DOCSLIB.ORG

The Architecture of Percier and Fontaine and the Struggle for Sovereignty in Revolutionary France

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Architecture of Percier and Fontaine and the Struggle for Sovereignty in Revolutionary France The Architecture of Percier and Fontaine and the Struggle for Sovereignty in Revolutionary France As the official architects of Napoleon, Charles Percier (1764–1838) and Pierre-François- Léonard Fontaine (1762–1853) designed interiors that responded to the radical ideologies and collective forms of destruction that took place during the French Revolution. The archi- tects visualized new forms of imperial sovereignty by inverting the symbols of monarchy and revolution, constructing meeting rooms resembling military encampments and gilded thrones that replaced the Bourbon lily with Napoleonic bees. Yet in the wake of political struggle, each foundation stone that the architects laid for the new imperial regime was accompanied by an awareness of the contingent nature of sovereign power. Contributing fresh perspectives on the architecture, decorative arts, and visual culture of revolutionary France, this book explores how Percier and Fontaine’s desire to build structures of perma- nence and their inadvertent reliance upon temporary architectural forms shaped a new awareness of time, memory, and modern political identity in France. Iris Moon is a visiting assistant professor in the School of Architecture at Pratt Institute, New York. She specializes in eighteenth- and nineteenth-century European art, architecture, and the decorative arts. The Architecture of Percier and Fontaine and the Struggle for Sovereignty in Revolutionary France Iris Moon First published 2017 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN and by Routledge 711 Third Avenue, New York, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an informa business © 2017 Iris Moon The right of Iris Moon to be identified as author of this work has been asserted by her in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data The architecture of Percier and Fontaine and the struggle for sovereignty in Revolutionary France / Iris Moon. Includes index. Percier, Charles, 1764–1838—Criticism and interpretation. | Fontaine, Pierre François Léonard, 1762–1853—Criticism and interpretation. | Symbolism in architecture—France. | Decoration and ornament—France—Empire style. NA1053.P5 M66 2016 729—dc23 2016028204 ISBN: 978-1-4724-8016-3 (hbk) ISBN: 978-1-315-31628-4 (ebk) Typeset in Times New Roman by Keystroke, Neville Lodge, Tettenhall, Wolverhampton To my parents and Ravi Contents List of figures ix List of plates xi Acknowledgments xiii Introduction: Finding revolutionary architecture in the decorative arts 1 1 Visionary friendship at the end of the ancien régime 10 Clean sheets and water magic 13 Architects in training 16 Sovereign doom 19 Roman fever 23 Solo missions 26 An Etruscan friendship 30 2 Propulsion and residue: Constructing the revolutionary interior 36 Rome à rebours 39 Staging antiquity and austerity 42 Revolutionary rearrangements 47 Seek, record, destroy 55 The eternal return of luxury 61 3 The Recueil de décorations intérieures: Furnishing a new order 69 Paper studios 71 Furnishing techniques 74 Strategies of redaction 81 Consuming desires 83 Writing against fashion 86 Between the lines 89 Empire styles 91 4 The platinum cabinet: Luxury in times of uncertainty 99 Pastoral pastimes 102 Incorruptible precision 105 viii Contents Fast times in Consulate Paris 108 Haunting season 113 5 Tent and throne: Architecture in a state of emergency 127 Après coup 129 Fantasies of the ideal villa 132 A permanent work in progress 135 Little pleasures 138 The moving bivouac 141 Political theology 145 Divorcing the past 147 Coda: Revolutionary atonement 155 Selected bibliography 163 Index 181 Figures I.1 Pierre-François-Léonard Fontaine, project for the Palais du roi de Rome, nineteenth century. 3 1.1 Pierre-François-Léonard Fontaine, tomb of Charles Percier, Pierre- François-Léonard Fontaine, and Claude-Louis Bernier, 1830. 11 1.2 Charles Percier, plan of a house of a prince in a picturesque garden, 1782. 19 1.3 Pierre-François-Léonard Fontaine, section of a sepulchral monument to sovereigns with a cross section of the central monument, 1785. 20 1.4 Charles Percier, Trajan’s Column, 1788. 29 1.5 Drouais’ tomb, Santa Maria in Via Lata, Rome. 30 2.1 Anonymous, Moyen expéditif du peuple français pour démeubler un aristocrate, from Révolutions de France et de Brabant 52, 1790. 36 2.2 Charles Percier, Jean-Thomas Thibault, Pierre-François-Léonard Fontaine, stage decor for Elisca ou l’amour maternel, Act 1, 1799. 46 2.3 Charles Percier and Pierre-François-Léonard Fontaine, project for an arena destined to celebrate the triumphs of the republic, n.d. 48 2.4 Jacques-François Blondel, plan of the ground floor and first floor of the Tuileries, 1756. 50 2.5 Pierre-Gabriel Berthault, Assassination of Deputy Ferraud in the National Convention: 1 Prairial Year 3 of the Republic, 1802. 51 2.6 Charles Percier and Pierre-François-Léonard Fontaine, Imperial Banquet for the Marriage of the Emperor with Marie-Louise, Archduchess of Austria, nineteenth century. 53 2.7 In the style of Charles Percier, Album of twenty-six drawings related to the style of Charles Percier and Pierre-François-Léonard Fontaine (Plan of interior), c. 1798–1804. 54 2.8 Pierre J. Lafontaine, Alexandre Lenoir opposing the destruction of the tomb of Louis XII, King of France, at Saint Denis, c. 1794. 57 2.9 Charles Percier, “Elevation of architectural pieces from the Château de Gaillon remounted in the entrance courtyard to the museum,” 1805. 58 2.10 Charles Percier, detail of the benches and paneling, and the decor of the chimney of the François Ier Salon, Palace of Fontainebleau. 60 3.1 Charles Percier and Pierre-François-Léonard Fontaine, “Vue perspective de l’atélier de peinture du C.I*** à Paris,” plate 1, 1812. 72 3.2 Louis-Léopold Boilly, An Assembly of Artists in the Studio of Isabey, 1798. 73 3.3 Charles Percier and Pierre-François-Léonard Fontaine, “Lit du cit. V. exécuté par Alexdre. Régnier. No. 1. partie d’une frise exécuté vis-à-vis la cheminée. Nos. 2 et 3, acessoires peints dans divers panneaux,” plate 14, 1812. 76 x Figures 3.4 Charles Percier and Pierre-François-Léonard Fontaine, “Nos. 1. 2. 3. 4. 5. Camées peints sur émail, placés dans la traverse du lit. 6. Coté du dossier du lit. 7. Couronnement du pied du lit. 8. Pied du lit. Ces détails sont au quart de l’exécution. Nos. 9 et 10. Fauteuil exécuté dans la même chambre, par les frères Jacob,” plate 15, 1812. 77 3.5 Workshop of Charles Percier and Pierre-François-Léonard Fontaine, page from a scrapbook containing drawings and several prints of architecture, interiors, furniture and other objects, c. 1800–1850. 79 3.6 Horace, Opera, detail of Charles Percier’s vignette illustration for book four, 1799. 80 3.7 Charles Percier and Pierre-François-Léonard Fontaine, “Face latérale d’un petit salon exécuté à Paris chez le C.C,” plate 7, 1812. 84 3.8 Pierre de la Mésangère (editor), Collection de meubles et objets de goût, 1803 (no. 114). 84 3.9 Costume parisienne, 1802. 85 3.10 Charles Percier and Pierre-François-Léonard Fontaine, “Vue du trône de l’empereur au Palais des Tuileries,” plate 48, 1812. 88 3.11 Jean-Baptiste Isabey, “The Emperor’s outfit,” 1804–1822. 92 3.12 Charles Percier and Pierre-François-Léonard Fontaine, “Cheminée de la salle des fleuves, au Musée Napoléon,” plate 72, 1812. 94 4.1 L. F. Labrousse and J. P. Delion, Usage des nouvelles mesures, 1800. 107 4.2 Charles Percier, 1,000 franc Banque de France banknote (“Germinal” type), 1803. 112 4.3 Charles Percier and Pierre-François-Léonard Fontaine, “Vue intérieure d’un cabinet pour le roi d’Espagne exécuté à Paris et placé à Aranjuez,” plate 61, 1812. 114 4.4 Charles Percier and Pierre-François-Léonard Fontaine, “Entablement, chapiteau et détails du cabinet du roi d’Espagne,” plate 62, 1812. 115 4.5 Louis Lafitte and Salvator Tresca, Republican calendar: Fructidor, eighteenth century. 118 5.1 Jean-Baptiste Isabey, Bonaparte, Premier Consul at Malmaison, 1801. 131 5.2 Charles Percier, Pierre-François-Léonard Fontaine, Auguste Hibon (engraver), plan of Malmaison, 1833. 133 5.3 Charles Percier and Pierre-François-Léonard Fontaine, “Salle exécutée au Château de Malmaison et détails des trophés qui la décorent,” plate 55, 1812. 137 5.4 Room view of Napoleon Museum; campaign tent of Napoleon, c. 1808. 142 5.5 Martin-Guillaume Biennais and Pierre-Benoît Lorillon, nécessaire of Napoleon I, then of Czar Alexander I, 1807. 143 5.6 Anonymous, Empress Josephine’s bedroom at Malmaison. 148 C.1 Louis-Marie Normand, elevation of Chapelle Expiatoire, 1832. 158 C.2 Pierre-François-Léonard Fontaine, Chapelle Expiatoire, 1815–1826. 161 Plates 1 Charles Percier and Pierre-François-Léonard Fontaine, Arc du Carrousel, 1806. 2 Charles Percier, Project for a decoration in the Pompeian style, 1793. 3 a) and b) In the style of Charles Percier, Album of twenty-six drawings related to the style of Charles Percier and Pierre-François-Léonard Fontaine (detail of interior wall decoration), c. 1798–1804. 4 Jacob Frères, secretary (bureau à coffre) in the form of a triumphal arch, 1797. 5 Francisco de Goya y Lucientes, The family of Charles IV, 1800.
Load more

Recommended publications
  • WHAT Architect WHERE Notes Arrondissement 1: Louvre Built in 1632 As a Masterpiece of Late Gothic Architecture
    WHAT Architect WHERE Notes Arrondissement 1: Louvre Built in 1632 as a masterpiece of late Gothic architecture. The church’s reputation was strong enough of the time for it to be chosen as the location for a young Louis XIV to receive communion. Mozart also Church of Saint 2 Impasse Saint- chose the sanctuary as the location for his mother’s funeral. Among ** Unknown Eustace Eustache those baptised here as children were Richelieu, Jeanne-Antoinette Poisson, future Madame de Pompadour and Molière, who was also married here in the 17th century. Amazing façade. Mon-Fri (9.30am-7pm), Sat-Sun (9am-7pm) Japanese architect Tadao Ando has revealed his plans to convert Paris' Bourse de Commerce building into a museum that will host one of the world's largest contemporary art collections. Ando was commissioned to create the gallery within the heritage-listed building by French Bourse de Commerce ***** Tadao Ando businessman François Pinault, who will use the space to host his / Collection Pinault collection of contemporary artworks known as the Pinault Collection. A new 300-seat auditorium and foyer will be set beneath the main gallery. The entire cylinder will be encased by nine-metre-tall concrete walls and will span 30 metres in diameter. Opening soon The Jardin du Palais Royal is a perfect spot to sit, contemplate and picnic between boxed hedges, or shop in the trio of beautiful arcades that frame the garden: the Galerie de Valois (east), Galerie de Montpensier (west) and Galerie Beaujolais (north). However, it's the southern end of the complex, polka-dotted with sculptor Daniel Buren's Domaine National du ***** 8 Rue de Montpensier 260 black-and-white striped columns, that has become the garden's Palais-Royal signature feature.
    [Show full text]
  • Architecture: the Museum As Muse Museum Education Program for Grades 6-12
    Architecture: The Museum as Muse Museum Education Program for Grades 6-12 Program Outline & Volunteer Resource Package Single Visit Program Option : 2 HOURS Contents of Resource Package Contents Page Program Development & Description 1 Learning Objectives for Students & Preparation Guidelines 2 One Page Program Outline 3 Powerpoint Presentation Overview 4 - 24 Glossary – Architectural Terms 24 - 27 Multimedia Resource Lists (Potential Research Activities) 27 - 31 Field Journal Sample 32 - 34 Glossary – Descriptive Words Program Development This programme was conceived in conjunction with the MOA Renewal project which expanded the Museum galleries, storages and research areas. The excitement that developed during this process of planning for these expanded spaces created a renewed enthusiasm for the architecture of Arthur Erickson and the landscape architecture of Cornelia Oberlander. Over three years the programme was developed with the assistance of teacher specialists, Jane Kinegal, Cambie Secondary School and Russ Timothy Evans, Tupper Secondary School. This programme was developed under the direction of Jill Baird, Curator of Education & Public Programmes, with Danielle Mackenzie, Public Programs & Education Intern 2008/09, Jennifer Robinson, Public Programs & Education Intern 2009/10, Vivienne Tutlewski, Public Programs & Education Intern 2010/2011, Katherine Power, Public Programs & Education Workstudy 2010/11, and Maureen Richardson, Education Volunteer Associate, who were all were key contributors to the research, development and implementation of the programme. Program Description Architecture: The Museum as Muse, Grades 6 - 12 MOA is internationally recognized for its collection of world arts and culture, but it is also famous for its unique architectural setting. This program includes a hands-on phenomenological (sensory) activity, an interior and exterior exploration of the museum, a stunning visual presentation on international museum architecture, and a 30 minute drawing activity where students can begin to design their own museum.
    [Show full text]
  • Henri Labrouste: Structure Brought to Light Is the Condensed Result of Several Years of Research, Goers Are Plunged
    HENRI LABROUSTE STRUCTURE BROUGHT TO LIGHT With essays by Martin Bressani, Marc Grignon, Marie-Hélène de La Mure, Neil Levine, Bertrand Lemoine, Sigrid de Jong, David Van Zanten, and Gérard Uniack The Museum of Modern Art, New York In association with the Cité de l’architecture & du patrimoine et the Bibliothèque nationale de France, with the special participation of the Académie d’architecture and the Bibliothèque Sainte-Geneviève. This exhibition, the first the Cité de l’Architecture et du Patrimoine has devoted to Since its foundation eighty years ago, MoMA’s Department of Architecture (today the a nineteenth-century architect, is part of a larger series of monographs dedicated Department of Architecture and Design) has shared the Museum’s linked missions of to renowned architects, from Jacques Androuet du Cerceau to Claude Parent and showcasing cutting-edge artistic work in all media and exploring the longer prehistory of Christian de Portzamparc. the artistic present. In 1932, for instance, no sooner had Philip Johnson, Henry-Russell Presenting Henri Labrouste at the Cité de l’Architecture et du Patrimoine carries with Hitchcock, and Alfred H. Barr, Jr., installed the Department’s legendary inaugural show, it its very own significance, given that his name and ideas crossed paths with our insti- Modern Architecture: International Exhibition, than plans were afoot for a show the following tution’s history, and his works are a testament to the values he defended. In 1858, he year on the commercial architecture of late-nineteenth-century Chicago, intended as the even sketched out a plan for reconstructing the Ecole Polytechnique on Chaillot hill, first in a series of shows tracing key episodes in the development of modern architecture though it would never be followed through.
    [Show full text]
  • Le Lit De Napoléon Et De Louis XVIII À Saint-Cloud Retrouvé the Bed of Napoleon I and of Louis XVIII Found Again at Saint-Cloud
    In Situ Revue des patrimoines 40 | 2019 Lits historiques. Première anthologie des lits européens du XVe au XIXe siècle Le lit de Napoléon et de Louis XVIII à Saint-Cloud retrouvé The Bed of Napoleon I and of Louis XVIII found again at Saint-Cloud Renaud Serrette Édition électronique URL : http://journals.openedition.org/insitu/23885 DOI : 10.4000/insitu.23885 ISSN : 1630-7305 Éditeur Ministère de la Culture Référence électronique Renaud Serrette, « Le lit de Napoléon et de Louis XVIII à Saint-Cloud retrouvé », In Situ [En ligne], 40 | 2019, mis en ligne le 18 septembre 2019, consulté le 04 octobre 2019. URL : http:// journals.openedition.org/insitu/23885 ; DOI : 10.4000/insitu.23885 Ce document a été généré automatiquement le 4 octobre 2019. In Situ Revues des patrimoines est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Le lit de Napoléon et de Louis XVIII à Saint-Cloud retrouvé 1 Le lit de Napoléon et de Louis XVIII à Saint-Cloud retrouvé The Bed of Napoleon I and of Louis XVIII found again at Saint-Cloud Renaud Serrette L’auteur tient à remercier pour leur aide Philippe Le Pareux, professeur agrégé d’histoire, Jean- Jacques Gautier, Emmanuelle Federspiel et Marie-Amélie Tharaud, inspecteurs au Mobilier national, Jean Vittet, conservateur en chef au château de Fontainebleau, Isabelle Vétois, conservatrice en chef au musée national des châteaux de Malmaison et de Bois-Préau, Judith Kagan, cheffe du bureau de la Conservation du patrimoine mobilier et instrumental, Isabelle de Gourcuff, administratrice générale du château de Fontainebleau, Anne Dion, conservatrice en chef au département des Objets d’art au musée du Louvre.
    [Show full text]
  • READINGS: NEO-CLASSICISM Background: Neo-Classicism. Term Coined in the 1880S to Denote the Last Stage of the Classical Traditi
    READINGS: NEO-CLASSICISM Background: Neo-classicism. Term coined in the 1880s to denote the last stage of the Classical tradition in architecture, sculpture, painting and the decorative arts. Neo-classicism was the successor to Rococo in the second half of the 18th century and was itself superseded by various historicist styles in the first half of the 19th century. It formed an integral part of THE ENLIGHTENMENT in its radical questioning of received notions of human endeavour. It was also deeply involved with the emergence of new historical attitudes towards the past -- non-Classical as well as Classical -- that were stimulated by an unprecedented range of archaeological discoveries, extending from southern Italy and the eastern Mediterranean to Egypt and the Near East, during the second half of the 18th century. The new awareness of the plurality of historical styles prompted the search for consciously new and contemporary forms of expression. This concept of modernity set Neo-classicism apart from past revivals of antiquity, to which it was, nevertheless, closely related. Almost paradoxically, the quest for a timeless mode of expression (the 'true style', as it was then called) involved strongly divergent approaches towards design that were strikingly focused on the Greco- Roman debate. On the one hand, there was a commitment to a radical severity of expression, associated with the Platonic Ideal, as well as to such criteria as the functional and the primitive, which were particularly identified with early Greek art and architecture. On the other hand, there were highly innovative exercises in eclecticism, inspired by late Imperial Rome, as well as subsequent periods of stylistic experiment with Mannerism and the Italian Baroque.
    [Show full text]
  • Napoleonic Scholarship
    Napoleonic Scholarship The Journal of the International Napoleonic Society No. 8 December 2017 J. David Markham Wayne Hanley President Editor-in-Chief Napoleonic Scholarship: The Journal of the International Napoleonic Society December 2017 Illustrations Front Cover: Very rare First Empire cameo snuffbox in burl wood and tortoise shell showing Napoleon as Caesar. Artist unknown. Napoleon was often depicted as Caesar, a comparison he no doubt approved! The cameo was used as the logo for the INS Congress in Trier in 2017. Back Cover: Bronze cliché (one sided) medal showing Napoleon as First Consul surrounded by flags and weapons over a scene of the Battle of Marengo. The artist is Bertrand Andrieu (1761-1822), who was commissioned to do a very large number of medallions and other work of art in metal. It is dated the year X (1802), two years after the battle (1800). Both pieces are from the David Markham Collection. Article Illustrations: Images without captions are from the David Markham Collection. The others were provided by the authors. 2 Napoleonic Scholarship: The Journal of the International Napoleonic Society December 2017 Napoleonic Scholarship THE JOURNAL OF THE INTERNATIONAL NAPOLEONIC SOCIETY J. DAVID MARKHAM, PRESIDENT WAYNE HANLEY, EDITOR-IN-CHIEF EDNA MARKHAM, PRODUCTION EDITOR Editorial Review Committee Rafe Blaufarb Director, Institute on Napoleon and the French Revolution at Florida State University John G. Gallaher Professor Emeritus, Southern Illinois University at Edwardsville, Chevalier dans l'Ordre des Palmes Académiques Alex Grab Professor of History, University of Maine Romain Buclon Université Pierre Mendès-France Maureen C. MacLeod Assistant Professor of History, Mercy College Wayne Hanley Editor-in-Chief and Professor of History, West Chester University J.
    [Show full text]
  • Empire and Belle Epoque Walking Tour 4Pages
    The 19th century was a fascinating time in Paris. It’s hard to choose among the city’s many 19th-century landmarks. As a result, this walking tour is potentially the longest in this series. But the guide includes options for tailoring the walk to fit your time, energy and personal interests. The tour begins with a look at monuments to Napoleon I and Napoleon III’s imperial aspirations including the Arc de Triomphe and the 19th-century Louvre. It also includes buildings which are emblematic of the city’s 19th-century economic aspirations including the Paris stock exchange, several banks, and the Saint-Lazare railroad station. You’ll see how shopping evolved in Paris, from atmospheric covered passages such as the Galeries Vivienne and Colbert, to grand department stores like Galeries Lafayette and Au Printemps. The Palais-Royal, the Opéra Garnier and the Musée Jacquemart- André provide a glimpse into how wealthy Parisians lived and entertained themselves during this era. And you’ll visit two beautiful churches, Saint-Augustin and Saint-Eugène-Saint-Cecile. The tour ends with an optional visit to the 19th- century structure that has become the city’s most iconic monument, the Tour Eiffel. Start: Arc de Triomphe (Métro: Charles de Gaulle/Etoile) or Place de la Concorde (Métro: Concorde) Finish: Musée Jacquemart-André (Métro: Saint-Philippe-du-Roule) or Tour Eiffel (Métro: Bir-Hakeim) Distance: 3 - 4 miles (short version); 4 - 5 miles (long version) Time: 4 - 5 hours (short version); the better part of a day (long version) Best Days: Tuesday - Friday Copyright © Ann Branston 2011 HISTORY In 1848, a series of revolutions finally unseated the monarchy for good.
    [Show full text]
  • Introduction
    Introduction Histoire mouvementée d'un fonds d'archives exceptionnel. Les archives de l'Agence d'architecture du Louvre et des Tuileries constituent un fonds exceptionnel dont l'intérêt s'est encore accru depuis les imposants travaux menés depuis 1982 sous l'égide de l'établissement public du grand Louvre (EPGL) dans l'ensemble de l'un des domaines les plus prestigieux du patrimoine français. Les fouilles archéologiques effectuées parallèlement à l'agrandissement et à la modernisation du musée du Louvre et de ses abords, les nombreuses publications et expositions concernant l'histoire des lieux et des hommes qui y ont joué un rôle, ont réveillé la sensibilité toujours manifeste du public à l'égard du Louvre et des Tuileries. Plusieurs historiens du Louvre ont utilisé ce fonds, alors peu connu, avant son versement aux Archives nationales, en particulier Louis Hautecœur, Yvan Christ et Christiane Aulanier. Le présent travail recense l'ensemble des documents émanant de l'Agence d'architecture constituée en décembre 1848, versés en plusieurs fois aux Archives nationales de 1971 à 1997. Il couvre une période s'étendant de 1848 à 1968. Il n'aurait pu voir le jour sans la ténacité des uns ni la bonne volonté des autres, conservateurs et membres du personnel des Archives nationales, de l'Agence d'architecture, du musée du Louvre... La majeure partie de ces documents concerne l'activité des architectes du Louvre et des Tuileries depuis le début des restaurations du Louvre par Duban, en 1848. Presque tout le fonds antérieur a disparu lors du pillage des bureaux de Fontaine, le 24 février 1848, et dans l'incendie de la bibliothèque du Louvre, le 24 mai 1871.
    [Show full text]
  • Histoire Du Palais Et Du Musée Du Louvre (8) : Le Musée Charles X. Et Le Département Des Antiquités Égyptiennes
    LE MUSÉE CHARLES X ET LE DÉPARTEMENT DES ANTIQUITÉS ÉGYPTIENNES HISTOIRE DU PALAIS ET DU MUSÉE DU LOUVRE LE MUSÉE CHARLES X ET LE DÉPARTEMENT DES ANTIQUITÉS ÉGYPTIENNES PAR CHRISTIANE AULANIER CHARGEE DE MISSION AU DÉPARTEMENT DES PEINTURES ÉDITIONS DES MUSÉES NATIONAUX PARIS HISTOIRE DU PALAIS ET DU MUSÉE DU LOUVRE par CHRISTIANE AULANIER Déjà parud : La Grande Galerie du Bord de l'Eau. Le Salon Carré. Les Trois Salles des États. Le Nouveau Louvre de Napoléon III. La Petite Galerie. La Salle des Caryatides. Le Pavillon du Roi. L1 paraître : Le P a vi llo n de l'Horloge -et le Département des Antiquités O rientales. LE MUSÉE CHARLES X u premier étage de l'aile méridionale du Vieux Louvre, neuf belles salles A en enfilade donnant sur la Cour Carrée forment le Musée Charles X. Parallèlement, la Galerie Campana a vue sur la Seine, tandis que le dépar- tement des Antiquités Egyptiennes occupe, du guichet Saint-Germain l'Auxerrois au guichet des Arts, le quart des bâtiments du rez-de-chaussée en bordure de la Cour Carrée. Du règne de François Ier à l'avènement de Napoléon III, durant trois siècles, le Louvre avait offert un mélange de magnificence et de délabrement ; les textes des historiens en apportent maints témoignages (i). Accolés aux vieilles constructions médiévales, les nouveaux bâtiments de la Renaissance devaient singulièrement jurer auprès d'anciennes bâtisses gothi- ques. En 1624, Louis XIII avait posé la première pierre du Pavillon de l'Horloge, amorce d'un plan destiné à quadrupler la cour du château fort ; l'architecte Jacques Lemercier (2) projetait d'édifier, au delà du Pavillon de l'Horloge, une aile faisant pendant à celle de Jean Goujon, mais le bâtiment à peine commencé puis délaissé, voisina avec les vestiges du Louvre féodal dont les ruines subsis- tèrent jusqu'au dernier tiers du XVI r e siècle.
    [Show full text]
  • Charles Percier
    Charles Percier Architecture and Design in an Age of Revolutions Extended Through February 12, 2017 Charles Percier: Architecture and Extended through Design in an Age of Revolutions February 12, 2017 Charles Percier: Architecture and Design in an Age of the discovery of new documents relating to the produc- Revolutions—on view at Bard Graduate Center Gallery tion of the two partners, allows a better understanding in New York City through February 12, 2017— of Percier’s multifaceted artistic practice. The exhibi- will be the first large-scale exhibition to survey tion will feature more than 130 art works from principal the magnificent range of projects undertaken museums and cultural institutions in France and the by the French architect and designer from the end United States, as well as key objects from private col- of the eighteenth to the beginning of the nineteenth lections, including his designs for furniture, porcelain, century. Jean-Philippe Garric, professor of the history metalwork, and the renovation of the rue de Rivoli—the of architecture at the University of Paris I, Panthéon- construction of which transformed the center of Paris. Sorbonne, is the curator. Rare drawings and spectacular examples of early nine- teenth-century cabinets, candelabras, and tureens will Although largely remembered for his close collabora- also be displayed. By focusing on his most famous and tion with Pierre François Léonard Fontaine (1762– seminal works, such as sketches for the arc du Carrousel, 1853)—together they defined the Empire style and the interior designs for Josephine Bonaparte’s rooms in created the decorative program of Napoleon’s reign— the Tuileries Palace, and the magnificent books dedi- Charles Percier’s (1764–1838) artistic style was unique, cated to Roman palaces and interior decoration, the complex, and ever-evolving.
    [Show full text]
  • Dossier De Presse
    DOSSIER DE PRESSE Ouverture le 12 DEC 2012 SOMMAIRE I- AVANT-PROPOS p 5 à 10 HENRI LOYRETTE, Président-directeur du musée du Louvre p 6 DANIEL PERCHERON, Président de la Région Nord-Pas de Calais p 8 II- LE LOUVRE-LENS : UN MUSÉE D’EXCEPTION p 11 à 74 GENÈSE DU PROJET p 12 - 15 PRÉSENTATION DU MUSÉE p 16 • Introduction de Xavier Dectot, Directeur du musée du Louvre-Lens UN MUSÉE-PARC p 17 - 26 • Le projet architectural • Le projet paysager • Présentation du projet architectural par l’agence SANAA • Présentation du parc par Catherine Mosbach • Biographie résumée de Kazuyo Sejima et Ryue Nishizawa • Biographie d’Imrey Culbert (Célia Imrey et Tim Culbert) • Biographie de Catherine Mosbach GRANDE GALERIE - LA GALERIE DU TEMPS p 27 - 52 • Le parcours • Les œuvres du Louvre au Louvre-Lens • La muséographie • Biographie d’Adrien Gardère LE PAVILLON DE VERRE p 53 - 58 • La muséographie • L’exposition Le Temps à l’œuvre LA GALERIE D’EXPOSITION TEMPORAIRE p 59 - 64 • Le calendrier • L’exposition d’ouverture Renaissance, Révolutions dans les arts en Europe 1400-1530 : le parcours, les œuvres, la muséographie LE HALL D’ACCUEIL p 65 - 67 • Le bâtiment • Le Centre de Ressources LA SCÈNE p 68 - 70 • L’équipement • La programmation UN MUSÉE SANS SECRET ET OUVERT A TOUS p 71 - 74 • Des réserves visibles et visitables • La programmation • Nocturnes • La médiation et l’accueil de tous les publics • Les commandes aux artistes contemporains III- LE LOUVRE-LENS : UN MUSÉE AU CŒUR DU PROJET URBAIN EURALENS p 75 à 76 LE PROJET URBAIN EURALENS p 76 IV- L’INSTITUTION
    [Show full text]
  • Modern Paris
    Valois-Angoulême rulers Bourbon kings 1515 - 1547 François I 1589 - 1610 Henri IV 1547 - 1559 Henri II 1610 - 1643 Louis XIII 1559 - 1560 François II 1643 - 1715 Louis XIV, the sun king 1560 - 1574 Charles IX 1574 - 1589 Henri III THE BEGINNING 0F THE RENAISSANCE The city’s resurgence following a series of horrors - the Hundred Years’ War, the Civil War, epidemics of plague, and famines - started slowly after the beginning of the fifteenth cenbury. It was prompted primarily because the large landowners of the Ile de France, chief among them the cathedral chapter of Notre-Dame, were able to increase profits from agriculture after the witbdrawal of troops. Paris won back its position as a central market, where grain and wine from the Ile de France were traded for fish, salt, eggs, and vegetables from Normandy. And the first rudiments of local industry were esbablished: along the bank of the Bièvre, cloth-dying factories were set up after 1443 by the Italian Canaglia and the Fleming Jean Gobelin. The Parisian bourgeoisie invested in the sea trade of Toulouse, Marseille, and Rouen. A stratum of society that lived from the profits of capital developed. It was Parisian money that ransomed François I from Spanish imprisonment in 1526 after his defeat in the Battle of Pavia. Two years after his return from Madrid, François I wrote to the city of Paris: “ It is our intention in future to spend the greater part of our time in our good city of Paris and its surroundings rather than in other parts of the kingdom…” Thus ended the long period in which the kings had ruled from their castles in the Loire Vallcy.
    [Show full text]