Contributor: Shelly Charles
Description (English): This late nineteenth-century watercolour by the caricaturist and theatrical costume designer Draner depicts the Lepeintre brothers in Monsieur Botte (1827), a comedy-vaudeville by Depeuty and Villeneuve based on Pigault-Lebrun’s fiction of the same title of 1802. It evidences the century-long popularity of a novelist now almost forgotten. Despite the critical, legal and religious censorship to which his work was subjected, it was widely disseminated during the nineteenth century through multiple reissues, translations, various imitations and theatrical adaptations. From 1796 (L’Enfant du Carnaval) to 1830 (Contes à mon petit-fils), from the Terror to the Three Glorious Days, Pigault-Lebrun’s novels follow the evolution of French society through the succession of regimes and historical events. Balzac, Stendhal, Hugo, and Flaubert remind us, each in his own way, of the place occupied in their imaginations and their aesthetics by these scandalous novels in which free thought reconnects with the tradition of comic realism to offer a fresh look at morals.
Continue reading “A watercolour illustration to Monsieur Botte.”
Contributor: Bénédicte Prot
Description (English): Félicité de Choiseul-Meuse is the presumed author of many literary works published between 1797 and 1824, including the libertine fiction Entre chien et loup, published anonymously in 1809. In 1881, the Belgian publisher Henry Kistemaeckers offers to bibliophiles a luxurious reprint, illustrated with this frontispiece by Amédée Lynen, as part of a collection of ‘erotic and literary curiosities’.
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Contributor: Nicolas Duriau
Description (English): Marie Joséphine Antoinette Félicité de Choiseul-Meuse, a now forgotten writer from the end of the French Enlightenment, was active between 1797 and 1824. As Élisabeth Guénard, she was one of those successful female novelists who adapted their work to satisfy the imperial authorities and, from 1810, to evade censorship (Granata: 2007, 168). The author of several pornographic novels, including Julie ou j’ai sauvé ma rose (1807), Amélie de Saint-Far ou la fatale erreur (1808), and Elvire ou la femme innocente et perdue (1809), which appeared anonymously (Glessner: 1997, 132-134), also wrote pedagogical novels after 1810. These educational works, which include Les Récréations morales et amusantes, à l’usage des jeunes demoiselles qui entrent dans le monde (1810), are far different from her libertinage and remain unknown.
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Contributor: Christie Margrave
Description (English): In early nineteenth-century France, Eugénie Servières ‘took to painting medieval themes under the influence of romanticism’ (Handley, p.29). Although Servières is little-known, more than one of her paintings interact with the work of one of the most popular novelists of the era: Sophie Cottin. Given Servières’s taste, it is unsurprising that she was inspired by Cottin’s Mathilde ou mémoires tirés de l’histoire des croisades (1805), which is replete with examples of early French Romantic Medievalist imagery. Painted in 1820, this painting, entitled Maleck-Adhel [sic] attendant Mathilde au tombeau de Josselin de Montmorency, was the second of Servières’s paintings to be inspired by Mathilde. Here, she chooses to focus on two particular Romantic tropes: Orientalism and death. In so doing, she emphasises Cottin’s own juxtaposition of these two common features of Romantic texts and images, both representative of the ‘au-delà’, within Mathilde. Servières depicts the scene which takes place at the tomb of Montmorency, and several features of the image aid the reader to unlock the power Cottin attributes to this scene and its spatial setting.
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