Versailles Et L'indépendance Américaine

versailles et l’indépendance américaine Exposition présentée du 5 juillet au 2 octobre 2016

"It was in the arms of the French nobility that American democracy came into the world."

Paul Claudel, Ambassador for France in the United States sp eaking before the Society of the Cincinnati

Contents

Press release 7 Foreword by Catherine Pégard 9

The exhibition 11

Further information 29 The Gallery of Great Battles 30 Versailles and the United States, a long common history 31

To find out more 33 An international colloquium: "Versailles and the American War of Inde- pendence" 34 In connection with the exhibition 35 Guided tours and educational activities 36 "Our American friend, the French and the American War of Independence, 1776-1783" 37

The sponsors and partners of the exhibition 41 The sponsors 42 Media partners 48

Practical information 51

Versailles, 4 July 2016 Press release

Versailles and the American War of Independence

Exhibition from 5 July to 2 October 2016 - Gallery of Great Battles

AS THE FIrST COUNTrY TO rECOGNISE THE UNITED STATES OF AMErICA AS A NEW NATION, IT WAS FrANCE'S DUTY TO COMMEMORATE THE EVENT, ESPECIALLY IN VErSAILLES WHErE THE WAr OF INDEPENDENCE WAS SUPPOrTED, WHErE THE DECISION WAS MADE IN 1776 AND WHErE THE PEACE TrEATY WITH ENGLAND WAS SIGNED IN 1783. THE EXHIBITION AIMS TO rEVEAL FACTS THAT ArE OFTEN FOrGOTTEN BUT WHICH BEAr TESTIMONY TO THE CIrCUMSTANCES, SCALE AND CONSEQUENCES OF FrANCE'S INVOLVEMENT IN THE WAr. Curator The exhibition will recount events, Valérie Bajou provide context, reveal subtleties and enlighten and Head Curator at the Musée surprise visitors. In particular it will highlight: National des Châteaux de Versailles et de Trianon - the context of French and English rivalry and a desire for revenge which had been st ewing in France for a while, Scenography - internal divisions on all three sides, the fi ght between "patriots" and "loyalist s" in America, the Loretta Gaïtis exist ence of opposition in England to the way the settlers were treated, French hesitations between cautiously assessing danger and enthusiasm, Thanks to the sponsorship of: - the decision-making process at Versailles, pressure from the fi rst American diplomats and the exact locations in the palace where discussions were held, - the personalities of key fi gures and ch anges in opinion, - the international sp read of the fi ghting, from India across the Mediterranean sea to the shores of America, - human losses due to the violence and scale of the battles, esp ecially naval, which were the largest of both the 18th and 19th centuries, since the number of ships engaged in the Battle of the Saintes exceeded the number in the battle of Trafalgar, - artist s' interpretations from all three countries, during and aft er the War of Independence… F RENCH- A MERICAN CULTURAL

F OUNDATION The exhibition is the result of scientific collaboration with research ers from American museums and universities, the Congress and the Society of the Cincinnati, as well as French , Spanish and English hist orians. It aims to examine diff erent points of view in order to avoid Mr and Mrs George Lund presenting an overly narrow persp ect ive of the events. Mr and Mrs H.F. Gerry Lenfest Iconic works seen for the first time outside the USA will illust rate the exhibition's message. Th e generosity of the loans granted for the exhibition has been exceptional, a key example being the George Washington Diamond Eagle, the most valuable item from the prest igious Cincinnati collect ion. Press contacts The exhibition will be held in an unusual location: in the Gallery of the Great Battles, Hélène Dalifard, near the depict ion of the Battle of Yorktown, the deciding battle in 1781. Commissioned in 1835 by Aurélie Gevrey, Elsa Martin, Violaine Solari Louis-Philippe, a year aft er the death of La Fayette, this commemorative painting reveals that the +33 (0)1 30 83 75 21 memory of the war and the sacrifi ces made had not been forgotten, and was kept alive on the presse@ch ateauversailles.fr other side of the Atlantic like a debt of blood, also explaining the fervour in the famous expression of 1917: La Fayette, here we are!

Foreword

The past is riddled with the legends of great fi gures, like Franklin with his unusual hair and whose popularity at Versailles soared in a single encounter with the king; Lafayette with his insolent youthfulness, who became a hero on both continents; Jeff erson and Washington… the creation of a new world… Beautiful works immortalise the saga, such as the depict ion of the battle of Yorktown in the Gallery of Great Battles, and the candelabra commissioned by Louis XVI to celebrate the link between France and America, united against England. Curiosity in the French Court, extravagant hairst yles referred to as "For Independence". Revelation of the ch aract er of Louis XVI, who is known to have been hesitant, and who indeed procrast inated for a long time before committing support to the American "rebels", but who, once committed, demonst rated great underst anding of the international scene when he decided to recognise the exist ence of the United States. "Th e King gave us all courage" commented his minist er Vergennes, full of admiration. Many scattered memories of a common hist ory, sometimes lost in the shadow of the famous date of the 4th of July 1776. 240 years ago.

For the first time, an exhibition will bring together these dist ant ech oes of decisive events in the world's hist ory, showing how France helped promote the new ideas on which the United States were built, and commemorate the anniversary of their Independence at Versailles. It is rare for a place to become a last ing symbol of the connect ion between two nations. However, Versailles const itutes this exception, with its hist ory dating back to the French Ancien Régime. Th e thousands of American visitors who discover the "American visit" at the Palace of Versailles each year st ill attest to this fact today. It is perhaps also because, before them, one man whose very name draws their attention, and which is featured on the plaque that pays tribute to him, had underst ood this fact and wanted Versailles to remain symbolic in sp ect acular fashion. Th is man was John D. Rock feller Jr, who saved the Palace of Versailles from ruin at the end of the First World War because he underst ood not only the universality of the place, but also its importance for his country.

I would like to thank Valérie Bajou, Head Curator and the curator of this exhibition, for guiding us along the winding path of the diplomatic and political relations between France and the United States, in a military saga whose memory is kept alive by the Cincinnattis and the Sons of the American Revolution, and by the creation of a legend which also portrays the intellect ual and artist ic lives of our two countries. I would also like to express my gratitude to all the American and French lenders who, through test imonies which have oft en never been seen before, have contributed to making this exhibition a breathtaking account in the old and the new worlds.

Catherine Pégard President of the Public Inst itution of the Palace, Museum and National Est ate of Versailles

Part i

The exhibition 12

Part I — Th e exhibition The exhibition visit

Section I: The American War of Independence at the heart of international relations

In 1763, aft er the end of the Seven Years' war, nothing seemed further from Versailles than American Independence. However, the Revolution could not have taken place without the vital role played by Versailles, which was the headquarters of the French government for more than a century and an important centre of European diplomacy.

A this time the thirteen colonies - New Hampshire, Massach usetts Bay, Connect icut, Rhode Island, New York, New Jersey, Pennsylvania, Delaware, Maryland, Virginia, North Carolina, South Carolina and Georgia – covered a st retch of land on the east coast . Wealthy farmers Th e Tea-Tax-tempest , or the and traders predominated in the north, while the society in the south was composed of plantation Anglo-American revolution London, 1778 and land owners. Th is land of migrants was occupied by English and European inhabitants who Etch ing on paper Paris, BNF were very diff erent from each other, with freedom being their only point in common. © Bibliothèque nationale de France

Th e four quarters of the world In the middle of the 18th century American identity triumphed over belonging to the British discover an allegory of the American Revolution during a Empire, as London imposed sp ecific tax provisions on the colonies, who protest ed, leading to major show with the magic lantern. political disp utes between the colonies and the mainland. On 4 July 1776, the representatives gathered together in congress in Philadelphia and declared their independence. The declaration was not only inst rumental, but was also a utopian vision which est ablished the right to happiness as a principle of government.

The Seven Years' War (1756-1763) In this war England and Prussia fought against France, Aust ria, Russia, Sweden and Spain. It is considered to be the fi rst ever world war. Th e confl ict was sp arked by French and English rivalry to build a colonial empire in the Indies and America, and Maria Th eresa of Spain's desire to take back Silesia from Prussia. In 1755 the two opposing sides faced each other in Europe. On one side, England and Prussia wanted to drive back foreign invasions from German soil (Treaty of West minst er, 1756) and on the other side, Aust ria, already allied with Russia, est ablished a defensive alliance with France (First Treaty of Versailles, 1756). Th ey were soon joined by Sweden and most of the German princes, followed by the Bourbons of Naples, Parma and Madrid (united with France in the Pact e de Famille). Prussia and the coalition fought on the European continent, while England and France battled at sea and in the colonies. England gained the upper hand and France was defeated along its own coast line, in North America (in the battles of Louisbourg, Quebec and Montreal, 1760) and in India (in Madras, 1758-1759). Th ese defeats and the intensity of the fi ghting led Louis XV to petition for peace. In 1763, the Treaty of Paris was signed, confi rming the English vict ory and French losses (Canada, east ern Louisiana, part of the West Indies Senegal). Prussia triumphed on the continent (the Treaty of Hubertusburg signed in 1763 between Aust ria and Prussia). For the French , the defeat was considered a humiliation. Aft erwards, the country continued to rebuild its land and naval armed forces. It was in this delicate context that the American War of Independence broke out. 13

Congress Voting Independence, 4 July 1776 Robert Edge Pine (1730-1788) and Edward Savage (1761- 1817) Circa 1780-1790 Oil on canvas Philadelphia, Courtesy of the Philadelphia Hist ory Museum at the Atwater Kent, Th e Hist orical Society of Pennsylvania Collect ion

This painting depicts a ground-breaking moment in American hist ory, and off ers the most hist orically accurate view of the Assembly Room in Pennsylvania (Independence Hall), where the vote for Independence took place. In the centre of the room decorated with pilast ers and pediments, Jeff erson is presenting the © Philadelphia Hist ory Museum at the Atwater Kent declaration to John Hancock , seated behind the desk, while Franklin is sitting in the foreground. Th e naive st yle and the sketch ily portrayed fi gures prevents the other members of the Congress from being accurately identifi ed.

Robert Edge Pine, an English artist who supported the fi ght for American Independence, travelled to Philadelphia in 1784 to paint the important fi gures and scenes of the Revolution. He set up his st udio in the Assembly Room, enabling him to depict it in its initial condition. He fi nanced his work by ch arging the public to visit his st udio. Th is painting, st ill unfi nished when Pine died, came into the possession of the artist and engraver Edward Savage in the 1790s. Some research ers believe Savage fi nished the painting, but others maintain that he made a copy of it. In any case Savage had decided to make a large-scale engraving of the event but, like Pine, he died before fi nishing it. Th is engraving was extremely popular and the original plate was used for numerous prints up until the 1900s.

United States Declaration of Independence Pennsylvania Journal; and the Weekly Advertiser 10 July 1776 Journal printed on laid paper Paris, Josée et René de Chambrun Foundation

The Pennsylvania Journal published the Declaration of Independence on 10 July 1776. Th e copy disp layed in the exhibition was sent to the Marquis de Lafayette.

Portrait of Louis XV, King of France (1710-1774) François-Hubert Drouais (1727-1775) 1773 Oil on canvas Palace of Versailles

It is always difficult to portray the king. Th e portrait of a sovereign must not only st rike a delicate balance between accuracy and fl attery, but also aim to refl ect the personality of the royal person and the monarch y. One of the few portraits of Louis XV in later life, painted by François Hubert Drouais without any sp ecifi c commission, does not seem to follow this requirement. Th e king is simply dressed simply in clothes for the Court; he is wearing the Orders of the Holy Spirit and the Golden Fleece and holding his bicorn hat under his arm. Th e artist has rendered his heavy features and shrunken eyes with a human, almost intimate feeling of proximity. Th e painting was hung in the 1773 Room before

Portrait of Louis XVI, King of France (1754-1793) Joseph Siff red Duplessis (1725-1802) 1774-1775 Oil on canvas Palace of Versailles

Louis XVI was only 19 years old when he ascended to the throne. His youth is evident in the earliest paintings, and esp ecially in this one. Th e King is portrayed wearing the insignia and riband of the Holy Spirit, as well as the Golden Fleece. His kindness and high moral st andards were noted by the American envoys, such as Benjamin Franklin who said, "I am sure that the King, a young and virtuous prince, takes pleasure in highlighting his generous goodness by helping an oppressed people, and is in a way seeking glory for his reign. I believe our gratefulness can increase his pleasure and that such an expression of gratitude is not only our resp onsibility, but is also in our interest ".

Portrait of George III, King of England (1738-1820) Allan Ramsay (1713-1784) Circa 1770 Oil on canvas Palace of Versailles

This portrait of George III in coronation dress was sent as a diplomatic present to the Minist ry of Foreign Aff airs in Versailles, where it was seized during the French Revolution. Th e painting was disp layed in the Hist oric Galleries of the Palace of Versailles during the July Monarch y. In this bust portrait, the monarch is depict ed in a slightly nonch alant pose and the delicacy of his face contrast s with the heaviness of the embroidered gown and ermine cape. Th e king is wearing the ch ain of the Order of the Garter.

The Congress in Philadelphia was convinced it could not manage without foreign help. It turned to France because it sensed that the French kingdom, Great Britain’s enemy, would not refuse its support.

Louis XVI and the Count of Vergennes, his Minist er for Foreign Aff airs, with the support of Antoine Gabriel de Sartine, the Secretary of State for the Navy and the Marquis de Cast ries, were aware of the act ion undertaken by the rebels and were pleased about the problems it created for England. But although the American cause aroused sympathy, pacifi sm and a desire to wait and see what happened were initially preferred. As a result, when the Congress elect ed Silas Deane, Benjamin Franklin and Arthur Lee as representatives at the Court of Versailles on 26 September 1776, support from Louis XVI was not guaranteed. Not wanting to encourage Lafayette, who left to help George Washington in 1777n, the king st opped work on the navy, and then called on the Pact e de Famille to procure the alliance of Spain, who was already supporting the rebels fi nancially and facilitating the transp ort of weapons through the intermediary of Beaumarch ais. Th e author, a secret agent at the service of the King, had come alongside the rebels in order to cest ablish a connect ion with France.

The American victory in Saratoga on 7 Oct ober 1777 was a real turning point, as Louis XVI realised that the rebels were capable of defeating England. On 17 December 1777 he announced his ack nowledgement of their independence to the representatives of the United Provinces of North America. Negotiations ended on 6 February 1778 with the signing of two treaties, the Treaty of Amity and Commerce and the Treaty of Military Alliance, which was kept secret. Th e American representatives were fi nally presented to the sovereign on 20 March 1778 in the King’s ch amber.

Treaty of Amity and Commerce 6 February 1778 Handwritten, ink on paper, fabric, wax Paris-La Courneuve, arch ives of the Minist ry of Foreign Aff airs

Although his background and education did not dest ine Benjamin Franklin for such fame, this multi-skilled sch olar, physicist , printer, almanac publisher, journalist and ambassador had a unique dest iny, signing the four documents that est ablished the United States: the Declaration of Independence in 1776, the Treaty of the Alliance with France in 1778, the Peace Treaty with England in 1783 and the Const itution in 1787.

Aged 70 years old, he earned the wholehearted sympathy of the Parisian high society, won over by his rust ic appearance which exploited to maximum eff ect . Of all the American representatives he was the most frequently depict ed by artist s. In these works he is always wearing a brown woollen suit, with his hair falling onto his shoulders, reject ing any signs of luxury in accordance with the reputation of simplicity associated with the new republic.

Bust of Benjamin Franklin Jean-Antoine Houdon (1741-1828) 1778 Marble New-York, Th e Metropolitan Museum of Art, don John Bard, 1872 © RMN-GP (Th e Metropolitan Museum of Art)

Portrait of Benjamin Franklin Louis Carrogis, known as Carmontelle (1717-1806) Circa 1780-1781 Ink, black crayon and watercolour on paper Washington, D.C, National Portrait Gallery, Smithsonian Inst itution, bequest of Mrs. Herbert Clark Hoover

Here Benjamin Franklin is shown in profi le, sitting in almost palatial surroundings which contrast with his modest attire. Th e composition highlights his presence, the profi le underlining his strength of convict ion.

He is not depicted as a scholar, but as a politician, since the laws of the Pennsylvania Const itution are lying on the table in the back ground underneath his tricorn hat. 17

George Washington (1732-1799)

Washington's military capability was uncontest ed: a veteran of the Seven Years' War, he earned a reputation for bravery against the French . His aloof but majest ic presence impressed those he met: "his ch aract erist ic goodness and kindness can be felt all around him, and the confi dence he insp ires is never overly familiar, coming from the same feelings in each person: a profound resp ect for his virtues and a high opinion of his talents. […] Brave but not reck less, hard-working but not ambitious, generous but not excessive, noble but not proud, honest but not severe, he always seems to st op short of the point where virtues, taking on a more ardent but more volatile and more dubious tone, may be taken for faults".

Portrait of George Washington after the battle of Princeton, 3 January 1777 In the st yle of Charles Wilson Peale (1741-1827) Circa 1780 Oil on canvas Palace of Versailles

Here George Washington is depict ed at the Battle of Princeton, on 3 January 1777, dressed in a blue and brown uniform with gold buttons and wearing the sash of Commander in Chief. Behind him are cannons and one of the earliest depict ions of the st ar-sp angled banner. Th e original version of this portrait was disp layed in Independence Hall in Philadelphia.

Gilbert du Motier de Lafayette was an offi cer in the regiment of his father-in-law, the Duke of Noailles, when he heard about the fi rst act ions carried out by the American rebels. He quick ly gave his support to their cause. Back ed by the American agents in Paris and with the tacit agreement of the crown, Lafayette left for America in April 1777. He was only 19 and was just a Captain when he arrived at the Congress in Philadelphia, which immediately made him Major General. Th e curious and tenacious young French man, who arrived sp ontaneously bearing arms and without asking for wages, joined the armed forces.

Completely devoted to George Washington, Lafayette notably won fame at his side during the Battle of Brandywine in September 1777, when he was wounded in the leg.

When he returned to France in 1779 wearing the honours awarded by the American Congress, Lafayette aroused the interest of the French Court. He worked tirelessly to convince Vergennes to send men to help the rebels. As soon as the agreement was given, he boarded the Hermione to inform Washington of the arrival of Roch ambeau's army.

Bust of the Marquis de Lafayette He took part in the fi ghting and played a decisive role in the French and (1757-1834) American forces' vict ory against the English army led by General Charles Cornwallis during the Jean-Antoine Houdon (1741-1828) 1790 Battle of Yorktown, on 19 Oct ober 1781. Marble Palace of Versailles © Château de Versailles (RMN-GP) / Christ ophe Fouin

Marquis de Lafayette in American uniform Francesco Giuseppe Casanova (1727-1803) Circa 1784 Watercolour Paris, Josée et René de Chambrun Foundation

This portrait of the Marquis de Lafayette commemorates his service in the Virginia Campaign. He is depict ed as a Major General of the Continental Army of the United States, and is holding a map of Virginia in his hand. Th is watercolour, kept at the New York Hist orical Society, was a st udy for a work in oil on canvas by Francesco Giuseppe Casanova in around 1781-1785. Th e painter was a cosmopolitan artist who was known for his impressive battle scenes and portraits. He held the title of Painter to the King and was accepted into the Académie Royale de Paris in 1763.

Until 1778, France had been engaged in a covert war. Its offi cial entry into the fi ghting turned the colonial confl ict into an international war, esp ecially as Spain and Holland also brought their interest s to the table. Fighting took place on the east coast of the United States until the deciding Battle of Yorktown, and in the West Indies until the Battle of the Saintes, but it also sp read to the North Sea, the English Channel, Gibraltar, the coast of Africa and the Indian Ocean. Louis XVI nevertheless prevented the sp read of fi ghting to continental Europe by est ablishing a line of armed neutrality which included Russia, Denmark, Sweden, Prussia, Portugal, Aust ria and the Kingdom of the Two Sicilies.

The French king was not aiming to reclaim the former French territories in North America, but to weaken England in order to consolidate trade with the West Indies.

Between 1778 and 1783, the violent and deadly war raged on land and more esp ecially at sea. Admiral Est aing’s squadron left from Toulon on 13 April 1778, and Chevalier de Ternay left from Brest on 2 May 1780, transp orting the army of Roch ambeau. Th e third campaign in 1781-1782 was led by Admiral de Grasse. Th e paintings evoke the major battles: off the coast of Ushant (Ouessant) on 23 July 1778, the taking of Grenada on 4 July 1779, the battle between La Surveillante and HMS Quebec on 6 Oct ober 1779, the Battle of Martinique on 18 December 1779, the Battle of Martinique on 17 April 1780, the taking of Yorktown on 19 Oct ober 1781, the Battle of the Saintes on 12 April 1782 and, last but not least , the battle between the Scipion and HMS London off the coast of Saint-Domingue, on 18 Oct ober 1782. .

George Washington and the Marquis de Lafayette at the Battle of Brandywine, 11 September 1777 John Vanderlyn (1776-1852) Oil on canvas Tulsa, Oklahoma, Gilcrease Museum, gift from Th omas Gilcrease to the city of Tulsa in 1955

During the battle of Brandywine, in which the Americans were defeated, the Marquis de Lafayette was wounded in the leg. Th is painting shows above all the friendship between General Washington and the French offi cer.

French patriotism, or The Departure Pierre Alexandre Wille (1748-1821) 1788 Oil on canvas Blérancourt, French -American museum at the Château of Blérancourt

In this painting, the artist illust rates the engagement of the French nobility in the American War of Independence, and recalls the fact that offi cers left voluntarily to reinforce the fl eet of Admiral d’Est aing, and subsequently the squadron of Admiral de Grasse and Roch ambeau's troops. Th e French nobility's participation is illust rated here by the farewells between a young offi cer and his family: the father is presenting him with his sword, while the young man takes an oath before the bust of Louis XVI. His mother and sist er are tearful. Each face reveals a diff erent emotion, underlined by the expressions in the eyes and © RMN-GP (ch âteau de the positions of their hands. Blérancourt) / Gérard Blot 20

François-Joseph-Paul, Count de Grasse (1722-1788) James Gillray (1757-1815) 1782 Etch ing on paper London, Th e British Museum

François-Joseph de Grasse was born in Provence in France and fi rst left to serve with the Knights of Malta. He fought in the War of Aust rian Succession and was made Captain before the end of the Seven Years' War. In 1778 he fought in the fi rst Battle of Ushant (Ouessant), then joined the Count d’Est aing in the West Indies, helped take the island of Grenada in 1779 and took part in the battle off the coast of Dominica in April 1780, before returning to France. Aft er being promoted to Lieutenant General, he left Brest aboard the Ville de Paris in command of 20 ships. On 1st June 1781 he took Tobago. He was in Santo-Domingo when a call for help came from General Washington, and he left for Chesapeake Bay. He thwarted the plans of the British fl eet commanded by Admiral © Th e Trust ees of the British Museum. All rights reserved Graves, fi ghting with a determination that successfully discouraged Graves from re-attempting to enter the Bay. He took the island of Saint Kitts in January 1782 but the squadron led by Samuel Hood managed to escape. Th e French fl eet was attack ed in April 1782 by Admiral Rodney, and was severely defeated. Overcome in the battle of the Saintes, Admiral de Grasse was forced to surrender. He wrote a Memoire on this naval battle in which he just ifi ed his act ions, and was acquitted by a court martial in 1784.

Portrait of the Count of Rochambeau (1725-1807) Charles Wilson Peale (1741-1827) 1782 Oil on canvas Philadelphia, National Park Service, Courtesy of Independence National Hist orical Park Collect ion

When the Treaty of Alliance took French troops to America in the sp ring of 1780, the artist Charles Wilson Peale contact ed a number of French commanding offi cers in order to paint their portraits and disp lay them in his museum. In 1782, a year aft er the vict ory at Yorktown, he painted the Count de Roch ambeau, shown wearing his dark blue uniform bordered with a braided gold st ripe over a small red waist coat and white collar decorated with a jabot. He is also wearing a broad pink sash and the Grand Cross of the Order of Saint-Louis on his ch est .

rochambeau rose quick ly through the ranks of the French army and

© Courtesy of Independence served on the battle fi eld in several campaigns, becoming Lieutenant- National Hist orical Park General. Th anks to his administ rative skill and tact ical experience he was given the resp onsibility of commanding several thousand men sent to join Washington's army by Louis XVI aft er the Treaty of 1778. In the autumn of 1781 the combined forces of Roch ambeau and Washington, alongside the French navy, besieged the English at Yorktown (Virginia) and obtained the surrender of Lord Cornwallis. 21

A view of Gibraltar, 14 September 1782 John Keyse Sch erwin (1751-1790) 1784 Print London, Th e British Museum

The siege of Gibraltar last ed three years. Th e attack was led by the French and Spanish fl oating batteries, which were set alight by the English.

The battle between "La Surveillante" and "HMS Quebec", 6 October 1779 August e Louis de Rossel, known as Rossel de Cercy (1736-1804) 1789 Oil on canvas Paris, Musée National de la Marine

The fighting last ed for several hours off the coast of the island of Ushant (Ouessant). Both frigates suff ered severe losses and the French won a hard-fought vict ory. Th e artist has depict ed the end of the battle, when HMS Quebec, the English vessel, caught fi re and © Musée national de la Marine/ A. Fux exploded.

Journal of the most important events concerning the French troops under the command of M. le Comte de Rochambeau (vol 1) Jean-Baptist e Antoine de Verger (1762-1851) 1780-1781 Manuscript Providence, Brown University Library, Anne S. K. Brown Military Collect ion

Memoirs of the American War of Independence cover military relationships and the discovery of a new continent. Military men were the principal witnesses, such as Admiral de Guich en who became a member of the philosophical society of Philadelphia, and Louis Alexandre Berthier who drew and described in great detail the fi sh he ate during his meals, as he as the army were heading towards Virginia.

Portrait of the author © Anne S.K. Brown Military Collect ion, Brown Antoine de Verger was 19 years old when he entered the command of University Library Roch ambeau, in the Royal-Deux-Ponts regiment and kept his Journal throughout the Virginia campaign. He described the progression of the troops towards Yorktown, and his curiosity led him to comment on the hist ory and geography of Virginia. Antoine de Verger is depict ed on the fi rst page, wearing the insignia of the Union: black for the United States, white for France and Red for Spain. On another page, there is an illust ration of uniformed solidiers, depict ing an Afro-American member of the elite First Rhode Island Regiment, a New England militiaman, a soldier from the West and a French offi cer, which shows the wide range of men involved in the fi ghting. Soldiers in uniform © Anne S.K. Brown Military Collect ion, Brown University Library 22

Section IV: Yorktown, the decisive battle and the 1783 Treaty of Versailles

Yorktown, the decisive battle

In the spring of 1781, the allied naval force was st ronger than ever before, and was back ed up by the Count of Roch ambeau’s army, who was waiting in Newport for the opportunity to fi ght alongside George Washington’s soldiers. Admiral de Grasse’s squadron was ordered to meet Roch ambeau’s army, heading south from Newport and march ing for 1500 km. Th e aim was to block ade General Cornwallis in Yorktown and force him to surrender.

Admiral de Grasse moored at the mouth of Chesapeake Bay in Virginia in August 1781. On 5 September, seeing the English ships getting ready to attack the anch ored fl eet by surprise, he gave the order to set sail as soon as the vessels were ready, regardless of the ships’ hierarch y. Th e fi ghting ended in vict ory for the French fl eet, and General Cornwallis was besieged in Yorktown with no hope of help from the English navy. Th e work of French engineers facilitated the attack and surrender took place on 19 Oct ober.

Th e Siege of Yorktown in Virginia, from 6 to 9 Oct ober 1781 Louis XVI commissioned Louis-Nicolas Vab Blarenberghe to paint two works illust rating Louis-Nicolas Van Blarenberghe (1716-1794) the War of Independence, to be added to the series of battles decorating the Games Room in the 1784 Watercolour on vellum Palace of Versailles: The Siege of Yorktown in Virginia from 6 to 9 Oct ober 1781, and The Palace of Versailles surrender of Yorktown, on 19 Oct ober 1781. © Château de Versailles (RMN- GP)/ Christ ophe Fouin 23

These watercolours are in a similar st yle to works by Adam Frans Van der Meulen and Pierre L'Enfant, with their bird's-eye persp ect ive aiming to off er a view that covers almost everything, from the point of view of the General overlooking every asp ect of the fi ghting. Alternating dark and light areas lead the viewer's eyes across the battleground and up to the horizon which fades into dist ant shades of blue. To this Nordic infl uence Van Blarenberghe added st ruct ure with Italianate landscapes and trees which break up the sp ace and create persp ect ive. Th e artist composed the work with resp ect for realism and aest hetic beauty. Th e precision of the detail is exemplary, with a large number of fi gures bringing the foreground to life.

The Siege of Yorktown is depict ed from Roch ambeau's position, to the south of the city and of the Gloucest er peninsular, where the English were camped. Th e troops arrived between the marshes and the River York, passed the st ruct ures abandoned by the English and dug trench es. The surrender is depict ed closer to the city: rifl es in hand, the English leave Yorktown through a double wall of allied troops. In the foreground the artist painted curious onlookers from Williamsburg.

Th e surrender of Yorktown, 19 Oct ober 1781 Louis-Nicolas Van Blarenberghe (1716-1794) 1785 Watercolour on vellum Palace of Versailles © Château de Versailles (RMN-GP)/ Christ ophe Fouin 24 The Treaty of Versailles of 1783

The war did not end there but continued in the West Indies and the Indian Ocean. However, the taking of Yorktown made King George III realise that he could not overcome the American rebels and that he had to negotiate their independence as best as possible. Th e English and the Americans quick ly signed a preliminary treaty in Paris on 30 November 1782, which was fi nalized on 3 September 1783.

For Louis XVI and his ministers, French assist ance ended with the withdrawal of troops and the agreement for peace. Th e Treaty of Versailles was signed on 3 September 1783 by the Count of Vergennes and George Montagu, Duke of Manch est er.

Treaty of Versailles Although the French-American alliance 3 September 1783 did not last for as long as Louis XVI had hoped, Manuscript, ink on paper, silk connect ions between military men from the two countries led to the creation of the Society of ribon and wax seals Paris - La Courneuve, arch ives of the Cincinnati. Th ose who took up arms to defend the 13 st ates were rewarded and Louis XVI the Minist ry of Foreign Aff airs © Arch ives du minist ère des Aff aires agreed for the award to be borne by French offi cers. étrangères et du Développement International - La Courneuve

Candelabra, of the American War of Independence Pierre-Philippe Th omire (1751-1843) 1785 Chased and gilded bronze, Sèvres bisque and green porphyry Palace of Versailles

This very fine candelabra commemorates the French and American vict ory in Yorktown. It was sent to Versailles in August 1785 and placed in the King's Private Chamber. Th ree leopards (emblems of England) are holding up a circular base in which three Antique-st yle bisque plaques have been inserted, depict ing: The Start of host ilities, Peace trampling War and The Conclusion of peace with America. Th ree cock erels (emblems of France) are overlooking the ch ained big cats, representing England defeated by France. Th e fi gure of the Indian - lost and replaced by a bobech e in 1815 - declared the birth of a new nation: the United States of America.

Sword given to the Marquis de Lafayette by the American Congress 1777 Gold and iron Paris, Josée et René de Chambrun Foundation

During the war, the Congress voted to give ceremonial swords as a reward to the 15 offi cers who dist inguished themselves by their bravery and loyal service. Th e fi rst sword was made in 1779 for Lafayette, honoured by the Congress for his invaluable services. It has a gold hilt decorated with © Musée de l’Armée, Christ ophe Fouin four battle scenes on the garde and allegorical portraits of Lafayette on each side of the grip. 25

Insignia of the Cincinnati of George Washington, known as the Diamond Eagle Nicolas Jean Francast el and Claude Jean Audran Duval, goldsmiths 1784 Gold, silver, enamel, diamonds, emeralds and rubies Washington, D.C, Th e Society of the Cincinnati

Insignia of the Cincinnati of George Washington Nicolas Jean Francast el and Claude Jean Audran Duval, goldsmiths 1783 Gold and enamel Paris, Josée et René de Chambrun Fondation

Known as the Eagle, the insignia of the Society of the Cincinnati – worn by its members since the creation of the organisation – was designed in 1783 by Pierre Charles L’Enfant, an artist and veteran of the War of Independence and one of the fi rst members of the Society. © 2016, Th e Society of the Cincinnati © Christ ophe Fouin He designed a double-sided gold medallion in the form of an eagle surrounded by a laurel crown. Th e design consist s of oval medallions decorated with scenes in which , on the obverse, Cincinnatus accepts a sword from the hands of Roman senators and, on the reverse, he returns vict orious to his plough. L’Enfant asked the Parisian goldsmiths Nicolas Jean Francast el and Claude Jean Autran Duval to manufact ure the insignias.

The artist also made two unique insignias for George Washington. Th e fi rst , which was request ed by the man himself, can be recognised by the laurel crown surrounding the insignia. Aft er his death, his granddaughter Eleanor Parke Cust is Lewis gave it to Lafayette. Th e second insignia was a surprise gift from the offi cers of the French Navy. It is inlaid with 98 diamonds, emeralds and rubies. On the oblong trophy between the eagle and the ribbon are unfurled fl ags, crossed canons and the head of a cock erel, the symbol of France. Known as the Diamond Eagle, this insignia is © Christ ophe Fouin the symbol of the President General of the Society of the Cincinnati; it was worn by Washington and by the 36 men who have succeeded him in this role.

The Society of the Cincinnati

Th e Society of the Cincinnati is the oldest American patriotic organisation. It was offi cially created by George Washington on 13 May 1783 and consist ed of 13 State societies, with one per founder State. A 14th branch , which is French , was added to the society a year later in January 1784. Th e ch oice of the name Cincinnati by the founders was insp ired by the example of Cincinnatus, a Roman citizen who, aft er leading the Republican armies to vict ory, refused to receive any kind of reward, melted his sword down into a ploughshare and continued to serve his country by farming his land. Th e object ive of the society was to maintain the links est ablished between the allies, preserve the memory of the events and defend the offi cers' interest s' against a Congress which was not very benevolent towards them, as well as to be exemplary patriots, in particular by encouraging the unifi cation of the 13 States. Th e Cincinnatis aim to promote the values of liberty, initiative, commitment to the common good and resp onsibility, on which the success of the United States was founded. Th ey also st rive to maintain the close links between the two countries, est ablished during the War of Independence and continued through the two World Wars. Th e society exist s to this day in the United States and was re-est ablished in 1925 in France. It continues to unite the descendants of the founding members along with a few honorary members. 26 Section V: The American War of Independence in the United States and France in the 19th century

The American War of Independence continued to be depict ed for more than a century. Aft er the paintings of battles commissioned for training purposes for offi cers by Louis XVI, the deeper sense of the War of Independence was evoked in the United States and France, during the July Monarch y, through paintings by John Trumbull and August e Couder.

The question of how to portray the War was not addressed in the same way on each side of the Atlantic but, in both cases, the events were depict ed in large formats like an epic saga. John Trumbull, an eye-witness who lived Étude pour La Reddition du through the war, carried out st udies very early on and pick ed out the deciding général Cornwallis à Yorktown John Trumbull (1756-1843) battles, but it was not until aft er the war of 1812 that he depict ed the American Revolution in four 1787 Huile sur toile paintings disp layed in the Capitol rotunda in Washington D.C. Detroit, Inst itute of Art © Detroit Inst itute of Arts, USA. Gift of Dexter M.Ferry Jr./ The rules of painting history, disrupted in France aft er the Consulat and the Empire, did not Bridgeman Images prevent the introduct ion of contemporary subject s into the genre. When Louis-Philippe commissioned the monumental paintings for the Gallery of Great Battles in the Palace of Versailles, the artist s had to fi nd a middle ground between acceptability and verisimilitude in order to ach ieve a politically-acceptable depict ion.

The Siege of Yorktown, on 17 October 1781 August e Couder (1790-1873) 1837 room Oil on canvas Palace of Versailles

Not long after the death of the Marquis de Lafayette, Louis-Philippe ch ose a depict ion of the taking of Yorktown to illust rate the reign of Louis XVI in the Gallery of Great Battles. In doing so he wanted to commemorate the role of the French volunteers in this deciding vict ory. August e Couder was commissioned to create the work on 21 March 1836.

The composition shows naval forces serving the needs of the land forces: Washington, in front of his tent, © RMN-GP (ch âteau de Versailles), towers above the French . On his right is General DR Roch ambeau, who appears much younger, and behind him and to the left , is the Marquis de Lafayette. On the edge of the group, the artist has depict ed the offi cer Tadeusz Kosciuszko, who arrived in the United States on a ship of the Roderigue Hortalez company ch artered by Beaumarch ais, and who dist inguished himself in the Battle of Saratoga. To the right, several offi cers examine the plan of the Yorktown redoubt, including the Admiral de Grasse who is leaning over the map so as not to appear taller than the American General. Th e st atic composition is underpinned by the tent decorated with the fl ags of France and the United States.

The scene takes place just before the city was taken. Since the end of the 18th century in paintings of hist ory, the rules of propriety, ech oing those of classical tragedy, dict ated that a certain interval had to be maintained in the depict ion of events. But inst ead of ch oosing the following inst ant – in which the vict ory takes place – Couder preferred to portray the moment preceding the act ion; he ch ose the st rategist giving orders rather than the fi ghting. 27

The Battle of Ushant (Ouessant) on 23 July 1778 Th éodore Gudin (1802-1880) 1839 Oil on canvas Paris, Musée National de la Marine, Palace of Versailles depository

Although the Battle of Ushant (Ouessant) was not one of the works commissioned by Louis XVI from the painter Rossel de Cercy, it was nevertheless the subject of an immense painting that Louis-Philippe commissioned Th éodore Gudin to paint for the Hist orical Galleries of Versailles.

© Musée national de la Marine/P. Dantec The Battle of Ushant, fought between the English and the French , took place at the beginning of the war, on 23 July 1778. Th e French fl eet was commanded by Lieutenant General Guillouet d’Orvilliers, and the English fl eet by Vice-Admiral August us Keppel, with both sides divided into three squadrons. Realising that the English front line was about to attack his rearguard, which included the Duke of Chartres' vessel, Orvilliers ordered a reversal of the order of battle, but the Duke did not take advantage of the fact that part of the enemy fl eet had been isolated, which created great controversy. Both sides claimed vict ory. Keppel was summoned before a court martial, acquitted and ordered to retire. Th e French claimed a lack lust re vict ory. Th e battle had no eff ect on the rest of the war, which mainly took place off the American coast and in the West Indies. Th e Duke of Chartres was given no other naval command.

Panoramic view of the siege of Yorktown, from 6 to 19 October 1781 Siméon Fort (1793-1861) 1842 Oil on canvas Blérancourt, museum at the Château of Blérancourt, Palace of Versailles depository

A student of Christian Brune, Siméon Fort exhibited watercolour scenes at the Salon from 1824. Th e precision of his st yle made him one of the best topographic painters of his age. He travelled throughout Belgium, Germany, Italy, Spain, Corsica and Egypt. He is esp ecially known for his paintings on the conquest of Algeria, such as the Vue générale de Const antine et de ses environs pour servir à l’intelligence des opérations du siège, dated 1840, and Vue panoramique de la smalah d’Abd-el-Kader, dated 1847.

In 1842, taking insp iration from the watercolours of Van Blarenberghe, he depict ed the site of Yorktown with © RMN-GP (ch âteau de Chesapeake Bay in the back ground. In addition to its Blérancourt)/Gérard Blot topographical precision, the interest of the work lies in its interest ing composition due to the unusual viewpoint and panoramic persp ect ive. Fort's preference for a slightly milky-white light allowed him to create a truly great work with a poetic atmosp here.

Part II

Further information 30

Part II — Further information The Gallery of Great Battles

The Gallery of Great Battles contains a collect ion select ed by King Louis-Philippe of France for the Hist orical Galleries of the Palace of Versailles. Th e project demonst rates his desire for national reconciliation aft er 40 years of ch anging government.

This gallery, situated in the South Wing of the Palace, occupies two entire fl oors on the garden side. It was built by the arch itect Frédéric Nepveu between 1834 and 1837, but it was the arch itect Pierre-Léonard Fontaine who added overhead lighting, as he had done previously in the Grande

Th e Gallery of Great Battles Galerie of the Louvre. Th e decoration in fact hides a metal © ch âteau de Versailles, D.R st ruct ure. Designed to rival the Hall of Mirrors, the Gallery of Great Battles is more than 100 m long and 12 m wide.

33 monumental paintings make up the pict orial decor of the room, recounting the long military hist ory of France, from the Battle of Tolbiac in 496, to the Battle of Wagram in 1809. Over the course of time, the country's borders have been defi ned by these great battles that have driven back even the most determined enemies. Every regime is included, from the Merovingians, Carolingians, Capetians, Valois and Bourbons to the French Revolution and Napoleon. Th e bust s positioned between the paintings include not only monarch s but also several great military captains, such as Du Guesclin, Condé, Turenne, Villars and Maurice de Saxe.

The Battle of Tolbiac marks the start of the Gallery. It illust rates the connect ion between the Church and the French monarch y, since it depict s a vict ory won through Clovis's conversion to Catholicism. Opposite and at the other end, the greatest king of modern France is celebrated: Louis XIV. In the centre of the gallery, opposite the windows, Jeanne d’Arc is depict ed entering Orléans. Th e presence of this painting, in the best position, is a reminder of the support the sovereign can expect from his country in the darkest moments.

The opening of the Gallery of Great Battles was the highlight of the inauguration of the Hist orical Galleries by Louis-Philippe in 10 June 1837. 31

Part II — Further informatioin Versailles and the United States, a long shared history

TIMELINE

1778: Reception of Benjamin Franklin at the Court of Louis XVI in Versailles. France enters the American War of Independence.

1780: General Lafayette arrives in the United States aboard the Hermione.

1781: the Battle of Yorktown, General Lafayette and the Count de Roch ambeau fi ght the British alongside George Washington. 19 October 1781: Surrender by the British forces aft er 21 days of fi ghting. Th e siege of Yorktown heralds the defeat of England.

1783: Th e Treaty of Versailles puts an end to the war.

20th century: During the Belle Époque, James Gordon Bennett Jr., editor of the International Herald Tribune, donates 25,000 Francs to the Palace of Versailles for the rest oration of the 18th-century rooms. His fellow countryman Percy Singer follows his example. 28 June 1919: Woodrow Wilson comes to the Palace of Versailles to sign the Treaty of Versailles which ended the First World War.

25 September 1919: Inauguration of the American Independence Room in the Palace of Versailles.

1924: John D. Rock feller Jr. sp onsors rest oration in the Palace of Versailles. 1927: He repeats his gest ure, giving 23 million Francs to the Palace of Versailles to continue the works.

1961: John F. Kennedy and his wife are received in the Royal Opera House at the Palace of Versailles by General de Gaulle, during the offi cial trip to France. Later on, Nixon and Reagan are also received in Ver- sailles by Presidents of the French Republic.

Part III

To find out more 34

Part III — To fi nd out more An international colloquium: "Versailles and the American War of Independence"

5 juLY 2016 - THE PALACE OF versailles Auditorium

Organised by the Centre de Recherche du Château de Versailles and the Palace of Versailles, this colloquium will address the topic of international relations during the American War of Independence. At the time, it was no small matter for monarch ies to support a new republic, or for French offi cers to submit to the authority of their recent enemies. Th e sp irit of the Age of Enlightenment enabled closer relationships on both sides of the Atlantic, but curiosity, dreams and enthusiasm were eventually confronted with reality: the immensity of a country st ill largely unknown to Europeans, the pragmatism of the inhabitants of the former colonies, the effi ciency of the engineers and the military hierarch y.

Examining both European and American points of view, the talks will focus on the dialogue of cultures and representations at the end of the 18th century and the beginning of the 19th century. Programme

Simultaneous interpretation in French and English will be available throughout the colloquium. 9:45 am: Opening by Catherine Pégard, President of the Public Inst itution of the Palace, Museum and National Est ate of Versailles Host: Olivier Chaline, University of Paris-Sorbonne 10 am: Saint John de Crèvecoeur and French writers travelling in North America at the end of the 18th century. Benjamin Hoff man, Ohio State University 10:30 am: Louis XVI, Vergennes and American Independence, John Hardman, Univerist y of Sussex 11:30 am: Washington and the French offi cers. R. Scott Stephenson, Museum of the American Revolution 12 pm: Th e fi rst three French representatives in North America: Gérard de Rayneval, Chevalier Practical de la Luzerne and Mich el-Guillaume Jean de Crèvecoeur. Pascal Even, Diplomatic Arch ives of information the Minist ry of Foreign Aff airs

Free entry, subject to 12:30 pm: Th e uniqueness of French and American relations, Jean David Levitte, former French availability of places Ambassador, member of the Inst itut

Host: Regist ration required: Valérie Bajou, Musée National des Châteaux de Versailles et de Trianon www.ch ateauversailles- 3 pm: Th e Treatment of French men and Americans in British prints during the period of rech erch e.fr/english, (sect ion: 'Regist er for American Revolution. Tim Clayton, University of East Anglia, British Museum Events') 3:30 pm: Charles Wilson Peale's Philadelphia Museum Portraits, 1782 to 1827. Karie Diethorn

Information: 4:30 pm: Painting Revolution: John Trumbull and artist ic exch ange between America and +33 (0)1 30 83 75 12 France. Tanya Pohrt, Lyman Allyn Art Museum 5:15 pm: Close. Olivier Chaline, University of Paris-Sorbonne 35

Part III — To fi nd out more In connection with the exhibition

Exhibition catalogue

VERSAILLES "Versailles and the American War of Independence" et L’INDÉPENDANCE AMÉRICAINE Edited by Valérie Bajou AMÉRICAINE Co-published by Château de Versailles / Gourcuff Gradenigo 208 pages, approx. 167 illust rations, 24 x 28 cm €39 INDÉPENDANCE ’

L Available in English et

The American War of Independence was also played out in Versailles… Versailles, ERSAILLES V where Louis XVI announced to the representatives of the United Provinces of North America that he recognised their independence, and from where the orders committing France to fi ght England alongside the rebels were issued, turning a colonial rebellion into a worldwide war. Versailles, where the Treaty was signed in 1783 putting an end to the fi ghting. Th is work invites us to explore this incredible human, political and diplomatic saga. Unearthing dist ant recollect ions of defi ning events for the hist ory of the world, it shows how France helped to promote the new ideas on which the United States were founded. An account of the American War of Independence, this book is also about the cosmopolitan 18th century and goes beyond a national discourse or a purely Franco-American dialogue. With contributions by English, American, Spanish and French curators, research ers and hist orians, it also examines the heritage left behind by the American Revolution, which was a major source of insp iration for artist s.

Exhibition album "Versailles and the American War of Inde- pendence" By Valérie Bajou Co-published by Château de Versailles / Gourcuff Gradenigo 32 pages, approx. 35 illust rations, 17 x 24 cm €7 Bilingual

A limited series of bags and accessories made using the exhibition banners Collect ion available from November 2016. Exclusively available from the Palace of Versailles online shop: www.boutique-ch ateauversailles.fr In 2012, as part of a sust ainable and environmentally-friendly policy, the Palace of Versailles decided to collaborate with Bilum, a French enterprise which sp ecialises in recycling advertising banners by using promotional material from exhibitions to create unique product s. 36

Part III — To fi nd out more Guided tours and educational activities

Guided tours of the exhibition

At 10:30 am, on 24 July, 4 and 13 August , 13 and 25 September At 2:30 pm, on 27 July, 9 and 28 August , 4 September

Booking required on 00 33 (0)1 30 83 78 00, online at www.ch ateauversailles.fr, or at the Palace on the day (subject to availability of places). Price: €7 + admission. Free for visitors under 10 years of age. Duration: 1 hour 30 minutes

Programme for school groups and activity centres

My frigate of liberty 7 - 9 years As they visit the exhibition, pupils will embark on a journey just like in the 18th century. Like ship's cabin boys they will discover cartography and the way of life of the crew. Th eir quest will lead them to discover the humanist ic values on the other side of the Atlantic, and to build their own ship of liberty. Duration: 2 hours 30 min Dates: 15, 16, 20, 21, 22 and 23 September, at 9:15 am and 1:15 pm Booking required. Information: 00 33 (3)0 83 78 00 or versailleseducation@ch ateauversailles.fr

Two worlds, one dialogue From 13 - 18+ years In English, a mediator will invite the st udents to discuss a select ion of works disp layed in the exhibition. Using diff erent words, they will explore the topics of travel, liberty and French and American exch anges, conversing in the language of the New World. Duration: 1 hour 30 min Dates: 15, 16, 21, 22, 23 September, at 9:45 am and 1:45 pm Booking required. Information: 00 33 (0)1 30 83 78 00 or versailleseducation@ch ateauversailles.fr

Programmes for specific visitors

Guided tours of the exhibition At 10:15 am and 1:45 pm, Wednesday 21 September Booking required. Information: 00 33 (0)1 30 83 78 00 or versaillesp ourtous@ch ateauversailles.fr 37

Part III — To fi nd out more Our American friend, The French and the American War of Independence, 1776-1783

exhibition FROM 5 julY TO 8 octobER 2016,

To mark the 240th anniversary of the signing of the Declaration of Independence of the United States of America, and in parallel with the exhibition held in the Palace of Versailles, Versailles Central Library recalls the role played by the French in the American War of Independence through an exhibition called "Our American Friend: the French and the the American War of Independence, 1776-1783".

This exhibition has been organised by the municipal library, with scientifi c support from the French branch of the Sons of the American Revolution, the Société française de

© E. COURBOIN Numismatique and Patrick Villiers, a Hist orian sp ecialising in naval hist ory. It will be held in the gallery of the Hôtel des Aff aires Etrangères et de la Marine, built during the L’ONCLE SAM SALUE LAFAYETTE SAM SALUE LAFAYETTE L’ONCLE reign of Louis XV and which has housed the Versailles municipal library since 1803.

LES FRANÇAIS ET L’INDÉPENDANCE AMÉRICAINE (1775-1783) EXPOSITION DU MARDI 5 JUILLET AU SAMEDI 8 OCTOBRE 2016 BIBLIOTHÈQUE CENTRALE DE VERSAILLES 5 RUE DE L’INDÉPENDANCE AMÉRICAINE The exhibition will occupy the fi ve rooms which make up the gallery. Th e fi rst room will MARDI, JEUDI, VENDREDI 14H-18H ET MERCREDI, SAMEDI 10H-18H ENTRÉE LIBRE cover French diplomacy, the way it operated in this period and the private mansion that housed it. Th e overall theme of the exhibition is a timeline of the war, illust rated by prints from the collect ion of engravings depict ing the diff erent events leading up to independence for the Galerie des Aff aires United States of America during the war, and the fi rst book on the United States to be published in étrangères – Bibliothèque centrale de Versailles France, in 1784. Th e following rooms will present the key st ages of the fi ghting, the hist ory of French 5, rue de l’Indépendance offi cers who took part – some famous and others less well-known – as well as the reasons for the américaine 78000 Versailles success of the French participation on the Rebels' side (armaments, naval organisation, training of the +33 (0)1 30 97 28 90 offi cers, etc). Opening times: from Tuesday to Friday: from Last but not least, the final room will evoke the heritage of the War of Independence 2pm to 6pm / Saturdays: from 10am to 6pm / Closed through act s of remembrance insp ired by the French participation (monuments, celebrations etc.) on Sundays and Mondays in France and in the United States, and will also include a ch ildren's area (video game, comic Free admission Disabled access Curators: Th e Gallery of Foreign Christ ophe Th omet, Head Curator in ch arge of the heritage collect ions, Versailles Aff airs is accessible for Central Library. people with reduced Scientific Curators: mobility who are French Branch of the Sons of the American Revolution; Patrick Villiers, accompanied Emeritus Professor in Modern Hist ory at the University of the Littoral Côte d’Opale, founder of the Centre de Rech erch es en Hist oire Atlantique et Littorale and a member of the Société Press contacts Française d'Hist oire Maritime; Société Française de Numismatique.

Town of Versailles Principal lenders: Musée de l’Armée; French -American museum at the Château of Frédérique Meyer Blérancourt; Musée de la Chouannerie; Musée Lambinet; Versailles municipal Arch ives; French + 33 (0)6 21 09 82 74 National Arch ives; Bibliothèque Nationale de France; French Branch of the Sons of the American frederique.meyer@ versailles.fr Revolution; private collect ors. Central Library Scenography: Jérôme Dumoux, www.myartdesign.fr Anne Guich ard Number of works exhibited: + 33 (0)1 30 97 28 90 100 anne.guich [email protected] Surface area: 400 m² 38 In connection with the "Our American friend, the French and the American War of Independence, 1776-1783" exhibition

Concert by Claire-Marie Le Guay, pianist Works by John Adams, Leonard Bernst ein, François Couperin, Henri Dutilleux, W-A Mozart and Maurice Ravel

Monday 4 July 2016, at 8 pm Town Hall concert room (4, avenue de Paris – 78000 Versailles) Free admission subject to availability of places Considered one of the greatest pianist s of her generation, Claire-Marie Le Guay has been invited to play with prest igious orch est ras, such as the Orch est re de Paris, the London Philharmonic Orch est ra, the Bayerisch er Rundfunk, the Camerata Salzburg and the New Japan Philharmonic. She performs in France (Th éâtre des Champs-Elysées, Th éâtre du Châtelet, Salle Pleyel, Fest ival de la Roque d’Anthéron, La Folle Journée etc.) and abroad (Brussels, Chicago, Claire-Marie Le Guay Geneva, London, Munich , New York, Salzburg, Vienna, Tokyo and Zurich ). © Th ierry Cohen She has played under conduct ors such as Daniel Barenboim, Louis Langrée and Emmanuel Krivine. Aft er obtaining fi rst prize in piano and ch amber music at the CNSM in Paris, Claire-Marie Le Guay developed her skills with great musical fi gures including Dmitri Bashkirov, Alicia de Larroch a, Claude Frank and Andreas Staier at the International Academy of Como. She won the Vict oires de la Musique awards in 1998, and has also won several international competitions. She has released 15 or so recordings of Rach maninov, Liszt, Ravel, Haydn, Mozart, Escaich , Sch umann etc., all of which were highly praised by the critics. Since 2001, she has taught in the Mich el Dalberto class at the CNSM in Paris. Claire-Marie Le Guay is the Artist ic Direct or for the Jeux de Miroirs Association and was an Eisenhower Fellow in 2015.

Exhibition of Liberty guiding the people, Interpretation of the work by Eugène Delacroix, by the performer Huang Fengrong

From Tuesday 5 to Saturday 23 July 2016 Th e painter and performer Huang FengRong was born in 1977 in Putian, in the province of Fujian (People's Republic of China). With a passion for painting developed at a very young age and a thirst for adventure, he est ablished his own st yle at the age of 29, which he has continued to perfect ever since, creating a new and unique form of pict orial art. In 2010, the programme called "I’m On Th e Spring Fest ival Gala" on the Chinese national ch annel CCTV, awarded him the prize for "the best artist ic performance", propelling him to the forefront of the artist ic scene. He was later invited to perform on major national and regional Chinese television ch annels, as well as in France, Germany, Dubai and Hong Kong,

Th e artist HUANG FengRong leading to a total of 70 performances to date. in front of his gallery in Shenzhen, th 1+1=3 In 2014, to celebrate the 50 anniversary of the est ablishment of diplomatic relations between China © HUANG FengRong and France, he was invited to the Salon des Beaux-arts, under the patronage of the French President of the Republic. Th e work disp layed as part of the exhibition called Our American friend: the French and the American War of Independence (1776-1783) is owned by a private collect or from Versailles. It concludes the exhibition visit and expresses the link between the American Revolution and the

Part IV

Sponsors and partners of the exhibition 42

Part IV — Sponsors and partners of the exhibition The sponsors

In tribute to the memory of Baroness Philippine de Rothschild, her family and the limited company Baron Philippe de Rothsch ild created the corporate foundation which bears her name.

Philippine de Rothschild was President of Baron Philippe de Rothsch ild for 25 years, working with the same passion that she devoted to the promotion of culture in France.

The Foundation has the same eclect icism, liberty and concern for transmission as the lady aft er whom it was named.

The desire to transmit knowledge and the family connect ion between Baroness Philippine and the United States have lead us to support the exhibition called Versailles and the American War of Independence.

Through the documents, exhibits and works of art brought together by the Palace of Versailles in an exhibition visit covering major events and people, visitors will discover or rediscover key moments in modern hist ory through the eyes of artist s.

Press contacts

Marie-Louise Sch ÿler Communications Manager Baron Philippe de Rothsch illd SA MSch [email protected] + 33 618 67 45 41 43

Opus One is the product of a dream shared by two great men in the fi eld of wine: Baron Philippe de Rothsch ild, owner of the renowned Château Mouton Rothsch ild, and Robert Mondavi, a famous producer and ambassador of Napa Valley. Th eir vision to create the equivalent of a "Grand Cru" in California led to the fi rst Opus One vintage in 1979. Th is blend of tradition and innovation from two of the most prest igious wine-producing regions produces a combination of elegance, fi nesse, complexity and strength.

Today, Opus One is dist ributed in the United States and over 90 other countries.

Through its support for Versailles and the American War of Independence in the Palace of Versailles, Opus One International adds the st ory of a bridge built between two continents to its own hist ory.

Press contacts

Christ opher Barefoot Vice President of Communications & Guest Relations Opus One Winery Phone: + 1 707-944-9442 Christ [email protected] 44

F RENCH- A MERICAN CULTURAL

F OUNDATION

The French-American Cultural Foundation was created in 1998 to showcase and st rengthen the connect ions between France and the United States. Th rough cultural initiatives in fi elds such as science, hist ory, music, education and the performing and visual arts, the Foundation st rives to create friendly and last ing relations between Americans and French people. Guided by its new management team – Const ance J. Milst ein, President of the Board of Direct ors, and Louise V. Oliver, President – the Foundation builds partnerships with the biggest est ablishments in both countries in order to highlight their common culture and the independence, creativity and excellence which are at the heart of their way of living.

The French-American Cultural Foundation is delighted to collaborate with the Palace of Versailles for the creation of the fi rst exhibition on Versailles and the American War of Independence. Th is hist oric exhibition and symposium will showcase the importance of the fi nancial and military aid sent to the American colonies by France, without which the United States would never have been able to gain independence.

The French-American Cultural Foundation and Versailles would like to thank Mr and Mrs H.F. GERRY LENFEST and Mr and Mrs George LUND for their generous support for this exhibition. 45

Arianespace helps provide a better life on Earth by off ering reliable access to Space for commercial as well as inst itutional clients. Arianesp ace is the world's leading commercial launch services company, and has delivered more than 500 sp acecraft to orbit from its base in French Guiana since 1980. Arianesp ace has long enjoyed a fruitful partnership with the United States, having put into orbit more than 150 satellites for American operators. In 2018, Arianesp ace will launch NASA's James Webb Space Telescope, the most sophist icated sp acecraft ever built. 46

Through its two branch es relating to local energy and energy effi ciency services, the Idex group is a French player in energy transition.

Its aim is to reduce carbon footprints on a local level and optimise its clients' energy consumption while maintaining their thermal comfort. Th e group supports the const ruct ion of sust ainable cities, from promotion to the local dist ribution of renewably sourced and/or recovered energy, as well as energy performance and the sust ainable management of buildings.

Today, IDEX, a partner of the Palace of Versailles since 2008 for heating and air treatment services, is delighted to contribute its expertise to the presentation of the exhibition titled Versailles and the American War of Independence in the framework of a skills sp onsorship.

Press contacts

Hélène Senée Head of Communication +33 (0)1 47 12 43 59 [email protected]

Part IV — Sponsors and partners of the exhibition Media partners

The leading cultural channel "Hist oire" off ers insight into the present through hist ory, by broadcast ing underst andable, in-depth and fact ual programmes.

It covers every period, country and genre through an appealing range of documentaries, fi lms and ctfi ion programmes, as well as shows such as the Hist oriquement Show presented by Jean-Christ ophe Buisson, which examines events that have ch anged the hist ory of the world, and Notes d’hist oire presented by Christ ophe Bourseiller, which explores the hist ory of France through songs. An exhaust ive source of information on a number of topics, Hist oire remains up to date with today's news and is a major partner of big events and hist orical commemorations. As such, over the coming months the ch annel will be pulling out all the st ops to mark the American elect ions and the 25th anniversary of the fall of the USSR.

HISTOrIA magazine was created in 1909, making it one of the oldest hist ory magazines in France. It has an unrivalled reputation. Th e magazine has been passed down from generation to generation, giving it a sense of heritage. For more than a century it has been reporting on hist ory through articles by the greatest names, including both university sch olars and journalist s, in order to bring hist ory to the widest possible audience.

HISTOrIA's teams work with tireless enthusiasm, driven by their passion for hist ory. Th ey have all inherited an identity which continues to bring the past to life to provide a better underst anding of the present. 49

L’œil, the contemporary magazine which reviews all the arts. Launch ed in 1955, L’Œil magazine provides arts news in France and worldwide. Th e editorial line of L’Œil remains in harmony with the times with renewed passion and a desire to transmit knowledge every month. It off ers insight into all types of fi ne art including painting, sculpture, drawing, arch itect ure and photography. From Antiquity to contemporary art, in museums and galleries, L’Œil addresses every art form from all periods, thanks to its coverage of 50 or so exhibitions in each edition. Its dynamism, eclect icism and relevance is demonst rated through its list of exhibitions on over more than 30 pages each month.

Discover the following sections every month in L’Œil: • L’œil en Mouvement: artist s' biographies, arch itect ure of the month, news, art in 2050, biographies of key players in the art world, acquisitions. • L’œil Magazine: 12 pages examining a news topic or sp ecifi c subject , visits and reviews of current exhibitions, themed pages on the hist ory of art. • Le Cahier des Expositions: our editors' ch oice of exhibitions to see in France and abroad, with its monthly calendar. • L’œil du Collect ionneur: trends, expert information, gallery news, fairs and sales. • L’œil Ouvert: books, websites, television news. A monthly cultural source of information.

With more than 100,000 readers including amateurs and professionals, over 55% of L’Œil's readership is composed of people with an income of over €55,000 per year. L’Œil is an essential magazine for anyone wiith an interest in art.

Started in 2007, Direct Matin is a free daily newsp aper providing the national, international and local news headlines. It includes several regional publications thanks to exclusive partnerships with major regional daily news groups: Sud Ouest , La Dépêch e, La Provence, Le Progrès and Midi Libre.

More than 900,000 copies of Direct Matin are dist ributed (source: OJD print 2015) in major French cities (Paris Ile-de-France, Montpellier, Lyon, Marseille/Aix-en-Provence, Bordeaux, Strasbourg, Lille, Nantes, Toulouse, Rennes, Nice). Direct Matin has more than 2.5 million readers every day (Source: ACPM ONE 2015 LNM). With its website, Direct Matin.fr, and its mobile applications for smart phones and tablets, Direct Matin is available at all times throughout the country. Th is digital service provides all the news in real time, and an in-depth presentation of information with a resolutely visual and graphic approach that makes it simple and intuitive to use. Part IV

Appendices 51

Part IV — Appendices Practical information

Access For more information RER line C, towards Versailles Château - Rive Gauch e

00 33 (0)1 30 83 78 00 SNCF trains from Gare Montparnasse, towards Versailles - Chantiers SNCF trains from Gare Saint - Lazare, towards Versailles - Rive Droite www.ch ateauversailles.fr RATP Bus line 171 from Pont de Sèvres towards Versailles Place d’Armes Château de Versailles facebook.com/ch ateauversailles A13 motorway (towards Rouen) exit Versailles-Château Parking at Place d'Armes. Parking is ch arged except for disabled people and excluding the @CVersailles twitter.com/CVersailles evenings of shows from 7:30pm.

Château de Versailles plus.google.com/+ch ateauversailles Opening times

Chateauversailles inst agram.com/ The exhibition is open every day except Mondays from 9am to 6:30pm (last admission at 6pm ch ateauversailles (tills close at 5:50 pm). Photos Souvenir fl ick r.com/groups/versaillesfamille Prices Château de Versailles youtube.com/ch ateauversailles Admission the exhibition Versailles Media with Passp ort or Palace tick ets and the "A year in Versailles" card. media.ch ateauversailles.fr Palace ticket: €15, discounted price €13. Passport ticket (1 day) including admission to the Palace, Gardens, Trianon Palaces and Marie- Antoinette's Est ate, and the temporary exhibitions: €18 / €25 on Grandes Eaux Musicales Fountain Disp lay days. 2-day Passport ticket including access during two consecutive days to the Palace, Gardens Trianon Palaces and Marie-Antoinette's Est ate, and the temporary exhibitions: €25 / €30 on Grandes Eaux Musicales Fountain Disp lay days.

FREE for under 26 years, residents of the European Union (except for Grandes Eaux Musicales Fountain Disp lays). Admission to the park is free every day. Th e gardens are free, except on Grandes Eaux Musicales Fountian Disp lay and Musical Gardens days (Tuesdays and Fridays from 1st July to 30 September, weekends and certain national holidays).

Versailles for everyone

Free visit of the Palace, the Trianon Palaces and Marie-Antoinette's Est ate, and temporary exhibitions, except the Grandes Eaux Musicales Fountain Disp lay Days: - for disabled people and the person accompanying them. - for benefi ciaries of social benefi ts. Information and booking: +33 (0)1 30 83 75 05 and versaillesp ourtous@ch ateauversailles.fr