Monsieur Olier et ses peintres
Jean-Jacques Olier (1608‑1657), founder of Saint-Sulpice, hired important painters of his time to adorn the seminary chapel; the most notable work to be seen there is Charles Le Brun's Pentecost. While the terms of this contract are known, there is in fact little available information on the pl...
| Published in: | Revue de l'histoire des religions |
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| Main Author: | |
| Format: | Electronic Article |
| Language: | French |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Colin
[2020]
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| In: |
Revue de l'histoire des religions
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| Standardized Subjects / Keyword chains: | B
Olier, Jean-Jacques 1608-1657
/ Sulpizianer
/ Painting
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| RelBib Classification: | CE Christian art KAG Church history 1500-1648; Reformation; humanism; Renaissance KBG France |
| Online Access: |
Presumably Free Access Volltext (Verlag) Volltext (doi) |
| Summary: | Jean-Jacques Olier (1608‑1657), founder of Saint-Sulpice, hired important painters of his time to adorn the seminary chapel; the most notable work to be seen there is Charles Le Brun's Pentecost. While the terms of this contract are known, there is in fact little available information on the planned "program," which remained largely unfinished at the time of Olier’s death. Olier’s spirit, essentially Marian and priestly (the two are related), also inspired an important corpus of engravings. The Sulpician literary tradition, internal to the Company, attributes these images to the founder’s own visions, which, it is claimed, he himself set down as drawings. But none of these has been preserved and, again, little is known about his concrete relationships with the artists. Jean-Jacques Olier (1608‑1657), fondateur de Saint-Sulpice, a recouru aux peintres de son temps pour la chapelle du séminaire - dont l'œuvre la plus notable est la Pentecôte de Charles Le Brun. Si les termes du contrat sont connus, on dispose en fait de peu d'éléments sur son " programme", resté largement inachevé à sa mort. La spiritualité olérienne, essentiellement mariale et sacerdotale (les deux sont liées), a aussi inspiré une importante production de gravures. La tradition littéraire sulpicienne, interne à la Compagnie, fait dériver ces images de visions du fondateur, qu'il aurait lui-même fixées dans des dessins. Mais aucun n'est conservé et, là encore, on sait peu de choses de ses relations concrètes avec les artistes. |
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| ISSN: | 2105-2573 |
| Contains: | Enthalten in: Revue de l'histoire des religions
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| Persistent identifiers: | DOI: 10.4000/rhr.10262 |