загадка красных жилетов
Сразу говорю - я НЕ автор! И находки не мои! я просто собрала все разговоры по теме, к которой мы возвращались несколько раз по разным поводам, и пересказала живое обсуждение. Тем моя миссия исчерпывается. И договоримся: все плюсы на счет моих друзей, Л., Оксаны и Эмиля, все минусы - на мой личный. В собирании материалов и оформлении участвовали
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The politically correct simplicity of male dress during the Revolution is evident in Jean-Louis Laneuville’s 1793-94 portrait of Bertrand Barère de Vieuzac (Fig. 8), a member of the National Convention and the Committee of Public Safety that ruled France during the Terror, and exemplifies the revolutionaries’ belief that “dress revealed something about the person” (Hunt 82). His tailcoat with a high turned-down collar and wide lapels, double-breasted waistcoat with lapels, and fall-front breeches are all made of solid-colored wools; his white linen shirt has a fashionably high collar with its top edges just visible over his checked cotton cravat and a plain frill; and his hair is unpowdered. The folded papers under his right hand refer to the trial and sentencing of “Louis Capet” (a dismissive reference to the king’s dynastic lineage) that took place in January 1793. As art historian Amy Freund notes, Laneuville’s portrait of Barère is typical of the artist’s style during the Revolutionary years and “the illusion of immediacy and transparency fostered by these visual strategies suited Revolutionary notions of the politically engaged self” (Freund 332).
More stylish than the austere Barère is Pierre Sériziat in his 1795 portrait by David (Fig. 9), pendant to the artist’s depiction of his wife Emilie Sériziat (Fig. 13 in womenswear). His Anglo-inflected ensemble includes a “jockey” hat (accessorized with the requisite national cockade), English-style riding boots, and a whip. He also wears a brown wool double-breasted coat with a high turned-down collar and wide lapels, double-breasted white waistcoat, long close-fitting buckskin breeches (David has painted the small creases under his right knee) with a fall front and ties at the knee, and white silk stockings. His hair is lightly powdered and his immaculate white linen shirt, tied with a matching cravat, has a deep frill. He carries a pair of leather gloves and next to him on the rock is his greatcoat with a gold-edged collar.
In contrast to Barère’s understated, almost severe, appearance, Maximilien de Robespierre (Fig. 10), a member of the radical Jacobin Club, the Paris Commune, and the Committee of Public Safety and one of most powerful men in France between 1792 and 1794, was known for his adherence to Ancien régime dress. In his portrait by Louis-Léopold Boilly, Robespierre’s powdered wig, silk habit, frilled shirt, and breeches fastened with jeweled buckles would seem to be those of a royalist sympathizer than the ruthless revolutionary who was known as “The Incorruptible” for his unswerving commitment to the Revolution (Fig. 10). And, in fact, it was this devotion to the cause that excused Robespierre’s showy dress since he was perceived as a bridge between the politically empowered bourgeois deputies and the ardently anti-monarchical unenfranchised classes.
The dress of both Barère and Robespierre is very different from that worn by working-class men, the so-called sans-culottes (literally, without breeches) that constituted the closest thing to a popular uniform (Fig. 11), especially during the most violent years of the Revolution between the fall of the monarchy in September 1792 and the executions of Louis XVI and Marie Antoinette in January and October 1793, respectively, and the end of the Reign of Terror. In addition to trousers that set the sans-culottes apart from men of the middle and upper classes (who continued to wear breeches until the early years of the nineteenth century), a red wool jacket, called a carmagnole, wooden clogs, and the red wool cap, the bonnet phrygien or bonnet rouge were sartorial signifiers of hardcore revolutionaries.
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