The Doublet Review - NMSU Theatre Arts

Transcription

The Doublet Review
“Style points”, paired with each period
1. GOTHIC (First Glimpse “Fore-runner”)
Called “Cote-Hardie”
First use of darting
2. RENAISSANCE
Worn in combo (w/Shirt, Jerkin & Gown)
Puffed and Slashed (first time)
3. ELIZABETHAN (“heyday”)
Bombasted
Short pointed Peplum
Center Front multiple buttons
Peascod belly
Paning
Piccadills
Shoulder Rolls, Wings Crescents
Leg-o-Mutton sleeves
4. CAVALIER
Extremely high pointed waist
Long Peplum
Long Slashes
5. RESTORATION (“Last gasp”)
Short Bolero vest
Short sleeved or sleeveless
GOTHIC
RENAISSANCE
ELIZABETHAN
CAVALIER
RESTORATION
BAROQUE & ROCOCO
BOTH:
GOLD
CURVE / REVERSE CURVE
ORNATE
BAROQUE
ROCOCO
BRIGHT COLORS
CREAMS, PASTELS
BULBOUS, HEAVY
LIGHT, AIRY
ALLOVER DESIGN
DESIGN AT EDGES
NATURE THEMES
Other Major Study Points
1.ELIZABETHAN
“Heyday” of the Doublet
Triangular silhouette
Ornate, Bombasted
4. GEORGIAN
Rococo
Chinoiserie
Pastoral
2. CAVALIER
Causal but calculated
Satin, Leather and lace
5. EMPIRE
“A LA BEBE transition(women)
French Revolution
Classical Revival in clothing
3. RESTORATION
Baroque / More is more
Silhouette change: The Cassock coat
EMPIRE
1790-1815 a.k.a. Directoire
Napoleon on his imperial throne
By Jean Auguste Dominique Ingres, c. 1806
Musee de l’Armee
ABOUT the PERIOD
• 
• 
• 
• 
The time period takes us through the French Revolution and in to the Napoleonic era, as well as the
early part of what was known as “The Regency” in England, and the “Federalist” period in America.
What was happening in France dominated fashion, and there were extremes. There was a dichotomy
between the classes in which clothing was an easy way to identify with ones group. The older aristocracy clung to what they knew-- “18th century-style garments. The revolutionaries on the streets wore practical “street fighter” clothes. Both men & women commonly
wore the nationalistic red, white, & blue color combination—stripes were common. Men wore loose
fitting clothing with sailor-type pants, which caused them to be known as the “Sans culottes” meaning
“without pants” because their pants were not considered acceptable as fashion. The female counterparts
wore practical shorter skirts with wooden clogs and tricorne & bicorne hats. They are often seen in
*Charbonneau engravings brandishing large knives and weapons. The remaining faction were everyday fashionable people who would not know from one day to the next
who would be in power, so loyalties shifted to save one’s head from the guillotine. These would be the
group represented in Neoclassic portraiture, such as the works of *Ingre and *David--Women languidly
lounging on Roman-inspired chaise lounge wearing “Greek” clothing amidst draping, men posed in
Roman-inspired settings. “Gallows humor” was a way to get through the difficult times, and at the large
balls that were given nightly in the spirit of “eat, drink & be merry, for tomorrow you may die”, women
wore tiny red chokers around their necks to show sympathy to victims of the guillotine, and men would
wear a red ribbon in their buttonhole. There was apparently a dance in which couples would bob up and
down as though their heads had been chopped off “A La Victime”.
Wreath tiara, c. 1810. Victoria and Albert Museum, London, France
Influential People
France
•  Louis XVI & Marie Antoinette •  Robespierre
•  Danton
•  Napoleon
England
•  George III
America
•  Washington
•  Adams
•  Jefferson
•  Madison
Events
France
•  1793—Louis XVI and Marie Antoinette executed
•  1793-99-- “Reign of Terror”
•  1795-99--Directory
•  1799--Consulate •  1804—Coronation of Napoleon
•  1804-1814—1st Empire
•  1814—Napoleon banished to Elba, then returned for “Waterloo”
England
•  1811-1820—Regency Period
America
•  1791—Bill of Rights ratified
•  1792—Two political parties formed—Republican and Federalist
•  1800—US capital moved from Philadelphia to Washington
•  1812—America declares war on Britain
Philosophy
•  Thomas Paine—The Rights of Man, Common Sense, deism,
natural justice, republicanism, liberalism
•  Hegel-- knowledge of history helps to overcome philosophical
problems, identity in difference
•  Schopenhauer-- art is above science and reason; suffering can be
escaped by eliminating desire (“will”)
Most Representative Statement of
Period
•  “eat, drink, and be merry—for tomorrow
you may die”…
•  Napoleon had 240 pairs of gloves—and
then ordered 40 more pair. . .
(‘nuf said. . .)
Discoveries/ Inventions
• 
• 
• 
• 
• 
• 
1792—Illuminating gas used for first time (Eng)
1793—The Louvre becomes National Art Gallery of France
1793—Eli Whitney invents cotton gin
1796—First smallpox vaccination
1797—Washing machine patented
1799—Rosetta Stone found (made it possible to read
hieroglyphics)
•  1799
--Perfectly preserved mammoth found in Siberia
•  1800—First battery of zinc and copper
•  1801—First submarine
New LOUVRE MUSEUM: ABU DHABI
Represents a 30-year agreement with the French Govt. Revised Opening date by the end of 2015.
Estimated Construction costs: approx. 136 million (US)
525 million (US) paid to be associated with the name
747 million (US) will be paid for exhibits, etc.
The ROSETTA STONE
45 x 28.5 x 11” Visual Style
Style or Movement
Neo-classicism--revival in art and architecture of the simple symmetrical
styles of ancient Greece and Rome, or created in this style.
*Began in architecture and thought in the previous period, moved into clothing
and furniture in this period
Furniture
•  Duncan Phyfe
•  Sheraton (cabinet maker)
Artists
France
•  Ingres
•  David “father of Neo-classicism”
•  Charbonneau (documented the revolutionists)
England
•  Turner
Spain
• 
Goya
***
Madame Récamier
by Jacques-Louis David, 1800
Musée du Louvre, Paris
Couch in the form of an Egyptian river boat on crocodile feet, about 1806-10. Bought for the Royal
Pavilion by public subscription to honor the work of Dr. Clifford Musgrave as Director of the Royal
Pavilion.
The Royal Pavilion Brighton
Buckingham Palace from Microcosm of London By Rudolf Ackermann, 1808
Bonbonière in the form of
a chair in Empire Style
c. 1911
Link of Times Cultural and
Historical Foundation, Moskau
Josephine Bonaparte’s boudoir
Gondola Chair at Saint-Cloud
c. 1802-03
Attributed to Jacob Freres
Designed by Charles Percier
Musee National des Chateaux de
Malmaison et Bois-Preau
Rueil Malmaison
The TRANSITION…
•  “A LA BEBE”: grown women dressing like little girls, is a transition
from classic Georgian into full-blown Empire. Gowns go lighter and
more “child-like”, with large pastel sashes at the waist. In the
portraiture, it is sometimes difficult to tell who is the “Mother “ and
who are the “children”. The skirt goes more columnar in silhouette,
and the waist sash retains the waistline, but adds a second “waistline”
up under the bust, which by Empire becomes the singular waist. The
girl in the painting known as “Pinkie” is wearing this style. Early
versions of it can also be seen in the work of Gainsborough. Marquise de Peze and Marquise de Rouget with Her Children.
(detail) By Louise-Elisabeth Vigée-Lebrun. 1787
Marie Antoinette, c. 1883
By Louise Elisabeth Vigee Le Brun
By Jacques-Louis David, c. 1788
Portrait of Antoine-Laurent and Marie-Anne Lavoisier (detail)
Examples of the “A LA BEBE” style Louise Augusta of Denmark
By Jens Juel
Family Portrait, Jacques Sablet (detail)
Lady at Her Toilet
Louis-Leopold Boilly
2nd half of 18th century
Private collection
Anne-Marie-Louise Thélusson,
Comtesse de Sorcy
Neue Pinkothek, Munich
A Painter
Louis-Leopold Boilly, c. 1785
Hermitage Museum
The French Revolution
The Ascent of Napoleon
Much of the Revolution was chronicled in art
history. The following 8 slides show many
of the major players. The Death of Marat
by Jacques-Louis David
1793
Musées Royaux des Beaux-Arts,
Brussels
***
A “Sans-Coulottes”
By Louis-Leopold Boilly
The Pretty Sans-Culotte under Arms
With the Sans-Culotte of August 10th
Charbonneau/Emile Wattier
The Parisians going to the Champ de Mars
By Brothers Lesueur, c. 1792
Gerard Depardieu as
Danton
By Constance-Marie Charpentier, c. 1792
Carnavalet Museum
Danton
Maximilien
Robespierre
By Anonymous, 1790
Carnavalet Museum
By Pierre Roch Vigneron
After Adelaide Labille-Guiard, 1786
Versailles
The University of Texas
Portrait Gallery
Young French from the Champ de Mars to the Exercise
Bibliotheque Nationale de France
THE 3 FACES
Of The
FRENCH
REVOLUTION
Portrait of Queen Charlotte
By Thomas Lawrence, c. 1789-90
National Gallery, London
Beaux and Belles at Brighton (detail)
By William Heath, c. 1810
Consecration of the Emperor Napoleon I
(detail)
1805-07
Napoleon in his Study
by Jacques-Louis David, c. 1812
National Gallery of Art Washington
Napoleon in Front of the Chateau de Malmaison
Francois Gerard, c. 1804
Musee National du Chateau de Malmaison
Rueil-Malmaison, France
Napoleon, Premier Consul
By Louis Leopold Boilly, c. 1800
Napoleon (detail)
By Andrea Applani, c. 1805
Kunsthistorisches Museum
Clisson and Eugénie
A ROMANTIC novel written by Napoleon at the age
of 26 which was found with him at age 51 at the Island
of Saint Helena was reconstructed (after the pages
were deconstructed for souvenirs) and was finally
published in 2009.
CLOTHING STYLE
MEN
•  Fashionable men wore very stiff, formal clothing. There was much
puffing and emphasis at the chest area. Multiple vests were often
worn, with cutaway styles coats with very high collar stands, and very
wide lapels. The foldback or lapels were known as “REVERES”, and
a unique feature was the “M-NOTCH” that was formed by the joinery
of certain cuts. The vests often had lapels as well, so each layer would
fold out to reveal the other. With the addition of the cravat on top of
that—it further reinforced the “swollen” silhouette in the chest area.
TAILORING arose as a means to create the full look, and to
differentiate a quality garment. Pants were tight, and often lightercolored than the coat & vest so that the crotch area was revealed as an
erogenous zone. Thomas Paine
by William Sharp
1792
The Violinist Niccolò Paganini
by Ingres
1819
Count Henri-Amedee-Mercure de Turenne by Jacques-Loius David, 1816 Portrait of the Artist
1794
Portrait of Ingres
1800s
Pushkin Museum Moscow
Portrait of Monsieur Rivière Jean-Auguste-Dominique Ingres 1805 Louvre, Paris, France.
Portrait of Pierre Sériziat
1795
Musée du Louvre Paris
Portrait of Joseph-Antoine Moltedo Jean-Auguste-Dominique Ingres
1810?
The Metropolitan Museum of Art New York Portrait of Juan Antonio Cuervo Goya
1819
Museum of Art, Cleveland
Jacobus Blauw
National Gallery London
Portrait of Emmanuel-Joseph Sieyès
Museum Harvard University Cambridge
Self-Portrait
by JMW Turnerc. 1799
Tate Gallery London
Bartolomé Sureda y Miserol
by Goya, 1804-06
National Gallery of Art
Washington
Details from Boilly
Meeting of Artists in Isabey's Studio
1798
Checkers
Louis-Leopold Boilly, 1803
Jean-Baptist Isabey, Miniaturist, with
his Daughter
by Francois Gerard
1795
The Geography Lesson
by Louis Léopold Boilly
1812
Kimbell Art Museum
Fort Worth, TX
HAIR and Facial Hair
Men
•  “A LA BRUTUS”: men’s
hair grown slightly longer &
combed forward.
• 
This hairstyle was usually accompanied by long
sideburns.
The famed "Black Dan" painting by Francis
Alexander, completed in 1835. Portrait of Désirée Clary
by François-Pascal-Simon Gérard, c. 1810 Musée Marmottan Monet, Paris, France
Pride and Prejudice (2005)
HATS and HEADDRESSES
MEN
Holdover of tricorne (early) then bicorne (Napoleon).
There is an early version of the top hat with sides that
slope slightly inward as they reach the top.
Extant riding ensemble, male
and female, 1815. From Kyoto Exhibit.
Portrait of Jeanbon Saint-André
1795
Art Institute, Chicago
ACCESSORIES
Men
• 
SHOES: They wore tall riding-type boots with a wide variety of shapes cut
into the tops. Small delicate pumps
• 
OUTER: Large flamboyant capes with multiple layers and high collars.
• 
OTHER:
•  CRAVAT: elaborate wrapped neck piece that was worn with the shirt
collar points up on the chin, and the cravat wrapped around and then
tied elaborately. One had to keep their “chin up”.
•  WALKING STICKS: accoutrement such as sticks and canes were
popular.
•  WAIST-CINCH: Some men wore an underpinning to cinch in their
waist to achieve the small-waisted silhouette.
DANDIES & FOPS
•  INCROYABLE (Incredible): major dandies of the day----fashion
deviancy & extremes--wear coats with overlong tails on coat or extra
tight short-short coat with very tiny tails They wore EXTREMELY
tight, light-colored pants and EXTEREMLY high cravats with
flamboyant ties, etc.
•  MERVEILLUSES (Marvelous): female counterparts to incroyable—
dresses were very thin fabric, often with a sheer body-stocking
(maillot) underneath, so as to appear nude. Often wore a false bosom,
necklines were extremely low, so often had nipple showing at edge of
neckline—or in the see-through layers of fabric.
• 
“they greeted the new regime with an outbreak of luxury, decadence, and even silliness.”
Wiki
‘Merveilleuses’ and ‘Incroyables’ in the 1790s. Both men and women wear high constricting
cravat knots, large earrings and absurd hats. Striped clothes were very popular.
Dorner, Jane. Fashion. P.84
Point de Convention
By Louis-Leopold Boilly, c. 1797
***
Point de Convention
c. 1800. “Les Suppleans.” “The fashion of false bosoms has at least this utility, that it compels our fashionable fair to
wear something.” From a contemporary engraving.
Waugh, Norah. Corsets and Crinolines
Original Engraving by
By Carle Vernet ( French, 1758 - 1836)
Village Antiques website
Original Engraving by
By Carle Vernet ( French, 1758 - 1836)
Village Antiques website
Following the Fashion
By James Gillray, c. 1794
***
“Wonderful and Amazing” the Muscadin
After Carle Vernet
RMN-Grand Palais
Paris, Musee Carnavalet
Les Incroyables
Original Engraving by Carle Vernet
French, 1758 - 1836
Les Incroyables (Detail)
Original Engraving by Carle Vernet French, 1758 - 1836
Russell Brand’s costume as
Trinculo in Julie Taymor’s film
version of Shakespeare’s “The
Tempest”. Clearly influenced by
the Incroyable…
1812 or Regency A La Mode
Prince Regent getting his corset tightened
By W. Heath, c. 1812
Faisons la Paix [Make Peace]
by Louis Léopold Boilly, c. 1761
Detail from "The Three Graces in A High Wind", semisatirical engraving by Gillray (published 1810, perhaps
originally drawn earlier):
Parisian Ladies in their Full Winter Dress
for 1800(exaggerated satirical print by
Isaac Cruikshank, Nov. 24th 1799)
A voluptuary under the horrors of digestion
James Gillray, July 2, 1792
Les Invisibles en Tete-a-Tete
From the series Le Supreme Bon Ton, No. 16
Unknown artist
Published by Martinet, Paris, c. 1810-15
The Fashions of the Day,
or Time Past and Time Present
By George Moutard Woodward, c. 1807
Collection of the Library of Congress
CLOTHING STYLE
WOMEN
• 
Fashionable women wanted to appear to be like Greek statues. The silhouette
has a waist that is very high up under the bosom called an “EMPIRE
WAIST”. These had an extremely low neckline, and the skirts were very
columnar, and often had a train in back. (“ROBES EN CHEMISE”) They
could be sleeveless or have little “cap” sleeves with a small, high puff. The
long-sleeved version was fitted to the wrist, with the tiny puff at the top. They
wore “Greek accoutrement” like, ankle bracelets, arm-bands and toe rings.
The choker was popular, probably to balance the extremely low décolletage. If
you look carefully at the paintings, you can often see evidence of modesty
pieces in the neckline area, no doubt to help contain the bosom within the low
neckline. Seemingly, the corset was gone, but there is evidence of a
foundation garment that accommodated the bosom. In addition to the Greek
look, you may see some occasional “Renaissance” influence as well such as
puffing & slashing, or the occasional ruff.
(Detail) Regency underclothes
From an 1824 reprint of the 1811 “Book of English Trades”
Showing one form of Regency “stays”
***
Madame Recamier by Jacques-Louis Gerald 1802
***
Madame Raymond de Verninac
1798-99
Musée du Louvre Paris
Portrait of a Young Woman in White
Jacques-Louis David, c. 1798
National Gallery of Art, Washington, D.C.
Anne Hathaway in Les Miserables movie costume
Rose Adelaide
Jacques-Louis David
HAIR and MAKEUP
.
Women
•  They wore elaborate coiffures in the “Greek Manner”
which included fillets.
•  Women also wore their own version of the “A la Brutus”,
sweeping their bangs forward. HATS and HEADDRESSES
WOMEN
•  POKE BONNETS with brims that stick-up. •  The wrapped turban is quite popular at this time.
Portrait of Countess Daru
The Frick Collection, NY
Woman in a Turban
1794
Private collection
Fashion plate “English and French” (Detail)
Madame Seriziat (Detail)
Dress of 1799 (Detail)
Millinery shop in Paris (Detail)
By Chalon, c. 1822
French print from 1803 (Detail)
http://www.victoriana.com/library/fplates.html
Fashion Plate
Head dresses, Winter 1814
Les Invisibles, c. 1810
ACCESSORIES
Women
• 
SHOES: They favored little ballet-like slippers, ESCARPIN, with “toe-shoe” type
lacing up the ankle area, or small sandals, or sandals that laced up the leg. • 
OUTER: Elaborate patterned & fringed shawls and small short jackets that often had
peplums called SPENCERS and PELISSE were worn over the columnar gowns.
• 
OTHER:
•  UNDERPINNINGS: Napoleon banished the corset in 1800 because he said
that France needed to “replenish its male population”, but women did continue
to wear some sort of silhouette-enhancing underproper.
•  MAILLOT: a nude body-stocking
•  RETICULE: Little elaborate cloth gathered bags or purses that had long ties
Escarpin
Illustration of a woman with her feet in the fourth position (Detail)
From T. Wilson’s Analysis of Country Dancing, c. 1811
Catherine Worlée (Detail)
David
1810 watercolor sketch (Detail)
By Johann Adam Klein
Fashion plate “English and French” (Detail)
Point de Convention (Detail)
Fashion plate
Watercolor of
Spencer jacket
1798
Evening dress, c. 1804-05
Worn by Elizabeth Patterson
Metropolitan Museum of Arts
Extant example of Spencer jacket made of
red cut velvet with piping and wrapped
buttons, 1815. From Kyoto Exhibit.
Theresa Tallien
Red Shawl from “Costume Parisien”
1799
***
Portrait of Madame de Senonnes
Jean-Auguste-Dominique Ingres
c. 1814-16. Musée des Beaux-Arts, Nantes, France.
Portrait of Madame Panckoucke
Jean-Auguste-Dominique Ingres 1811
Louvre, Paris, France.
Consecration of the Emperor Napoleon I (details)
1805-07
Extant formal gown, c. 1805, figured silk with leafshaped motif. Shawl of white silk with yarn fringe. From the Kyoto Exhibit.
“Les soeurs Harvey”
by J.A.D. Ingres, 1804
Fashion plate “English and French”
1815
Madame Seriziat
Jacques-Louis David 1795
Musee de Louvre
Portrait of the Mlles. Mollien by Rouget, 1811
Portrait of Mrs. Edward Hudson by
Thomas Sully, 1814
Dress of 1799
Le Journal Des Dames et Des Modes 1799
Dolley Madison
By Gilbert Stuart, c. 1804
Muslin gown with “Marie” sleeves
1810
Victoria and Albert
Mourning Dress
1811
England, Ackermann’s Repository
Robe Garnie en Chicoree
By Horace Vernet
Louis-Léopold Boilly
A Painter's Studio, c. 1800
Chester Dale Collection
Young Woman Ironing
Louis-Léopold Boilly
1800
Chester Dale Collection
The Amateur Print Collectors
Louvre, Paris
Majas on Balcony
by Goya
1800-14
Metropolitan Museum of Art New York
Maja and Celestina
by Goya, 1808-12
Collection Bartolomé March,
Palma de Mallorca
Madame Trudaine
Mademoiselle Rivière
by Ingre
1806
Portrait of the Comtesse Vilain XIIII and her
Daughter
National Gallery, London
Portrait of Marguerite-Charlotte David
National Gallery of Art, Washington
Portrait of Antonia Zárate
by Goya, c. 1805
National Gallery of Ireland, Dublin
Portrait of a Lady with a Fan
by Goya
1806-07
Dona María Tomasa Palafox, Marquesa de
Villafranca
by Goya, 1804
Museo del Prado, Madrid
Portrait of Catherine Worlée, Princesse de TalleyrandPérigord
by Francois Gerard, 1804-05
Private collection
Charles IV and his Family
by Goya, c. 1800
Museo del Prado, Madrid
The Bride (1985)
Emma (1996 TV)
Movie
versions of
this period
Sense and Sensibility
(1995)
Emma (1996)
Empire Era Jewelry
Wreath tiara of enameled gold set with a paste cameo, diamonds and pearls, c. 1810. Phillips, Clare. Jewelry: From Antiquity to the Present.
Victoria and Albert Muesum, London, France
Watch ring with seed pearls, Swiss or French about 1810. Chadour, Anna Beatriz. Rings: The
Alice and Louis Koch Collection, Forty Centuries seen by Four Generations; Volume II.
Socrates intaglio based on Renaissance prototypes, French, late 18th century. Chadour, Anna
Beatriz. Rings: The Alice and Louis Koch Collection, Forty Centuries seen by Four Generations;
Volume II. Additional Examples
Portrait of Pauline Bonaparte
By Robert Lefevre, c. 1806
Palace of Versailles, France
Portrait of Mme d’Aucourt
Meeting of Artists in Isabey's Studio
by Louis-Leopold Boilly
1798
Mrs. Noah Smith and Her Children
By Ralph Earl, c. 1798
Metropolitan Museum of Art

The Doublet Review - NMSU Theatre Arts

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