Les Filles d’Io. Nuées libertines et étreintes nébuleuses dans la peinture française du XVIIIe siècle
In France of the 18th century, while the development of libertine literature was particularly fertile, the theme of the union of a mortal with a divinity in his nebulous form witnessed an unusual expansion and was enriched with new significances. The cloud then tended to leave the space of the sacre...
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| Formato: | Article ou chapitre numérique |
| Lenguaje: | Français |
| Publicado: |
2020
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| Acceso en línea: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Sumario: | In France of the 18th century, while the development of libertine literature was particularly fertile, the theme of the union of a mortal with a divinity in his nebulous form witnessed an unusual expansion and was enriched with new significances. The cloud then tended to leave the space of the sacred. The acquisition by the celebrated collection of the Regent in 1721 of a version of the Io by Corregio participated in this resurgence. The publication, in 1730, of Crebillon’s tale, Le Sylphe (The Sylph), initiated a materialistic and demystifying re-reading that would continue to develop in the writings of Voltaire and Diderot. The mythological and licentious paintings by Jean-Baptiste-Marie Pierre, and especially by Jean-Honoré Fragonard, will also contribute to the affirmation of a materialistic and atheist conception fairly close to the Rêve de l’Alembert (Alembert’s Dream) by Diderot. Fragonard’s Baigneuses (Bathers) where the figures seem to float between surf and clouds, participates in a remarkable fluidity of substance where life is regenerated without divine intervention. |
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