Draft:Amours de Gombault et Macée
Submission declined on 11 May 2024 by Iwaqarhashmi (talk).
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| Submission declined on 9 May 2024 by KylieTastic (talk). This draft's references do not show that the subject qualifies for a Wikipedia article. In summary, the draft needs multiple published sources that are: Declined by KylieTastic 5 months ago.
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Les Amours de Gombault et Macée is a popular pastoral theme, especially depicted in tapestries and engravings during the late 16th and 17th centuries. These works portray the stages of peasant life through the experiences and romances of a shepherd and a shepherdess.[1]
This theme is part of the tradition of pastoral literature, particularly the pastoral novel, which was fashionable throughout the 16th century and reached its pinnacle in France with Honoré d'Urfé's "L'Astrée" in 1607.
However, the series of tapestries depicting the loves of Gombault and Macée, comprising eight panels for the complete series, stands out in that it continues the story beyond marriage, until the death of Gombault, and gives greater prominence to realistic elements of daily life. Furthermore, the representations, especially the texts contained in the captions on some panels, address sexuality with levity and bawdiness.[3][4]
This theme enjoyed great popularity in the 17th century, to the extent that there is a reference to it in Molière's "The Miser" (line spoken by La Flèche to his master Cléante, Act II, Scene One).[5]
References
[edit]- ^ Jules, Guiffrey (1882). Les Amours de Gombault Et de Macée: Étude Sur Une Tapisserie. Charavay. p. 14.
- ^ Guy Delmarcel, La tapisserie flamande du XV au XVIII siècle, Paris, Imprimerie nationale, 1999, 384 p. (voir pp. 199 et suiv.).
- ^ Jules, Guiffrey (1882). Les Amours de Gombault Et de Macée: Étude Sur Une Tapisserie. Charavay.
- ^ Standen, Edith Appleton (1985). European Post-medieval Tapestries and Related Hangings in the Metropolitan Museum of Art. The Museum. p. 174. ISBN 978-0-87099-406-7.
- ^ Ellie, J. (1860). Annuaire du Département de la Manche. J. Elie. p. 36.
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