جان-پيير سانتور

مصارعة في الألعاب الأولمپية، 1786-91، متحف الفن والتاريخ، جنيڤ، 209.5 × 386سم
اختيار الأطفال في اسبرطة، نسخة صغيرة في 1785، 56 سم × 100 سم، Neue Pinakothek، ميونخ.

جان-پيير سانتور (Jean-Pierre Saint-Ours ؛ 4 أبريل 1752 – 6 أبريل 1809) كان رساماً سويسرياً من جنيڤ.[1] بالاضافة إلى الپورتريهات غير الرسمية نسبياً، فقد تخصص في الرسم التاريخي الطموح لموضوعات من التاريخ القديم، وخصوصاً الكلاسيكي. وتلك الرسومات كانت بالنمط النيو كلاسيكي، والعديد منهمن بمجموعات كبيرة من الأشخاص، مما جعل لا مندوحة من عقد مقارنة بينه وبين أعمال معاصره جاك-لوي داڤيد، الذي كان يكبره بأربع سنوات.[2] ولكن العديد من أعمال سانتور كانت أصغر كثيراً، للأسباب أهمها افتقاده للتمويل لتنفيذها بالأحجام الكبيرة التي كان يقصدها. أعماله الكبرى يتواجد معظمها كرسومات بدرجات مختلفة من الإنهاء، النسخ المرسومة الصغيرة، وإذا تلقى تكليف مالي، فإنه كان يحولها إلى لوحات زيتية كبيرة، وكانت تلك اللوحات النهائية ضخمة الحجم.

بعد الثورة الفرنسية، عاد سانتور إلى جنيڤ ودخل معترك السياسة، في البداية كمؤيد متحمس للأفكار الثورية. ولاحقاً خاب أمله وعاد إلى الرسم، أساساً لرسم پورتريهات أثرياء جنيڤ.

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حياته وعمله

وُلِد سانتور في جنيڤ، التي كانت آنذاك جمهورية مستقلة. وقد بدأ الدراسة مع والده جاك (1708–1773) الذي كان رسام على المينا. وقد واصل دراساته في پاريس في 1769، مع جوزيف ماري ڤيين، الذي التقي في مرسمه بداڤيد وتعرض للفكر السياسي الراديكالي. وبعد الفوز بجوائز عديدة أصغر، حصل في 1780 على جائزة روما للرسم بلوحته اغتصاب النسوة السابينيات، إلا أنه لم يحصل على مكان في الأكاديمية الفرنسية في روما، بسبب جنسيته وديانته الپروتستانتية. He made the journey at his own expense, and was effectively allowed the privileges of membership, but was excluded from French official commissions. With the help of contacts made through Cardinal de Bernis, the French ambassador, he was able to make a successful living in Rome. He strongly supported the French Revolution during its first several years,[3] even as it virtually destroyed the market for the large history paintings he wanted to paint.

النسخة "الصرحية" من الزلزال، (Le Tremblement de terre monumental)،‏ 1792-1799، 261 × 195 سم، جنيڤ.[4]

In the first Paris Salon under the Revolution, in 1791, he exhibited three small versions of what he seems to have intended to be a group of four large paintings showing the manners of different ancient peoples, and also the four Ages of Man. Paris saw The Selection of Children in Sparta, Germanic Wedding (these small versions both now in Munich), and The Olympic Games.[5] All these were produced at their considerable full size. The Games (by 1791, 209.5 x 386 cm) and the Selection (by 1786, 138 cm x 260 cm) are both now in Geneva, and the Wedding (by 1788, 136,5 x 259 cm) is now in the Oskar Reinhart Foundation, Winterthur.[6] The Selection of Children in Sparta (Le Choix des enfants de Sparte), based on a story in Plutarch,[7] shows a combination of the severe moralizing impulses of Neoclassicism and the contemporary cult of "sentiment" in the figure at left of the exiting father whose infant has failed the selection; the baby is retained for later exposure.[8]

By 1792, after Revolutionary France invaded Italy, Rome became dangerous for French-speakers, and Saint-Ours returned to Geneva, where he married and entered politics, becoming elected to the Geneva Assemblée Nationale. He painted an allegorical figure of the Republic of Geneva, designed new costumes for the magistrates, and designed for civic festivities.[9] In 1795 he succeeded in getting a bust of Jean-Jacques Rousseau, who he had known, placed on a tall column in the Parc des Bastions.[10] But, disillusioned by developments in France, in 1796 he retired from political involvements and returned to painting, producing mostly portraits of the Genevan elite.[11] He also made several self-portraits, the earliest when he was 13.[12]

The later versions of his Earthquake, where a family flee from a collapsing Greek temple, show his disillusion with the Revolution and its Napoleonic aftermath; altogether he painted five versions of the subject between 1782 and 1806.[13] He illustrated one of Rousseau's books with a series of drawings, each repeated in a small oil painting.[14] His portrait of the Genevan geologist and meteorologist Horace-Bénédict de Saussure (1796, Geneva)[15] was much copied in prints. He also drew and painted Italianate landscapes, some with the landscape round Geneva reimagined as a classical scene, as in La ville de Genève idéalisée à l’antique avec le tombeau de Rousseau ("The city of Geneva idealized in antique style, with the tomb of Rousseau"), c. 1794.[16]


الأسرة والذكرى

تزوج سانتور ابنة عمته Madeleine-Hélène Bois de Chêne لدى عودته إلى جنيڤ في 1792، وأنجب منها ثلاث بنات.[17] One was still alive in 1871, when after the Paris Commune she destroyed many papers relating to his political activities.[18] On 6 April 1809 he died in Geneva, by then capital of the French Département du Léman after the French revolutionary regime had annexed the republic in 1798.[19]

His reputation was low, even in Geneva, for over a century after his death, but has begun to revive in recent decades.[20] The best collection is in the Musée d'Art et d'Histoire of Geneva, whose establishment Saint-Ours had agitated for, though it was only founded later.[21] The museum held an exhibition devoted to him in 2015–16, with over 100 paintings, as well as many drawings.[22] Several public and private collections in Switzerland have works, as do the Los Angeles County Museum of Art and the Bavarian State Painting Collections. The French government collections have works, and in 2018 one painting was in the Élysée Palace.[23] They lent his Prix de Rome Rape of the Sabine Women to Guadeloupe, which was then lost in a hurricane in 1928.[24] His works in museum collections may not be on display.

الهامش

  1. ^ entry in ULAN
  2. ^ SIKART; Krull, 180
  3. ^ SIKART; LACMA; Krull, 180
  4. ^ Visuels, #2
  5. ^ SIKART; Krull, 180–181
  6. ^ Visuels, 13 and 15; Colloque
  7. ^ Plutarch, Life of Lycurgus: "Offspring was not reared at the will of the father, but was taken and carried by him to a place called Lesche, where the elders of the tribes officially examined the infant, and if it was well-built and sturdy, they ordered the father to rear it, and assigned it one of the nine thousand lots of land; but if it was ill-born and deformed, they sent it to the so‑called Apothetae, a chasm-like place at the foot of Mount Taÿgetus, in the conviction that the life of that which nature had not well equipped at the very beginning for health and strength, was of no advantage either to itself or the state.", Chapter 16
  8. ^ Krull, 181–183
  9. ^ SIKART
  10. ^ SIKART; "Les trois avatars de la médaille de Jean-Jacques Rousseau par Théodore Bonneton"
  11. ^ SIKART
  12. ^ Visuels, 7, 24-26
  13. ^ SIKART; Krull, 180–184; 1806 version in Lausanne
  14. ^ LACMA; "The Jean-Pierre Saint-Ours exhibition at MAH"
  15. ^ Visuels, 4
  16. ^ Visuels, 9, see also 17-18
  17. ^ SIKART; portraits: Visuels, 1, 5 and 10
  18. ^ Krull, 184, note 83
  19. ^ SIKART
  20. ^ SIKART; Krull, 184
  21. ^ SIKART
  22. ^ "Jean-Pierre Saint-Ours, Un peintre genevois dans l'Europe des Lumières", 25 septembre 2015 – 28 février 2016
  23. ^ "SAINT-OURS Jean Pierre" in the Joconde Database
  24. ^ Krull, 180, n. 69
  25. ^ LACMA
  26. ^ The portrait is Visuels #4

المراجع

للاستزادة

  • Anne de Herdt, Jean-Pierre Saint Ours, Baconniere Arts, 2016 (ISBN 978-2940462124) (catalogue raisonné)
  • (بالفرنسية) Herdt, Anne de, Saint-Ours et la Révolution, Genève : Musée d'art et d'histoire, 1989. OCLC 81886207
  • (بالألمانية) Koller, Mylène, Zur Genfer Historienmalerei von Jean-Pierre Saint-Ours (1752–1809), Bern ; New York : Lang, 1995. OCLC 35143635
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