De Barok in Frankrijk

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Franse Barok De stijl van het absolutisme. Barok in Frankrijk Het huis van bourbon Fleurs de lis Een allegorie is in de beeldende kunst een symbolische voorstelling waarbij een idee of abstract begrip (zoals hier de Franse staat) wordt verbeeld door een of meer personificaties. Peter Paul Rubens 1625 De aankomst van Maria de ‘Medici in Marseille. Het huis van Bourbon Henri en Marie en kinderen Mazarin Richelieu Lodewijk XIII Anne van Oostenrijk en de kleine Lodewijk XIV Le Ballet de la Nuit Door zijn rol in het Ballet de la Nuit (1753) als de zonnegod Apollo krijgt Lodewijk XIV zijn eretitel ‘Le Roi Soleil’. Het klassieke ballet Omdat het ballet op de hoffeesten steeds meer techniek vereiste, werd de ‘Académie Royale de Danse’ opgericht. Hiermee werd het klassieke ballet geboren. Jean Baptiste Lully De vijf ballet posities Louis XIV L’état c’est moi De Staat, dat ben ik! Minister Colbert van financiën Fleurs de Lis Portrettencampagne De kunsten werden ingezet om het volk te imponeren en om gezag af te dwingen Style Louis XIV Alleen de koninklijke academies en fabrieken mochten aan het hof leveren. De academieregels leidden tot een éénduidige stijl. L’Académie Royale de Danse Jean Baptiste Lully L’Académie Royale de Peintre et Sculpture Charles Le Brun Manufacture Royale des Gobelins Charles Le Brun Manufacture Royale des Meubles de la Couronne Charles Le Brun Charles Le Brun De ‘kunstdictator’ De Theaterstaat Het openbare leven van de absolute vorst is tot in de details geregisseerd. 1661 Ontvangst op Vaux-le-Vicomte PaLeis Versailles Architectuur, decoratie, meubilering , dans en muziek, etiquette en protocol. Alles droeg bij aan de bevestiging van de absolute macht van Louis XIV. Door de centrale as is de aandacht gericht Op de ontvangsthal van de koning. Het middelpunt van de tuin is de Apollofontein. Le Roi Soleil ‘ Alle verwijzingen naar de zonnegod Apollo in de kunstwerken in en om het paleis verwijzen naar de welhaast goddelijke macht van Louis XIV. COLEGIO ARUBANO .

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Style Louis XIII 1610-1643
XVIIe siècle Règne de Louis XIII 1610-1643 Règne de Louis XIV 1643-1715 Architecture Château de Cormatin près de Dijon, début XVIIe Fronton interrompu Bossages Colonne engagée Console renversée Porte maniériste du Château de Cormatin, XVIIe siècle Peinture des lambris des appartements Château de Maisons, Maison Laffitte François Mansart, 1657 côté cour et côté jardin Architecture religieuse Eglise du Gesù Église du Val de Grâce François Mansart, 1636-37 Paris La façade du Louvre Le projet du Bernin,1665 et la réalisation de Le Vau, Le Brun et Perrault, 1667-72 Invité par Louis XIV, le cavalier Bernin, proposera un projet pour la façade du Louvre, qui ne sera pas accepté, jugé trop baroque. On lui préférera une façade plus classique dans le goût raisonnable français. Louis Le Vau jusqu'en 1670 Jules Hardouin Mansart ensuite La salle de Bal, Le Nôtre entre 1680 et 1683 Galerie des Glaces La prise de Maastricht Peintures de Lebrun célébrant Louis XIV Style Louis XIII 1610-1643 Les 3 types de mobilier sont identifiable dans le style louis XIII - le mobilier en bois massif à décor géométrique simple ou « à pointes de diamant », - le mobilier utilisant l’art du tournage, - le mobilier en placage d’ébène Mobilier massif à décor géométrique Armoire à deux corps diminutifs Armoire à pointes de diamant en pointes de gâteau Corniche sculptée Armoire Variantes complexes de pointes de diamants Pied en miche à facettes Armoire à pointes de diamant en tas de sable et fronton interrompu Le mobilier en bois massif à décors tourné Tournage en torsade, en
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L'art De Patisserie Et Le Palais De Versailles
!i L’ART DE PATISSERIE ET LE PALAIS DE VERSAILLES: A STUDY OF POWER THROUGH PASTRY Averie A. Bartlett TC 660H Plan II Honors Program The University of Texas at Austin May 10, 2018 _____________________________________________ Melissa E. Skidmore, Ph.D. Department of French & Italian Supervising Professor ______________________________________________ Nancy C. Guilloteau, Ph.D. Department of French & Italian Second Reader !ii ABSTRACT Author: Averie A. Bartlett Title: L’Art de Pâtisserie et le Palais de Versailles: A Study of Power Through Pastry Supervising Professors: Melissa E. Skidmore, Ph.D. Nancy C. Guilloteau, Ph.D. Louis XIV’s manipulation of the aristocracy at the Court of Versailles in his pursuit of absolute power is well documented. The utter opulence of the period was communicated in every realm of life at Court. The grand dining rituals of the Sun King in particular epitomize the relationship between expression of power and consumption of fine food. Contemporaneous with the relocation of the French monarchy to Versailles was the development of pastry-making into the modern art form recognized today. Changes in culinary techniques combined with sociological factors including increased access to cookbooks and the introduction of restaurants contributed to the elevation of the gastronomic field to its current standing in French culture. How was pastry, the novel art of the day, utilized in pursuit of the goals of Louis XIV? The expression gluttony and excess of Versailles-era France required pastry, and the art evolved to reflect the exorbitant wealth and regal frivolity of the time period. This inquiry examines primary and secondary texts to explore relationships between the culture of Versailles-era France and the pastry of the same time.
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Baroque Architecture
'"" ^ 'J^. rfCur'. Fig. I. — Venice. S. Maria della Salute. (See pp. 88-90.) BAROQUE ARCHITECTURE BY MARTIN SHAW BRIGGS A.K.I. B. A. " iAulhor of " In the Heel of Italy WITH 109 ILLUSTRATIONS NEW YORK ; ' McBRIDE, NAST & COMPANY ^ y 1914 ,iMvMV NA (^Ay n^/i/j reserved) In all ages there have been some excellent workmen, and some excellent work done.—Walter Pater. PREFACE is commonly supposed that the purpose of a preface is to IT explain the scope of a book to those who do not read so far as the first page. There is a touch of cynicism in such an opinion which makes one loth to accept it, but I prefer to meet my troubles half way by stating at the outset what I have emphasized in my last chapter—that this book is not in any way an attempt to create a wholesale revival of Baroque Architecture in England. It is simply a history of a complex and neglected period, and has been prepared in the uncertain intervals of an architectural practice. The difficulty of the work has been increased by the fact that the subject has never been dealt with as a whole in any language previously. Gurlitt in his Geschichte des Barockstiles, published in 1887, covered a considerable part of the ground, but his work is very scarce and expensive. To students his volumes may be recommended for their numerous plans, but for details and general views they are less valuable. In recent years several fine mono- graphs have appeared dealing with Baroque buildings in specific districts, and very recently in a new international series the principal buildings of the period in Germany and Italy have been illustrated.
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Apollo and Columbia: Landscape As Power in Washington D.C. and Versailles
University of Arkansas, Fayetteville ScholarWorks@UARK Landscape Architecture Undergraduate Honors Theses Landscape Architecture 12-2020 Apollo and Columbia: Landscape as Power in Washington D.C. and Versailles. Beau Cameron Burris Follow this and additional works at: https://scholarworks.uark.edu/larcuht Part of the Architectural History and Criticism Commons, Landscape Architecture Commons, and the Urban, Community and Regional Planning Commons Citation Burris, B. C. (2020). Apollo and Columbia: Landscape as Power in Washington D.C. and Versailles.. Landscape Architecture Undergraduate Honors Theses Retrieved from https://scholarworks.uark.edu/ larcuht/11 This Thesis is brought to you for free and open access by the Landscape Architecture at ScholarWorks@UARK. It has been accepted for inclusion in Landscape Architecture Undergraduate Honors Theses by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected]. APOLLO AND COLUMBIA: LANDSCAPE AS POWER IN WASHINGTON DC AND VERSAILLES BEAU BURRIS DR. KIM SEXTON FAY JONES SCHOOL OF ARCHITECTURE + DESIGN DEPARTMENT OF LANDSCAPE ARCHITECTURE Burris 1 INTRODUCTION Burris 2 A palace stands on a knoll ten miles outside of Paris. Its limestone facade is brilliant in midday, its gilded roof gleams like fire. Grand boulevards lined with plane trees radiate out in all directions from a court of marble bounded by golden gates. Here, the glory of monarchy seems to spill into the streets. It runs through massive fountains and into a mile-long canal dug by hand. It nourishes thousands of carefully pruned trees which bathe the land in deep, rich green. This place—glittering, pompous, exuberant, extravagant—is the Château de Versailles (fig.
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Silver for the Dining Room, Selected Periods
SILVER FOR THE DINING ROOM SELECTED PERIODS SILVER FOR THE DINING ROOM SELECTED PERIODS 133© ^a JOHN S. HOLBROOK PRINTED FOR THE GORHAM COMPANY BY THE UNIVERSITY PRESS, CAMBRIDGE Copyright, 191 2, by JOHN S. HOLBROOK nPO my father, Edward Holbrook, whose life has been my inspira- tion, and whose influence has always been exerted for the maintenance and uplift of artistic standards, this book is affectionately dedicated. CONTENTS Page Introduction xi Florentine Period A Dining Room 2 Black Coffee and Stand 7 Tureen and Meat Dish 9 Dessert Knife, Fork and Spoon (Florentine Pattern) 11 Louis XIV Period A Dining Room i4 Candelabrum 19 Black Coffee Set and Waiter ai Tea Set, Kettle and Waiter 21 Salad Spoon and Fork, and Gravy Ladle 23 Louis XV Period A Dining Room 26 Gompotier, Candlestick, Entree Dish and Tureen (Louis XV Pattern) . 3i Centerpiece, Pitcher and Tray (Louis XV Pattern) 33 Black Coffee (Louis XV Pattern) 33 Cold Meat Fork, Soup Ladle, Tomato Server and Salad Fork (Chantilly Pattern) 35 Louis XVI Period A Dining Room 38 Meat Dish, Urn, Pitcher and Tray 43 Black Coffee Set and Waiter 45 Tureen and Stand 45 Tea Spoon, Butter Pick, Coffee Spoon and Tea Maker (Tuileries Pattern) 47 Jacobean Period A Dining Room 5o Bowl and Celery Dish 55 Entree Dish and Vegetable Dish 57 Dessert Knife, Orange Spoon, Butter Knife and Butter Spreader (Baronial Pattern) 59 5 CONTENTS Early Georgian Period Page A Dining Room 62 Tea Set, Kettle and Waiter 67 Kettle and Trophy Gup 67 Meat Dish, Pitcher and Tureen (Chelsea Pattern) 69 Individual Salad Fork, Orange Spoon, Oyster Fork and Ice Cream Spoon (Buckingham Pattern) 71 Middle Georgian Period A Dining Room 74 Tea, Sugar and Cream 79 Fruit Basket, Waiter and Candlesticks 81 Serving Spoon and Fork, and Pie Knife (Jefferson Pattern) 83 Late Georgian Period A Dining Room 86 Tea, Sugar and Cream, and Tureen 91 Salad Bowl, Loving Cup and Pitcher Tea Spoon, Confection Spoon, and Sugar Tongs (King George Pattern) .
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Der Garten Von Vaux-Ie-Vicomte
Originalveröffentlichung in: Die Gartenkunst, 5 (1993), Nr. 1, S. 67-90 BARBARA BECHTER Der Garten von Vaux-Ie-Vicomte Geschichte und Restaurierung » Vaux a le merite d'avoir ete avant Versailles. II marque dans l'art de la construction et dans celui de l'arcbitecture des jardins une Innovation dont Vimmensite et la magnificence sont les traits essentiels.«' »Si le style Louis XIV n'est pas ne a Vaux, il s'y est affirme d'une mattiere certaine et Von ne saurait exagerer ce que Versailles doit a Vaux et Louis XIV aux artistes de Fouquet. «2 Vaux-le-Vicomte ist von entscheidender Bedeutung für die Ent Dieses alte Schloß war von tiefen, wassergefüllten Gräben umge wicklung des klassischen französischen Gartens. Von 16561661 ben und hatte am Eingang und am rückwärtigen Ausgang je eine hatten LeVau, LeBrun und LeNötre, unterstützt von einem rela Zugbrücke. Vor dem Schloß erstreckte sich ein großer, von Mau tiv großen Künstlerstab, erstmals die Möglichkeit, bei einer abso ern umgebener Hof mit Nebengebäuden. Auf der rechten Seite luten Neuschöpfung ihre Idealvorstellungen zu verwirklichen. befanden sich Kelter, Scheune, Pferdestall und Stall, auf der lin Sie mußten keine Rücksicht auf eine ältere Anlage nehmen und ken Seite das Gehöft des Schlosses mit Taubenhaus, Scheune, hatten nahezu unbegrenzte Geldmittel zur Verfügung. Schafstall u.a. Der von Mauern umgebene Park bestand aus Gar Der Auftraggeber, Nicolas Fouquet, wurde nur wenige Tage ten, Hochwald, Wiesen, Weideland und Gebüsch. Dafür zahlte nach dem großen Einweihungsfest für die königliche Familie und Nicolas Fouquet eine Rente von jährlich 6.000 livres an Lotin de den Hofstaat verhaftet und u.a.
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Chapter 4: Baroque the Baroque: from Revolution in the Church to Revolutions in US & France to the Industrial Revolution
Chapter 4: Baroque 1 The Baroque: From Revolution in the Church to Revolutions in US & France to the Industrial Revolution 4.1 Bernini, detail The Ecstasy of Saint Teresa. 4.2 Diderot, image from Encyclopedia. The glorious exuberance of Gianlorenzo Bernini’s Santa Teresa in Ecstasy (4.1) can be contrasted with the arduous constraints of the illustration from Denis Diderot’s Encyclopedia (4.2) to illustrate the extreme and conflictual differences that characterized the historic period known as the Baroque. With the ostentatious wealth of absolute monarchs and increased oppression of their subjects in some parts of Europe, and a rising middle class and its growing capitalist economy in other parts, the sensual and spiritual yet increasingly mechanized Baroque was a period of remarkable contrasts. Chapter 4: Baroque 2 Scholars still debate whether the Baroque period was the final phase of Renaissance or the beginning of modern era. Rather than enter that debate, we will simply discuss the Baroque as the era that begins with the Counter Reformation—the Catholic Church’s response to Protestant Reformation initiated by Martin Luther--and ends as world-shaking revolutions, both political and industrial, swept over Europe and the Americas. The Baroque was complex and contradictory. Largely Catholic Southern Europe was characterized by the Counter Reformation and absolutist monarchies. In the north, Protestantism was on the rise, alongside growing capitalism. Widely divergent arts were created in service of the Church, absolutist monarchs and Northern European burgers. In the culture of display of the South, the “desire to evoke emotional states by appealing to the senses, often in dramatic way [led to] grandeur, sensuous richness, drama, vitality, movement, tension, emotional exuberance, and a tendency to blur the distinctions between the various arts.”1 This tendency can be seen, for example, in the grandiose spectacles designed for Louis XIV at Versailles (4.3).
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RAR, Volume 31, 2016
Rutgers Art Review The Journal of Graduate Research in Art History VOL. 31 Rutgers Art Review The Rutgers Art Review (RAR) is an annual journal produced by graduate students in the Department of Art History at Rutgers University. The journal is dedicated to presenting original research by graduate volume the editors convene an editorial board made students in Art History and related fields. For each up of students from the department and review all new submissions. The strongest papers are then sent to established contribute to existing scholarship. Articles appearing scholars in order to confirm that each one will in RAR are abstracted and indexed online in America: History and Life, ARTbibliographies Modern, the Avery Index to Architectural Periodicals, BHA (Bibliography of the History of Art), Historical Abstracts, and the Wilson Art Index. The journal is university, museum, and public libraries in North distributed by subscription to many of the finest America and Europe. to printed volumes before Vol. 30, visit: For more information about RAR or to suscribe RAR.Rutgers.edu Cover Image: Augustin Pajou (1730–1809) and Louis Garnier (1639–1728). Parnasse François. Conceived after 1708 by Évrard Titon du Tillet (1677– 1762). 1708–1721. Medallions by Simon Curé and completed with additional medallions and statuettes by Augustin Pajou. Bronze, 260 x 235 x 230 cm. RMN-Grand Palais / Art Resource, NY Staff &Thanks Editors Special Thanks The editors would like to thank our faculty adviser, Sarah Blake McHam, for providing the Erin Fitterer Kirsten Marples thoughtful counsel and guidance necessary to Jeff Fraiman produce Vol. 31 of the Rutgers Art Review.
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DOSSIER PÉDAGOGIQUE ENSEIGNANT Les Grands Appartements
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FORMAL Stone Hearthside Collection Terra Cotta Mosaics Pewter Brass Copper
architecturals o Hearthside Mantels N 02 Range Hoods Elements of Accent surfaces Wood FORMAL Stone hearthside collection Terra Cotta Mosaics Pewter Brass Copper FRANÇOISANDCO.COM sales & support 888.313.3237 ATLANTA I SAN FRANCISCO I MINNEAPOLIS I DENVER I CHARLOTTE I NASHVILLE I PALM BEACH I NAPLES For two decades this year, François & Co. has upheld its “ absolute pledge to meticulous craftsmanship and timeless design. Every material, every sculptural element in our carefully-curated collection is something we have fallen in love with. Let this booklet“ serve as your introduction to the François & Co. product line—a ‘distilled’ version of our product offerings. Thierry François founder /principal The Tourvel original Antique Reproduction mantel. the FORMAL COLLECTION URBAN / ESTATE TAKING INSPIRATION FROM THE DRAWING ROOMS AND SALONS OF PARIS, LONDON, OR ROME IN THE 18TH AND 19TH CENTURIES, FORMAL STYLE IS A PORTAL TO A MORE ROMANTIC ER A. The décor may be grand or intimate, opulent or austere, but it is always refined, elegant and charming. It’s founded on harmonious classical proportions, pleasing sinuous lines, and delicate, finely-detailed ornamentation. Naturally, the vintage and the antique take pride of place. Although traditional, there is room to express one’s personality through carefully chosen treasured objects. And, of course, the focal point of any room is a classic mantel. This era in decorative arts is characterized by superb craftsmanship, which drew on the fine arts of painting and sculpture. Rococo and Baroque came to prominence during this period. The style is lavish, opulent, and highly ornamental, yet also playful. french italian english p.
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Louis XIII À Louis XV
LUXE, EXCEPTION, TRADITION A l’exemple des plus belles Maisons de Haute-Couture et des derniers ateliers Français de broderie, de plume, ou de passementerie… Henryot & Cie, est une manufacture de meuble et de siège de tradition et d’exception. Elle est la gardienne d’un savoir-faire unique depuis 1867. Réédition, réinterprétation, création contemporaine ou design, la fabrication de chaque siège, de chaque meuble est entièrement réalisée de manière traditionnelle et à LUXURY, EXCEPTION AND TRADITION la main en France, sur le site de Liffol-le-Grand dans les Established at Liffol-le-Grand in the Vosges, the chair Vosges. Sous la Direction de manufacturer Henryot & Cie has inherited the know-how of four Dominique Roitel, ancien élève de l’Ecole Boulle et generations of master cabinetmakers, carvers and upholsterers. héritier du fondateur de la Maison, notre société emploie The same inspiration continues to influence our collections aujourd’hui 60 salariés qui rassemblent plus de of chairs today. Using the same gestures of the past, together LES ARTS DÉCORATIFS with the same rigour, these artists - experts in the techniques of 17 savoir-faire et techniques différentes. crafting and restoring - are preserving an inheritance that has Henryot & cie, a reçu le label « Entreprise du Patrimoine travelled down through the years and is becoming ever richer n Luxe, exception, tradition .............................................. 3 vivant » qui récompense les entreprises qui se with new lines. The tools alone have changed. Henryot & Cie distinguent par une histoire et un patrimoine séculaire, has kept the spirit of an authentic chai manufcaturer : this is its 2 n Style Louis XIII .................................................................4 duty of recollection.
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Le Style Louis Xiv
LE STYLE LOUIS XIV LE « GRAND SIECLE » DU ROI SOLEIL 1661-1700 Madame Agnolet/Lycée Eugène Hénaff 1 1 Extrait du film « Le roi danse », 2010. musique de Jean-Baptiste Lully, Ballet de la Nuit, 1653 (Ouverture) https://youtu.be/PdeqbpfXaK8?list=RDPdeqbpfXaK8 2 1. Louis XIV, le roi soleil • Contexte de paix après les guerres de religions : période d’épanouissement des arts dans tous les domaines = rupture avec le style Louis XIII • Louis XIV, MONARQUE ABSOLU impose son style à toutes les créations artistiques (danse, peinture, architecture, Château de Versailles vu du ciel orfèvrerie, mode…). Le développement de tous les arts sert à montrer sa puissance. • 1682 : Versailles, siège du gouvernement et résidence du roi Ferronnerie d’art de la grille du 3 château de Versailles 1. Louis XIV, le roi soleil Période faste : le luxe règne à Versailles Fête dans les jardins de Versailles durant le règne de Louis XIV voir la vidéo : http://www.versailles3d.com/fr/en- video/de-louis-xiii-a-la-revolution.html Madame Agnolet_lycée Eugène Hénaff 4 1. Louis XIV, le roi soleil Période de faste : le luxe règne à Versailles voir la vidéo : http://www.versailles3d.com/fr/en-video/de-louis- xiii-a-la-revolution.html La galerie des glaces au château de Versailles 5 2. Le style Louis XIV • Style nouveau, prestigieux mariant esprit classique et baroque • S’inspire des décors somptueux du style baroque italien mais il en refuse les excès • Paris devient la capitale artistique de l’Europe, elle va influencer toute l’Europe (des copies de Versailles sont construit en Europe) • en 1661 : le surintendant Fouquet crée le château de Vaux Le Vicomte il fait appel au peintre Charles Le Brun, au jardinier Le nôtre et à l’architecte Le Vaux.
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