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481:. In addition, Carpezat was second to none in conjuring up the illusion of solid, protruding volumes from painted flats. Less interested in depicting historicist ornaments than his colleagues (e.g., Amable), he sought to amplify the dramatic potential of each setting by focusing on perspective as a carrier of dramatic appeal. Quite significant in this respect are the changing proportional relationships between actor and painted surroundings Carpeza applied throughout his oeuvre.
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In 1875, Carpezat set up a professional association with fellow scenographer (Joseph-)Antoine
Lavastre in order to take over Cambon's workshop at the latter's death. Together, Carpezat and Lavastre designed some of the defining Parisian productions – or parts thereof, as was customary – of the late
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carried on the established formulas and procedures of earlier ateliers. But they became powerful leaders who, perhaps without realizing it, initiated the industrialization of the scenic artists’ profession. The traditional old-time atelier became a business house. … With the growing pressures of
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expansion, something had gone out of the individual scenic artist such as
Carpezat. He had lost himself in imitating former innovations, and in his expanding workshop, while satisfying the demand for popular illusionist techniques, he fell into the trap of scenic cliché and pictorial pastiche.
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wrote in 1912, Carpezat “faisait de la peinture qui avait de la tendance à l’impressionnisme ; il procédait par larges coups de brosses, à grands traits ...” Posterity has been less kind to the man and, by extension, the last generation of
Parisian romantic scenographers. In 1975, Donald
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465:– he made an idiosyncratic contribution to the art of scenic painting. For instance, while Cambon had mainly used greyish tones, Carpezat painted his scenery in crisp, luminous colors that benefited from electric lighting and catered to the taste of the
410:, Olivier Maréchal, Mouveau, Eugène Martial Simas and Victor Lamorte. Carpezat died at the age of 79, reportedly "aged, sad and discouraged due to no longer having any commissions from the larger theatres". He was interred in his family tomb at
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of 1900. Numerous scenic designers of note were taught by
Carpezat at his workshop at 50 Boulevard de la Villette: Ambroise Belluot, Léon Bouchet, François Carpezat (his son and successor), Demoget, Albert Dubosq, Oleguer Junyent i Sans,
505:; by contrast, virtually no materials testify to Carpezat's rich activity at other venues in and outside France. Still, numerous photographs of Carpezat's works are available in illustrated periodicals such as
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Because
Carpezat worked mainly on an independent, commercial basis, relatively few of his original set designs and scale-models have come down to us. For instance, all
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Carpezat was the son of lemonade makers Claude François
Carpezat and Jacqueline Caniou. After considering a career in the fine and decorative arts (e.g.,
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While
Carpezat continued older traditions and techniques that he and his predecessors had been accumulating since the pioneering works of
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L’art théâtral. Congrès international de 1900 tenu à l’Exposition universelle au Palais des Congrès du 27 au 31 juillet 1900
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173:(1890). Carpezat worked independently from Lavastre's death (1891) onwards. Named the latter's successor as the Opéra's
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Essai sur l’histoire du théâtre: la mise en scène, le décor, le costume, l’architecture, l’éclairage, l’hygiène
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Upon
Lavastre's death, in 1883, Carpezat briefly joined hands with Lavastre's younger brother,
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Tout-Paris, ‘Les peintres décorateurs de théâtres : à propos de la mort de M. Carpezat’,
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Pauline Girard, ‘L’évolution stylistique des décors à l'Opéra de Paris de 1863 à 1907’, in
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Carpezat also accepted commissions abroad, for instance from Madrid's
Zarzuela and Belém's
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Zwanenzang van een illusie: de historische toneeldecors van de
Schouwburg Kortrijk
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Carpezat's preserved stage curtain of the Theatro da Paz in Belém (Brazil), 1889.
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548:(Kortrijk: Koninklijke Geschied- en Oudheidkundige Kring Kortrijk, 2015), 13-14.
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579:(Paris: Bibliothèque nationale de France-Département de la Musique, 1993), 291.
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L’envers du décor à la Comédie-Française et à l’Opéra de Paris au XIXe siècle
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38:(Paris, 4 November 1833 – Paris, 26 February 1912) was an acclaimed French
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110:(1880). The duo also designed a number of revival productions for the
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Décors et costumes du XIXe siècle. Tome II: théâtres et décorateurs
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106:(Opéra premiere, 1880), and the theatrical adaptation of Verne's
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by Carpezat for the Théâtre de l'Opéra are preserved at the
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of 1889. He sat in the commission organizing the conference
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were the interior decorations of the Opera-Comique's second
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343:, 1903), Théâtre des Nations, Porte Saint-Martin (Sardou's
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1870s and early 1880s: the world premieres of Delibes'
279:, 1908). Carpezat also became a household name at the
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430:(1902), Act III. Photograph by Henri Mairet in
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8:
537:Silvio D'Amico and Francesco Savio, eds.,
626:(New York, NY: Viking Press, 1975), 180.
596:Adrien Bernheim, ‘Un grand décorateur’,
558:Arthur Pougin, ‘Décors et décorateurs’,
461:– who had taught Carpezat's own master,
253:(Parisian premiere, 1894), and Wagner's
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639:Carpezat's maquettes for the Opéra on
541:(Rome: Le Maschere, 1954–68), III, 94.
136:(1883). Also by Carpezat and Lavastre
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235:(new production, 1899), Saint-Saëns'
229:(Parisian premiere, 1892), Rossini's
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199:(complete redesign, 1908), Leroux'
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534:(Paris: Hachette, 1893), 617-618.
223:(modern premiere, 1908), Reyer's
217:(world premiere, 1894), Rameau's
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247:(new production, 1909), Verdi's
448:In practicing their craft, they
175:chef du service des décorations
241:(Parisian premiere, 1892) and
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539:Enciclopedia dello spettacolo
503:Bibliothèque-Musée de l'Opéra
205:(premiere, 1901), Massenet's
269:(new production, 1895) and
211:(world premiere, 1885) and
193:(new production, 1884) and
25:Paul and Lucien Hillemacher
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426:Carpezat's set for Hugo's
385:of 1878. He was awarded a
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459:Pierre-Luc-Charles Ciceri
167:(1891), and Saint-Saëns'
656:French scenic designers
569:(Paris: Pariset, 1901).
479:Beaux-Arts architecture
277:Le Crépuscule des dieux
259:(Parisian premiere, as
560:Revue d’art dramatique
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443:Oenslager noted that,
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403:Exposition Universelle
395:Exposition Universelle
383:Exposition Universelle
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64:Charles-Antoine Cambon
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562:33 (1894), 65-84: 80.
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118:(1873) – Meyerbeer's
94:(1877), Saint-Saëns'
36:Eugène Louis Carpezat
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377:Carpezat received a
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220:Hippolyte et Aricie
155:(1891), Massenet's
88:(1881), Massenet's
85:Le Tribut de Zamora
60:Enfants sur un bouc
16:French scenographer
661:Artists from Paris
622:Donald Oenslager,
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360:Cyrano de Bergerac
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565:Various Authors,
379:diplôme d'honneur
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76:(1883), Gounod's
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511:L'Art du théâtre
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322:Le Roi d'Ys
261:La Valkyrie
256:Die Walküre
161:(1889) and
158:Esclarmonde
133:Le Prophète
130:(1877) and
127:L'Africaine
82:(1878) and
650:Categories
611:Le Gaulois
584:References
521:in Belém.
507:Le théâtre
473:(think of
440:Le Gaulois
432:Le théâtre
389:and named
387:grand prix
334:Cendrillon
307:(Delibes'
266:Tannhäuser
244:Henri VIII
181:: Gluck's
144:(1879).
97:Henri VIII
598:Le Figaro
499:maquettes
303:, 1903),
300:Hérodiade
289:, 1891),
286:Thermidor
263:, 1893),
79:Polyeucte
365:Variétés
351:Théodora
316:Mireille
226:Salammbô
124:(1876),
641:Gallica
401:at the
393:at the
381:at the
340:Werther
202:Astarté
170:Ascanio
164:Le Mage
153:Le Rêve
42:in the
513:, and
463:Cambon
346:Fédora
250:Otello
208:Le Cid
184:Armide
138:l'aîné
50:Career
31:(1902)
29:Orsola
418:Style
328:Manon
310:Lakmé
295:Gaîté
214:Thaïs
196:Faust
190:Sapho
73:Lakmé
103:Aida
438:As
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