Famous Structures
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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. -
Sara Galletti Le Palais Du Luxembourg De Marie De Médicis 1611–1631 the Luxembourg Palace Is One of Those Rare Early Modern B
Books Sara Galletti penetrates the restrictive and often-secretive building reports. Here, Galletti traces the Le palais du Luxembourg de Marie social life of the court, to show us how alterations made to the building as the de Médicis 1611–1631 many rooms there were, how they were property changed hands, from Maria’s Trans. Julien Noblet; Paris: Éditions Picard, used, and who was admitted to them. The death in 1642 through the mid-eighteenth 2012, 294 pp., 6 color and 165 b/w illus. second advance in our understanding of the century. As few of the original plans survive, €53.00, ISBN 9782708409354 building is contained in the final chapter, historians have often relied on later draw- which undertakes a careful architectural ings and depictions, made for different The Luxembourg Palace is one of those and iconographic reading of the palace. purposes. Some of these, as Galletti shows, rare early modern buildings that remains Inspired very self-consciously by the Pitti are more reliable than others. Casual read- central to the day-to-day life of a capital city. Palace in Florence, the Luxembourg reveals ers may find this chapter hard going. The This national landmark today houses the much about the perception and reception discussion is largely descriptive and, to Sénat, the upper chamber of the French of Italian architecture in France, during a the extent that it leaves behind the figure parliament, while from the garden, it is crucial period in the evolution of French of Maria, detaches itself somewhat from familiar to countless Parisians and tourists. -
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. -
Educational Guide
EDUCATIONAL GUIDE Educational Guide - Exhibition: From One Louvre to Another 1 Introduction 1. THE EXHIBITION “From One Louvre to Another: Opening a Museum for Everyone” is the first “FROM ONE LOUVRE temporary exhibition to be held at the Louvre Abu Dhabi. By retracing the history TO ANOTHER: of the musée du Louvre, the exhibition will question the notion of a museum: OPENING A MUSEUM how have the collections been built up, what projects led up to the creation FOR EVERYONE” of the musée du Louvre, and what is the mission of a museum like the Louvre? These questions will be answered in the three sections of the museum presentation. Visitors will initially discover the royal collections through the figure of Louis XIV, king of France from 1643 to 1715, who exhibited them at the Palace of Versailles. The second part of the exhibition focuses on the Louvre Palace where artists were given accommodation and workshops there. The Royal Academy of Painting and Sculpture and the Salon exhibitions were also hosted there. The last section of the exhibition highlights the museum projects that occurred before the opening of the musée du Louvre, such as the exhibitions held in the Luxembourg Gallery. Lastly, the presentation will end on the subject of the universal nature of the museum. The exhibition will show a variety of objects, including paintings, sculptures, objets d’art and drawings. Most of these outstanding works are drawn from the collections of the Louvre, the Palace of Versailles and other French institutions. They will explain the different stages in the process that led to the creation of a museum in the Louvre Palace. -
Four Strategies for Additions to Historic Settings “DIFFERENTIATED” and “COMPATIBLE”: FOUR STRATEGIES for ADDITIONS to HISTORIC SETTINGS by Steven W
Excerpt taken from “Sense of Place: Design Guidelines for New Construction in Historic Districts” a publication of the Preservation Alliance for Greater Philadelphia and supported by a grant from the William Penn Foundation Part One: Differientated and Compatiable: Four Strategies for Additions to Historic Settings “DIFFERENTIATED” AND “COMPATIBLE”: FOUR STRATEGIES FOR ADDITIONS TO HISTORIC SETTINGS By Steven W. Semes In the postwar period, an important issue for preservation has been defining how new construction might appropriately support and enhance, rather than detract from, historic buildings and districts under regulatory protection. So long as new additions or infill buildings were likely to be designed in the same styles as their historic neighbors, “fitting in” was rarely an issue. But since the ascendancy of modernist architecture in the United States in the 1950s—a style which defined itself in terms of opposition to traditional styles and assumptions about design— an important part of the preservationist’s mission has been to tame the ambitions of modernist architects and their penchant for setting off historic structures with contrasting new ones. At the same time, many preservationists either acquiesced in or actively embraced modernist aesthetics for new buildings, especially as a means of distinguishing new and old construction, which has been a preservation goal since John Ruskin called for it in the nineteenth century. Not surprisingly, much attention has been focused on the question of how we ought to manage the relationships -
Architecture As Idea in France 1500-1550
Architecture as Idea in France 1500-1550 by Tara Bissett A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Art History University of Toronto © Copyright by Tara Bissett 2017 Architecture as Idea in France 1500-1550 Tara Bissett Doctor of Philosophy Department of Art History University of Toronto 2017 Abstract In early sixteenth-century France, architecture was more an idea than a set of buildings. Architecture was drawn upon as a rhetorical authority around 1500, where sculptors, painters, goldsmiths, printers, masons, and other skilled craftsmen strived to act as architects in the media in which they were skilled. Rhétoriqueurs used the architectural idiom increasingly to flatter patrons and receive commissions. Perhaps due to the fact that “architecture” was not circumscribed by guild membership, it was often conceptually elided with other notions like sculpture, the antique, and ornament. This thesis reconsiders the relationships between the artistic categories of architecture, sculpture, and painting. It also analyses the word “ornament”, and suggests that the term assumed ambiguous designations in the early modern period that rarely reflected the definitions it inherited from eighteenth-century contexts. Four chapters establish how architecture as an idea is given presence in the early decades of the sixteenth century. The first chapter shows how ceramicists, painters, and sculptors practiced “architecture” when they migrated to France to furnish the royal chateaux. The chapter further argues that concepts of order and license were derived from ii these various craft contexts, and related less to concepts of harmony and proportion that has been conventionally attributed to “classical” architecture. -
Introduction
Introduction Histoire mouvementée d'un fonds d'archives exceptionnel. Les archives de l'Agence d'architecture du Louvre et des Tuileries constituent un fonds exceptionnel dont l'intérêt s'est encore accru depuis les imposants travaux menés depuis 1982 sous l'égide de l'établissement public du grand Louvre (EPGL) dans l'ensemble de l'un des domaines les plus prestigieux du patrimoine français. Les fouilles archéologiques effectuées parallèlement à l'agrandissement et à la modernisation du musée du Louvre et de ses abords, les nombreuses publications et expositions concernant l'histoire des lieux et des hommes qui y ont joué un rôle, ont réveillé la sensibilité toujours manifeste du public à l'égard du Louvre et des Tuileries. Plusieurs historiens du Louvre ont utilisé ce fonds, alors peu connu, avant son versement aux Archives nationales, en particulier Louis Hautecœur, Yvan Christ et Christiane Aulanier. Le présent travail recense l'ensemble des documents émanant de l'Agence d'architecture constituée en décembre 1848, versés en plusieurs fois aux Archives nationales de 1971 à 1997. Il couvre une période s'étendant de 1848 à 1968. Il n'aurait pu voir le jour sans la ténacité des uns ni la bonne volonté des autres, conservateurs et membres du personnel des Archives nationales, de l'Agence d'architecture, du musée du Louvre... La majeure partie de ces documents concerne l'activité des architectes du Louvre et des Tuileries depuis le début des restaurations du Louvre par Duban, en 1848. Presque tout le fonds antérieur a disparu lors du pillage des bureaux de Fontaine, le 24 février 1848, et dans l'incendie de la bibliothèque du Louvre, le 24 mai 1871. -
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. -
The Dutch Masters 17Th Century Flemish Heritage
Northern European Baroque, 1600 to 1750 1 Europe in the 17th Century 2 Goals • Recognize the distinctive characteristics of the Baroque style • Understand the diversity of cultures and artistic styles throughout Europe • Identify representative Baroque artists and their works • Identify representative Baroque architects and their works • Recognize and cite artistic terminology from this period 3 24.1 Baroque Art Northern Europe • Recognize the distinctive characteristics of the Baroque style in Northern Europe (Holland, France, England) • Understand the diversity of cultures and artistic styles throughout Northern Europe • Identify representative Baroque artists and their works • Identify representative Baroque architects and their works • Recognize and cite artistic terminology from this period 4 Rubens, Laocoon, 1601 - 2 Figure 25-2 PETER PAUL RUBENS, Elevation of the Cross, from Saint Walburga, Antwerp, 1610. Oil on wood, 15’ 1 7/8” x 11’ 1 1/2” (center panel), 15' 1 7/8" x 4' 11" (each wing). Antwerp Cathedral, Antwerp. 6 Figure 25-3 PETER PAUL RUBENS, Arrival of Marie de’ Medici at Marseilles, 1622–1625. Oil on canvas, 12’ 11 1/2” x 9’ 7”. Louvre, Paris. 7 Samson and Delilah Figure 25-4 PETER PAUL RUBENS, Consequences of War, 1638–1639. Oil on canvas, 6’ 9” x 11’ 3 7/8”. Palazzo Pitti, Florence.. 9 Figure 25-5 ANTHONY VAN DYCK, Charles I Dismounted, ca. 1635. Oil on canvas, 8’ x 11” x 6’ 11 1/2”. Louvre, Paris. 10 van Dyke, Equestrian Portrait of Charles I, 1637 – 38, oil on canvas The Dutch Masters 17th Century Flemish Heritage Dutch East Indies Company Pieter Saenredam Genre: scenes of everyday life Jan Steen, The Feast of Saint Nicholas JAN STEEN, The Skittle Players Outside an Inn, ca. -
Architecture From
Louvre hôtel des Tournelles Vincennes Hôtel de Nesle Hôtel St-Pol Early 16th century Paris Palais de la Cité The Italian word rinascimento (rebirth) was already used by 15th cent. Italian writers to indicate the restoration and reintroduction of Ancient Roman standards, notably the orders. Today the word Renaissance means, first of all, Italian art and architecture from 1420 (Brunelleschi) to the mid-16th cent. In countries other than Italy the Renaissance started with the adoption of Italian Renaissance motifs, but the resulting styles have little in common with the qualities of the Italian Renaissance, which are a sense of stability and poise as well as Ancient Roman forms and ornament. The organization of the exterior space is commanded by the proportions of the Antic orders • ORDER: in classical architecture, a column with base, shaft & capital and entablature with architrave, frieze & cornice decorated and proportioned according to one of the accepted modes: Doric, Ionic, Corinthian (Greek) Tuscan, Composite (Roman) Superposition of the three orders: always a less decorated below a more decorated • Colosseum in Rome (69-79 AD): – ground-level doric – First level ionic – Second level corinthian For the introduction of the Renaissance, Florence took precedence over Rome Brunelleschi: Foundling hospital in Florence (1419) • Quattrocento architecture prefers arcades of slender columns carrying arches and a graceful lively decoration • Renaissance architecture in Italy is characterized by harmony, clarity and strength. It features the use of classical motifs and the architectural orders, or columns styles, of Antiquity. • The earliest example of a systematic use of Quattrocento pilasters occurs at the Château de Gaillon (1502-10), close to Rouen, constructed by the cardinal Georges d’Amboise • outlaying of ornaments mixing gothic and Italian renaissance fluted half columns. -
Modern Paris
Valois-Angoulême rulers Bourbon kings 1515 - 1547 François I 1589 - 1610 Henri IV 1547 - 1559 Henri II 1610 - 1643 Louis XIII 1559 - 1560 François II 1643 - 1715 Louis XIV, the sun king 1560 - 1574 Charles IX 1574 - 1589 Henri III THE BEGINNING 0F THE RENAISSANCE The city’s resurgence following a series of horrors - the Hundred Years’ War, the Civil War, epidemics of plague, and famines - started slowly after the beginning of the fifteenth cenbury. It was prompted primarily because the large landowners of the Ile de France, chief among them the cathedral chapter of Notre-Dame, were able to increase profits from agriculture after the witbdrawal of troops. Paris won back its position as a central market, where grain and wine from the Ile de France were traded for fish, salt, eggs, and vegetables from Normandy. And the first rudiments of local industry were esbablished: along the bank of the Bièvre, cloth-dying factories were set up after 1443 by the Italian Canaglia and the Fleming Jean Gobelin. The Parisian bourgeoisie invested in the sea trade of Toulouse, Marseille, and Rouen. A stratum of society that lived from the profits of capital developed. It was Parisian money that ransomed François I from Spanish imprisonment in 1526 after his defeat in the Battle of Pavia. Two years after his return from Madrid, François I wrote to the city of Paris: “ It is our intention in future to spend the greater part of our time in our good city of Paris and its surroundings rather than in other parts of the kingdom…” Thus ended the long period in which the kings had ruled from their castles in the Loire Vallcy.