4. Parrhasius and the Stage Curtain: Theatre, Metapainting and the Idea of Representation in the Seventeenth Century

  1. Caroline van Eck2 and
  2. Stijn Bussels3
  1. Emmanuelle Hénin

Published Online: 20 APR 2011

DOI: 10.1002/9781444396744.ch4

Theatricality in Early Modern Art and Architecture

Theatricality in Early Modern Art and Architecture

How to Cite

Hénin, E. (2011) Parrhasius and the Stage Curtain: Theatre, Metapainting and the Idea of Representation in the Seventeenth Century, in Theatricality in Early Modern Art and Architecture (eds C. van Eck and S. Bussels), Wiley-Blackwell, Oxford, UK. doi: 10.1002/9781444396744.ch4

Editor Information

  1. 2

    Leiden University, The Netherlands

  2. 3

    University of Groningen, The Netherlands

Author Information

  1. University of Reims, France

Publication History

  1. Published Online: 20 APR 2011
  2. Published Print: 14 APR 2011

Book Series:

  1. Art History Book Series

Book Series Editors:

  1. David Peters Corbett4 and
  2. Christine Riding5

Series Editor Information

  1. 4

    University of East Anglia, London, Uk

  2. 5

    Tate, London, Uk

ISBN Information

Print ISBN: 9781444339024

Online ISBN: 9781444396744

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Keywords:

  • Parrhasius and the stage curtain - theatre, metapainting and idea of representation in the seventeenth century;
  • A fresco by Abraham Bosse, a Comédie donnée au château de Grosbois en 1644 - preserved in situ, framed by two symmetrical, curtains;
  • the curtain, used on first level of paintings - fresco by Bosse, mirror effect and continuity between two spaces;
  • motif of the curtain, as early as 354 - and court ceremony of the Roman emperors;
  • fifth to fifteenth centuries, the curtain - in liturgy, to cover altars, in sacred iconography and in tableaux vivants during royal entries;
  • painting in the theatre, curtain of Parrhasius - as a stage curtain, attested since second century BCE;
  • practice of using painted curtains in Antiquity - in classical texts;
  • the curtain, a scene of action with characters - taking over role of the stage, in ballet of Tancrède en la forêt enchantée (1619), by Tasso's Gerusalemme Liberata;
  • use of small curtain, exchanges between theatre and painting - partial curtain, unveiling a painted canvas or a tableau vivant;
  • motifs, and their importance - exchanges between theatre and painting

Summary

This chapter contains sections titled:

  • Painting in the Theatre

  • The Theatre in Painting