L’étude des vitraux de l’époque contemporaine

L’étude des vitraux de l’époque contemporaine

Among the Franz Liszt memorabilia preserved in the Klassik Stiftung Weimar Museen, one of the “visiting cards” that Victor Hugo sent to his friends during his exile has recently been identified by the German author of this article. Mainly drawn by the poet using his writer’s paraphernalia: pen, and...

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Autor Principal: Luneau, Jean-François
Formato: Article ou chapitre numérique
Idioma:Français
Publicado: 2021
Acceso en liña:Accès Université d'Orléans et IFPM
Accès Université d'Orléans et IFPM
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spelling cairn-RDA_214_0022RDARevue de l'art https://shs.cairn.info/revue-de-l-art-2021-4-page-22?lang=fr https://doi.org/10.3917/rda.214.0022 L’étude des vitraux de l’époque contemporaine Luneau, Jean-François2021 fre Revue de l'art | 214 | 4 | 2021-12-23 | p. 22-29 | 0035-1326 RDA_21472 Among the Franz Liszt memorabilia preserved in the Klassik Stiftung Weimar Museen, one of the “visiting cards” that Victor Hugo sent to his friends during his exile has recently been identified by the German author of this article. Mainly drawn by the poet using his writer’s paraphernalia: pen, and the brown, red, green and blue inks that can be found in the contemporary manuscripts, this exceptional work can be dated to the end of 1854. It would seem to have been sent to the pianist at the same time as three photographs of the atelier in Jersey, in October 1854. Did Victor Hugo seek to adapt his drawing to the recipient? The initials and the letters of his name that constitute the map open out in an arborescence that recalls that of the rhythmic figures in music. Nevertheless, at the same time, many details of the work also demonstrate the imprint of his exile to Jersey on the banished poet, in his face to face with the ocean, as with his dialogues with the Table during the spiritualist séances at which he had been participating since 1853.Cairn free access
language Français
format Article ou chapitre numérique
building 0/Bibliothèque numérique/
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description Among the Franz Liszt memorabilia preserved in the Klassik Stiftung Weimar Museen, one of the “visiting cards” that Victor Hugo sent to his friends during his exile has recently been identified by the German author of this article. Mainly drawn by the poet using his writer’s paraphernalia: pen, and the brown, red, green and blue inks that can be found in the contemporary manuscripts, this exceptional work can be dated to the end of 1854. It would seem to have been sent to the pianist at the same time as three photographs of the atelier in Jersey, in October 1854. Did Victor Hugo seek to adapt his drawing to the recipient? The initials and the letters of his name that constitute the map open out in an arborescence that recalls that of the rhythmic figures in music. Nevertheless, at the same time, many details of the work also demonstrate the imprint of his exile to Jersey on the banished poet, in his face to face with the ocean, as with his dialogues with the Table during the spiritualist séances at which he had been participating since 1853.
author Luneau, Jean-François
spellingShingle Luneau, Jean-François
L’étude des vitraux de l’époque contemporaine
author_facet Luneau, Jean-François
author_sort Luneau, Jean-François
title L’étude des vitraux de l’époque contemporaine
title_short L’étude des vitraux de l’époque contemporaine
title_full L’étude des vitraux de l’époque contemporaine
title_fullStr L’étude des vitraux de l’époque contemporaine
title_full_unstemmed L’étude des vitraux de l’époque contemporaine
title_sort l’étude des vitraux de l’époque contemporaine
publishDate 2021
container_title
container_issue
url https://ezproxy.univ-orleans.fr/login?url=https://shs.cairn.info/revue-de-l-art-2021-4-page-22?lang=fr
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.3917/rda.214.0022
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