SYMBOLIC HISTORY Through Sight and Sound
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Renaissance Walking Tour 4
King François I, France’s “Renaissance Prince”, and his Italian-born daughter-in- law Catherine de Medici, dominated 16th-century France both politically and architecturally. François I had his hand in buildings of every kind from the Louvre palace, to the huge church of Saint-Eustache, to the Paris city hall, the Hôtel de Ville. You’ll visit these sites on this tour. Catherine de Medici shared her father-in-law’s passion for building, although almost none of her construction projects survived. But you can and will visit the Colonne de l’Horoscope, a strange remnant of what was once Catherine’s grand Renaissance palace just to the west of Les Halles market. From there, the walk takes you through the bustling Les Halles quarter, stopping to admire the elegant Renaissance-style Fontaine des Innocents and the beautifully restored Tour Saint-Jacques. The walk ends in the trendy Marais, where three Renaissance style mansions can still be admired today. Start: Louvre (Métro: Palais-Royal/Musée du Louvre) Finish: Hôtel Carnavalet/ Musée de l’Histoire de Paris (Métro: Saint-Paul) Distance: 3 miles Time: 3 - 3.5 hours Best Days: Tuesday - Sunday Copyright © Ann Branston 2011 HISTORY Religious wars dominated the age of Catherine de Medici and her three Politics and Economics sons. As the Protestant reformation spread in France, animosities and hostilities between Protestants and Catholics grew, spurred on by old family The sixteenth century was a tumultuous time in France. The country was nearly feuds and ongoing political struggles. In 1562, the Huguenots (as French bankrupted by wars in Italy and torn apart repeatedly by internal political intrigue Protestants were called) initiated the first of eight religious civil wars. -
Archives Des Musées Nationaux Palais Du Louvre Et Autres Résidences (Série T)
Archives des musées nationaux Palais du Louvre et autres résidences (série T) Répertoire numérique n° 20144794 Camille Fimbel, Hélène Brossier et Audrey Clergeau archivistes sous la direction de la mission des archives du ministère de la Culture et de la communication à partir des inventaires rédigés par les agents des Archives des musées nationaux Première édition électronique Archives nationales (France) Pierrefitte-sur-Seine 2014 1 Mention de note éventuelle https://www.siv.archives-nationales.culture.gouv.fr/siv/IR/FRAN_IR_053955 Cet instrument de recherche a été rédigé avec un logiciel de traitement de texte. Ce document est écrit en ilestenfrançais.. Conforme à la norme ISAD(G) et aux règles d'application de la DTD EAD (version 2002) aux Archives nationales, il a reçu le visa du Service interministériel des Archives de France le ..... 2 Archives nationales (France) Sommaire Archives des musées nationaux, Palais du Louvre et autres résidences (série T) 6 Organisation 9 1628-1892 9 1896-1973 15 Sécurité, protection contre vol et incendie 15 Affaires et événements affectant les bâtiments et les locaux 16 1794-1913 16 1914-1956 18 Protection 18 1796-1915 19 1918-1936 19 1938-1974 20 Plans du Louvre et consigne de sécurité : plaques photographiques 20 Questions sur la sécurité 20 1796-1832 21 1842-1966 21 Dégâts des eaux 22 Éclairage 23 Chauffage et combustible 24 1794-1897 24 1897-1912 25 1913-1959 26 Téléphone, installation, annuaires, alarmes 26 Mobilier, décoration et aménagements 27 1793-1857 27 1858-1885 28 1872-1952 28 Ascenseurs et monte-charges 28 Rapports journaliers de surveillance suite au vol de la Joconde 29 Rapports journaliers des auxiliaires de surveillance 29 Rapports journaliers du surveillant des eaux, du brigadier fumiste et du chef du 29 matériel Aménagements, décorations, matériel 30 3 Archives nationales (France) Propositions de devis et fournitures diverses 30 Matériel : cadres, bordures, chevalets, cartels, peintures de lettres. -
Rapport D'activité 2014
www.louvre.fr Rapport d’activité 2014 Rapport 2014 d’activité 3 Avant-propos de Jean-Luc Martinez 7 Le musée du Louvre remercie ses mécènes Crédits photographiques : Couverture : Musée du Louvre, dist. RMN / Olivier Ouadah 12 Le Louvre en chiffres p. 2 : Musée du Louvre / Florence Brochoire / 2013 p. 6 : Musée du Louvre / Philippe Fuzeau / 2014 p. 12 : Musée du Louvre, dist. RMN / Olivier Ouadah p. 14 : Musée du Louvre, dist. RMN / Olivier Berrand I Mettre en valeur les collections II Mieux accueillir le public p. 16 : Musée du Louvre / Antoine Mongodin / 2014 nationales p. 19 : Musée du Louvre / Philippe Fuzeau / 2014 89 Connaître le public p. 20 : Sotheby’s / 2014 20 Garantir un haut degré d’excellence 89 La fréquentation du musée p. 32 : Musée du Louvre / Angèle Dequier p. 37 : Musée du Louvre / Angèle Dequier / 2008 scientifique 90 L’origine géographique des visiteurs p. 42 : Musée du Louvre, dist. RMN / Franck Raux p. 47 : Musée du Louvre / Angèle Dequier 20 L’enrichissement des collections nationales 93 La satisfaction du public p. 51 : Musée du Louvre / Erich Lessing 22 Les activités de la recherche p. 55 : Musée du Louvre, dist. RMN / Olivier Ouadah / 2014 95 Rendre le Louvre plus accessible p. 61 : Musée du Louvre, dist. RMN / Christophe Chavan. 25 La conservation préventive et plus lisible p. 65 : Musée du Louvre / Philippe Ruault 27 Le récolement et les dépôts p. 69 : Musée des Beaux-Arts - Mairie de Bordeaux. / F. Deval 95 Le projet Pyramide p.72 : 1. Musée du Louvre, dist. RMN/ T. Le Mage ; 30 Les ressources documentaires 2. -
The Renaissance Court in the Crystal Palace
Digitized by the Internet Archive in 2018 with funding from Getty Research Institute https://archive.org/details/renaissancecourtOOwyat THE RENAISSANCE COURT IN THE CRYSTAL PALACE. DESCRIBED BY M. DIGBY WYATT and J. B. WABING. CRYSTAL PALACE LIBRARY; AND BRADBURY & EVANS, 11, BOUVERIE STREET, LONDON. 1854. BRADBURY AND EVANS, PRINTERS TO THE CRYSTAL PALACE COMPANY, WHITE FRIARS. CONTENTS. PAGE GENERAL REMARKS . 7 HISTORY OP THE RENAISSANCE STYLES . 15 PRANCE 19 SPAIN.21 GERMANY .......... 22 ENGLAND . .......... 24 SECTIONAL—STYLES.25 POLYCHROMATIC DECORATION.28 EXTERIOR OP THE COURTS FACING THE NAVE . .33 ENTRANCE LOGGIA 41 INTERIOR OP THE COURT . .43 SIDE NEAREST THE CENTRAL TRANSEPT . 71 GARDEN-GALLERY.88 ELIZABETHAN COURT.97 RENAISSANCE MONUMENTS IN THE COURT OP CHRISTIAN ART . .103 -/• vd m • rf- ' -aoiZ ■ NOTICE. The Eenaissance Courts have been designed and arranged by Mr. M. Digby Wyatt; principal superintendent, Mr. Charles Fowler, Junr.; principal draughtsman, Mr. Eobert Dudley. The entire Bourgtheroulde Arcade has been executed by M. Desachy of Paris, by whom and by Signor Pierotti of Milan, the principal casts have been supplied. The Fountains in Terra Cotta are by Mr. Elashfield of London. The Pavement of the Loggia is by the London Marble Working Company. The Painting has been designed by Mr. Wyatt; the Upper Frieze being executed by Mr. Beensen ; and the Arcade by Mr. Pantaenius of London. The Bronzing has been done by M. Loget of Paris, in the employ of M. Desachy. The Boys in the Ceiling of the Loggia are by Mr. Gow of London; the Portraits in the Lunettes by Mr. F. Smallfield of London, by whom also is the beautiful Painted Ceiling of the Gallery, 6 NOTICE. -
DP Louvre Pavillon De L'horloge.Pub
Dossier de presse Accueil des publics 6 juillet 2016 Aile Sully Le Pavillon de l’Horloge Découvrir le Louvre Contact presse Marion Benaiteau [email protected] Tél. 01 40 20 72 26 / 06 88 42 52 62 1 Sommaire Communiqué de presse Page 3 Parcours du Pavillon de l’Horloge Page 5 Un espace accessible aux visiteurs en situation de handicap Page 13 Les acteurs du projet Page 14 Repères chronologiques sur l’histoire du Louvre Page 16 Autour du Pavillon de l’Horloge : conférences, publications Page 22 Visuels de presse Page 28 2 Le Pavillon de l’Horloge Communiqué de presse Découvrir le Louvre Accueil des publics 6 juillet 2016 Le 6 juillet 2016, le Pavillon de l’Horloge ouvre ses portes afin de Aile Sully répondre aux questions que se posent les visiteurs sur le palais, ses collections et ses missions. Quelles sont les traces encore visibles des grandes périodes de construction du Palais ? Quels souverains ont vécu au Louvre ? Pourquoi est-il devenu un musée ? Comment les premières sculptures égyptiennes y sont-elles entrées ? Quels sont les grands projets du Louvre d’aujourd’hui ? Entre la cour Carrée et la cour Napoléon, dans des espaces historiques rénovés, le Pavillon de l’Horloge, véritable introduction à la visite, retrace la transformation du palais des rois de France en musée. Des maquettes animées, des cartels numériques enrichis de documents d’archives, des films ou des œuvres d’art issues des collections du Louvre racontent cette histoire. Le Pavillon de l’Horloge se déploie sur trois niveaux dans l’aile Sully : Niveau -1 : du palais au musée Dans le Louvre médiéval est expliquée la riche histoire, au cœur de l’histoire de France, d’une forteresse transformée en palais royal, avant de devenir un musée. -
9783034311328 Intro 002.Pdf
7 Introduction Dans la pratique de l’histoire, le découpage du temps est généralement fon- dé sur des moments de fracture, dont l’impact se mesure dans la durée : une épidémie, une guerre ou un changement de régime. Fruit d’une interpréta- tion, il permet de comprendre les phénomènes du passé en fonction de la «période» à laquelle ils se rattachent et qui en déterminent la lecture, selon une logique circulaire. Il peut ainsi paraître vain d’isoler une décennie dans le flux continu de l’histoire et de lui consacrer tout un ouvrage, en croisant les regards de spécialistes dans différents domaines. Pourtant, à y regarder de plus près, les années 1540 se prêtent parfaitement à une telle lecture. Elles constituent, certes, une décennie riche en innovations durables. Ce- pendant, loin de correspondre à un moment de rupture, elles se définissent avant tout comme un temps d’accélération, une période dans laquelle on prend pleinement conscience de l’acquis des générations précédentes. L’un des aspects les plus emblématiques de la décennie s’observe dans la publication croissante de traités théoriques sur l’architecture et sur les arts. Ces traités, qu’ils soient antiques (Vitruve, Pline) ou modernes (Alberti, Serlio, Vasari), prennent en compte la production contemporaine, évoquée à travers les catégories classiques et dont ils infléchissent le cours, en pas- sant du descriptif au prescriptif. Ils entraînent ainsi une double prise de conscience. La première, chronologique, concerne la relation à l’Antiquité et se traduit par une observance accrue des modèles hellénistiques. La se- conde, géographique, correspond à la constitution d’identités culturelles qui se définissent par un principe d’opposition: Rome par rapport à Venise; l’Italie par rapport à la Flandre. -
List of Figures PDF Compressor Pro
PDF Compressor Pro List of Figures PDF Compressor Pro 802 List of Figures Philosophiae Doctor PDF Compressor Pro 803 List of Figures List of Figures • Figures various sources as a compilation of personal lectures attended; re- search pertaining to Art Exhibitions, Art Galleries and Art Museums worldwide representative of the Western Culture. • Research inclusive of book compilations, books, magazines, articles, newspa- pers, Art reviews. • Television Series, Films, Commentaries, etc. • Personal Interviews pertaining to Art appreciation: Professors, Doctors in Visual Arts, Living Artists, University Lecturers, etc. • The above mentioned list of fi gures pertains the accumalation of knowledge, understanding, wisdom and Art appreciation for the last 50 years. The following list of fi gures as sourced from the above mentioned: Figure Description Page Number Number 1 The Louvre, as a symbol of power 3 2 La Crucifi xion du Parlement de Paris 4 3 King Francois 1 - Jaen Clouet 5 4 Thick strong walls underneath the building of the Louvre 5 5a ‘La Jaconde’ - Mona Lisa. The smile 5 5b Hands are greeting the spectator 5 6 The Renaissance Palazzi style 6 7 The medieval tower was pulled down 6 8 The Courtyard – Cour Carree 6 9 The four Caryatides in the Salle des Carytides - Jean Goujon 6 10 Salle des Carytides 7 11 Beautiful deatil of relief’s - outside the Louvre 7 12 Saint Bartholomew’s eve Massacre 8 Philosophiae Doctor PDF Compressor Pro 804 List of Figures 13 Henri IV Statue - Pont Neuf 9 14 The Grand Galerie- project of Henri IV 10 15 Gabrielle -
Raphael's Vitruvius and Raimondi's Caryatid Façade
Open Research Online The Open University’s repository of research publications and other research outputs Raphael’s Vitruvius and Raimondi’s Caryatid Façade Journal Item How to cite: Christian, Kathleen W. (2016). Raphael’s Vitruvius and Raimondi’s Caryatid Façade. Bulletin of the John Rylands Library, 92(2) pp. 91–127. For guidance on citations see FAQs. c [not recorded] https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Accepted Manuscript Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.7227/BJRL.92.2.7 Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk Raphael’s Vitruvius and Raimondi’s Caryatid Façade Kathleen W. Christian The print known as the Caryatid Façade (fig. 1) (B. XIV.385.538) has received scant attention, even in specialist literature on Marcantonio Raimondi.1 Described by Delaborde as ‘plutôt bizarre que belle’, it is not easily read or contextualised with the other prints by Marcantonio and his assistants, whether classified as ‘after Raphael’ or otherwise.2 The image, which combines Caryatid and Persian porticoes with an oversized female bust, does not fit easily with the usual narrative about Raimondi’s career in Rome, summed up in Vasari’s account that he collaborated with Raphael to publicise the master’s storie. Rather than an illustration of a religious or mythological subject, it brings together architectural fantasia, archaeology and Vitruvian studies, reflecting on the origins of the orders and the nature of architectural ornament. -
Book Chapter Reference
Book Chapter Jean Goujon et les modèles antiques: observations archéologiques sur la Fontaine des Innocents et la Tribune des Caryatides BAUMER, Lorenz Reference BAUMER, Lorenz. Jean Goujon et les modèles antiques: observations archéologiques sur la Fontaine des Innocents et la Tribune des Caryatides. In: Baumer, L.E., Elsig, F. & Frommel, S. Les années 1540: regards croisés sur les arts et les lettres. Bern : Peter Lang, 2015. p. 217-227 Available at: http://archive-ouverte.unige.ch/unige:44950 Disclaimer: layout of this document may differ from the published version. 1 / 1 Lorenz E. Baumer, Frédéric Elsig & Sabine Frommel (éds) LES ANNÉES 1540 : REGARDS CROISÉS SUR LES ARTS ET LES LETTRES PETER LANG Bern · Berlin · Bruxelles · Frankfurt am Main · New York · Oxford · Wien Information bibliographique publiée par « Die Deutsche Nationalbibliothek » « Die Deutsche Nationalbibliothek » répertorie cette publication dans la « Deutsche Nationalbibliografie » ; les données bibliographiques détaillées sont disponibles sur Internet sous ‹ http://dnb.d-nb.de ›. Publié avec l’appui de l’Université de Genève : Commission administrative Maison de l’histoire Faculté des Lettres Département des sciences de l’Antiquité Département d’histoire de l’art et de musicologie et de l’Equipe d’accueil Histara de l’Ecole pratique des Hautes Etudes à Paris Illustration de couverture : Jacques Androuet du Cerceau, La façade de la cour carrée du Louvre par Pierre Lescot, 1579 (tiré du Second volume des plus excellents bastiments de France). Réalisation de couverture : Thomas Grütter, Peter Lang SA ISBN 978-3-0343-1132-8 br. ISBN 978-3-0351-0799-9 eBook © Peter Lang SA, Editions scientifiques internationales, Berne 2015 Hochfeldstrasse 32, CH-3012 Berne, Suisse [email protected], www.peterlang.com Tous droits réservés. -
The Sites of Paris - Yesterday and Today
The Sites of Paris - Yesterday and Today A history of select monuments in Paris Text by Amy S. Rehs Contemporary photographs supplied by Lynsi Spaulding All paintings illustrated in this article are by EDOUARD-LÉON CORTÈS and courtesy of Rehs Galleries, Inc., New York City. Copyright: Rehs Galleries, Inc., New York City, 2008 The Sites of Paris - Yesterday and Today Featuring Paintings by EDOUARD LÉON CORTÈS (1882-1969) Paris has been a cultural center for hundreds of years, as well as a world capital for fashion, food, art, and literature. The many monuments built throughout the centuries have documented its illustrious history. Countless artists have celebrated Paris by illustrating its history through their paintings; one such artist was EDOUARD-LÉON CORTÈS (1882-1969). It was at the turn of the century, c.1900, that he began painting scenes that he would become most famous for – Paris’ streets and monuments. One of the more prolific artists of his time, Cortès found his niche and stayed with it. His views of Paris are among the most telling and beautiful of this genre; capturing the city during all its seasons for almost 70 years. The attention and great interest surrounding Cortès’ paintings and the city of Paris, has inspired us to create an ‘historical’ virtual tour and exhibition of the streets and monuments once painted by him. Included are paintings by Cortès that depict the Paris of old and photographs taken by Lynsi Spaulding* during the summer of 2005. We trust you find this exhibition not only enjoyable, but educational. *Lynsi Spaulding completed her MA degree in art history in 2006. -
Charles Percier
Charles Percier Architecture and Design in an Age of Revolutions Extended Through February 12, 2017 Charles Percier: Architecture and Extended through Design in an Age of Revolutions February 12, 2017 Charles Percier: Architecture and Design in an Age of the discovery of new documents relating to the produc- Revolutions—on view at Bard Graduate Center Gallery tion of the two partners, allows a better understanding in New York City through February 12, 2017— of Percier’s multifaceted artistic practice. The exhibi- will be the first large-scale exhibition to survey tion will feature more than 130 art works from principal the magnificent range of projects undertaken museums and cultural institutions in France and the by the French architect and designer from the end United States, as well as key objects from private col- of the eighteenth to the beginning of the nineteenth lections, including his designs for furniture, porcelain, century. Jean-Philippe Garric, professor of the history metalwork, and the renovation of the rue de Rivoli—the of architecture at the University of Paris I, Panthéon- construction of which transformed the center of Paris. Sorbonne, is the curator. Rare drawings and spectacular examples of early nine- teenth-century cabinets, candelabras, and tureens will Although largely remembered for his close collabora- also be displayed. By focusing on his most famous and tion with Pierre François Léonard Fontaine (1762– seminal works, such as sketches for the arc du Carrousel, 1853)—together they defined the Empire style and the interior designs for Josephine Bonaparte’s rooms in created the decorative program of Napoleon’s reign— the Tuileries Palace, and the magnificent books dedi- Charles Percier’s (1764–1838) artistic style was unique, cated to Roman palaces and interior decoration, the complex, and ever-evolving. -
When Serlio Published the First Volume of His Treatise in 1537, the Fourth
SABINE FROMMEL “JO INTENDO DI ACCOMPAGNARE LA COMMODITÀ FRANCESE AL COSTUME E ORNA- MENTO ITALIANO”: THE SIXTH BOOK IN THE AVERY LIBRARY AND SERLIO’S LATE STYLISTIC DEVELOPMENT When Serlio published the first volume of his treatise in 1537, theFourth Book on the five orders, he exposed a complete plan of seven books, which con- tained the Sixth Book on domestic typologies according to social hierarchy.1 The project of this ambitious treatise rose probably during his sojourn in Rome in 1523/25, when he studied antique and modern architecture along with his men- tor, Baldassarre Peruzzi.2 Francesco di Giorgio Martini, Baldassarre’s master, had already developed speculations about dwellings appropriate for various social ranks, but it is not certain whether Peruzzi wanted to expand upon such a subject theoretically.3 In any case, after Peruzzi’s death in 1536, Serlio rushed to elabo- rate his treatise and used materials that he had collected during his time spent in Rome. Before leaving Venice for Fontainebleau in 1541, he also published the Third Book on Roman antiquity, which he dedicated to Francis I, king of France. When he arrived at the court of Fontainebleau at the end of summer or at the beginning of fall 1541, he hoped that the king would finance the publication of his other manuscripts. In 1545 the First and the Second Book were published in Paris by Jean Barbé, followed in 1547 by the Fifth Book on churches, edited by Michel de Vascosan and dedicated to Marguerite de Navarre, the sister of the king.4 In the same year the first French translation of Vitruvius by Jean Martin, il- lustrated by Jean Goujon, intensified attention on classical syntax and heightened interest in the Sixth Book whose development was quite complex and dependent upon by more personal considerations.5 When Serlio arrived in Fontainebleau as paintre et architecteur du Roy, the material that he had collected for the Sixth Book was far from complete and Fig.