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| - | == 2010: Isabelle de Charrière and Music == | + | == 2010: Isabelle de Charrière, Music and Painting == |
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| The Dutch Isabelle de Charrière Association (Genootschap Belle van Zuylen) and the editorial committee of ''Cahiers Isabelle de Charrière'' invite proposals for articles about : <br><br> | The Dutch Isabelle de Charrière Association (Genootschap Belle van Zuylen) and the editorial committee of ''Cahiers Isabelle de Charrière'' invite proposals for articles about : <br><br> | ||
| - | '''Isabelle de Charrière and Music'''<br><br> | + | '''Les violons d’Ingres d’Isabelle de Charrière : musique et peinture'''. <br><br> |
| - | for which also a panel will be proposed at the Annual ASECS meeting (American Society for Eighteenth-Century Studies) in Vancouver, March 2011. <br><br> | + | Over the past few years, there has been a growing awareness that Isabelle de Charrière was not only a talented novelist and an epistolary writer involved in an extended network of correspondents, but that she was also active in other areas – such as music and painting. <br><br> |
| - | + | Nous comptons en effet non seulement continuer sur la lancée du livre de Jacqueline Letzter et Robert Adelson, ''Women Writing Opera : Creativity and Controversy in the Age of the French Revolution'' (Berkeley, 2001), en nous demandant si finalement Isabelle de Charrière n’aurait pas pris ses activités musicales plus au sérieux que sa production littéraire ? Si on peut ou si l’on doit tisser des liens entre sa composition musicale et sa conception de l’écriture ? Nous voulons ajouter à ce questionnement son intérêt pour la peinture, Mlle Prévost ne s’était-elle pas déjà émerveillée : « vous voilà donc pintresse, musicienne, couturière, marchande de mode […] et par-dessus tout cela philosophe » (3 avril 1756). On conserve un portrait de son frère Ditie peut-être peint par Belle (''Zonder Vaandel'', p. 71) ainsi qu’un autoportrait dont l’authenticité est cependant mise en doute. On s’interrogera sur ce second violon d’Ingres, sur les échanges avec son portraitiste Quentin de La Tour, ses (rares) commentaires sur la peinture du Siècle d’Or de son pays natal, mais aussi sur ses capacités à tracer des portraits – que ce soit dans ses romans ou dans ses lettres. <br><br> | |
| - | Over the past few years, there has been a growing awareness that Isabelle de Charrière was not only a talended novelist and an epistolary writer involved in an extended network of correspondents, but that she was also active in other areas – music in particular. The important role that she played, in relation with other women, was demonstrated by Jacqueline Letzter and Robert Adelson in ''Women Writing Opera. Creativity and Controversy in the Age of the French Revolution'' (UC Berkeley Press, 2001). In light of the interest that contemporary musicians show for her compositions, we think worthwhile to have a discussion about this issue. <br><br> | + | |
| Questions such as the following might be discussed: <br> | Questions such as the following might be discussed: <br> | ||
| - | * Charrière as composer<br> | + | * Charrière as composer or painter<br> |
| - | * Musical genres and relationships with both female and male composers<br> | + | * Musical genres, painting and their relationships with both female and male artists<br> |
| - | * Social role of music in eighteenth-century Europe<br> | + | * Social role of arts in eighteenth-century Europe<br> |
| And also: | And also: | ||
| - | * The place of music in Charrière’s works and in her correspondence<br> | + | * The place of music and of painting in Charrière’s works and in her correspondence<br> |
| * The musicality of her style – in her correspondence and in her fiction <br><br>. | * The musicality of her style – in her correspondence and in her fiction <br><br>. | ||
| Line 23: | Line 22: | ||
| * [mailto:madeleinevanstrien@yahoo.fr Madeleine van Strien-Chardonneau], <br> | * [mailto:madeleinevanstrien@yahoo.fr Madeleine van Strien-Chardonneau], <br> | ||
| * [mailto:Valerie.Cossy@unil.ch Valérie Cossy], or <br> | * [mailto:Valerie.Cossy@unil.ch Valérie Cossy], or <br> | ||
| - | * [mailto:suzan.van.dijk@huygensinstituut.knaw.nl Suzan van Dijk] – by September 1st 2010.<br><br> | + | * [mailto:suzan.van.dijk@huygensinstituut.knaw.nl Suzan van Dijk] – by 31 December 2010.<br><br> |
| - | Those who are interested will be able to benefit from the pending digitalization of Isabelle de Charrière’s correspondence by the Institut Huygens in The Hague (Netherlands) and its accessibility on line. | + | Those who are interested might be able to benefit from the pending digitalization of Isabelle de Charrière’s correspondence by the Institut Huygens in The Hague (Netherlands) and its upcoming accessibility on line. |
| <br> | <br> | ||
| - | SvD, April 2010 | + | SvD, November 2010 |
| <hr> | <hr> | ||
| <br> | <br> | ||
| *Publications > Belle de Zuylen Papers > 2010<br><br> | *Publications > Belle de Zuylen Papers > 2010<br><br> | ||
Current revision
2010: Isabelle de Charrière, Music and Painting
The Dutch Isabelle de Charrière Association (Genootschap Belle van Zuylen) and the editorial committee of Cahiers Isabelle de Charrière invite proposals for articles about :
Les violons d’Ingres d’Isabelle de Charrière : musique et peinture.
Over the past few years, there has been a growing awareness that Isabelle de Charrière was not only a talented novelist and an epistolary writer involved in an extended network of correspondents, but that she was also active in other areas – such as music and painting.
Nous comptons en effet non seulement continuer sur la lancée du livre de Jacqueline Letzter et Robert Adelson, Women Writing Opera : Creativity and Controversy in the Age of the French Revolution (Berkeley, 2001), en nous demandant si finalement Isabelle de Charrière n’aurait pas pris ses activités musicales plus au sérieux que sa production littéraire ? Si on peut ou si l’on doit tisser des liens entre sa composition musicale et sa conception de l’écriture ? Nous voulons ajouter à ce questionnement son intérêt pour la peinture, Mlle Prévost ne s’était-elle pas déjà émerveillée : « vous voilà donc pintresse, musicienne, couturière, marchande de mode […] et par-dessus tout cela philosophe » (3 avril 1756). On conserve un portrait de son frère Ditie peut-être peint par Belle (Zonder Vaandel, p. 71) ainsi qu’un autoportrait dont l’authenticité est cependant mise en doute. On s’interrogera sur ce second violon d’Ingres, sur les échanges avec son portraitiste Quentin de La Tour, ses (rares) commentaires sur la peinture du Siècle d’Or de son pays natal, mais aussi sur ses capacités à tracer des portraits – que ce soit dans ses romans ou dans ses lettres.
Questions such as the following might be discussed:
- Charrière as composer or painter
- Musical genres, painting and their relationships with both female and male artists
- Social role of arts in eighteenth-century Europe
And also:
- The place of music and of painting in Charrière’s works and in her correspondence
- The musicality of her style – in her correspondence and in her fiction
.
To submit proposals, please contact:
- Madeleine van Strien-Chardonneau,
- Valérie Cossy, or
- Suzan van Dijk – by 31 December 2010.
Those who are interested might be able to benefit from the pending digitalization of Isabelle de Charrière’s correspondence by the Institut Huygens in The Hague (Netherlands) and its upcoming accessibility on line.
SvD, November 2010
- Publications > Belle de Zuylen Papers > 2010