Charles de Coubertin Autoportrait de Charles de Coubertin en

Pierre de Coubertin and the arts
Charles de Coubertin
Pierre de Coubertin at two years old, 1864
Oil on Canvas (19x24cm)
Collection: Gilles de Navacelle
Concept and realisation: Norbert Müller / Christian Wacker
With the contribution of the family Navacelle de Coubertin and the support of Yvan de Navacelle de Coubertin and Marcia De Franceschi Neto.
Conception et réalisation: Norbert Müller / Christian Wacker
Avec le concours de la famille Navacelle de Coubertin et le soutien de Yvan de Navacelle de Coubertin et Marcia De Franceschi Neto.
Concepção e realização: Norbert Müller / Christian Wacker
Com a contribuição da família Navacelle de Coubertin e o apoio de Yvan de Navacelle de Coubertin e Marcia De Franceschi Neto.
© Comité International Pierre de Coubertin; www.coubertin.org
Design: Jesper Lindebjerg
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Pierre de Coubertin and the arts
Charles de Coubertin
Le petit Pierre (1866)
Collection: Geoffroy de Navacelle de Coubertin
Pierre de Coubertin (1863-1937) is celebrated worldwide as the founder of the Modern Olympic Games.
For this reason, every four years his name is primarily
associated with the worldwide most important sporting event, and less with the educational ideas behind
them. As the son of a respected noble family, he grew
up in the French educational tradition of the 19th century. His grandfather Julien Bonaventure was already
a well-known landscape draftsman, and his father
Charles Frédy was a respected genre and church painter
in France.
The interplay between art and sport in terms of a harmonious integral education, but also the desire to “imbue“ modern sports with a set of values which appeal
to people’s senses was already rooted in Pierre de Coubertin’s education. Consequently, in 1906, Coubertin
convened an Olympic Congress in Paris. There, not
only artistic competitions in the context of the Olympic
Games were approved but also the artistic arrangement
of local sporting events.
With largely unknown works of art by members of the
de Coubertin family, the formulation “Olympism =
Sport + Culture” by the former IOC president J.A. Samaranch is redefined in this exhibition.
Dans le monde entier Coubertin (1863-1937) est fêté
comme le fondateur des Jeux Olympiques modernes.
On fait surtout la liaison de son nom avec l’événement
sportif mondialement le plus important qui a lieu tout
les quatre ans et beaucoup moins avec les idées pédagogiques qu’il représente.
Issu d’une famille de renom de la noblesse française, il
grandit suivant la tradition de l’éducation de son pays
au 19ème siècle. Avant lui, son grand’ père, Julien Bonaventure, fut un paysagiste célèbre et son père Charles
Frédi, un peintre de genre reconnu en tant que tel mais
aussi comme peintre à thèmes spirituels. L’éducation
de Pierre de Coubertin fut de celles harmonieuses qui
tiennent compte de l’ensemble et dans laquelle Art et
Sport ne furent non seulement ancrés et mariés mais
ont servi à ennoblir le sport moderne comme un bienfait pour l’être humain dans le sens propre du terme. Il
fut donc logique que Coubertin appela à faire partie de
la conférence consultative des arts, lettres et sports qui
se tint à Paris en mai 1906. C’est lors de ce congrès que
l’on prit la décision d’organiser des concours d’art lors
des Jeux olympiques, mais aussi des arrangements artistiques lors de manifestations sportives locales.
Dans cette exposition d’œuvres en grande partie inconnues de la famille Coubertin, la formule exprimée par
l’ancien président du CIO J. A. Samaranch à savoir que
« Olympisme = Sport + Culture » est nouvellement redéfinie.
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Pierre de Coubertin (1863-1937) é celebrado em todo
o mundo como criador dos Jogos Olímpicos modernos.
A cada quatro anos seu nome é associado somente ao
evento esportivo mais importante do mundo, esquecendo muitas vezes das propostas educacionais que foram apontadas por ele. Filho de uma família nobre e
muito respeitada, Pierre de Coubertin cresceu e foi educado dentro da tradição francesa do século 19. Seu avô,
Julien Bonaventure, era um conhecido e respeitado artista. Seu pai, Charles Frédy, foi reconhecido como um
grande pintor, em particular, de arte sacra.
Para Coubertin a interação entre arte e esporte faziam
parte de uma educação integral harmoniosa. Ele tinha
também o desejo de promover os valores morais através
do esporte, com base nos princípios que haviam norteado a sua educação.
A convocação do Congresso de Paris em 1906 para discutir a inclusão de competições de artes, bem como as
manifestações culturais locais no Jogos Olímpicos, foi
uma consequência natural.
Ao apresentar as obras da família “de Coubertin”, que
para muitos ainda eram desconhecidas, a fórmula
“Olympism= Sport+Culture” do ex-presidente do IOC
J.A.Samaranch passa por uma releitura.
The de Coubertin family
Pierre Frédy
(Ennobled in 1477 by King Louis XI)
Jean-François Frédy (1547- 1598)
(Buys the de Coubertin estate in 1577)
François, Seigneur de Coubertin (1668-1742)
(Lieutenant of the King’s fleet)
Nicolas de Coubertin (1718-1794)
(Colonel at the battle of Fontenoy)
Julien-Bonaventure, Baron de Coubertin
(1788-1871)
(Soldier, diplomat and musician)
(Chevalier de la Légion d’Honneur)
(Chevalier de Saint Louis)
(Made hereditary Baron in 1821 by the King)
Charles, Baron de Coubertin (1821-1908)
(Painter, Chevalier de la Légion d’Honneur)
Paul
(1847-1933)
Marie-Marcelle
(1889-1978)
Marie
(1854-1942)
Yvonne
(1893-1974)
Pierre
(1863-1937)
Isaure de Navacelle
(1885-1971)
Jacques
(1896-1960)
Albert
(1848-1913)
Renée
(1902-1968)
Elaborated by Yvan de Navacelle de Coubertin
The de Coubertin family can be traced back to the 15th
century. In 1506, the ancestor Felice de Fredi discovered the famous Laocoon group in his vineyard near
Rome. Since the 17th century, the family has lived in
the Chateau de Coubertin near Paris, in which today
the de Coubertin Foundation with a professional school
for arts and crafts is housed.
La famille de Coubertin remonte au 15ème siècle.
L’ancêtre, Felice de Frédi découvrit en 1506 le célèbre
groupe Laocoon dans ses vignobles. A partir du 17ème
siècle, la famille s’établit dans le château de Coubertin aux environs de Paris, dans laquelle se trouve aujourd’hui la fondation de Coubertin ainsi qu’une école
professionnelle des arts et métiers.
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A origem da família “de Coubertin” pode ser identificada, com base em registros, desde o século 15. Em 1506,
o ancestral de Pierre de Coubertin, Felice de Fredi, descobre nos seus vinhedos perto de Roma, a famosa estátua “o grupo de Laocoon”. Desde o século 17, a família se estabeleceu no “Chateau de Coubertin”, perto de
Paris, o qual abriga atualmente a Fundação Coubertin
com uma escola profissional de artes e artesanato.
Julien Bonaventure de Coubertin
Julien Bonaventure de Coubertin
Ruines du Château de Chevreuse, 1820
(26,5x19,5cm)
Collection: Yvan de Navacelle de Coubertin
Julien Bonaventure de Coubertin
Ruins of Château de Chevreuse, 1820
(26,5x19,5cm)
Collection: Yvan de Navacelle de Coubertin
Julien Bonaventure de Coubertin
Ruínas do Château de Chevreuse, 1820
(26,5x19,5cm)
Coleção: Yvan de Navacelle de Coubertin
Julien Bonaventure de Coubertin
Untitled, 1820
Indian Ink Drawing (15,5x7cm)
Collection: Yvan de Navacelle de Coubertin
Charles-Edouard Le Prince (Baron de Crespy)
Julien Bonaventure de Coubertin, 1823
Drawing in Indian Ink and Charcoal (13x16cm)
Dessin à l’encre de Chine et au fusain (13x16cm)
Desenhada com tinta de nanquim e carvão vegetal
(13x16cm)
Collection: Yvan de Navacelle de Coubertin
The first artist known to us in the de Coubertin family
was Julien Bonaventure de Coubertin (1788 to 1871), a
draughtsman, watercolour painter and also an excellent
violin player. As a regular officer, Julien Bonaventure
de Coubertin was already a Knight of the Legion of
Honour at 26. It is thanks to Napoleon’s victories that
Julien Bonaventure de Coubertin became, for a short
time, Consul in Cuxhaven and later Deputy Prefect
(Souspréfet) in Oldenburg. In 1816, under Louis XVIII,
he became Goodwill Ambassador at the newly founded
embassy in Rio de Janeiro. His task there was, among
others, to support a Royal Academy of Fine Arts. Thus,
artists, architects and scientists in Bonapartist circles
arrived at the Copacabana. Of all people, Dom João VI,
Portuguese king, who had fled from the Napoleonic
troops to Rio de Janeiro, founded this academy in Brazil.
Julien Bonaventure de Coubertin
Sans titre, 1820
Dessin à l’encre de Chine (15,5x7cm)
Collection: Yvan de Navacelle de Coubertin
Julien Bonaventure de Coubertin
Sem título, 1820
Desenhada com tinta de nanquim (15,5x7cm)
Coleção: Yvan de Navacelle de Coubertin
Le premier artiste connu dans la famille Coubertin
était Julien Bonaventure de Coubertin (1788 - 1871),
il était dessinateur et peintre d’aquarelles, mais aussi
excellent violoniste. Officier de carrière, Julien Bonaventure devint dès l’âge de 26 ans chevalier de la Légion d’honneur. C’est grâce aux victoires de Napoléon
que Julien Bonaventure de Coubertin devint consul et
sous-préfet pour une brève période à Cuxhaven puis
plus tard à Oldenburg. En 1816 il devint Ambassadeur
Extraordinaire sous Louis XVIII, dans l’ambassade
nouvellement créée de Rio de Janeiro. Là-bas, sa tâche
consistait entre autres à fonder une Académie Royale
des Beaux-arts. Artistes, architectes et scientifiques appartenant aux cercles des bonapartistes arrivèrent ainsi
à Copacabana. C’est d’ailleurs Dom João VI, le roi portugais qui avait abdiqué et qui s’était enfui à l’arrivée
des troupes napoléoniennes à Rio de Janeiro, qui fonda
cette Académie au Brésil.
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O primeiro artista conhecido da família “de Coubertin” foi Julien Bonaventure de Coubertin (1788-1871).
Ele foi desenhista, pintor de aquarelas e um excelente
violinista. Julien Bonaventure de Coubertin foi oficial
do exército e diplomata do governo francês e já aos 26
anos, havia sido agraciado com o título de “Cavaleiro
da Legião Honra”. Graças as vitórias de Napoleão, Julien foi nomeado, por um curto período de tempo, cônsul em Cuxhaven e posteriormente vice-prefeito de Oldenburg, cidades localizadas na Alemanha. Em 1816,
no reinado de Luis XVIII, ele foi nomeado Embaixador
Extraordinário na recém-fundada Embaixada Francesa, no Rio de Janeiro. Uma de suas responsabilidades
era auxiliar a criação de uma Academia Real de Belas
Artes. Através desta academia, muitos artistas, arquitetos e cientistas do círculo de Bonaparte, chegaram à
Copacabana. Com o apoio dos recém-chegados e o suporte de Julien Bonaventure de Coubertin, D. João VI,
na época príncipe regente do Reino Unido de Portugal,
Brasil e Algarve, fundou no Rio de Janeiro a “Escola
Real de Ciências, Artes e Ofício”.
Charles de Coubertin
Charles de Coubertin
Self-portrait, Charles de Coubertin as a Painter, 1878
Oil on Canvas (54x65cm)
Collection: Marie-Christine de Navacelle
Charles de Coubertin
Autoportrait de Charles de Coubertin en peintre, 1878
Huile sur toile (54x65cm)
Collection: Marie-Christine de Navacelle
Charles de Coubertin
Auto-retrato, Charles de Coubertin como pintor, 1878
Pintura a óleo (54x65cm)
Coleção: Marie-Christine de Navacelle
Unknown Photographer
Charles de Coubertin in his Studio, between
1896 and 1900 (22,5x16cm)
From the Charles de Coubertin Brochure,
no date
Photographe inconnu
Charles de Coubertin dans son atelier, entre
1896 et 1900 (22,5x16cm)
Extrait de: Brochure Charles de Coubertin,
date inconnue.
Fotógrafo desconhecido
Charles de Coubertin em seu estúdio, entre
1896 e 1900 (22,5x16cm)
Extraída de: Brochura Charles de Coubertin,
data desconhecida
Charles, the father of Pierre de Coubertin, was born
in 1822 and died in 1908 in Paris. He was a well-respected genre and church painter, who became known
primarily for his large murals in churches and public
buildings. In 1848/49, he visited North Africa and the
Orient and returned with a range of fresh, almost impressionist watercolours. Later, Charles de Coubertin’s
style changed; in particular he interpreted serious religious subjects. For more than 40 years, Charles de Coubertin exhibited in the famous “Salon de Paris” as Superintendent of Fine Arts.
Charles de Coubertin, le père de Pierre de Coubertin
naquit en 1822 et décéda à Paris en 1908. C’était un
peintre de genre reconnu mais aussi comme peintre à
thèmes spirituels. Ses tableaux grand format que l’on
peut admirer dans les églises et les bâtiments publics
l’ont en première ligne rendu célèbre. 1848 et en 1849
il partit pour un voyage en Afrique du Nord et dans
les pays d’Orient et en revint avec une nouvelle série
d’aquarelles qui frisent l’impressionnisme. C’est dans
le célèbre « Salon de Paris » que Charles de Coubertin,
intendant supérieur des Beaux-Arts exposa ses œuvres
pendant plus de quarante ans.
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Charles, o pai de Pierre de Coubertin, nasceu em 1822
e faleceu em 1908 em Paris. Ele era um reconhecido
pintor especializado em arte sacras. Seus trabalhos
mais famosos incluem grandes murais em Igrejas e espaços públicos. Entre 1848 e 1849 ele visitou o Norte da África e o Oriente, retornando com uma série de
aquarelas impressionistas. Posteriormente Charles de
Coubertin modificou o seu estilo, passando a dedicar-se
aos temas religiosos. Por mais de 40 anos ele apresentou as suas obras no “Salon de Paris”, onde foi superintendente de Belas-Artes.
Charles de Coubertin
Charles de Coubertin
Marie de Coubertin, ca. 1875
Watercolour (23x29cm)
Collection: Geoffroy de Navacelle de Coubertin
Charles de Coubertin
Marie de Coubertin, vers 1875
Aquarelle (23x29cm)
Collection: Geoffroy de Navacelle de Coubertin
Charles de Coubertin
Marie de Coubertin, em torno de 1875
Aquarela (23x29cm)
Coleção: Geoffroy de Navacelle de Coubertin
Charles de Coubertin
Pierre and Marie, 1867
Oil on Canvas (82x102cm)
Collection: Yvan de Navacelle de Coubertin
Charles de Coubertin
The Coubertins admiring a storm in Etretat, 1877
Watercolour (29x22,5cm)
Collection: Geoffroy de Navacelle de Coubertin
Charles de Coubertin
Pierre et Marie, 1867
Huile sur toile (82x102cm)
Collection: Yvan de Navacelle de Coubertin
Charles de Coubertin
Les Coubertin admirant une tempête à Etretat, 1877
Aquarelle (29x22,5cm)
Collection: Geoffroy de Navacelle de Coubertin
Charles de Coubertin
Pierre e Marie, 1867
Óleo sobre tela (82x102cm)
Coleção: Yvan de Navacelle de Coubertin
Charles de Coubertin
Os Coubertins admirando uma tempestade em Etretat, 1877
Aquarela (29x22,5cm)
Coleção: Geoffroy de Navacelle de Coubertin
Of particular interest are his personal sketches and
paintings of landscapes, especially those of the Normandy, his wife’s homeland, and of Chateau Mirville.
There is also a considerable number of portrait sketches of his family, especially of the four children. He
sketched his youngest son Pierre many times in his
childhood years. Pierre later influenced his father to interpret sporting themes.
D’un intérêt particulier sont ses esquisses et ses peintures de paysages surtout celles réalisées en Normandie, le pays natal de sa femme Marie, et celles du Château Mirville. Il existe aussi de nombreux dessins
portraits de famille, surtout de ses quatre enfants. De
son fils enfant il a fait plusieurs dessins. Beaucoup plus
tard, Pierre réussit à persuader son père de s’intéresser
aux scènes sportives et de les transfigurer.
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Particularmente interessante, são os seus esboços pessoais e as paisagens da Normandia, terra natal de sua
esposa, e do “Chateau Mirville”. Há também um número considerável de esboços com retratos de membros
da sua família, especialmente dos seus quatro filhos.
Charles fez diversos esboços do seu filho Pierre na infância. Posteriormente Pierre influenciou seu pai a pintar temas esportivos.
Charles de Coubertin
Charles de Coubertin
The Departure of the Missionaries, 1868
Oil on Canvas (400x289cm)
Collection: Church of Missions Etrangères (Rue du Bac)
in Paris
Charles de Coubertin
Le Départ des Missionnaires, 1868
Huile sur toile (400x289cm)
Collection: Chapelle des Missions Etrangères (Rue du
Bac) à Paris
Charles de Coubertin
A partida dos Missionários de 1868
Óleo sobre tela (400x289cm)
Coleção: Igreja das Missões Estrangeiras (Rue du Bac)
em Paris
Charles de Coubertin
The Pontifical Procession, 1860
Various Materials (65x23cm/45x36,5cm)
Collection: Yvan de Navacelle de Coubertin
Charles de Coubertin
Le Cortège Pontifical, 1860
Matériaux divers (65x23cm/45x36,5cm)
Collection: Yvan de Navacelle de Coubertin
Charles de Coubertin
A Procissão Pontifical, 1860
Materiais Diversos (65x23cm/45x36,5cm)
Coleção: Yvan de Navacelle de Coubertin
“Le Cortège Pontifical” (1860) and “Le Départ des
Missionaires” (1868) are two examples of ca. 100 murals from Charles de Coubertin’s. His major work, “Le
Cortège Pontifical” (1860), is in the possession of the
Vatican museum. It was commissioned by Pope Pius IX.
Charles de Coubertin visited Rome with his wife Marie-Marcelle (née de Grisenoy) and his two sons Albert
and Paul, where he was granted an audience with the
Pope.
“Le Cortège Pontifical” (1860) and “Le Départ des Missionaires” (1868) are two examples of ca. 100 murals
from Charles de Coubertin’s. His major work, “Le Cortège Pontifical” (1860), is in the possession of the Vatican museum. It was commissioned by Pope Pius IX.
Charles de Coubertin visited Rome with his wife Marie-Marcelle (née de Grisenoy) and his two sons Albert
and Paul, where he was granted an audience with the
Pope.
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“Le Cortège Pontifical” (1860) e “Le Départ des Missionaires” (1868) são dois exemplos entre os mais de 100
murais de Charles de Coubertin. A sua obra mais famosa, “Le Cortège Pontifical” (1860) encontra-se no Museu do Vaticano. A mesma foi encomendada pelo Papa
Pio IX.
Charles de Coubertin visitou Roma com sua esposa
Marie-Marcelle ( nascida Grisenoy) e seus dois filhos
Albert e Paul, tendo sido recebido em audiência pelo
Papa.
Charles de Coubertin
Charles de Coubertin
Reintroduction of the Olympic Games / Allegory of Sports, 1896
Oil on Canvas (92,5x111,5cm)
Collection: Olympic Museum Lausanne
Charles de Coubertin
Rétablissement des Jeux olympiques / Allégorie aux Sports, 1896
Huile sur toile (92,5x111,5cm)
Collection: Musée Olympique de Lausanne
Charles de Coubertin
Reintrodução dos Jogos Olímpicos / Alegoria do Esporte, 1896
Óleo sobre tela (92,5x111,5cm)
Coleção: Museu Olímpico de Lausanne
The subject of this painting is the resurrection of the
Olympic Games by Pierre de Coubertin, which is being
fed from its ancient and French roots. The city goddess
Athena is enthroned before the ruins of the Erechtheion, a temple to the mythical founding fathers of
venerable Athens. The citizens of Athens have gathered
at her feet and beside her. The group is a cryptic representation of ancient Greek culture, in which the
competitions played a central social role. Whilst a
citizen of antiquity holds up a branch as an ancient
Olympic Games symbol of victory, Athena is placing
a wreath on the head of a victorious Modern Age athlete, probably a rugby player. Here, the subject switches from Antiquity to the Modern Age, as behind him
stands a fencer. Other types of sport follow, such as
cycling, popular in France, rowing and polo. Apparently, Pierre de Coubertin regarded this representation
as being so apt that he used it as the cover picture for
the 1901 to 1914 official IOC magazine, “Revue Olympique”.
Le sujet de la peinture est la renaissance des Jeux
Olympiques grâce à Pierre de Coubertin, alimentée
dans ce tableau de sources antiques et françaises. La
déesse Athéna trône devant les ruines de l’Erechtheion,
un temple en l’honneur des pères fondateurs mythiques de la ville d’Athènes. Des citoyens d’Athènes
se sont rassemblés aux pieds et aux côtés de la déesse.
Ce groupe symbolise la culture grecque ancienne dans
laquelle les compétitions jouaient un rôle social central. Alors qu’un citoyen de l’Antiquité lève une branche
comme symbole de victoire des Jeux Olympiques antiques, Athéna couronne un athlète victorieux de
l’époque moderne, sûrement un joueur de rugby. Ici le
motif bascule de l’époque antique dans l’époque moderne, car derrière ce joueur se trouve un escrimeur.
D’autres sports y sont associés, comme le cyclisme, populaire en France, l’aviron et le polo. Cette représentation était de toute évidence tellement significative pour
Pierre de Coubertin qu’il l’utilisa en page de couverture
de la revue officielle du CIO, la Revue olympique de
1901 à 1914.
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O tema desta pintura é o renascimento dos Jogos
Olímpicos graças a Pierre de Coubertin, que se inspirou
na antiguidade e se manteve fiel as suas raízes francesas. Na pintura, a Deusa Atena é entronizada na frente das ruinas do “Erechtheion”, o templo dedicado aos
mitológicos fundadores de Atenas. Os cidadãos de Atenas estão reunidos aos seus pés e ao seu lado. O grupo
representa uma interpretação da antiga cultura grega,
onde as competições esportivas desempenharam um
importante componente social. Ao mesmo tempo que
um cidadão da antiguidade sustenta um dos antigos
símbolos dos Jogos Olímpicos, Athena está colocando
uma coroa de flores na cabeça de um atleta vitorioso
dos novos tempos, possivelmente um jogador de rug-by. O tema passa da antiguidade para os tempos modernos, com a representação de um esgrimista, acompanhado de ciclistas, um jogador de polo e remadores,
esportes populares na França daquela época. Aparentemente, Pierre de Coubertin considerou esta representação tão apropriada, que utilizou-a como imagem da
capa da revista do COI, “Revue Olympique”, entre 1901
até 1914.
Pierre de Coubertin
Pierre de Coubertin
Water Mill, 1877
Sepia Drawing (22x14cm)
Collection: Geoffroy de Navacelle de Coubertin
Pierre de Coubertin
Moulin à eau, 1877
Dessin à la sépia (22x14cm)
Collection: Geoffroy de Navacelle de Coubertin
Pierre de Coubertin
Moinho de água de 1877
Desenho com Sepia (22x14cm)
Coleção: Geoffroy de Navacelle de Coubertin
Pierre de Coubertin
Hudson-Bay, 1907
Pen and Ink Drawing (27x21cm)
Collection: Geoffroy de Navacelle de Coubertin
Pierre de Coubertin
Baie de Hudson, 1907
Dessin à la plume (27x21cm)
Collection: Geoffroy de Navacelle de Coubertin
Pierre de Coubertin
Baia de Hudson, 1907
Pierre de Coubertin
Baia de Hudson, 1907
Pierre inherited the talents of the artistic de Coubertin family, which he combined with his philosophic
and educational abilities. Pierre de Coubertin also took
advantage of his drawing talent not only to personally
develop and graphically interpret symbols of the Olympic Movement, such as the five Olympic rings, but also
to illustrate essays and letters. As the son of a painter, who always had Greek antiquity in his mind’s eye,
he was forever deeply interested in Fine Arts in all its
various forms both in his own works and in the philanthropic translation of his ideas. This resulted in the
“Marriage of Muscle and Spirit”, the close interrelationship between sport and art, promoted by him as early
as 1906
Pierre de Coubertin a hérité des talents de ses ancêtres.
Il les a mariés à ses facultés historiques, philosophiques
et pédagogiques. Son talent pour les arts graphiques
conduit Pierre de Coubertin a concevoir lui- même les
cinq anneaux olympiques, les symboles du Mouvement
olympique, à les dessiner mais aussi à illustrer des exposés et des lettres. En tant que fils de peintre pour qui
l’antiquité grecque était continuellement présente, les
beaux-arts lui tenaient toujours à cœur dans la complexité de la réalisation personnelle et de la transposition philanthropique de ses idées. Il en résulta « l’union
du muscle et de l’esprit », l’étroite liaison du Sport et de
l’Art qu’il propagea en 1906.
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Pierre herdou o talento artístico da família “de Coubertin”, os quais ele incorporou a sua filosofia e propostas educacionais. Pierre de Coubertin utilizou os seus
dotes artísticos para interpretar e criar os símbolos do
Movimento Olímpico, como os conhecidos anéis Olímpicos. Ele também costumava ilustrar os seus ensaios
e cartas. Como filho de um pintor que sempre teve a
antiguidade grega como inspiração, Pierre foi profundamente interessado pelas Belas Artes em todas as suas
formas, tendo as suas ideias e escritos sido inspiradas
por ambos, a antiguidade grega e as Belas Artes. Esta
ligação resultou no seu ensaio “L’union du muscle et de
l’esprit”, apresentado pelo mesmo em 1906.
The Olympic Movement and Olympism
The Countess de Casa Miranda Challenge Cup
Challenge trophy for the winner of the high diving
event, donated in 1912 by the Swedish opera singer on
the occasion of the Olympic Games in Stockholm. It
was won by her countrywoman Margareta «Greta» Johansson.
Collection: Olympic Museum Lausanne
Challenge Cup de la comtesse de Casa Miranda
Trophée pour la championne de plongeon, fondé en
1912 par la chanteuse d’opéra suédoise la comtesse
de Casa Miranda à l’occasion de Jeux Olympiques de
Stockholm. Il fut décerné à Stockholm à sa compatriote
Margareta « Greta » Johansson.
Collection: Musée Olympique de Lausanne
Challenge Cup “Condessa de Casa Miranda”
O troféu do desafio (Challenge Cup) foi entregue a vencedora de saltos ornamentais na categoria salto de plataforma alto (categoria extinta). O troféu foi doada em
1912 pela cantora de ópera Sueca Condessa de Casa
Miranda por ocasião dos Jogos de Estocolmo. A prova foi vencida pela sua compatriota Margareta “Greta”
Johansson.
Coleção: Museu Olímpico de Lausanne
Winner’s Diploma of the First Modern Olympic Games in 1896 in Athens (40x23 cm)
The winner’s diploma was designed by Nikolaos Gyzis,
who was one of the most well-known painters of the
late 19th century.
Collection: Olympic Museum Lausanne
Le diplôme olympique des premiers Jeux Olympiques modernes à Athènes, 1896 (40x23cm)
Le diplôme fut dessiné par Nikolaos Gyzis, un des
peintres grecs les plus connus de la fin du 19ème siècle.
Collection: Musée Olympique de Lausanne
Diploma dos vencedores dos primeiros Jogos Olímpicos Modernos em Atenas, 1896 40x23 cm)
O diploma dos vencedores foi desenhado por Nikolaos
Gyzis, um famoso artistas grego do final do século 19.
Coleção: Museu Olímpico de Lausanne
In 1894, the International Olympic Committee (IOC)
was founded in Paris on Pierre de Coubertin’s initiative. Apart from awarding the Olympic Games, its task
to this day is the promotion of the Olympic Movement,
particularly of the associated ideal, so-called “Olympism”.
An important characteristic of Olympism is that it attributes a meaningful effect to sport. The union of
body and soul, fair sporting competition, the internationality of all sportsmen, the emphasis on human
values and on the ideal of peace, are embodied in the
Olympic Charter.
To improve modern sports and to place Olympism
above a world full of technique, from the very beginning, Coubertin tried to find a relationship between
the sciences and fine arts.
C’est en 1894 sur l’initiative de Pierre de Coubertin
que fut fondé à Paris le Comité International Olympique (CIO). Son devoir est jusqu’à nos jours outre l’attribution des Jeux olympiques, la diffusion du Mouvement olympique mais surtout aussi celle des idéaux
qui leur sont reliés, c’est-à-dire « l’Olympisme ». Ce qui
distingue l’Olympisme c’est qu’il donne un certain sens
au sport. L’union du corps et de l’esprit, la compétition
sportive fair-play, l’internationalité de tous les sportifs,
l’accent fait sur les valeurs humaines ainsi que l’idéal
pour la paix ; tout ces éléments sont retenus dans la
Charte olympique. Pour ennoblir le sport et pour placer
l’Olympisme au dessus du monde technique, Coubertin
rechercha dès le début un contact avec les sciences et les
arts.
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Em 1984 foi fundado em Paris o Comitê Olímpico Internacional (COI) por inciativa de Pierre de Coubertin.
O COI, além de realizar os Jogos Olímpicos tem a atribuição de promover o Movimento Olímpico, em particular o princípios do “Olimpismo”.
O Olimpismo atribui um valor significativo ao esporte.
Ele preconiza o desenvolvimento equilibrado do corpo
e do espírito, o “Fair-play”, o internacionalismo, os valores humanos e o ideal de paz entre os povos. Todos estes princípios estão previsto na Carta Olímpica.
Visando implementar os princípios do Olimpismo, que
transcendem ao esporte enquanto técnica, Coubertin
tentou identificar, desde os primórdios, pontos de interseção entre a ciência e a arte.
The Olympic Movement and Olympism
Letter from Pierre de Coubertin
(Received in Berlin: 15th October 1906)
Several weeks after the IOC Art Congress in 1906 in
Paris, Coubertin sent this letter to all the presidents of
universities, National Olympic Committees, sports associations and sport clubs that he knew. With this letter, he wanted to motivate them to artistically enhance
sports festivals, and even more, he wanted to inspire
them to hold music and literature competitions in association with sporting events. The circular letter to the
«German Imperial Commission for Olympic Games”
exhibited here is the only surviving copy worldwide.
Collection: Carl and Liselott Diem-Archiv
M. Eschbach & Georges Hohrod (GER) / [Pierre de
Coubertin (FRA)]
Ode to Sport
Gold Medal 1912 Olympic Art Competitions in
Stockholm in the “Literature” Category
The two authors remained unknown for several years
and it was not until 1919, that Pierre de Coubertin exposed the secret: He himself had written the «Ode au
Sport». In 1990, Nobert Müller discovered the source
of the names. Coubertin had chosen the names of the
two villages of Eschbach and Hohrod in the Munster Valley of Alsace. They were neighbouring towns of
Luttenbach, the home village of his wife Marie (born
Rothan), which he frequently visited.
Collection: Deutsches Sport & Olympia Museum, Cologne
Lettre de Pierre de Coubertin
(Arrivée à Berlin le 15 octobre 1906)
Quelques semaines après le congrès du CIO de Paris
en 1906, Coubertin envoya cette lettre à tous les présidents d’universités, tous les comités olympiques nationaux, toutes les associations sportives et tous les clubs
sportifs qu’il connaissait. Il voulait les inciter au développement artistique des cérémonies sportives, mais
aussi les pousser à associer les manifestations sportives
à des concours de musique et de littérature. La circulaire à l’intention du Deutscher Reichsausschuss für
Olympische Spiele » (Comité Olympique Allemand de
l’époque) est le seul exemplaire conservé à ce jour.
Collection: Carl und Liselott Diem-Archiv
M. Eschbach & Georges Hohrod (GER) / [Pierre de
Coubertin (FRA)]
Ode au Sport
Médaille d’or des concours d’Art des Jeux Olympiques de 1912 à Stockholm dans la catégorie « littérature »
Les deux auteurs restèrent plusieurs années inconnus.
C’est seulement en 1919 que Pierre de Coubertin leva le
mystère : c’est lui-même qui avait rédigé l’Ode au sport.
En 1990 Norbert Müller a découvert l’origine de ces
noms. Coubertin avait choisi le nom des deux villages
d’Eschbach et d’Hohrod dans la vallée de Munster en
Alsace. Il s’agit de villages voisins de Luttenbach, village
natal de sa femme Marie (née Rothan).
Collection: Deutsches Sports & Olympia Museum, Cologne
Carta de Pierre de Coubertin
(Recebida em Berlim em 15 de outubro de 1906)
Algumas semanas após o Congresso Olímpico de Artes
de 1906, Coubertin enviou esta carta a todos os diretores de Universidades, Comitês Olímpicos, Associações
esportivas e Clubes esportivos que conhecia. Através
desta carta ele buscava motivá-los a aprimorar artisticamente os eventos esportivos. Ele queria inspirar os
dirigentes a realizar concursos de música e literatura
paralelamente aos eventos esportivos. A carta circular
aqui exibida foi enviada para a Comitê Olímpico Alemão e é a única cópia que sobreviveu no mundo inteiro.
Coleção: Carl and Liselott Diem Arquivos
In accordance with his wish to integrate art and culture into the Olympic Movement, Pierre de Coubertin
organised an Olympic Arts Congress in Paris in 1906,
even without the support of most of his IOC colleagues
who had no access. Furthermore, in 1912, he organised
five “Olympic Art Competitions” for the first time at
the Olympic Games in Stockholm. From 1912 to 1948,
artists were able to participate in the Olympic Games
in the five categories of Painting, Sculpture, Architecture, Music and Literature.
M. Eschbach & Georges Hohrod (GER) / [Pierre de
Coubertin (FRA)]
Ode ao Esporte
Medalha de Ouro 1912 Competições de Arte Olímpica, em Estocolmo na categoria “Literatura”
Os dois autores permaneceram desconhecidos durante
vários anos. Somente em 1919 Pierre de Coubertin revelou que ele próprio havia escrito a “Ode au Sport”. Em
1990, Nobert Müller descobriu a origem dos nomes.
Coubertin havia escolhido o nome de dois vilarejos,
Eschbach e Hohrod que estão localizadas na Alsace
(França). Os dois vilarejos são vizinhos de Luttenbach,
a vila natal de sua esposa Marie (nascida Rothan), que
eles visitavam com frequência.
Coleção: Deutsches Sport & Olympia Museum, Colônia
Suivant son souhait d’intégrer l’art et la culture dans
le Mouvement olympique, Pierre de Coubertin réalisa
à Paris en 1906 (même sans le soutient de la plupart
de ses collègues du CIO qui n’y voyaient aucun sens)
une Conférence consultative composée d’hommes de
lettres et d’artistes (IVème Congrès olympique) et pour
la première fois en 1912 lors des Jeux olympiques de
Stockholm « cinq concours olympiques d’art ». Dans les
5 catégories Peinture, Sculpture, Architecture, Musique
et Littérature beaucoup d’artistes participèrent aux
Jeux olympiques entre 1912 et 1948.
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Desejando integrar arte e cultura ao Movimento Olímpico Internacional, Pierre de Coubertin organizou em
Paris, em 1906, um Congresso de Arte Olímpica, apesar de não contar com o apoio da maioria dos seus colegas do COI. Posteriormente, ele organizou a primeira
Competição Olímpica de Artes em 1912, em Estocolmo,
em cinco categorias. Entre 1912 e 1948, os artistas puderam participar nos Jogos Olímpicos nas categorias de
pintura, escultura, arquitetura, música e literatura.
Olympic Art Competitions
Carlo Pellegrini (ITA)
Winter Sports
Gold Medal Winner in the “Painting” Category of
the 1912 Stockholm Olympic Art Competitions
(103x35cm).
His series of winter sport graphic artworks won an
Olympic gold for Carlo Pellegrini. His subjects became
so popular that they were later published in large quantities as post cards and reproductions.
Collection: Deutsches Sport & Olympia Museum, Cologne
Carlo Pellegrini (ITA)
Sports d’hiver
Médaille d’or aux concours d’Art des Jeux Olympiques de 1912 à Stockholm dans la catégorie «
peinture » (103x35cm)
Carlo Pellegrini devint champion olympique avec sa série d’illustrations sur les sports d’hiver. Plus tard ses
dessins devinrent si populaires qu’ils furent mis sur le
marché sous forme de cartes postales, tirées à un grand
nombre d’exemplaires, et de reproductions.
Collection: Deutsches Sports & Olympia Museum, Cologne
Carlo Pellegrini (ITA)
Esportes de Inverno
Medalha de ouro para o vencedor na categoria de
pintura das competições de Olímpicas de Arte de
Estocolmo 1912 (103 x 35 cm)
Carlo Pellegrini recebeu a medalha de ouro para a sua
série de pinturas sobre esportes de inverno. Seus temas
tornaram-se tão populares que posteriormente foram
feitas diversas reproduções, bem como cartões postais.
Coleção: Deutsches Sport & Olympia Museum, Cologne
Jean Jacoby (LUX)
Study of sport – Corner/ Rugby
Gold Medal 1924 Olympic Art Competitions in Paris in the “Painting“ Category (75,5x110cm/69x106cm)
Jean Jacoby of Luxembourg (1891 - 1936) submitted
three watercolours entitled “Etude de sport“ at the
1924 Olympic Art Competitions in Paris, for which he
was awarded the Olympic Gold. The works on display
here are “Corner“ and “Rugby “. At the 1928 Olympic
Art Competitions in Amsterdam, Jacoby won another
gold medal for his drawing “Rugby “ in the “Painting,
Drawings and Watercolours” category.
Collection: Olympic Museum Lausanne
Jean Jacoby (LUX)
Etude de sport – Corner / Rugby
Médaille d’or des concours d’Art des Jeux Olympiques de 1924 à Paris dans la catégorie « peinture
» (75,5x110cm/69x106cm)
Le luxembourgeois Jean Jacoby (1891 – 1936) présenta lors des concours d’Art des Jeux Olympiques de 1924
à Paris trois aquarelles intitulées Etude de sport, pour
lesquelles il fut récompensé de la victoire olympique.
Ses travaux Corner et Rugby sont présentés ici. Lors des
concours d’Art des Jeux Olympiques de 1928 à Amsterdam, Jacoby reçu une nouvelle médaille d’or, il fut le
vainqueur dans la catégorie « peinture/dessins et aquarelle » pour son dessin Rugby.
Collection: Musée Olympique de Lausanne
Jean Jacoby (Luxemburgo)
Estudo do esporte – Escanteio/ Rugby
Medalha de Ouro nas Competições de Arte Olímpica em Paris, 1924, na categoria “Pintura”
(75,5x110cm / 69x106cm)
Jean Jacoby de Luxemburgo (1891-1936) apresentou
três aquarelas intituladas “Etude de sport” nas competições Olímpicas de artes em Paris 1924 e foi premiado com a medalha de ouro na categoria de pinturas. As
obras aqui reproduzidas são o “Escanteio” e “Rugby”.
Coleção: Museu Olímpico de Lausanne
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