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RABEL, Daniel - b. 1578 Paris, d. 1637 Paris - WGA

RABEL, Daniel

(b. 1578 Paris, d. 1637 Paris)

French draughtsman, printmaker and engineer. He was the son of the engraver Jean Rabel (c. 1545-1603). Around 1612 he became painter to Carlo I Gonzaga, Duc de Nevers (later Duke of Mantua), and drawing-master to his children. In 1618 he was appointed director of the fortifications of Champagne and Brie, becoming Ingénieur du Roi in 1625. He had already been associated with the court, from 1610 onwards designing costumes for the burlesque ballets performed there (watercolours, Louvre; Bibliothèque Nationale, Paris).

He made highly realistic illuminations in gouache for a book of flowers and also some drawn copies of antique objects for Nicolas-Claude Fabri de Peiresc (Bibliothèque Nationale, Paris). He also designed illustrations for books: 350 plates after his drawings were engraved by Michel Lasne, Claude David and Isaac Briot II. Rabel himself produced over 230 etchings whose finesse and precision recall the style of Antonio Tempesta and Jacques Callot. These comprised cartouches, landscapes, flowers (e.g. Theatrum florae and Parterres, 1622 and 1630 respectively); genre scenes, such as Caprices (1629) and Costumes de modes (1623-25); and suites of illustrations, including the Ballet du Roi (1617), Torquato Tasso’s Aminta (1631-32) and Honoré d’Urfé’s L’Astrée (1632-33). His influence is apparent in the work of his pupils, notably in the genre scenes of Jean de Saint-Igny and Sébastien Vouillemont (b. c. 1610) and in the landscapes of Gabriel Pérelle.

The Royal Ballet of the Dowager of Bilbao's Grand Ball
The Royal Ballet of the Dowager of Bilbao's Grand Ball by

The Royal Ballet of the Dowager of Bilbao's Grand Ball

In the first half of the 17th century court ballet became an indispensable noble pastime, with Italy supplying ballet masters, musicians, and set designers, until the great period of Jean-Baptiste Lully. Biting satire was present in the masked balls and theatrical performances. No subject was sacrosanct, from social satire to seduction to politics. The height of grotesque caricature was perhaps attained by the variety of scenes and vulgarity of tone of The Royal Ballet of the Dowager of Bilbao’s Grand Ball, Given by His Majesty in February 1626 in the Hall of the Louvre, then in the Paris Town Hall. Daniel Rabel’s drawings, which have survived, give an idea of the farcical exoticism and mockery evoked through extravagant costumes and cacophonous hullabaloo, proving that buffoonery was not banned at court.

This drawing represents the entrance of the Cacique and his entourage.

Suggested listening (streaming mp3, 2 minutes):

Jean-Baptiste Lully: Gavotte from Pha�ton

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The Royal Ballet of the Dowager of Bilbao's Grand Ball
The Royal Ballet of the Dowager of Bilbao's Grand Ball by

The Royal Ballet of the Dowager of Bilbao's Grand Ball

In the first half of the 17th century court ballet became an indispensable noble pastime, with Italy supplying ballet masters, musicians, and set designers, until the great period of Jean-Baptiste Lully. Biting satire was present in the masked balls and theatrical performances. No subject was sacrosanct, from social satire to seduction to politics. The height of grotesque caricature was perhaps attained by the variety of scenes and vulgarity of tone of The Royal Ballet of the Dowager of Bilbao’s Grand Ball, Given by His Majesty in February 1626 in the Hall of the Louvre, then in the Paris Town Hall. Daniel Rabel’s drawings, which have survived, give an idea of the farcical exoticism and mockery evoked through extravagant costumes and cacophonous hullabaloo, proving that buffoonery was not banned at court.

This drawing represents the entrance of the Esperlucattes.

Suggested listening (streaming mp3, 5 minutes):

Biagio Marini: Sonata in echo

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