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He was inspired to keep the journal by which he is intimately known in support of his possible future self-defence, a "preservative against the [[Bastille]]" as he would jokingly remark to the ''Premiers Gentilhommes de la Chambre'' to whom he reported, reassuring them that otherwise it would never see the light of day, for he entered his position following the scandal of malfeasance of his predecessor, M. de Curis.<ref>According to the notice he appended to the journal as he awaited the Revolutionary tribunal that would condemn him to death (Papillon de la Ferté 1887:1).</ref> |
He was inspired to keep the journal by which he is intimately known in support of his possible future self-defence, a "preservative against the [[Bastille]]" as he would jokingly remark to the ''Premiers Gentilhommes de la Chambre'' to whom he reported, reassuring them that otherwise it would never see the light of day, for he entered his position following the scandal of malfeasance of his predecessor, M. de Curis.<ref>According to the notice he appended to the journal as he awaited the Revolutionary tribunal that would condemn him to death (Papillon de la Ferté 1887:1).</ref> |
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He developed many projects for the second [[Théâtre du Palais-Royal (rue Saint-Honoré)|Théâtre du Palais-Royal]] after April 1763. In 1770, Gluck signed a contract for six stage works with the management of the theatre which opened in January 1770. The theatre continued to be used by the Opera until June 1781, when it too was destroyed by fire. |
He developed many projects for the second [[Théâtre du Palais-Royal (rue Saint-Honoré)|Théâtre du Palais-Royal]] after April 1763. In 1770, Gluck signed a contract for six stage works with the management of the theatre which opened in January 1770. The theatre continued to be used by the Opera until June 1781, when it too was destroyed by fire. He was also head of the [[Académie Royale]], was opposed to the queen's predilection for foreign music. It was less than ten years since Gluck had succeeded in breaking the century-old monopoly French (or naturalised French) had exercised over the repertoire of the Opéra. He even suggested [[Joseph Legros]] alone was qualified to fill the vacant directorship of the theatre.{{sfn|Pitou|1985|pp=337–339}} Papillon de la Ferté's suggestion, however, met with opposition from the rest of the committee and remained a dead letter.<ref name="Dratwicki" /> [[Antoine Dauvergne]]'s correspondence with De La Ferté, published and made accessible online by {{ill|Benoît Dratwicki|fr}}.<ref>Antoine Dauvergne, ''Correspondance avec Denis Papillon de La Ferté conservée aux Archives nationales 1780-1782; 1785-1790'': 26 September letter, p. 157; the dossier can be downloaded as a PDF file from the [http://www.bruzanemediabase.com/ Palazzetto Bru Zane digital resources website]).</ref> A folio with 119 costume designs made for [[De la Ferté]] is at the [[Institut de France|''Bibliothèque de l'Institut'']] (MS 1004). |
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Under Louis XVI and Marie Antoinette the expenditures rose. He was interested in mathematiques and the building of forticications. In 1789 he joined the [[garde nationale]], <!--Even after the coming of the [[French Revolution|Revolution]], he was retained until 1792, to oversee the more overtly Republican events of what had always been political as well as cultural statements ; in producing them, the conflicts among the dukes who were ''Gentilhommes de la Chambre'', to whom Papillon de la Ferté reported and among whom he served as diplomat and peacemaker, also played a role.--> He lived on [[île Saint-Louis]] in a [[hotel particulier|grand townhouse]] and attributed to or published a book about French painters. He became a victim of the [[Reign of Terror]]; his aristocratic background made him a target, and he was arrested and imprisoned in the [[palais Luxembourg]]. He died under the guillotine, three weeks before the [[Fall of Robespierre]]. |
Under Louis XVI and Marie Antoinette the expenditures rose. He was interested in mathematiques and the building of forticications. In 1789 he joined the [[garde nationale]], <!--Even after the coming of the [[French Revolution|Revolution]], he was retained until 1792, to oversee the more overtly Republican events of what had always been political as well as cultural statements ; in producing them, the conflicts among the dukes who were ''Gentilhommes de la Chambre'', to whom Papillon de la Ferté reported and among whom he served as diplomat and peacemaker, also played a role.--> He lived on [[île Saint-Louis]] in a [[hotel particulier|grand townhouse]] and attributed to or published a book about French painters. He became a victim of the [[Reign of Terror]]; his aristocratic background made him a target, and he was arrested and imprisoned in the [[palais Luxembourg]]. He died under the guillotine, three weeks before the [[Fall of Robespierre]]. |
Revision as of 13:43, 1 July 2023
Denis-Pierre-Jean Papillon de la Ferté (Châlons-en-Champagne 17 February 1727 — Paris 7 July 1794) was an amateur draughtsman, designer and print collector; an art critique and connoisseur.[1] As the administrator (an Intendant and from 1763 the sole Intendant) of the Menus-Plaisirs du Roi, the organization in the royal household (the Maison du Roi) he was responsible for the logistical aspects of his the travels, maintenance of the palaces, design and presentation of fêtes and ceremonies, fireworks, balls, ballets, weddings and funerals, furniture, jewelry at the court of France, beginning with his appointment in 1756.
Life
He was the son of Pierre Papillon de la Ferté (ca. 1682–1753), seigneur de la Ferté, président trésorier of the généralité of Champagne (province) , the King's Lieutenant of Châlons.[2] He was invited at the Académie des Sciences of Châlons, of the Société des Antiquaires of Kassel, and plays an important role in the history of 18th-century French music.
His remarkable longevity in a position that was concentrated in his person in 1762, spanning two reigns and the change in taste from rococo (Louis XV) to neoclassicism (Louis XVI), in music as well as the visual arts, is testament to his ability and character. His Journal, published in 1887,[3] gives an insight not only into the workings of the Menus-Plaisirs, but the Comédie française and the Comédie-Italienne, and also the music at court and the Théâtre du Palais-Royal, and the Intendant 's role, reforming, rationalizing and redefining the official structure, encouraging artists of every kind, the model of the modern arts administrator.
He was inspired to keep the journal by which he is intimately known in support of his possible future self-defence, a "preservative against the Bastille" as he would jokingly remark to the Premiers Gentilhommes de la Chambre to whom he reported, reassuring them that otherwise it would never see the light of day, for he entered his position following the scandal of malfeasance of his predecessor, M. de Curis.[4]
He developed many projects for the second Théâtre du Palais-Royal after April 1763. In 1770, Gluck signed a contract for six stage works with the management of the theatre which opened in January 1770. The theatre continued to be used by the Opera until June 1781, when it too was destroyed by fire. He was also head of the Académie Royale, was opposed to the queen's predilection for foreign music. It was less than ten years since Gluck had succeeded in breaking the century-old monopoly French (or naturalised French) had exercised over the repertoire of the Opéra. He even suggested Joseph Legros alone was qualified to fill the vacant directorship of the theatre.[5] Papillon de la Ferté's suggestion, however, met with opposition from the rest of the committee and remained a dead letter.[6] Antoine Dauvergne's correspondence with De La Ferté, published and made accessible online by Benoît Dratwicki .[7] A folio with 119 costume designs made for De la Ferté is at the Bibliothèque de l'Institut (MS 1004).
Under Louis XVI and Marie Antoinette the expenditures rose. He was interested in mathematiques and the building of forticications. In 1789 he joined the garde nationale, He lived on île Saint-Louis in a grand townhouse and attributed to or published a book about French painters. He became a victim of the Reign of Terror; his aristocratic background made him a target, and he was arrested and imprisoned in the palais Luxembourg. He died under the guillotine, three weeks before the Fall of Robespierre.
He was a keen collector of landscapes, mainly by François Boucher, Hubert Robert, Jean-Honoré Fragonard and Claude Joseph Vernet, from whom he commissioned a series of seven large decorative panels for his hôtel particulier.[8] After his execution his collection was seized, partly taken for the national collections and partly returned to his family, and sold in February 1797.
References
- ^ https://www.britishmuseum.org/collection/term/BIOG188569
- ^ "Papillon de la Ferté". www.leregard9.fr.
- ^ (Ernest Boysse, ed.) Journal de Papillon de la Ferté: intendant et contrôleur de l'argenterie, menus-plaisirs et affaires de la chambre du Roi, 1756-1780 (Paris:Ollendorff) 1887.
- ^ According to the notice he appended to the journal as he awaited the Revolutionary tribunal that would condemn him to death (Papillon de la Ferté 1887:1).
- ^ Pitou 1985, pp. 337–339.
- ^ Cite error: The named reference
Dratwicki
was invoked but never defined (see the help page). - ^ Antoine Dauvergne, Correspondance avec Denis Papillon de La Ferté conservée aux Archives nationales 1780-1782; 1785-1790: 26 September letter, p. 157; the dossier can be downloaded as a PDF file from the Palazzetto Bru Zane digital resources website).
- ^ Two sold Sotheby's New York, 30 January 1998
Source
- Gruber, Alain-Charles, Les Grandes Fêtes et leurs Décors à l'Époque de Louis XVI (Geneva: Droz) (Geneva) 1972. passim
- https://amzn.eu/d/g1l9pxv
External links
Media related to Denis Papillon de la Ferté at Wikimedia Commons