors. In this book; the experiences of well-known figures like Chita Rivera and Edward Albee are right alongside those of perhaps more unfamiliar names (makeup designer Angelina Avallone and lighting desinger Peggy Eisenhauer.) The book opens with a witty essay by playwright Wendy Wasserstein (who passed away in January).An entertaining (and educational) read!1 of 1 people found the following review helpful. A welcome and highly engaging readBy Midwest Book ReviewProductions of theatrical plays are collaborative efforts involving large numbers of people the include not only the actors and their director; but the expertise of playwrights; producers; stage hands; craftspeople; choreographers; musicians; publicists; make-up artists; costumers; and so many others. In "The alchemy Of Theatre: The Divine Science"; New York theatre journalist and author Robert Viagas has compiled and edited a number of informed and informative essays on the phenomena of the theatre. The essayists range from the late playwright Wendy Wasserstein and the late composer Cy Coleman; to director/producer Harold Prince and director/choreographer Susan Stroman; to playwrights Edward Albee and Terrence McNally; to lyricists and composers Lynn Ahrens and Stepyhen Flaherty; to theatre owner Gerald Schoenfeld; to producer Rocco Landesman; and others representing every aspect of those professionals who must work together to create the theatrical experience for appreciative audiences. A welcome and highly engaging read; "The Alchemy of Theatre" is a core addition to professional; academic; and community library Theatre Arts reference collections and supplemental reading lists.