1273:, 28 October 1900: "M. Puccini a, nous dit-on, fait photographier les décors et les costumes de la Bohème à Bruxelles afin que le théâtre de Milan, où sera représentée l’œuvre prochainement, donne exactement à sa comédie musicale le même cadre." Letter of Casa Ricordi to Riccardo Salvadori, 17 April 1901: "Siamo a pregarLa di favorire domattina, alle ore 10 ½, ai ns Uffici – Via Omenoni, 1 – ove si troverà anche l’egr Sig M° Puccini, per combinare relativamente alle scene Bohème e Tosca. _ Sarà bene che per quell’ ora Ella ci faccia avere le due fotografie Bohème di Parigi e Bruxelles." (Milan, Biblioteca Braidense, Archivio Ricordi, Copialettere, 1900–1901, vol. 19, f. 305). Gustav Mahler may have been the first to incorporate Salvadori's illustration (redesigned by
159:. Between 1890 and 1925 Dubosq decorated 446 theatrical entertainments of virtually every possible kind: ballet, circus, (melo)drama, opera, operetta, pantomime, revue, and vaudeville. Dubosq is furthermore one of the few scenic painters of his generation to have left a substantial sample of his art, namely twenty-one (near-)complete sets. Comprising Europe's largest holding of historical decors, the hundreds of flats and drops of the ‘Dubosq’ collection have survived at the Schouwburg of
693:
681:
669:
28:
140:
384:, Act II. Premiered on 25 October 1900 under the supervision of the composer and publisher Tito Ricordi, this production enjoyed thirty performances in its first run alone and would keep the stage until 1949. Significantly, Puccini and Riccordi were so enthralled by Dubosq’s effort that they had it photographed and incorporated in
323:
At the Théâtre des
Galeries Saint-Hubert, operettas old and new received a luxurious treatment from Dubosq that often rivaled earlier and contemporary Parisian stagings. Complete interiors, among which the auditoriums of the Pôle Nord (1893), Palais d’Éte (1894 and 1897), Alcazar (1897) and Tréteaux
312:
Le deuxième acte nous transporte dans un paysage fantastique, dont Dubosq a fait une merveille d’impression poignante : les rives du
Sonnuda-Gara, la nuit. La berge descend rapidement vers la rivière que longe une palissade à demi brisée. Sur l’autre rive, on aperçoit des cahutes de pêcheurs,
345:
Actively supported by the
Belgian press, Dubosq grew into a public figure by the late 1890s. Newspapers published interviews and caricatures, or followed his presence among the high society. ‘Official’ institutions such as the Belgian State invited him to fulfill prestigious commissions and to
317:
Au troisième acte, un décor superbe, un décor de rêve, de Dubosq encore, et qui fera sensation sans aucun doute; deux jardins contigus séparés par un mur qui disparaît sous l’admirable végétation du pays; une rivière serpente parmi les lotus, les buissons aux mille fleurs du
285:
392:
292:(Théâtre de l'Alcazar, Brussels, 1894), showing the “Ballet des pierres précieuses.” The stage set by Albert Dubosq represents “La place de Brouckère, vue du Café Métropole.” Photograph by Georges Dupont-Émera held at the Royal Library ‘Albert I’, Brussels.
184:. Apparently showing signs of artistry already in his childhood, Dubosq began to master the secrets of illusionistic set design at the age of thirteen. He apprenticed with four Parisian decorators that were acclaimed in their day: Pierre Zarra,
218:
under the supervision of Pierre Devis and Armand Lynen, who had offered him a job. On 3 January 1890, he debuted as a self-employed stage designer at the Théâtre de l’Alcazar, furnishing scenery for Luc
Malpertuis and George Garnir's
188:, Jean Daran, and Enrico Robecchi. In keeping with his teachers, all four of whom produced extensive portfolios for several theaters in and outside Paris, Dubosq fostered the ambition to become an independent artist. However, since
281:, Alcazar, 1894), and so on. With a fresh palette and a photographic sense of realism, Dubosq’s revue sets conjured up the new hotspots of Brussels, next to featuring comic fantasies and even Jules Vernian science-fiction.
261:(Alcazar, 1890) toured Belgium. Dubosq gave his imagination free rein in a string of works coupling the locus of the Belgian capital—often invoked in the title—with recent events in politics, culture and technology:
332:(1896) and Nieuw Circus of Ghent (1897), next to materials for circus companies traveling to Budapest, London, and Vienna. In 1898, Dubosq created the five sets for the itinerant production of Rostand's
253:, ballets, and parades. Most frequently performed around the end of the year, the revue enjoyed such a vogue in fin-de-siècle Brussels that many productions ran for more than a hundred performances:
1219:
Onderzoek van de relatie tussen de schadeverschijnselen en de gebruikte materialen bij een vroeg-20ste-eeuws theaterdecor door Albert Dubosq uit de collectie van de
Stadsschouwburg te Kortrijk
300:
in
Brussels, the artist provided spoken plays of melodramatic allure with historicist and exotic sets that received praise from the press and audience alike. His scenery for Judith Gautier's
176:
Dubosq was born into a family of gilders that had moved from the provinces to Paris around the middle of the nineteenth century. His father, Henri Dubosq, was a native of
595:
Several of this stagings were created by Dubosq in close collaboration with the stage director
Charles De Beer and costume designer (and symbolist painter)
1106:
Griet
Blanckaert, ‘De glansproblematiek bij de vroeg-20ste-eeuwse theaterdecors van Albert Dubosq uit de verzameling van de Kortrijkse Stadschouwburg’, in
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1313:
27:
1177:
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Preventieve conservering van de historische theaterdecors van de
Schouwburg Kortrijk. Case-study: het Palais romain (1913) van Albert Dubosq
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324:(1897), were decorated by Dubosq. More substantial chores began to fill his order book in the guise of stock sets for the new
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516:
351:
1190:, ed. Richard Langham Smith and Clair Rowden (Cambridge: Cambridge University Press, 2020), 80-93. ISBN 978-1-108-48161-8
599:. Dubosq's activity at la Monnaie paved the way to new commissions from other opera houses, such as the Théâtre Royal of
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dans les bambous, et les toitures des tours sacrées. Une grosse lanterne rouge éclaire, seule, ce coin désolé
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1125:
577:
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1149:
STEPP - Magazine voor de producerende, ontwerpende en technische krachten van de brede culturele sector
661:, 23 October 1908), to which the artist contributed three magnificent sets—with resident set designers
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472:
374:, next to Devis and Lynen. Dubosq's first contribution to the Monnaie was the “Quartier Latin” set for
1298:
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Bruno
Forment, ‘De zwanenzang van een illusie: de historische decors van de Kortrijkse Schouwburg’,
1113:
Anne-Sophie Braconnier, ‘Les décors et la mise en scène à l’époque des créations wagnériennes’, in
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453:
329:
120:
Marie Séverine Tellon (1891), Marie Virginie Pignatel (1901), Marguerite ‘Darvil’ Boulanger (1912)
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662:
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709:
Following is a list of venues at which Dubosq's activity is supported by historical evidence:
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416:
367:
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Bruno Forment, ‘De historische repertoiredecors in de Kortrijkse Stadsschouwburg (1914-20)’,
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Dubosq began to be called upon for other types of spectacle as well. At the Alhambra and
156:
1110:, ed. Marjan Buyle (Brussels: Vlaams Instituut voor het Onroerend Erfgoed, 2014), 59-67.
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Glans in de conservatie-restauratie / Lustre et brillance en conservation-restauration
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Louis Dumont-Wilden, George Garnir and Leon Souguenet, ‘Albert Dubosq, décorateur’,
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Bruno Forment, ‘In kleur en op ware grootte: de operadecors van Albert Dubosq’, in
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152:
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Zwanenzang van een illusie: de historische toneeldecors van de Schouwburg Kortrijk
399:(Théâtre de la Monnaie, Brussels, 1900), Act II. Illustration by Henri Meunier in
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202:
in June 1887 to establish his own workshop in the country's flourishing capital,
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700:(Opéra, Paris, 1908), Act III, scene 2. Bibliothèque-Musée de l’Opéra, Paris.
688:(Opéra, Paris, 1908), Act III, scene 1. Bibliothèque-Musée de l’Opéra, Paris.
676:(Opéra, Paris, 1908), Act III, scene 1. Bibliothèque-Musée de l’Opéra, Paris.
1144:, ed. Francis Maes and Piet De Volder (Leuven: LannooCampus, 2011), 228-249.
151:(often misspelled 'Duboscq'; 1863–1940) is one of the most prolific Belgian
1200:
Ian Mundell, ‘Finding a New Role for Flanders’ Historic Theatre Scenery’,
1172:(Kortrijk: Koninklijke Geschied- en Oudheidkundige Kring Kortrijk, 2015).
1212:
Dictionnaire des artistes plasticiens de Belgique des XIXe et XXe siècles
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of Antwerp (starting with the theater's inaugural production of Blockx’
1132:
Koninklijke Geschied- en Oudheidkundige Kring van Kortrijk. Handelingen
250:
199:
647:, 1912). The highlight of Dubosq's career was no doubt the staging of
338:, which visited sixteen different countries after its premiere at the
537:
1120:
Tijs De Schacht, ‘Erfgoed van formaat in de Kortrijkse Schouwburg’,
1214:, ed. Nicolas Poncelet (Ohain-Lasne: Art in Belgium, 2003), I, 518.
1197:(Antwerp: Davidsfonds/CEMPER, 2021), 74-84. ISBN 978-9-022-33818-6
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269:(alluding to the capital's increasing harbor activity, 1893),
257:(Alcazar, 1891), for instance, was performed 145 times, while
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was performed in Ghent, Mons, La Louvière, Liège and Antwerp.
411:, Dubosq received a string of commissions from the Monnaie:
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Immediately upon their accession to the directorship of the
32:
Albert Dubosq, c. 1906. Photograph by Georges Dupont-Émera.
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Anonymous, ‘Un Bruxellois par jour : Albert Dubosq’,
370:
and Guillaume Guidé appointed Dubosq the Monnaie's second
245:
was to be the first of Dubosq's many contributions to the
88:
Eugène Carpezat, Jean Daran, Enrico Robecchi, Pierre Zarra
1165:, ed. Naomi Matsumoto (Turnhout: Brepols, 2015), 263-286.
265:(referring to the electrification of the Alcazar, 1892),
1195:
Droomlanders: Tovenaars van het geschilderde toneeldecor
476:, 24 December 1901, featuring the earliest use of the
307:(Théâtre Molière, 25 November 1897) was thus extolled:
1117:, ed. Manuel Couvreur (Brussels: ULB, 1998), 118-151.
249:, a satirical genre involving spoken dialogues, sung
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Bruno Forment, ‘Staging Verdi in the provinces: the
388:’s new design for Act II of Puccini’s masterpiece.
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623:of Antwerp (thirty-six productions, starting with
1277:) in his 1903 production at the Viennese Hofoper.
180:while his mother, Adèle Briet, originatined from
1188:Carmen Abroad: Bizet’s Opera on the Global Stage
1193:Bruno Forment, ‘Visser voor de eeuwigheid’, in
665:and Marcel Jambon furnishing (only) one each.
643:, 1907), and the Grand Théâtre of Ghent (a.o.
8:
631:in 1924), the Théâtre Royal of Ostend (a.o.
229:(1889). 5 February 1890 saw the premiere of
214:Dubosq first enlarged his experience at the
288:A scene from Malpertuis and Hannon’s revue
223:, a vaudevillian spoof of Massenet's opera
480:in Belgium and closing the first complete
26:
15:
1186:at the Théâtre de La Monnaie, 1902’, in
348:Brussels International Exposition (1897)
1238:
1142:Opera: achter de schermen van de emotie
739:Alcazar / Nouveautés / Nouvelle Comédie
210:A rising star of fin-de-siècle Brussels
1228:(MA thesis, Artesis Hogeschool, 2013).
1221:(MA thesis, Artesis Hogeschool, 2012).
1033:Exposition des Arts Décoratifs (1925)
7:
551:(3 November 1904; attended by King
395:Set design by Dubosq for Puccini's
328:of Amsterdam (1894), the Casino of
1078:, 14–20 August 1902. Reprinted in
843:Koninklijke Nederlandse Schouwburg
696:Dubosq's scale-model for Wagner's
684:Dubosq's scale-model for Wagner's
672:Dubosq's scale-model for Wagner's
14:
1210:Paul Piron, ‘Dubosq, Albert’, in
968:'Théâtre des Fêtes du Millénaire'
194:Paris was already saturated with
172:Childhood and education in Paris
138:
1161:scenery of Albert Dubosq’, in
1122:Openbaar Kunstbezit Vlaanderen
237:) by Malpertuis staged at the
1:
1314:French expatriates in Belgium
1182:Bruno Forment, ‘Refashioning
1036:Exposition Universelle (1900)
1027:Académie Nationale de Musique
766:Exposition Universelle (1897)
655:Académie Nationale de Musique
352:Exposition Universelle (1900)
1085:Anonymous, ‘Albert Dubosq’,
1074:Anonymous, ‘Albert Dubosq’,
149:Albert Émile Clément Dubosq
1340:
796:Passage du Nord / Variétés
372:peintre-décorateur attitré
856:Liberale Kring ‘Ons Huis’
625:Le jongleur de Notre-Dame
503:Le jongleur de Notre-Dame
452:the Belgian premieres of
346:represent Belgium at the
233:, an ‘equestrian revue’ (
137:
25:
1163:Staging Verdi and Wagner
799:Pôle Nord / Palais d’Été
742:Alhambra / Empire-Palace
627:in 1905 and ending with
621:Théâtre Royal (Français)
585:, 21 February 1906) and
486:cycle outside Germany),
441:(30 November 1903), and
305:La marchande de sourires
617:Le crépuscule des dieux
571:(7 November 1905), and
565:(14 December 1904) and
531:complete make-overs of
520:(9 November 1906), and
506:(25 November 1904) and
468:Le crépuscule des dieux
415:the world premieres of
255:Bruxelles fin de siècle
128:Francis Dubosq (1910–?)
1217:Annelies Vandenhaute,
1115:La Monnaie wagnérienne
1069:Le petit bleu du matin
701:
689:
677:
404:
401:Le petit bleu du matin
358:The opera scenographer
321:
293:
198:, Dubosq emigrated to
1319:Artists from Brussels
778:Galeries Saint-Hubert
695:
683:
671:
578:La damnation de Faust
394:
364:Théâtre de la Monnaie
309:
298:Théâtre Royal du Parc
287:
267:Bruxelles port de mer
216:Théâtre de la Monnaie
1246:Bruxelles Haut-Congo
1124:58/5 (2020), 12-17.
892:Pavillon de la Flore
541:(19 November 1902),
510:(12 November 1907),
340:Opéra de Monte-Carlo
263:Bruxelles électrique
259:Bruxelles Haut-Congo
1260:, 21 November 1897.
1151:1/3 (2012), 26-28.
1134:74 (2009), 47-104.
1094:Pourquoi pas ?
517:Madame Chrysanthème
462:(8 February 1901),
290:Bruxelles sans gêne
271:Bruxelles sans gêne
1089:1/3 (1906), 70-71.
1087:Théâtre et musique
924:Royal / Schouwburg
751:Cercle ‘Le Crotin’
745:Bruxelles-Kermesse
702:
690:
678:
591:(26 December 1906)
423:(7 January 1903),
405:
397:La (vie de) bohème
386:Riccardo Salvadori
381:La (vie de) bohème
366:, on 1 June 1900,
335:Cyrano de Bergerac
294:
243:Bruxelles à cheval
231:Bruxelles à cheval
196:ateliers de décors
78:peintre-décorateur
1202:The Low Countries
1178:978-9-461-36055-7
1082:, 27 August 1902.
1076:Le carnet mondain
790:Palais des Sports
769:Foire commerciale
748:Cercle Artistique
641:De herbergprinses
528:(8 February 1907)
368:Maurice Kufferath
342:(29 March 1898).
146:
145:
109:Years active
60:November 10, 1940
1331:
1304:Scenic designers
1278:
1267:
1261:
1255:
1249:
1243:
1204:(30 June 2021).
723:Royal (Français)
653:at the Parisian
496:(2 April 1904),
431:(3 March 1903),
279:Madame Sans-Gêne
275:Victorien Sardou
142:
63:
48:January 18, 1863
47:
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30:
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1309:Opera designers
1284:
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1281:
1269:Octave Maus in
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1264:
1256:
1252:
1244:
1240:
1235:
1224:Nadia Wilting,
1168:Bruno Forment,
1096:, 16 June 1913.
1059:
958:Stadsschouwburg
955:Circus Schumann
947:
940:Halle aux Draps
879:Stadsschouwburg
859:Stadsschouwburg
763:Diable-au-Corps
715:
707:
698:Götterdämmerung
686:Götterdämmerung
674:Götterdämmerung
663:Eugène Carpezat
650:Götterdämmerung
597:Fernand Khnopff
583:Raoul Gunsbourg
581:(adaptation by
473:Götterdämmerung
433:Ernest Chausson
376:Giacomo Puccini
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326:Stadsschouwburg
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186:Eugène Carpezat
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449:(3 March 1905)
417:Vincent d’Indy
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235:revue équestre
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1071:, 4 May 1896.
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62:(1940-11-10)
1299:1940 deaths
1294:1863 births
1206:Open access
1153:Open access
1136:Open access
1126:Open access
1080:Le Carillon
1052:Zirkus Renz
1012:Monte Carlo
837:Feestpaleis
821:Renaissance
588:Les Troyens
454:Charpentier
429:Jean Michel
226:Esclarmonde
1288:Categories
1233:References
1062:Historical
900:Nieuwpoort
808:Vaudeville
553:Leopold II
421:L’Étranger
330:Nieuwpoort
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73:Occupation
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973:Granville
950:Amsterdam
813:Charleroi
611:of Lyon (
526:Amaryllis
478:cyclorama
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182:Quivières
133:Signature
112:1890–1925
85:Education
963:Budapest
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918:Eldorado
851:Kortrijk
827:Variétés
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734:Brussels
726:Variétés
615:, 1903;
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522:Gailhard
512:Messager
498:Massenet
447:Martille
350:and the
251:couplets
204:Brussels
178:Le Havre
161:Kortrijk
125:Children
1039:Gymnase
997:Olympia
932:Tournai
869:Château
824:Théâtre
787:Olympia
784:Monnaie
781:Molière
718:Antwerp
713:Belgium
573:Berlioz
562:Alceste
488:Puccini
277:’s hit
200:Belgium
155:of the
117:Spouses
104:theater
101:Subject
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983:London
978:Casino
945:Abroad
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905:Casino
874:Leuven
705:Venues
645:Carmen
605:Louise
568:Armide
543:Gounod
538:Carmen
508:Ariane
464:Wagner
459:Louise
443:Dupuis
407:After
167:Career
93:Period
1022:Paris
1017:Opéra
994:Globe
927:Scala
895:Royal
884:Liège
864:Laken
832:Ghent
802:Scala
775:Gaîté
633:Lakmé
601:Liège
557:Gluck
548:Faust
533:Bizet
493:Tosca
247:revue
51:Paris
1174:ISBN
1159:Aida
1002:Lyon
818:Éden
793:Parc
629:Aida
483:Ring
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57:Died
38:Born
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