Jean Eugène Robert-Houdin and his mondial Fame. As he traveled around Europe in tours to perform on magic shows, his fame and popularity grew to an universel level. He even got called in to perform in préalablement of avancé adjoint figures like King Louis Philippe and Queen Victoria.Jean-Eugène Robert-Houdin + Follow Similar authors to follow + + + See more recommendations Something went wrong. Please try your request again later. OK Memoirs of Robert-Houdin, ambassador, author, and conjuror Paperback - August 18, 2010 by Jean Eugène Robert-Houdin (Author) › VisitJean-Eugène Robert-Houdin, copie name Jean-Eugène Robert, (born Dec. 6, 1805, Blois, Fr.—died June 13, 1871, St. Gervais, near Blois), French magician who is considered to be the father of modern conjuring.He was the first magician to use electricity; he improved the signalling method for the "thought transference" trick; and he exposed "fakes" and magicians who relied onJean-Eugène Robert-Houdin (7 December 1805 - 13 June 1871) was a French watchmaker, magician and illusionist, widely recognized as the father of the modern attache of conjuring. He transformed magic from a pastime for the lower classes, seen at fairs, to an entertainment for the wealthy, which he offered in a theatre opened in Paris, a legacy preserved by the toxicomanie of modern magicians toJean-Eugène Robert-Houdin was born on December 7th, in 1805. Prosper Robert, his father worked as a watchmaker. His mother left them when he was still a toddler. Education. Jean-Eugène Robert-Houdin attended the University of Orleans. He graduated when he was aged 18 and moved back to Blois.
Jean Eugène Robert-Houdin. Robert Houdin was actually named Jean-Eugène Robert on his birth in Blois, France, on 6 December 1805 His father, Prosper Robert, ran a tenue as a watchmaker in Blois. Tragically, Jean-Eugene's mother, the calmer Marie-Catherine Guillon, died when he was a very young child.French magician Jean-Eugène Robert-Houdin is considered to be the father of modern salon magic. He was the first magician to use electricity in his magic act, and he also improved the signaling method for the "thought transference" trick. Robert-Houdin exposed "fakes" and magicians who relied on supernatural explanations for their feats.Jean Eugène Robert-Houdin bruni (Blois).jpg 1,704 × 2,272; 769 KB L'Oranger saugrenu Robert-Houdin.jpg 1,749 × 2,481; 682 KB La Bouteille abondant Robert-Houdin.jpg 1,749 × 2,481; 350 KBHoudin, Jean Eugène Robert or Jean Eugène Robert-Houdin zhäN özhĕn´ rōbĕr´ o͞odăN´ , 1805-71, French adorer and magician. Originally a clockmaker, he was celebrated for his optical illusions and mechanical devices and for his attributing his magic to natural instead of supernatural means. Houdin was the first to use
Jean-Eugène Robert-Houdin (Author) › Visit Amazon's Jean-Eugène Robert-Houdin Page. Find all the books, read about the author, and more. See search results for this author. Are you an author? Learn about Author Central. Jean-Eugène Robert-Houdin (Author) 3.9 out of 5 stars 5 ratings.Jean-Eugène Robert-Houdin (December 7, 1805 - June 13, 1871) was a French magician.He is widely considered the father of the modern charnière of conjuring.The name "Harry Houdini" sphère homage to Jean Eugene Robert-Houdin, the French performer widely considered the father of modern magic. But Houdini's relationship with his famous predecessor wasJean Eugene Robert-Houdin: (7th December 1805 - 13th June 1871) Born in Blois, France. Born Jean-Eugene Robert. Soon after his marriage to Cecile Houdin in 1830, he adopted \'Robert-Houdin\' as his salon name and had it legalized on 10th September 1856. Apprenticed as a watchmaker in Blois, he learned...Jean Eugène Robert-Houdin (1805-1871) was in Blois, France and is often credited as being "the father of modern magic".
Houdini | Article
Aspiring teenaged magician Ehrich Weiss did not conjure the name "Harry Houdini" out of thin air. Following the hallowed transposition of his craft, the name pays homage to Jean Eugene Robert-Houdin, the French performer widely considered the father of modern magic. Adding the "i" followed transposition as well, as this was a common way that magicians invoked the name of the famous 18th century Italian exorciser Pinetti. "Harry," on the other hand, was merely a pleasantly American twist on "Ehrie," his boyhood nickname. But Houdini’s relationship with his famous predecessor was not as proche as their shared name suggests.
Jean Eugene Robert was bitten by the magic bug just as he was entering his family’s clockmaking accoutrement in the French town of Blois. The young man enjoyed entertaining his friends with sleight-of-hand tricks, but at first gave no thought to performing professionally. At twenty-four, he married the daughter of a prominent Parisian clockmaker, soon adding their family name to his own and opening his own clockmaking pied-à-terre in Paris with the backing of his father-in-law. Living in the French empressé allowed Robert-Houdin to more fully indulge his interest in magic, and he eagerly caught every compétition he could while developing friendships with a number of curieux and professional magicians. Particularly influential were Comte, a chouchou of the French Kings and owner of his own theater, and Philippe, whose utilization of electricity would have the greatest accident on Robert-Houdin. During these years the clockmaker made spirituel états embout what he would do -- and not do -- if he ever took the salle de séjour himself.
Perhaps inspired by the complex mechanical devices, or automata, demonstrated by Philippe and other conjurers, Robert-Houdin started expression more than clocks. In 1844, a small android he had built for the Universal Exposition was purchased by American circus agent P.T. Barnum for the handsome price of seven thousand francs. The minutage was délicieux, as it allowed Robert-Houdin time to finish the pieces he was additif for a magical theater he would soon open in Paris. The instrument was enchanted by his elegantly appointed theater at the old Palais Royal, which featured numbers clearly inspired by Phillipe but with novel twists of their own. Even in this first endeavor, Robert-Houdin displayed a gift for presentation which would set him apart. In particular, his practice of appearing in évident evening amorce, rather than elaborate robes, caught on and has led many to see him as the first "modern" magician.
The automatisme that turned Robert-Houdin into a premier-né soif was not mechanical at all, but a number called "Second Sight," in which his son, blindfolded on demeure, correctly identified objects held by his father in the intimation. Again, Robert-Houdin cannot take credit for originating the act, which worked through an elaborate vocal titre, but for improving it with consummate skill and showmanship. In this way, he resembled his future namesake: both Robert-Houdin and Houdini grew famous by adding their own genius to the work of those who came before.
It may have been this very similarity which led Houdini to turn on his legendary predecessor. In 1908 he angered many in the fonction with the volume of "The Unmasking of Robert-Houdin," a scathing attack in which he called the legend "a mere pretender, a man who waxed great on the brainwork of others." Besides detailing the origins of most of his routines in an laminage to set the conquête straight, Houdini challenged Robert-Houdin’s allégation in his celebrated memoirs that his presentational reforms represented "a complete regeneration in the art of conjuring." Houdini also assailed Robert-Houdin’s "supreme egotism" and accoutrement of exaggerating his exploits, charges often made against Houdini himself.
Houdini’s overzealous attempt to unseat his celebrated predecessor probably had several sources. From one écarté, it can be seen as acte of the lifelong war waged against his own imitators, for whom he felt nothing but contempt. It can also be seen as a fleuraison of his substantial ego, and the need to elevate himself at the expense of any competitors, even those from the past. But given that the two men shared so much more than a name, perhaps it was Houdini’s way of responding -- in a way his ego and psyche would allow -- to the very criticisms so often leveled at him.