Eustache-Hyacinthe Langlois
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| - | :Baudelaire's great dissatisfaction with the frontispiece designed by [[Bracquemond]] according to specifications ... had failed to render was taken up by Rops in the frontispiece to [[Les Epaves]] (1866).--''[[Arcades Project]]'' | + | '''Eustache-Hyacinthe Langlois''' (3 August 1777 – 29 September 1837) was a celebrated [[French painter]], draftsman, engraver and writer. |
| - | sur les danses des morts d'[[Eustache-Hyacinthe Langlois]] publié à Rouen en 1851 (3). | + | He became known as the "Norman [[Jacques Callot|Callot]]". |
| + | He taught both his daughter [[Espérance Langlois]] and his son [[Polyclès Langlois]] and they often assisted him with drawings and engravings. | ||
| - | Explanation of the [[Félicien Rops]] frontispiece to ''[[Les épaves]]''. | + | ==Selected bibliography== |
| - | + | *[[Essai historique, philosophique et pittoresque sur les danses des morts]] | |
| - | :Sous le Pommier fatal, dont le tronc-squelette rappelle la déchéance de la race humaine, s’épanouissent les Sept Péchés Capitaux, figurés par des plantes aux formes et aux attitudes symboliques. Le Serpent, enroulé au bassin du squelette, rampe vers ces Fleurs du Mal, parmi lesquelles se vautre le Pégase macabre, qui ne doit se réveiller, avec ses chevaucheurs, que dans la vallée de Josaphat. | + | |
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| - | :Cependant une Chimère noire enlève au delà des airs le médaillon du poëte, autour duquel des Anges et des Chérubins font retentir le Gloria in excelsis ! | + | |
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| - | :L’Autruche en camée, qui avale un fer à cheval, au premier plan de la composition, est l’emblême de la Vertu, se faisant un devoir de se nourrir des aliments les plus révoltants : | + | |
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| - | :VIRTUS DURISSIMA COQUIT.[http://fr.wikisource.org/wiki/Les_%C3%89paves_(Baudelaire)] | + | |
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| - | English translation: | + | |
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| - | :“Under the fatal apple tree, the skeletal trunk of which recalls the decadence of the human race, blossom the seven capital sins, represented by plants in symbolic forms and attitudes. The Serpent wrapped around the base of the skeleton, creeps toward the Fleurs du Mal, among which wallows the macabre Pegasus, who must only wake up, along with his riders in the valley of [[Josaphat]]. Meanwhile a black Chimera uplifts the medallion of the poet, around whom some Angels and Cherubim sing the Gloria in excelsis. | + | |
| - | The ostrich in the cameo, who swallows a horseshoe, in the first part of the | + | |
| - | composition, is the emblem of virtue, who feeds on the most revolting food: | + | |
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| - | :[[VIRTUS DURISSIMA COQUIT]].”[http://fer1972.tumblr.com/post/5221205042/adsertoris-rops-les-epaves-1866-jpg-felicien] | + | |
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| - | ==References== | + | |
| - | [[Ellen Holtzman]], “[[Felicien Rops and Baudelaire: Evolution of a Frontispiece]],” [[Art Journal]], Vol. 38, | + | |
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| - | No. 2 (Winter 1978-79): 102. Charles Baudelaire, Oeuvres Complètes, op. cit., p. 394. | + | |
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Eustache-Hyacinthe Langlois (3 August 1777 – 29 September 1837) was a celebrated French painter, draftsman, engraver and writer.
He became known as the "Norman Callot".
He taught both his daughter Espérance Langlois and his son Polyclès Langlois and they often assisted him with drawings and engravings.
[edit]
Selected bibliography
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