Servandoni's Successors at the French Opera
Boucher, Boquet, Algieri, Girault
Bibliographic Data
| ID | 11769790 |
|---|---|
| Authors | Bert O States (corresponding author) |
| Year | 1962 |
| Volume | 3 |
| Pages | 41-58 |
| Publication date | 1962-05-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Theatre Survey (JOURNAL) |
| Journal identifiers | ISSN: 0040-5574 • E-ISSN: 1475-4533 |
| Publisher | Cambridge University Press (PUBLISHER • US) |
| DOI | 10.1017/s0040557400006840 |
| OpenAlex | W2130825652 |
| Language | EN |
| Citations received | 2 |
| References cited | 1 |
The work of those designers who followed Jean Nicolas Servandoni (1695–1766) at the Royal Academy of Music, at Court, and elsewhere in Paris, is, like his own, preserved only in the pages of Le Mercure de France, L'Avant-Coureur , and other journals and memoirs. While the museums abound in easel canvases and drawings by François Boucher (1703–1770), we are hard-pressed to find one print which has even a remote connection with the stage. On the other hand, we have several volumes of costume sketches and a few scene prints by Louis-René Boquet (1717–1814) which give us a rather good impression of at least one side of his style. Unfortunately, the work of the men who may have been more influenced by Servandoni than any others—Pietro Algieri, Louis-Alexandre Girault, Antoine de Machy, Tremblin, Baudon, Guillet, Moulin, de Leuze, Canot, Lallemand, Spurney, etc.—is probably lost to the eye forever. Their careers, which took place in an extravagant age of theatrical design, must be pieced together from scattered paragraphs in the Paris periodicals. In most cases, we cannot even assign dates to the spans of their activities
Art · Art history · Memoir · Opera · Performance art · Style (visual arts · Visual arts · Historical and Literary Studies · Historical Art and Culture Studies · Musicology and Musical Analysis
| Citations per year | 0.14 |
|---|---|
| Citation span | 2012 - 2012 (1) |
| Highly cited | No |