Icnographic study on satirical drawings and other visual culture during the July Monarchy of France

法国七月君主制时期讽刺画和其他视觉文化的印记研究

• 批准号: 10610484
• 负责人: NOMURA Masato
• 金额: $ 1.92万
• 依托单位: Tokyo University of Agriculture and technology
• 依托单位国家: 日本
• 项目类别: Grant-in-Aid for Scientific Research (C)
• 财政年份: 1998
• 资助国家: 日本
• 起止时间: 1998 至 1999
• 项目状态: 已结题
• 来源: https://kaken.nii.ac.jp/grant/KAKENHI-PROJECT-10610484/
• 关键词: France; Caricature; July Monarchy; Illustration; lithograph; Daumier; Charivari; visual culture; 七月王政期; 図像; 「シャリヴァリ」; 「カリカチュール」; 版画; 民衆版画; シルエット; シャリヴァリ; グランヴィル; 諷刺画; カリカチュール

The July Monarchy (1830-1848) is a very important period in the history of popular visual culture in France. This period is characterized by the following three points : (1) development of mass printing industry, and proliferation of block prints produced by new techniques such as lithograph and wood engraving, (2) crop of great illustrators and caricaturists like Grandville, Daumier, Travies, and Deveria, (3) freedom of press accorded but soon oppressed by the King Louis-Philippe, which created the "golden age of caricature".Though it is crucial to know the artistic traits of this period, we have not yet attained the level of sufficient appreciation of the full extent of the characteristics of lithographic prints and book illustrations produced then. In this study, we have tried to find a clue to that knowledge.First we collected as many plates and illustrated books of this period as possible. Then we picked out their important elements -- mythological, literary, political and histori … More cal themes that recurrently appear in these works --, and classified them. After that we analyzed the works, referring to contemporary text-documents.The following are some of the new findings obtained in our study.1 . There are some variations in the frontispieces of "la Caricature" and "le Charivari". By comparing them, we have clarified what political characteristics the editors tried to give to these satirical newspapers.2. We compared different versions of some hand-colored plates issued in "la Caricature" and have elucidated the editor's strategy for evading the censorship of the government.3. By historical tracing of the relationship between the illustrator Daumier and the critic Baudelaire, we have situated their shared aesthetic values in the artistic and literary context of the time.4. By examining the relationship between Daumier and the art critics of his day, and by studying his caricatural plates satirizing the contemporary arts, we have made clear the peculiar position of this artist. Less

七月君主制（1830-1848）是法国流行视觉文化史上非常重要的时期。这一时期的特点有以下三点：（1）大众印刷业的发展，石版画、木版画等新技术的版画大量涌现；（2）格兰维尔、杜米埃、特拉维耶、德维里亚等伟大的插画家和漫画家的涌现；（3）出版自由得到了国王路易·菲利普的压制，但很快就受到了压制，创造了“漫画的黄金时代”。 对于了解这一时期的艺术特征至关重要，我们还没有达到充分欣赏当时所产生的平版印刷品和书籍插图特征的充分水平。在这项研究中，我们试图找到这些知识的线索。首先，我们收集了尽可能多的这一时期的图画和插图书籍。然后我们挑选出这些作品中反复出现的重要元素——神话、文学、政治和历史主题——并对它们进行分类。之后，我们参考当代文本文献对这些作品进行了分析。以下是我们研究中获得的一些新发现。1． 《漫画》和《查理瓦里》的卷首插画有一些变化。通过比较，我们明确了编辑们试图赋予这些讽刺报纸什么政治特征。2．我们比较了《漫画》中一些手绘版的不同版本，并阐明了编辑逃避政府审查的策略。 3．通过对插画家杜米埃和批评家波德莱尔之间关系的历史追溯，我们将他们共同的审美价值观置于当时的艺术和文学语境中。4．通过考察杜米埃与同时代艺术评论家的关系，通过研究他讽刺当代艺术的漫画版画，我们已经明确了这位艺术家的特殊地位。较少的

项目成果

宮原信: "「ル・シヤリヴァリ」紙の変貎-1835年九月法成立の前後-"神奈川大学研究報告A. 24. 31-58 (2000)

Makoto Miyahara：“《Le Chiarivari》文件的转变 - 1835 年九月法颁布前后 -” 神奈川大学研究报告 A. 24. 31-58 (2000)

野村 正人: "新たなドーミエ像の発見"「みすず」(みすず書房). 467. 72-79 (2000)

野村正人：“新杜米埃雕像的发现”“Misuzu”（Misuzu Shobo）467. 72-79（2000）。

野村正人: "蝉はどこへ行った-ラ・フォンテーヌ・イソップ寓話の形象化"東京農工大学「人間と社会」. 10. 115-132 (1999)

野村正人：“蝉去哪儿了？——拉封丹伊索寓言的代表”东京农工大学《人与社会》10. 115-132 (1999)。

NOMURA Masato: "New aspect of Daumier"Misuzu. n. 467. 72-79 (2000)

野村正人：“Daumier的新面貌”Misuzu。

野村正人: "新たなドーミエ像の発見"「みすず」(みすず書房). 467. 72-79 (2000)

野村正人：“新杜米埃雕像的发现”“Misuzu”（Misuzu Shobo）467. 72-79（2000）。