File:Eugène-Louis Lami, Foyer des acteurs à l'Opéra - NYPL Digital Collections.tif
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Summary[edit]
:Foyer des acteurs à l'Opéra
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| Description |
English: Representation of the Foyer de la danse or green room at the Paris Opéra, a meeting place for performers and their admirers, engraved by Robert Staines after a watercolor painting by Eugène Lami. The print has been somewhat modified from Lami's original painting. The bonneted woman adjusting a dancer's costume has replaced a group of men surrounding the ballerina Caroline Forster. The costume and headdress of the dancer in movement, immediately to their right, has been altered and made more elaborate. The number of figures in the central group has been reduced, and now includes only the poet Alfred de Musset (in three-quarter back view), the Comte de Belmont, and the ballerina Fanny Elssler. The right side of the picture has also been altered but retains the figure of Lautour-Mezeray, who leans against a pillar facing the dancer Célestine Emarot. A watering pot, used to moisten the floor and prevent the dancers from slipping, has been added to the right of Elssler. |
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| Date | Date Issued: 1845 | ||||||||||||||||||||||||||||||||||||
| Medium | engraving | ||||||||||||||||||||||||||||||||||||
| Dimensions | Extent: 1 print : steel engraving, hand-colored ; 16 x 26 cm., image 11 x 17 cm. | ||||||||||||||||||||||||||||||||||||
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Jerome Robbins Dance Division |
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| Notes |
Statement of responsibility: Eugène Lami [artist] ; R. Staines [engraver]. Funding: Purchased with funds from the Committee for the Jerome Robbins Dance Division. Acquisition: Purchase; C. Mas, Paris, 1995. Biographical/historical: In her monograph of the same title, dance scholar Martine Kahane has called the Foyer de la danse a phenomenon exclusively linked to the Paris Opéra, and identifies its high point as the years 1820-1880, covering the approximate date when this print was made. The meetings that took place there between dancers, singers, and other performers with their male admirers (who were usually of a higher class) were replete with secondary meanings that often had little to do with the appreciation of their art. The interactions between dancers and their patrons were treated by Edgar Degas and other artists of the time, often providing a pretext for social commentary or satire. |
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| Source/Photographer | New York Public Library | ||||||||||||||||||||||||||||||||||||
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This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or fewer.  You must also include a United States public domain tag to indicate why this work is in the public domain in the United States.
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| This file has been identified as being free of known restrictions under copyright law, including all related and neighboring rights. | |
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| current | 05:49, 12 January 2018 |  | 8,984 × 6,732, 2 pages (173.31 MB) | Paris 16 (talk | contribs) | User created page with UploadWizard |
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