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Category Archives: Fashion

An Older Orient

18 Sunday Sep 2016

Posted by michelinewalker in Art, Fashion, Orientalism

≈ 6 Comments

Tags

Chinoiserie, Conquest of Constantinople, Kublai Khan, Marco Polo, Mehmed II, Orientalism, Suleiman the Magnificent, Turquerie

gentile_bellini_003

Mehmed II, the Conqueror by Gentile Bellini (National Gallery, London)

emperorsuleiman-1

Emperor Suleiman the Magnificent by Titian, c. 1530 (Wikipedia)

An Older Orient

  • the Silk Road
  • the Spice Trade
  • Mehmed II the Conqueror
  • Marco Polo
  • portraits

The West has an older Orient, older than the paintings of 19th-century artists, lured by East, but depicing a Eurocentric Orient, a colonized Orient.

Our older Orient is, for instance, Marco Polo’s Orient, the Orient of merchants. It is as traders that Europeans, the West, first interacted with the East. That Orient would lead to the age of discovery and, eventually, to colonialism. However, that Orient, the Far East, mesmerized Venetian merchant Marco Polo (1254 – 8-9 January  1324) who travelled the silk road (114 BCE – 1450s CE), a pathway that had been used for more than a thousand years and which Marco Polo probably improved.The silk road took Marco Polo to China. He met Kublai Khan (23 September  1215 – 18 February 1294), the Conqueror who established the Yuan Dynasty and was the first Emperor of China. In this case, the conqueror was Kublai Khan, the East, not Marco Polo. Marco Polo served Kublai Khan for twenty years.

Consequently, had a European artist made a portrait of Kublai Khan, it would have been the portrait of a conqueror as is the portrait of Mehmed II the Conqueror or Mehmet II (30 March 1432 – 3 May 1481) made by Gentile Bellini (c. 1429 – 23 February 1507) in 1480 and featured at the top of this post. Mehmed II conquered Constantinople, the current Istanbul, in 1453 vastly expanding the Muslim world to include Eastern Europe. In 1479, Venice summoned Gentile Bellini, a portraitist of the School of Venice, to travel to Constantinople and make a portrait Sultan Mehmed II, or Mehmet II.

http://www.nationalgallery.org.uk/paintings/gentile-bellini-the-sultan-mehmet-ii

The Wikipedia entry on Gentile Bellini describes Gentile as one the “founders of the Orientalist tradition in Western painting.”

“In 1479 he was sent to Constantinople by the Venetian government when the Ottoman Sultan Mehmed II requested an artist; he returned the next year. Thereafter a number of his subjects were set in the East, and he is one of the founders of the Orientalist tradition in Western painting. His portrait of the Sultan was also copied in paintings and prints and became known all over Europe.”
(See Gentile Bellini, Wikipedia.)

Here, it would appear the term Orientalism is used upside down. But it could be that the term Orientalism is pluralistic. One knows the meaning of the word because of the context in which it is used. Mehmed II was a Conqueror, not the conquered. If one had to attach tags to the portrait featured at the very top of this post, terms such as portraiture, Italian, and the school of Venice may well precede Orientalism. But Gentile Bellini’s famous portrait is nevertheless the portrait of a very powerful Ottoman Sultan, one of the most powerful Ottoman Sultans in history. The word  “Orientalism” may be patronizing when applied to the 19th-century genre depicting the colonized and powerless East, but in cannot be when the content is the portrait of a Conqueror.

However, this portrait can be linked to the Sykes-Picot Agreement of 1916, when England, France, and a collapsing Imperial Russia patronizingly partitioned the Ottoman Empire, which it expected to defeat and defeated. In 1922, during the Turkish War of Independence (19 May 1919 – 24 July 1923), the Sultan was sent into exile and two years later the Caliph was removed. The Ottoman Empire had lasted 700 years, from the 13th century until the 20th, but it did not defeat the Byzantine Empire until 29 May 1453. It had survived the decline and fall of the Western Roman Empire (4 September 476),  but it had broken with the Western Church in 1054 CE (See Fall of the Roman Empire, Wikipedia and Defeat and dissolution Fall of the Ottoman Empire, Wikipedia.)

The Byzantine Empire had followed the Roman Empire, but Constantinople had been called Byzantium until the Christian Church as an institution was founded in 325 CE, at the First Council of Nicaea, by Roman Emperor Constantine the Great. After the Great Schism of 1054 CE, it became the Holy See of Orthodox Christianity. (See Fall of the Roman Empire, Wikipedia.)

So Gentile Bellini, was an Orientalist of a different orientation. When he was in Turkey and Greece, he could not resist sketching Turks and other Muslims, but he was not depicting colonized individuals. Other members of the Venetian School also painted the Orient.

http://www.britishmuseum.org/research/collection_online/search.aspx?school=13208&page=1
http://www.gardnermuseum.org/FILE/2156.jpg?w=800&h=750

A Janissary by Gentile Bellini, 1479-1480 (British Museum)
A Janissary by Gentile Bellini, 1479-1480 (British Museum)
Turkish Woman by Gentile Bellini 1479-1480 (British Museum)
Turkish Woman by Gentile Bellini 1479-1480 (British Museum)

Merchants, Discoverers, and Conquerors

Marco Polo

In a sense Marco Polo resembles our 19th-century Orientalists. Marco Polo documented his Orient by narrating his travels. He was fascinated by the lands he travelled, the people he met, and the animals he saw, animals unknown in Europe. He therefore told his  story to Rustichello da Pisa who became the co-author, or amanuensis, of The Travels of Marco Polo (c. 1300), also entitled Il Milione and Le Livre des merveilles du monde. Marco Polo’s Il Milione was written in Medieval French. Rustichello and Marco were prisoners in Genoa when Marco narrated his story, which means that Le Livre des merveilles du monde is an example of prison literature.

Venetian Fra Mauro and Christopher Columbus

The Travels of Marco Polo was a bestseller. The book inspired cartographer Fra Mauro, a Benedictine monk who died in 1464. More importantly, Italian navigator Christopher Columbus (31 October 1450 and 30 October 1451 in Genoa – died on 20 May 1506 in Valladolid) found a Latin copy of Il Milione which he annotated. Marco Polo was a merchant, so, as mentioned above, trade was the first way East and West interacted.

Vasco da Gama: Colonialism

Matters would change. Marco Polo’s book may also have influenced Portuguese explorer Vasco da Gama (c. 1460s – 24 December 1524), who departed Lisbon on 8 July 1497 and was the first European to reach India by sea linking the Atlantic Ocean (the West) and the Indian Ocean (the East). Once again, trade was the motive: the spice trade. Portugal wanted to  undermine the Republic of Venice whose merchants  could travel safely by land to purchase the spices of the Orient. Vasco da Gama was appointed Viceroy of India in 1524, by the king of Portugal.

Vasco da Gama committed acts of cruelty. For instance, he locked 400 Muslim pilgrims, including 50 women and their babies, and, after their ship was looted, he had his prisoners burned to death. This incident is named the Pilgrim ship incident. (See Vasco da Gama, Wikipedia.)

See also http://esmeraldashipwreck.com/history/

The Crusades

  • tapestries, the mille-fleurs (thousand flowers) motif
  • carpets
cluny-dame_a_la_licorne-detail_16

La Dame à la licorne, Mille-fleurs motif (Musée national du Moyen-Âge, Paris) (Wikipedia)

Beginning in the 11th century, Crusaders were influenced by the magnificent carpets of the Orient many of which contained silver and gold and displayed the mille-fleurs motif, which was a favourite.

The last Crusade was the conquest of the Constantinople, in 1453, but the Crusades began in the 11th century. Oriental motifs had therefore entered Europe quite early in the Middle Ages. The Apocalypse Tapestry, which consisted of large number of panels, 90, was made between 1377–1382, by Jean Bondol and Nicholas Bataille. It is undeniably astonishing. Several panels were damaged or destroyed, but those that survived are housed in the Château d’Angers, France. The more famous Lady and the Unicorn (La Dame à la licorne), which we have discussed, a long time ago, is housed in the Musée national du Moyen Âge, the former Cluny Museum, in Paris. But the following contains relevant information.

http://www.thecultureconcept.com/the-lady-and-the-unicorn-and-millefleurs-style-tapestries

A tapestry resembling the Dame à la licorne, The Hunt of the Unicorn (seven panels), made in Liège, is housed in the Cloister (The Metropolitan Museum of Art).

The Apocalypse Tapestry and the Dame à la licorne (six panels) were both made in Europe, Flanders to be precise. Jean Bondol was from Bruges.

Louis XIV, the French King, could have his tapestries and carpets made at the Gobelins Manufactory. A second factory, the Savonnerie Manufactory, a former soap factory (savon) was also established in the 17th century. The Savonnerie was established in 1615 by Pierre DuPont who had just returned from the Levant. The Savonnerie was incorporated with the Gobelins Manufactory in 1825. (See Savonnerie Manufactory, Wikipedia.)

Turquerie and Chinoiserie

Turquerie, a taste for all things reflecting the Ottoman Turks, was not popular in Europe until the 18th century, a late date if one considers that Francis I of France and Suleiman the Magnificent entered into an alliance, the Franco-Ottoman Alliance, in 1536. This entente would last until Napoleon’s campaign in Egypt. (See French Campaign in Egypt and Syria, Wikipedia). Similarly, Chinoiserie, an engouement, a craze, for all things Chinese, did not flourish until the 18th century.

800px-jean-etienne_liotard_-_a_woman_in_turkish_dress_-_google_art_project

Woman in Turkish Dress by Jean-Étienne Liotard, 18th century (Google Art Project)

le_jardin_chinois_detail_by_francois_boucher

Chinese Garden by François Boucher, 18th century (Wikipedia)

Conclusion

There is an older Orient. Edward Said’s may be patronizing, but Bellini’s portrait of Mehmed II depicts a Conqueror and it suggests immense wealth. See the jewels, the ornate frame and the little crowns. Merchants travelled to the East to purchase its spices, its coffee and its fabrics. There was so much beauty to the East and there was opulence and mystery. It could be that we do not study the Orient sufficiently, but will the Orient ever reveal itself?

The knowledge crusaders took from the East was mostly scientific: algebra, architecture, medical practices, not to mention Arabic numerals…

Love to everyone. ♥

Mozart‘s Rondo alla Turca, Sonata 11, K331 (330i)
Paul Barton (piano)

800px-marco_polo_il_milione_chapter_cxxiii_and_cxxiv

Il Milione (Polo & Rustichello)

© Micheline Walker
18 September 2016
WordPress

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Leo Rauth: Images

19 Tuesday Aug 2014

Posted by michelinewalker in Art, Dance, Fashion, Sharing

≈ Comments Off on Leo Rauth: Images

Tags

fashion design, fin de siècle, la Belle Otéro, Leo Rauth, modern dance, Oswin Haas, Ruth St. Denis, Schlangentanz

 
La Belle Otéro, Leo Rauth, 1910

La Belle Otéro, Leo Rauth, 1910

Ruth

Ruth St. Denis, Schlangentanz, Leo Rauth

All I can send you today are these images by Leo Rauth (1884 – 1913). They feature dancers one of whom is American modern dance “pioneer” (Wikipedia), Ruth St. Denis  (20 January 1879 – 21 July 1968), shown above performing a “snake dance,” without the snake. They also feature la Belle Otéro (4 November 1868 – 12 April 1965).  (Wikipedia)

Leo Rauth also designed rather “poetical” clothes.

I found a lovely piece of music by Oswin Haas.

—ooo—

RELATED ARTICLE

  • Leo Rauth’s “fin de siècle” Pierrot (27 June 2014)

Sources

  • Leo Rauth (Tumbler website)
  • La Belle Otéro (Wikipedia)
  • La Belle Otéro (lockkeeper.com)
  • Google Images
d4672083x

Fashion Design, Leo Rauth (Photo credit: Google images)

This may be one of my shortest posts, but I wanted to show more artworks by Rauth, who did a number of pochoirs. But more importantly, I wanted to keep in touch and send everyone my best regards.

 La Valse contente (The Happy Waltz)
“Piano Album With A Smile 2”: original easy to medium pieces from Oswin Haas.
 

imagesFDQ0AI90

© Micheline Walker
August 18, 2014
WordPress 

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Illustrating Fashion Magazines: Barbier & Colleagues

16 Saturday Aug 2014

Posted by michelinewalker in Art, Fashion, France

≈ Comments Off on Illustrating Fashion Magazines: Barbier & Colleagues

Tags

Babar the Elephant, Bernard Boutet de Monvel, Condé Nast, fashion illustration, George Barbier, Jean de Brunhoff, La Gazette du Bon Genre, La Gazette du Bon Ton, Pierre Brissaud, Vogue

 
Vogue, its first issue, 17 December 1892 (Wikipedia) or its May 1917 issue, as the cover indicates (Photo credit: Wikipedia)

Vogue, its first issue, 17 December 1892, and its May 1917 cover. (Photo credit: Wikipedia)

Content & Style

George Barbier
La Gazette du Bon Ton
Fantasy
Illustrators
Designers
Content as Style
 

In my last post, I stated that Leo Rauth (Wikipedia, in German) differed from George Barbier in that Barbier concentrated on fashion. In this regard, I was both right and wrong. Barbier’s illustrations were a gift to the fashion and publishing industries. However, in the artwork Barbier contributed to La Gazette du Bon Ton and other fashion magazines, he let fantasy guide him as did many other illustrators.[I] The same could be said about the designers.[II] Fantasy seems our keyword.

Moreover, it could well be that Rauth’s commedia dell’arte characters resemble Barbier commedia dell’arte characters because the subject matter tends to dictate style. In Barbier’s Fêtes galantes, the stock characters of the commedia dell’arte are depicted in Antoine Watteau‘s “galant” style, perhaps not to the same extent as Rauth’s commedia dell’arte‘s characters, but in a “galant” style nevertheless.

The term “galant” is associated with music composed in the eighteenth century but, interestingly, Verlaine’s Fêtes galantes would be an inspiration to late nineteenth-century French composers, Claude Debussy (22 August 1862 – 25 March 1918) and Gabriel Fauré in particular. The decadent “fin de siècle” was also called “la Belle Époque.”

During the first years of the twentieth century, there occurred a merging of the arts prompted in part by Sergei Diaghilev‘s Ballets Russes.

The Ballets Russes

We looked at Barbier’s illustrations of Paul Verlaine‘s Fêtes galantes, but as you know from earlier posts, published in 2012, Barbier also chose the Ballets Russes as one of his subjects. He portrayed not only Nijinsky, but also Russian prima ballerina Tamara Karsavina (10 March 1885 – 26 May 1978) during the years she worked for the Ballets Russes. Nikinsky, however, was its star.

In the work featured directly below, there are elements of Art Deco. The torchère is an Art Deco prop, avant la lettre. However, Barbier’s Vaslav Nijinsky flying in mid-air seems to me to be Barbier’s Vaslav Nijinsky flying in mid-air (Shéhérazade [Nikolai Rimsky-Korsakov], 1910).

Art Deco is associated with the twenties, les Années folles, the Golden Twenties, but art movements overlap.

Tamara Karsaniva, George Barbier

Tamara Karsavina as Salomé by George Barbier

(Please click on the images to enlarge them.)

Nijinsky in Schéhérazade, 1910, George Barbier

Nijinsky in Schéhérazade, 1910, by George Barbier (Photo credit: Google images)

Fashion Magazines and haute couture illustrators

La Gazette du Bon Ton (France)
La Gazette du Bon Genre (New York)
Vogue, etc.
Lucien Vogel
Condé Nast 
 

A subscription to La Gazette du Bon Ton cost a fortune. It targeted the rich; wealthy New Yorkers in particular. The articles contained in both Gazettes were written impeccably, the publishers used good quality paper, and subscribers indulged their fantasies. Other fashion magazines were more affordable, so women dreamed, as did men. As noted in Wikipedia’s entry on Vogue magazine, the magazine sold profusely during the Great Depression:

“The magazine’s number of subscriptions surged during the Great Depression, and again during World War II.”

I should think that never had the superfluous been so essential than during these troubled times: fantasy! (See Vogue magazine, Wikipedia.) Men also wished to wear designer clothes. As I noted in my last post, Bernard Boutet de Monvel was a dandy. Certain clothes were not very practical. For instance, few women would wear clothes like Beer’s beach dress (robe de plage; Pierre Brissaud), shown below. But mothers sewed little sailor suits for their children.

Rentrons Robe de plage de chez Beer

Rentrons (Let’s go home)
Robe de plage de Beer by Pierre Brissaud, 1920 (Photo credit: Google images)

La Gazette du Bon Ton: 1912 – 1925

La Gazette du Bon Ton was founded in 1912 by Lucien Vogel and Michel de Brunhoff  who later became the editor of Vogue Paris from 1929 to 1954. Lucien Vogel married Michel de Brunhoff’s sister, Cosette. Their brother, Jean de Brunhoof and his wife Cécile, created Babar the Elephant. Jean de Brunhoof died of tuberculosis at the age of thirty-seven, but his son, Laurent de Brunhoof, continued his father’s work.

I will end this post with a display of the illustrations executed by several artists who, at times, were also designers. Such is the case with Bernard Boutet de Monvel and his two cousins, Barbier and Brissaud. But I will also show the work of other illustrators, Georges Lepage, who worked for the French Gazette du Bon Ton, and American illustrator Helen Dryden, whose art is superb. These artists also contributed artwork to other magazines on both sides of the Atlantic: Harper’s Bazaar, Vanity Fair, Femina, Vogue and Les Feuillets d’art. Condé Nast owned the American Gazette du Bon Genre, examples of which can be read online. Click on: Gazette du Bon Genre.

Miniature ancienne, Bernard B. de Monvel

Miniature ancienne by Bernard B. de Monvel, 1913

(George Barbier & Paul Iribe) 

Parure d'hermine et de putois, George Barbier, 1913
Parure d’hermine et de putois, George Barbier, 1913
Paul Iribe
Paul Iribe
Bernard Boutet de Monvel, 1914

Le Matin, Place Vendôme by Bernard Boutet de Monvel, 1914

Costumes Parisiens, Pour Stl Moritz George Barbier

 (George Barbier, above and below)

La Belle aux Moineaux by George Barbier
La Belle aux Moineaux by George Barbier
Rendez-vous Villa Gori by George Barbier
Rendez-vous Villa Gori by George Barbier

(moineaux are sparrows)

Helen Dryden, May, 1921

Helen Dryden, May 1921

Le Jeu des Grâces, George Barbier

Le Jeu des Grâces,* George Barbier

* The Game of Graces

(Photo credit: L’Illustration, No. 3671, 5 Juillet 1913 [EBook #36357] (above and below)

Robes neuves, Georges Lepage

Robes neuves (New Dresses), Georges Lepage

Les Chiens suivent aussi la mode, Bernard B. de Monvel

Les Chiens suivent aussi la mode,* Bernard Boutet de Monvel

* Dogs also follow fashion.

RELATED POSTS

  • George Barbier’s Fêtes galantes (17 July 2014)
  • Leo Rauth’s “fin de siècle” Pierrot (27 June 2014)
  • The Ballets Russes, Vaslav Nijinsky & George Barbier (27 July, 2012)
  • The Ballets Russes & the News (12 July 2012)

Sources and Resources

  • Gazette du Bon Genre
  • L’Illustration, No. 3671, 5 Juillet 1913 [EBook #36357]

Conclusion

I feel I’ve travelled to another world. A world to which I do not belong. However, discussing Barbier and his colleagues does provide examples of the acceptability of the decorative arts, interior design, haute couture, posters. Design is everywhere, from dishes to arranging food on a plate.

Note the influence of japonisme: flat colours and diagonal lines. Barbier’s Pour St. Moritz, is an example of japonisme. We are also looking at creative minds working together and constituting a network. Diaghilev’s Ballets Russes were a beehive and a gathering place that attracted illustrators and designers. Living in such a milieu must have been very stimulating.

Where fashion is concerned, I did not mention Coco Chanel who triggered a revolution. Many women still dress à la Coco Chanel: elegance, but simplicity and comfort.

I must close.

My best regards to all of you.

____________________

[I] Illustrators associated with La Gazette du Bon Ton were George Barbier, Erté (Romain de Tirtoff), Paul Iribe, Pierre Brissaud, André Edouard Marty, Thayaht (Ernesto Michahelles), Georges Lepape, Edouard Garcia Benito, Sœurs David (David Sisters), Pierre Mourgue, Robert Bonfils, Bernard Boutet de Monvel, Maurice Leroy, Zyg Brunner, and others. These illustrators also worked for other fashion magazines.
 
[ii] Designers associated with La Gazette du Bon Ton were, to begin with, Louise Chéruit, Georges Dœuillet, Jacques Doucet, Jeanne Paquin, Paul Poiret, Redfern & Sons, and, after World War I, La Gazette du Bon Ton also showed Charles Worth. Étienne Drian, Gustav Beer, Kriegck, Larsen, Martial & Armand, and others. (see La Gazette du Bon Ton, Wikipedia.) 
 
Masques et Bergamasques, Gabriel Fauré (12 May 1845 – 4 November 1924)
 
Bonnet de voyage, Georges Lepage

Bonnet de voyage, Georges Lepage

 
© Micheline Walker
16 August 2014 
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Un peu, beaucoup, passionnément…

10 Tuesday Jul 2012

Posted by michelinewalker in Art, Fashion

≈ 13 Comments

Tags

Arts and Crafts Movement, Dante Gabriel Rossetti, Edward Burne-Jones, Georges Barbier, Morris, Pre-Raphaelite Brotherhood, Wikipedia, William Morris

En effeuillant la marguerite

A new day has dawned that has a purer taste.  I am therefore featuring another George Barbier illustration for its youthfulness.  I am also featuring textile designs by William Morris (24 March 1834 – 3 October 1896), a British designer, writer, printer: the Kelmscott Chaucer, a close friend of Sir Edward Burne-Jones: a man of many talents.

Un peu, beaucoup, passionnément…

In Barbier’s illustration, the Lady wonders whether he loves her un peu, beaucoup or passionnément…

When I was very young, long before I was interested in men, I would pick the petals off daisies.  The last petal told me an imaginary truth.  It’s a lovely memory, but it was another age.  An age when you waited for the gentleman to phone you.  An age when you were afraid he would turn his back on you if you showed your true feelings.

I am glad times have changed.  A woman should be able to phone a man and suggest a date.  But I miss picking at a daisy and I would like to wear that dress, but not to walk in the countryside.  I would wear it to walk in a beautifully manicured garden with little paths.

According to Wikipedia, William Morris was a “libertarian socialist associated with the Pre-Raphaelite Brotherhood and the English Arts and Crafts Movement. He founded a design firm in partnership with the artist Edward Burne-Jones, and the poet and artist Dante Gabriel Rossetti.”  I have featured works by William Morris in other posts.

As for George Barbier (1882-1932), he was a French illustrator.  The work shown above is entitled “N’en dites rien,” (Do not say a word about it).  It was featured in an exclusive fashion magazine called: La Gazette du Bon Ton, in 1913.  “Bon ton” means good taste.

George Barbier is featured with permission from Art Resource, NY.  As for the samples of textile designed by Mr Morris, Wikipedia was my source.

© Micheline Walker
9 July 2012
WordPress
 
 

 

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