Charles-Antoine Cambon
Undated photograph of Cambon by Bernier
Born	(1802-04-21)21 April 1802 Paris, France
Died	22 October 1875(1875-10-22) (aged 73) Paris, France
Education	Pierre-Luc-Charles Ciceri
Known for	scenographer
Style	Romanticism
Awards	Chevalier de la Légion d'honneur

Charles-Antoine Cambon (French pronunciation:[ʃaʁlɑ̃twankɑ̃bɔ̃]; 21 April 1802 – 22 October 1875) was a Frenchscenographer, theatrical production designer, who acquired international renown in theRomantic Era.

Little biographical information exists on Cambon's early years, other than that he would have been active as anaquarelle and sepia artist before studying withPierre-Luc Charles Ciceri. At Ciceri's workshop Cambon made acquaintance with Humanité-René Philastre, who would become his first long-term associate.

As a stage design for a "Salon" at theBibliothèque-Musée de l'Opéra testifies, Philastre and Cambon started collaborating in 1824 at the latest.^[1] From that time until 1848, Philastre and Cambon accepted numerous joint commissions for theatrical interior decorations and stage designs. Thus, they decorated the interiors of venues in Angoulême, Antwerp, Beaune, Brest, Choiseul, Dijon, Douai, Ghent, Lille, Lyon, Paris and Rouen, often providing complete machineries as well. Philastre and Cambon also designed productions – or portions thereof, as was customary back then – for Paris (Académie Royale de Musique,Ambigu,Bouffes-Parisiens,Cirque Olympique,Comédie-Française,Délassements-Comiques,Folies-Dramatiques,Porte Saint-Martin), Antwerp (Théâtre Royal Français), Barcelona (Liceu) and Ghent (Grand Théâtre) that created the blueprint forgrand opéra and romantic scenography in Europe. Notable stagings to which Philastre and Cambon contributed are the world premieres of Auber'sGustave III, ou Le bal masque (1833), Berlioz'Benvenuto Cellini (1838), Donizetti'sLa favorite (1840), Halévy'sLa juive (1835), and Hugo'sLes Burgraves (1843).

Cambon separated from Philastre in 1848 as the latter emigrated to Spain. He found a new associate in an extremely talented student, Joseph Thierry, with whom Cambon would design epoch-making productions for theChâtelet,Opéra,Opéra-Comique,Théâtre-Historique, andThéâtre-Lyrique in Paris. Examples of Cambon and Thierry's joint oeuvre include the world premieres of Berlioz'Les Troyens à Carthage (1863), Gounod'sFaust (1859) andLa reine de Saba (1862), Meyerbeer'sLe prophète (1849) andL'Africaine (1865), Verdi'sJérusalem (1847) andDon Carlos (1867), and Wagner'sTannhäuser (Parisian version, 1861).^[2][3]

After Thierry's premature death, in 1866, Cambon continued to work in full independence for venues in Cairo (Khedivial Opera) and Paris (Odéon,Opéra and Vaudeville), decorating a.o. the world premieres of Delibes'Coppélia (1870) and of Thomas'Hamlet (1868), next to a large number of thePalais Garnier's first-generation productions (a.o.Don Giovanni,Faust,La favorite,Guillaume Tell,Hamlet,Les Huguenots,Jeanne d'Arc andLa juive). Cambon was to co-design the premiere of Verdi'sAida (1871), but dropped out of the production due to unknown circumstances.

Cambon taught many pupils at his scenic studio at 3 rue Neuve-Samson (currently rue Léon-Jouhaux, X^me Arrondissement). Students of note are Antoine Lavastre andEugène Louis Carpezat (his official successors), Chéret, Jean-Émile Daran, Célestin-François-Louis Gosse, Eugène Lacoste, Jules-Frédéric Le Goff, Francesc Soler Rovirosa, andAngelo II Quaglio.

Cambon was named Chevalier de laLégion d'honneur in 1869. He was a friend ofProsper Mérimée andStendhal. Cambon's funeral service at Saint-Denis-du-Sacrement and subsequent burial atMontmartre Cemetery were reportedly attended byCamille du Locle,Émile Perrin and Édouard Thierry, as well as by the complete crew of the Opéra.

Although Cambon, like most contemporary scenographers, created scenery of various types and styles during his long career, it was in architectural settings that he achieved true excellence. In keeping with the romantic need forcouleur locale andcouleur historique, Cambon aimed at the illusionistic rendering of architectural space, the character and atmosphere of which he enhanced through the use of dramatic points of view and clair-obscur. Cambon's designs and scale-models in Conté crayon, sepia or pastel furthermore reveal an exquisite draughtsmanship in its own right. Though lacking the rich palette of most contemporaries and successors, Cambon's interiors and exteriors are characterized by precise, delicate lines that belie a solid sense of architectural composition and knowledge of each play or opera's spatial needs.

On 17 May 1877, 2,000 designs by Cambon were sold by his widow at the Hôtel Drouot in Paris. Two hundred of these were acquired by theBibliothèque-Musée de l'Opéra, which would also preserve Cambon's maquettes for the Académie Royale de Musique from 1866 onwards. A number of scale-models predating 1866 have also been preserved. Other stage designs by Cambon are held at the Archives of the Comédie-Française.

Authentic, large-scale artifacts of Cambon's activity survive at

• theBourla Theatre ofAntwerp (B): five levels of authentic stage machineries and foyer decorations designed and executed by Philastre and Cambon in 1834. Notwithstanding being protected, the machinery might still disappear in the near future due to the need of modernization by the venue's current user, Het Toneelhuis—it was listed byEuropa Nostra among the7 Most Endangered sites of 2014.
• theGrand Théâtre ofGhent (B): interior decorations by Philastre and Cambon from 1841.
• the Théâtre ofMontbéliard (F): ceiling painted by Cambon and Thierry in 1857. The forms part of theHôtel de Ville complex.^[4][5]
• theChâteau des Princes inChimay (B): interior decorations and act curtain designed by Cambon between 1860 and 1863. The curtain was altered in modern times into a backdrop with newly added flats to create a 'garden' set.

• Marie-Antoinette Allevy,La mise-en-scène en France dans la première moitié du dix-neuvième siècle (Paris: Droz, 1938).
• Germain Bapst,Essai sur l’histoire du théâtre: la mise en scène, le décor, le costume, l'architecture, l'éclairage, l'hygiène (Paris: Hachette, 1893).
• Peter Beudert, 'Stage Painters at the Paris Opéra in the Nineteenth Century',Music in Art: International Journal for Music Iconography 31/1–2 (2006), 63–72: 64–65.
• Sylvie Chevalley, 'L'atelier Philastre et Cambon et la Comédie-Française', inAnatomy of an illusion: studies in nineteenth-century scene design (Amsterdam: Scheltema & Holkema, 1969), 13–18.
• Pierre De Clercq, 'Humanité-René Philastre (1794–1848) en Charles-Antoine Cambon (1802–1875): decorateurs van theatergebouwen', inDe Opera van Gent: het 'Grand Théâtre' van Roelandt, Philastre en Cambon. Architectuur-interieurs-restauratie, ed. Luc Demeester and Birgit Waeterloos (Tielt: Lannoo, 1993), 51–68.
• Nicole Decugis and Suzanne Reymond,Le décor de théâtre en France du Moyen Age à 1925 (Paris: Compagnie française des arts graphiques, 1953).
• Bruno Forment, 'Staging Verdi in the Provinces: TheAida Scenery of Albert Dubosq', inStaging Verdi and Wagner, ed. Naomi Matsumoto (Turnhout: Brepols, 2015), 263–286: 266.
• Catherine Join-Diéterle,Les décors de scène de l’Opéra de Paris à l'époque romantique (Paris: Picard, 1988).
• Catherine Join-Diéterle et al.,L'envers du décor à la Comédie-Française et à l'Opéra de Paris au XIXe siècle (Montreuil: Gourcuff Gradenigo, 2012).
• Eugène-Oscar Lami, ed.,Dictionnaire encyclopédique et biographique de l’industrie et des arts industriels (Paris: Librairies des dictionnaires, 1881–91), II, 109.
• Jerome Maeckelbergh, 'The "Bourla" in Antwerp: Machinery from 1834 on the Brink of Dismantling?', inTheatrical Heritage: Challenges and Opportunities, ed. Bruno Forment and Christel Stalpaert (Leuven: Leuven University Press, 2015), 149–164.
• Princesse de Chimay, 'Le théâtre de Chimay', inActes du colloque international « Théâtres de cour – théâtres privés » organisé les 18 et 19 octobre 1996 au musée national du château de Compiègne, ed. Jacques Kuhnmunch (Paris: Éditions du Mécène, 1998), 62–65.
• Madeleine Manderyck, 'De bouwgeschiedenis van het Théâtre Royal Français', inDe Bourla Schouwburg: een tempel voor de muzen, ed. Madeleine Manderyck and et al. (Tielt: Lannoo, 1993), 41–75.
• M. V., 'Ch.-Antoine Cambon',Le monde illustré 19/968 (1875), 278.
• Nicole Wild,Décors et costumes du XIXe siècle. Tome II: théâtres et décorateurs (Paris: Bibliothèque nationale de France-Département de la Musique, 1993), 286–291et passim.
• Nicole Wild, 'De decors van Philastre en Cambon', inDe Opera van Gent, 68–75.5.

Wikimedia Commons has media related toCharles-Antoine Cambon.

• Gallica offers hundreds designs and scale-models by Cambon preserved at the Bibliothèque-Musée de l'Opéra
• La Grange offers designs by Cambon for the Comédie-Française

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