Mais pour ce qui est de l’image de l’amour humain originel, Chagall ne se limite pas à une seule couleur. C’est ainsi qu’on le constate dans sa toile La Madone du Village, toute entourée de bleu ou encore dans l’image en bleu tendre de la section du vitrail ayant pour titre La Maternité au pied de l’Arbre de vie. Pour celui-ci, la couleur de l’amour peut être parfois le bleu, si par exemple il veut exprimer l’amour maternel. When considered within the framework of an early French Renaissance literary movement centred on Paris and the Bourbonnais, this study offers a new understanding of the tapestry Amour foulant des rois that takes into account the creation process of late medieval visual and textual allegories as it relates to the development of French Humanist thought.« Il n’y a dans notre vie qu’une seule couleur qui donne sens à la vie et à l’art : la couleur de l’amour », écrit Marc Chagall. Although the partial poem captured in a banderole above the scene has been described as representative of contemporary poetry, it is interesting to notice that it has not been explained in the context of the image. The DIA curators have mentioned a reference to Petrarch's Triumphs. Generally, iconographical analyses have limited the understanding of the image to a representation of the powerful god of Love. Over the centuries, it has generated very little interest from art historians and has been separated from the other three tapestries that most probably composed the former cycle. 1500-20), now in the Detroit Institute of Arts, is a partial survivor of the original hanging. Through this combined analysis of text and image, the significance of the doubling action at the core of the text is elucidated. These include a portrait of René’s textual counterpart of the dream, imagery of the fountain and stone that most specifically reenacts the Narcissus myth, and the Diamond Mirror of the Castle of Pleasure into which René’s Heart must gaze. In addition, manuscript illustrations of the text in Vienna and Paris present visual themes that significantly parallel the trope of the double in the text. This is accomplished through a close reading of three key episodes of the 'Livre du Coeur d’Amour épris' that specifically bear upon the theme of doubling. In an exploration of the king’s unsatisfied love for Douce Merci, this study examines how his double (1) is a manifestation of his divisive desire and (2) attempts to achieve the fulfillment that he in the extratextual world is incapable of attaining. Like that of the mythic adolescent, René’s doubling ultimately serves as a metaphor for the amorous feelings that uncontrollably strike him, leading, as in Ovid’s tale, to an alienating separation between his desire and its fulfillment. The 'Livre du Coeur d’Amour épris' acts as a mirror in which the lover’s textual double is an heir of this narcissine image that defines and directs his desire. This division between extratextual author and textual counterpart, a technique used in earlier works such as the 'Roman de la Rose,' reenacts the doubling that Ovid’s Narcissus experiences as he beholds his own idealized image upon the surface of the fountain’s waters. The text, written as an extended dream, introduces a structural split in its narrative between the author (René) and a fictionalized dreamer / adventurer who speaks in the first person, shares the monarch’s name, and mirrors his best qualities. In his 'Livre du Coeur d’Amour épris' (1457), René, Duke of the Angevin territories and King of Sicily during the fifteenth century, recounts the journey undertaken by his personified Heart toward Douce Merci, the woman of his affection.
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