Résumés
Résumé
De sa création en 1913 à sa fusion avec Vogue en 1936, le magazine américain Vanity Fair a pour vocation de parler de l’art contemporain européen et américain par de courts articles de vulgarisation, des photographies et des caricatures. Plusieurs domaines artistiques sont couverts : musique, danse, opéra, littérature, peinture, sculpture, arts graphiques, cinéma, photographie et mode. La France constitue tout à la fois le rêve, l’attraction et le modèle des Américains : elle reste omniprésente jusqu’au milieu des années 1920, puis cède la place aux artistes américains. Vanity Fair reflète plus particulièrement la vie culturelle à New York et à Paris, même si ses ambitions sont plus largement ouvertes sur l’Europe et les États-Unis. Dans la rubrique intitulée « Hall of Fame », il n’est pas rare de trouver un Français parmi les cinq ou six personnalités du mois.
La France est présente davantage pour ses arts plastiques et sa littérature. Le domaine musical, plus réduit, illustre cependant plusieurs facettes : les Ballets russes de Diaghilev, les ballets de Serge Lifar, les ballets de Monte-Carlo, les nouvelles danses populaires (tango, matchiche), l’introduction du jazz, la chanson populaire, les lieux de divertissements. Quant à la musique savante, le Groupe des Six, Erik Satie et Jean Cocteau occupent une place de choix au début des années 1920, avec plusieurs de leurs articles publiés en français.
Dans les pages de Vanity Fair, des critiques musicaux américains comme Virgil Thomson et Carl Van Vechten incitent les compositeurs à se débarrasser de l’influence européenne. John Alden Carpenter ouvre la voie avec The Birthday of the Infanta (1917) et Krazy Kat (1922), mais c’est Rhapsody in Blue de Gershwin (1924) qui donne le coup d’envoi à une musique américaine qui ne copie plus la musique européenne. À partir de là, la firme de piano Steinway livre une publicité différente dans chaque numéro qui illustre, par un peintre américain, une oeuvre musicale américaine.
Abstract
Since its creation in 1913 until its fusion with Vogue in 1936, the US magazine Vanity Fair covered subjects related to European and American contemporary art through photographs, caricatures, and short articles aimed at the general public. Many artistic fields were covered: music, dance, opera, literature, painting, sculpture, graphic arts, cinema, photography, and fashion. At the time, France was very attractive to Americans—it was the dream, the model for contemporary art. This lasted until the mid-1920s, when the spotlight was ceded to let American artists shine. Vanity Fair particularly reflected the cultural life of New York and Paris, although it aimed at covering all of Europe and the United States. In the column entitled “Hall of Fame,” it wasn’t unusual to find someone from France among the five or six personalities of the month.
France was represented mostly through its fine arts and literature. The musical field, despite being smaller, represented many different styles: Diaghilev’s Ballets Russes, Serge Lifar’s ballets, Monte-Carlo’s ballets, new popular dances (tango, matchiche), the introduction of jazz, popular songs, and entertainment halls. As for classical music, the Groupe des Six, Erik Satie, and Jean Cocteau were featured prominently at the beginning of the 1920s, with many articles published in French.
In Vanity Fair, American music critics like Virgil Thomson and Carl Van Vechten encouraged American composers to liberate themselves from their European influences. John Alden Carpenter paved the way with The Birthday of the Infanta (1917) and Krazy Kat (1922), but it was Gershwin’s Rhapsody in Blue (1924) that launched an American musical style that ceased to imitate Europe. From then on, the piano company Steinway purchased a page in every Vanity Fair issue featuring an American musical work illustrated with a piece by an American painter.
Parties annexes
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