#favart

[ashwii]

Baby blue 🦋

[francepittoresque]

21 avril 1772 : mort de l’actrice de théâtre Justine Favart ➽ http://bit.ly/Justine-Favart Née d’un père musicien de la chapelle du roi et d’une mère cantatrice de la chapelle de Stanislas roi de Pologne, douée d’une figure charmante, de beaucoup de talent et de grâces, elle obtint de grands succès lorsqu’elle débuta à Paris, en 1744, sur le théâtre de l’Opéra-Comique sous le nom de Mlle Chantilly

[artthatgivesmefeelings]

François Hubert Drouais (French, 1727-1775) Portrait of a Lady, Said to be Madame Charles Simon Favart (Marie Justine Benoîte Duronceray, 1727-1772), 1757 The Metropolitan Museum of Art

[eldragon-x]

been going crazy about a sifloop art i saw since last night but im too much of a coward to reblog it to main. sad!

[julien-blanc-romancier]

H.[ugues] F. [avart] « Julien BLANC : Seule la vie... (N. R. F. Gallimard.), », Idées – Revue de la révolution nationale, Vichy, 1er octobre 1943, p. 64

https://julienblancromancier.wordpress.com/critiques/

[ashwii]

Red and blue make something

[favorvn]

OMG not us having kinda matching nails 🤣💕 (tbh mine were from 1.5 wks ago)

Need to do a little extra cleanup, but I really wanted to put up a pic of the new nail look.

This is another character-themed choice and somewhat seasonal for fall. I didn't get the gradient perfect or anything, but I did a black to red jelly gradient to imitate Z from @favorvn and the specific colors I used are ORLY Smoke Jelly and Cirque Colors Lucky Jelly.

[myelicia]

"Joli mois de Mai, Rends-lui, rends-lui le coeur gai." - Charles Simon Favart

[junipews]

Poor Monk! 🥺

more doodles

[galleryofart]

Pastoral with a Bagpipe Player

Artist: François Boucher (French, 1703 - 1770)

Date: 1749

Medium: Oil on canvas

Collection: The Wallace Collection, London

Description

With its pendant, P482, the painting represents some Boucher’s most ambitious works in the pastoral mode. Boucher continued the pastoral, utopian mode of Watteau's Fêtes galantes, anchoring them more clearly in an idealised, Italian setting. By exchanging Watteau's contemporary Parisians with idealised shepherds and shepherdesses, Boucher further removed the scenes from a recognizable contemporary reality, transposing them into an entirely imaginary world. While Watteau produced cabinet-sized pictures, Boucher often employed the pastoral for large-scale room decorations, as is the case here.

The two pictures originally belonged to the Daniel-Charles Trudaine, who worked as governor of the Auvergne, before being put in charge of roads and bridges in France, a capacity in which he was responsible for extending and modernising the network considerably. From 1745 he instigated and supervised the production of a new street atlas of France. Trudaine hung the two paintings in the grand salon on the ground floor of his country house at Montigny–Lencoup near Fontainebleau.

The scene was inspired by the theatrical characters of the immensely popular pantomimes of Boucher's friend, Charles-Simon Favart. At the Opéra Comique, where Boucher was both set designer and a keen member of the audience, Favart’s musical dramas combined the Arcadian idealism and aristocratic sensibilities of pastoral poetry with the rustic, sentimental characters of popular theatre. The painting depicts the cousins Lisette and Babette with the little shepherd who wins his sweetheart’s affection and a crown of flowers by serenading her on the bagpipes.

[ashwii]

🌊✨️

[life-imitates-art-far-more]

François-Hubert Drouais (1727-1775) "Portrait of a Woman, Said to be Madame Charles Simon Favart (Marie Justine Benoîte Duronceray, 1727–1772)" (1757) Oil on canvas Located in the Metropolitan Museum of Art, New York City, New York, United States In 1745 Mademoiselle Duronceray—the singer, dancer, and comedienne probably portrayed here—married Charles Simon Favart, the father of French comic opera. Among her best-known roles was that of the heroine in The Loves of Bastien and Bastienne, 1753, in which she inspired a revolution in theatrical costume by wearing authentic peasant dress. Drouais’s portrait of her seated at a harpsichord recalls traditional representations of Saint Cecilia, patron saint of music.

[dolorygloria]

Adèle Exarchopoulos at La Maison Favart Hotel (2023)

[adarkrainbow]

An example of the book's fascinating studies: as I said before, the chapter about Sleeping Beauty notices how fin-de-siècle authors, when "perverting" the tale, focused on the fairies around the baby's cradle - and Jean de Palacio notices that the names chosen for these fairies are very revealing of this "perversion".

Indeed, some authors in their twist-take on Sleeping Beauty, decided to name the group of fairies around the cradle. Anatole France, in his take on the Sleeping Beauty story in 1909, listed eight fairies: Titania, Mab, Viviane, Mélusine, Urgèle, Anna de Bretagne, Mourgue. Catulle Mendès, in 1888, had evoked in his work a total of 12 fairies - Oriane, Urgande, Urgèle, Alcine, Viviane, Holda, Mélusine, Mélandre, Arie, Mab, Titania, Habonde. Jean Lorrain did this list twice - once in 1883 including Habonde, Viviane, Tiphaine, Oriane, Mélusine, Urgèle, Morgane ; and another in 1897, simply removing Urgèle. As for Joséphin Péladan, he also did a double list: one in 1893, Mélusine, Morgane, Viviane, Mourgue, Alcine ; and another in 1895 to which he removed Mourgue to add Urgèle, Nicneven and Abonde.

These names can be taken as just random famous fairy names - but Jean de Palacio highlights that... They are not just chosen randomly, and all denote a way to discredit the fairies or to highlight their ambiguous if not negative nature. Of the recurring names four are taken from the matter of Britain, Arthurian and medieval legends: Viviane, Melusine, Anna de Bretagne (a variation of Anne of Britanny, an actual queen of France) and Mourgue/Morgane. Famous characters, right... But who is present here, around this baby's cradle to deliver gifts? Morgan le Fay, half-main villain of the Arthuriana half-healer of Avalon. Viviane, the good lady of the lake, oh yes... but also a shameless seductress who used Merlin's lust and love to steal his secrets and get rid of him. And Melusine - a national treasure, one of France's beloved legends... And a snake-woman with a strong demonic aura and devilish reputation. Viviane, Melusine and Morgan are all manifestations of the "femme fatale", of the deadly though seductive woman.

There is also a British influence at work here, since we have Titania and Mab, the two famous Shakespearian fairy queens. But Titania's reputation had already been soiled in Shakespeare's play by her mad love for a donkey - sorry, an ass ; as for Mab, in the minds of fin-de-siècle century, she is still strongly associated with the "materialistic atheism" of Percy Bysshe Shelley's poem "Queen Mab". Not perfect example of "godmothers"...

But let's return to Mourgue/Morgue briefly. Yes, she is the Franco-British Arthurian character of Morgan le Fay... But she is also part of the Italian literary tradition thanks to the Orlando Furioso, where she is Morgana, the incest-born sister of the enchantress Alcina who... Oh look! She is there too! Alcina in French is "Alcine" and in the lists you find... Alcuine. Once again, a new discredit over the fairies, as you have two wicked enchantresses dedicated to the dark art - including a lustful old hag so vain she hides her true appearance under a glamour of youth and beauty.

Of the various fairies presented in this list, only Urgèle seems to be free of any same, flaw or negative side - but that's because she is the most "recent" of them all, and not an old literary heritage or cultural figure, but rather a fresh creation. Urgèle was created by Voltaire in 1764 for a short tale/fairytale of his, "Ce qui plait aux dames", "What pleases the ladies", and immediately taken back for an "opéra-comique" adaptation by Favart in 1764, "La Fée Urgèle, ou Ce qui plaît aux dames". And while Théodore de Banville made her a good fairy victim of a wicked enchanter in his comedy "Le Baiser", "The Kiss" ; it didn't refrain Michel Carré and Paul Collin to make her the wicked fairy of Sleeping Beauty in their theatrical-opera adaptation of the fairytale in 1904...

[As a personal note, if you are interest in the other fairy names, Habonde is a variation of Abonde - la fée Abonde was a figure of popular folklore and superstitious beliefs in medieval France, an embodiment of abundance and prosperity fought off by the Church and who was tied to the rite of leaving "meals for the fairies" on special nights such as Christmas or the Epiphany. Holda is of course the same as Frau Holda/Frau Holle of Germanic mythology ; Arie is a reference to "Tante Arie", a Christmas gift-giver of eastern France, and Nicneven is a variation of Nicnevin/Nicnevan of Scottish folklore. I have to admit I do not know about the origins of Mélandre or Tiphaine.]

[moonlitmistyforest]

François Hubert Drouais - Madame Charles Simon Favart, 1757, detail

[favorvn]

���💖🥰🤩 This is so lovely!! Z is a very jealous demon!

Z senses that MC's contact person is a man and gets jealous ≦ФωФ≧

&

Night crawling

※There is a faceless MC

Official site ↓

@favorvn