DOCSLIB.ORG

Du 7 Avril Au 4 Juillet 2016 Exposition Au Musée Du Louvre

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Du 7 Avril Au 4 Juillet 2016 Exposition Au Musée Du Louvre (détail) © RMN-Grand Palais (musée du Louvre) / Tony Querrec (détail) © RMN-Grand Palais (musée du Louvre) / Tony siècle e Salle du XIII Jean-Lubin Vauzelle, Jean-Lubin Vauzelle, Du 7 avril au 4 juillet 2016 exposition au musée du Louvre Dossier de presse Exposition 7 avril - 4 juillet 2016 Rotonde Sully Un musée révolutionnaire Le musée des Monuments français Contact presse Coralie james [email protected] Tél. 01 40 20 54 44 1 Sommaire Communiqué de presse page 3 Parcours de l’exposition page 5 Préface page 11 Par Jean-Luc Martinez et Antoinette Le Normand-Romain Autour de l’exposition Publications page 12 Dans le cadre de la saison XVIIIe page 13 Regards sur quelques œuvres page 14 Visuels disponibles pour la presse page 17 La liste complète des œuvres exposées est disponible sur demande : [email protected] 2 Un musée révolutionnaire Le musée des Monuments français d’Alexandre Lenoir Communiqué de presse Le musée des Monuments français, fondé par Alexandre Exposition Lenoir en 1795 pour sauver les monuments détruits par la Révolution, fut le deuxième musée national après le musée du 7 avril - 4 juillet 2016 Louvre en 1793. Il a joué un rôle fondamental dans l’histoire Rotonde Sully de la redécouverte et de l’appréciation du patrimoine français et le goût pour le Moyen Âge. Il fut fermé en 1816 par Louis XVIII et les œuvres qu’il abritait sont actuellement conservées dans divers lieux en France (dont le musée de Cluny et le musée du Louvre) ainsi qu’à l’étranger. Le département des Arts graphiques du Louvre a sélectionné les plus belles vues du musée disparu tirées du très riche fonds de dessins donné par les héritiers d’Alexandre Lenoir. L’exposition présente le rôle pionnier qu’a eu Alexandre Lenoir, fervent défenseur du patrimoine, en tant que conservateur de musée et muséographe. Elle explore aussi l’implantation et l’histoire du musée des Monuments français, dont la présentation eut une influence notable sur la sensibilité et les arts de l’époque. La visite de l’exposition se poursuit dans les salles du département des Sculptures, principal héritier de l’œuvre d’Alexandre Lenoir, et dans trois églises parisiennes, Saint-Roch, Saint-Eustache et Saint-Sulpice. Commissariat scientifique : Jacques-Louis David, Portrait d’Alexandre Lenoir. Geneviève Bresc-Bautier, conservateur général honoraire, Département des Peintures, musée du Louvre © Musée du Louvre, dist. RMN-Grand Palais / Angèle Dequier. département des Sculptures, musée du Louvre, et Béatrice de Chancel-Bardelot, conservateur en chef, musée de Cluny. Coordination du projet : Sophie Jugie, directrice, département des Sculptures, musée du Louvre, assistée d’Angèle Dequier, département des Sculptures, musée du Louvre. Musée du Louvre Informations pratiques Horaires Tous les jours de 9 h à 18 h, sauf le mardi. Nocturne les mercredis et vendredis jusqu’à 22 h. Tarifs Tarif unique d’entrée au musée : 15 €. Gratuit pour les moins de 18 ans, les moins de 26 ans résidents de l’U.E, les enseignants titulaires du pass education, les demandeurs d’emploi, les adhérents Amis du Louvre, Amis du Louvre Famille, Amis du Louvre Jeune et de la carte Louvre professionnels. Achat de billets : à la caisse du Louvre. En ligne sur : www.ticketlouvre.fr Renseignements : www.louvre.fr Jean-Lubin Vauzelle, Salle du XIIIe siècle. Département des Arts graphiques, musée du Louvre © RMN-Grand Palais (musée du Louvre) / Tony Querrec. Musée du Louvre - Direction des Relations extérieures Contact presse Anne-Laure Béatrix, directrice Coralie James Adel Ziane, sous-directeur de la communication [email protected] Sophie Grange, chef du service de presse Tél. : 01.40.20.54.44 3 Publication Catalogue de l’exposition Geneviève Bresc-Bautier et Béatrice de Chancel-Bardelot. Coédition Hazan / musée du Louvre éditions. 250 ill., 384 p., 45 €. Avec le soutien d’Arjowiggins Graphic. Visites avec conférencier À partir du 13 mai, visites les vendredis à 14 h 30 et les samedis à 11 h 30 (sauf jours féries). À l’auditorium Présentation de l’exposition Mercredi 20 avril à 12 h 30 Germain Pilon, Saint Paul prêchant à Athènes. Par Geneviève Bresc-Bautier, musée du Louvre, et Béatrice de Département des Sculptures, musée du Louvre © RMN-Grand Palais (musée du Louvre) / Tony Querrec. Chancel-Bardelot, musée de Cluny-musée national du Moyen Âge. L’œuvre en scène Mercredi 25 mai à 12 h 30 Péripétie d’un chef d’œuvre du musée des Monuments français. Le tombeau de Philippe Chabot. Par Geneviève Bresc-Bautier, musée du Louvre, et Camille Autran, ingénieur, Ecole centrale de Nantes. Germain Pilon, Tombeau de Valentine Balbiani. Invitation au musée de Cluny Département des Sculptures, musée du Louvre © RMN- Grand Palais (musée du Louvre) / Thierry Ollivier. Du 7 avril 2016 au 19 mars 2018, le département des Sculptures accueille des œuvres du musée de Cluny. Le célèbre musée parisien consacré au Moyen Âge a, en effet, engagé sa rénovation par la restauration des vestiges antiques et de la chapelle de l'hôtel, la construction d'un nouvel accueil et la refonte des parcours. La fermeture de la salle des peintures et sculptures du Moyen Âge, pendant la durée des travaux, permet de réunir au Louvre deux La collection du département des ensembles de sculptures habituellement séparées. Sculptures du musée du Louvre, d’une grande diversité, permet de découvrir L’Ange de l’Annonciation de Cluny et la Vierge de l'Annonciation des sculptures du Moyen Âge, de la du Louvre de Nino Pisano et atelier Renaissance et des Temps modernes, Denon, niveau -1, galerie Donatello des chefs-d'œuvre de la sculpture Le thème de l'Annonciation était particulièrement apprécié en Italie e italienne et germanique et présente la au XIV siècle. Membre d'une dynastie de sculpteurs toscans, Nino plus importante collection au monde Pisano a exécuté plusieurs groupes monumentaux représentant cette de sculptures françaises, offrant la scène, où l'Ange se présente devant la Vierge. L'Ange de Cluny, possibilité d’établir de comparaisons dont le pendant est peut-être la Vierge conservée au Louvre, en matière d’histoire de l’art, sur les présente toutes les qualités de ce sculpteur : sens de la techniques et les foyers de production. monumentalité, recherches de souplesse et d'harmonie dans les drapés, attention au naturel des gestes et à la douceur des visages. La confrontation des deux statues, déjà faite voici quinze années à Auditorium du Louvre Pise, mais jamais encore à Paris, pourrait permettre de confirmer ou Informations pratiques d’infirmer leur appartenance au même groupe. Informations au 01 40 20 55 55, du lundi au Les statuettes d’un retable du Couronnement de la Vierge vendredi, de 9 h à 19 h. Richelieu, niveau 0, salle 10 Philippe Pot Abonnement Plusieurs collections publiques et privées conservent des statuettes À partir de 5 séances dans la même série. dont les caractéristiques stylistiques communes indiqueraient leur Achat de places appartenance à un grand retable de bois polychromé, qui aurait orné À la caisse de l’auditorium. l’abbaye cistercienne de Theuley près de Gray. C’est au Louvre Par téléphone : 01 40 20 55 00. e En ligne sur : www.fnac.com même, en 2009, lors de l’exposition Les Premiers Retables (XII - début du XVe siècle), que la totalité de ces statuettes conservées Renseignements : www.louvre.fr dans des musées français a été pour la dernière fois réunie. 4 Parcours de l’exposition Texte des panneaux didactiques de l’exposition Le musée des monuments français Plan du musée des monuments français Le musée des Monuments français, deuxième musée national fondé en France après celui du Louvre, a joué un rôle fondamental dans la découverte et l’appréciation du patrimoine. D’abord dépôt d’œuvres d’art séquestrées lors de la suppression des églises parisiennes dès 1791, l’ancien couvent des Petits-Augustins est transformé par son responsable, le peintre Alexandre Lenoir, en présentation éphémère de tableaux et de sculptures en août 1793, quand s’inaugure le Muséum au Louvre. Par son opiniâtreté, Lenoir ouvrit un vrai musée, accepté en octobre 1795 et au printemps 1796, que Louis XVIII ferma en 1816. Lenoir avait une conception élargie du patrimoine français, depuis l’âge celtique jusqu’à son temps, sans oublier l’art antique classique et la Renaissance. Alors que le Louvre avait le monopole pour exposer la peinture et l’art antique, Lenoir construisit une collection de sculptures, de vitraux et de quelques objets d’art. Il enrichit son musée non seulement par les saisies révolutionnaires, mais par des achats, des transferts et des échanges. Adepte des théories de l’archéologue allemand Winckelmann sur le progrès des arts, il disposa une muséographie innovante selon la succession des siècles, tout en insistant sur la commémoration des Grands Hommes, artistes et écrivains. L’expression «Monuments» définissant alors des témoins de la mémoire, ce musée présentait ainsi déroulement de l’histoire nationale, de ses acteurs et de ses styles, mis en scène dans une conception déjà romantique, empreinte de sentimentalité. Alexandre Lenoir et son œuvre Alexandre Lenoir (1761-1839), après une formation de peintre, fut placé par son maître, Gabriel François Doyen, à la tête du dépôt des Petits-Augustins le 3 juin 1791, six mois après sa fondation. Lié à David, qui avait formé son épouse, peintre elle-même, il déploya son énergie au sauvetage des œuvres d’art, à l’aménagement du musée des Monuments français, de 1795 à 1816, et aux nombreux catalogues très documentés qui expliquaient l’histoire, le contexte, voire les costumes des personnages représentés. Il eut aussi une activité scientifique ambitieuse, quelques fois brouillonne, multipliant articles et essais dans des domaines variés, de l’égyptologie à l’art contemporain, en passant par l’archéologie nationale ou l’histoire de la peinture sur verre, et publiant une histoire des arts en France depuis les origines.
Load more

Recommended publications
  • Nineteenth Century
    1804 Napoleon crowns himself Emperor. 1838 Le Bon Marché, the first department store in Paris, opens. Department stores originated in Britain, arguably as early as 1734. With economies of scale, new 1815 Napoleon abdicates. The Bourbon monarchy is restored patterns of production and consumption emerge. ILLUSTRATED TIMELINE under the reign of Louis XVIII. The Catholic Church in TH France regains some of its power and influence. Lenoir 1841 France passes its first child labor laws, setting the minimum age for employment at THE LONG 19 CENTURY returns much of the “national” collection to the Catholic eight years and prohibiting children under twelve from working more than eight Church and other private owners. hours per day. Children were also prohibited from working at night, on Sundays, or The collection at the Snite Museum is especially strong in French art of the nineteenth legal holidays. In the 1840s, French factories employed about 150,000 children or July Revolution and Monarchy. Louis-Philippe becomes century, compelling us to focus on historical events in that country in order to provide some 1830 about twelve percent of the workforce. Bouguereau’s Portrait of a Young Girl reveals the “citizen-king” with plans to convert the Palace of an emerging sympathy for children of the working classes. context for the art on view here. In addition to political and military events, several social Versailles into a public museum dedicated to the history themes are highlighted, including the relationship of the Catholic Church to the French of France. 1842 Father Sorin, a priest of the Congregation of Holy Cross, and his colleagues take state; the educational system in a democracy; and economic issues, such as labor, commerce, possession of 524 acres in Indiana given to them by the Bishop of Vincennes.
    [Show full text]
  • Ideology, Practicality, and Fiscal Necessity: the Creation of The
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Ideology, Practicality, and Fiscal Necessity: The Creation of the Archives Nationales and the Triage of Feudal Titles by the Agence Temporaire Des Titres, 1789-1801 Katherine Ly Cox Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES IDEOLOGY, PRACTICALITY, AND FISCAL NECESSITY: THE CREATION OF THE ARCHIVES NATIONALES AND THE TRIAGE OF FEUDAL TITLES BY THE AGENCE TEMPORAIRE DES TITRES, 1789-1801. By KATHERINE LY COX A Thesis submitted to the Department of History in partial fulfillment of the requirements for the degree of Master of Arts Degree Awarded: Fall Semester, 2007 The members of the Committee approve the thesis of Katherine L. Cox defended on October 29, 2007. _____________________________________ Darrin McMahon Professor Directing Thesis Committee Chair _____________________________________ Rafe Blaufarb Committee Member _____________________________________ Claudia Mineo Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS This thesis represents the culmination of my coursework at Florida State University and so I would like to acknowledge the institutions and individuals who have funded, guided, and supported me throughout my graduate career. I would first like to thank the Institute on Napoleon and the French Revolution for awarding me a research fellowship to cover my tuition expenses. I am equally grateful for the travel assistance granted by Dr. Donald Howard and Dr. Rafe Blafarb, which allowed me to attend conferences and to research at the Archives nationales in Paris, France during the summer months of 2007.
    [Show full text]
  • What Does the Discovery of Human Remains at the Chapelle Expiatoire Mean? Richard Taws
    FEATURES Bones of contention – what does the discovery of human remains at the Chapelle Expiatoire mean? Richard Taws 22 JULY 2020 The Chapelle Expiatoire (chapel of atonement) in Paris. Photo: Gilles Target/Photo 12/Alamy Stock Photo The French Revolution has been in the news lately, served as always with a heavy side-order of myth and falsehood. Last month, attempting to justify brandishing firearms at protesters near their home and badly misunderstanding their own historical reference, lawyers Mark and Patricia McCloskey compared a Black Lives Matter march in St Louis to the storming of the Bastille. Meanwhile, the global removal of monuments to enslavers, those who profited from slavery, and known racists has been likened, in ways both positive and negative, to the iconoclasm of the revolutionary decade. In this vein, Keith Christiansen, head of European paintings at the Metropolitan Museum of Art, was criticised for an Instagram post for which he has since apologised, in which he compared the destruction of statues to the actions of ‘revolutionary zealots’; he praised, in contrast, the efforts of Alexandre Lenoir, founder in 1795 of the Musée des monuments français, where sculpture and architectural fragments of the discredited French past were preserved and exhibited. Whatever one’s perspective, the 1790s seem to offer useful lessons in how we might comprehend the revolutionary tenor of our times. And across all this, the Covid-19 pandemic casts its deathly shadow. Consequently, the widely reported announcement of the discovery of a cache of human bones in the walls of the Chapelle Expiatoire (chapel of atonement) on the rue d’Anjou in Paris seems perfectly timed for our necro-political moment.
    [Show full text]
  • Veteran Curator at New York's Metropolitan Museum Latest To
    World Socialist Web Site wsws.org Veteran curator at New York’s Metropolitan Museum latest to come under racialist attack Institution accused of “white supremacy and culture of systemic racism” By David Walsh 26 June 2020 The racialist attack launched against Keith Christiansen, the its director for 30 years. At the time of the restoration of the John Pope-Hennessy Chairman of European Paintings at the monarchy in 1816, he was obliged to return most of the museum’s Metropolitan Museum of Art in New York City, for his remarks collection to its aristocratic owners. concerning the danger of valuable art works being destroyed in the More generally, “it was the French Revolution,” as one historian course of upheavals is without any merit whatsoever. has explained, with its “egalitarianism,” that “decisively put art It is another expression of the desperate and pathological race into the public domain,” including of course through the creation obsession sweeping layers of the American upper middle class. of the Louvre in Paris, the largest and most visited art museum in Not to mince words: in this direction lie book- and the world. Likewise, the outcome of the Civil War provided the painting-burning—and not so terribly far in the future. impetus for the establishment of art and science museums in the The denunciations of Christiansen, who has been at the museum US. since 1977, publicized and promoted by the New York Times, In any event, Christiansen’s post was criticized in a tweet by a came in response to an Instagram post he shared on June 19, group claiming to advocate for arts and museum workers, Art + which seemed to reference the recent tearing down of various Museum Transparency.
    [Show full text]
  • In Majesty an Exhibition from 1 March to 19 June 2011 2
    1 The Palace of Versailles presents THRONES in Majesty an exhibition from 1 March to 19 June 2011 2 Table of contents Press release 3 Interview with Jean-Jacques Aillagon 4 Interview with Jacques Charles-Gaffiot 6 Presentation of the exhibition 8 Exhibition scenography 33 Interview with Marc Jeanclos 34 Marc Jeanclos, from objects to scenography 35 Around the exhibition 36 Publications 37 Mini-site of the exhibition 39 Booklet-game by Paris Mômes 40 Practical information 41 Visuals available for the press 42 Partners 48 press release Thrones in Majesty From 1 March to 19 June 2011 - Grand Apartments of the Palace of Versailles Press contacts Thrones from different periods and varied civilisations are presented in the Grand Apartments of the Palace of Versailles. Forty emblematic thrones enable the visitor to Hélène Dalifard better understand the universality of the seated representation of religious or 01 30 83 77 01 Aurélie Gevrey political authority. Whether sober or majestic, reasonable or extravagant, thrones 01 30 83 77 03 always convey the same symbol of legitimately established authority. This exhibition sets Violaine Solari up an original dialogue between these exceptional objects, often masterpieces, in the 01 30 83 77 14 sumptuous setting of the Palace of Versailles, a place par excellence of the exercise and [email protected] representation of sovereignty. The exercise of sovereignty associates two universal and timeless notions: authority and power. Authority establishes its possessor on bases regarded as more stable than those offered by power. CURATORS Jacques Charles-Gaffiot The latter is ephemeral and acquired with difficulty by its holder, and comes from the victory of a Assisted by Hélène Delalex hero over his enemies.
    [Show full text]
  • How Art Museums in the French Revolution Crafted a National Identity, 1789-1799 Anna E
    Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2015 Making History: How Art Museums in the French Revolution Crafted a National Identity, 1789-1799 Anna E. Sido Scripps College Recommended Citation Sido, Anna E., "Making History: How Art Museums in the French Revolution Crafted a National Identity, 1789-1799" (2015). Scripps Senior Theses. Paper 663. http://scholarship.claremont.edu/scripps_theses/663 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. MAKING HISTORY: HOW ART MUSEUMS IN THE FRENCH REVOLUTION CRAFTED A NATIONAL IDENTITY, 1789-1799 by ANNA ELIZABETH SIDO SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF THE ARTS PROFESSOR ERIC HASKELL PROFESSOR PRIYANKA BASU PROFESSOR MARY MACNAUGHTON APRIL 24, 2015 ACKNOWLEDGEMENTS 3 INTRODUCTION: ART AS A POLITICAL TOOL 4 CHAPTER ONE: THE MUSÉE CENTRAL DES ARTS 9 ROYAL ART IN THE REVOLUTION 9 PUBLIC MUSEUM PLANS AND PRIVATE COLLECTING IN THE ANCIEN RÉGIME 11 16 ENLIGHTENMENT BELIEFS ON HOW TO VIEW ART 21 26 31 CHAPTER TWO: THE MUSÉE DES MONUMENTS FRANÇAIS 36 36 41 45 50 54 CONCLUSION 57 APPENDIX A: LIST OF FIGURES 60 APPENDIX B: TIMELINE OF THE REVOLUTION 70 BIBLIOGRAPHY 72 2 Like most of the important decisions I have made at Scripps, this project started in Professor MacNaughton’s office, when I stopped in to ask what started as a simple question about thesis requirements.
    [Show full text]
  • Charles Percier
    Charles Percier Architecture and Design in an Age of Revolutions Extended Through February 12, 2017 Charles Percier: Architecture and Extended through Design in an Age of Revolutions February 12, 2017 Charles Percier: Architecture and Design in an Age of the discovery of new documents relating to the produc- Revolutions—on view at Bard Graduate Center Gallery tion of the two partners, allows a better understanding in New York City through February 12, 2017— of Percier’s multifaceted artistic practice. The exhibi- will be the first large-scale exhibition to survey tion will feature more than 130 art works from principal the magnificent range of projects undertaken museums and cultural institutions in France and the by the French architect and designer from the end United States, as well as key objects from private col- of the eighteenth to the beginning of the nineteenth lections, including his designs for furniture, porcelain, century. Jean-Philippe Garric, professor of the history metalwork, and the renovation of the rue de Rivoli—the of architecture at the University of Paris I, Panthéon- construction of which transformed the center of Paris. Sorbonne, is the curator. Rare drawings and spectacular examples of early nine- teenth-century cabinets, candelabras, and tureens will Although largely remembered for his close collabora- also be displayed. By focusing on his most famous and tion with Pierre François Léonard Fontaine (1762– seminal works, such as sketches for the arc du Carrousel, 1853)—together they defined the Empire style and the interior designs for Josephine Bonaparte’s rooms in created the decorative program of Napoleon’s reign— the Tuileries Palace, and the magnificent books dedi- Charles Percier’s (1764–1838) artistic style was unique, cated to Roman palaces and interior decoration, the complex, and ever-evolving.
    [Show full text]
  • Painting History
    painting history delaroche andC lady jane grey stephen bannand linda whiteley with john guy,christ opherriopelle and annerobbins National Gallery Company,Lo ndon Distributedby YaleUn iversity Press Delaroche 9.indd 2 21/12/2009 16:00 Delaroche 9.indd 3 16/12/2009 09:37 Contents ^ This catalogue is published tO accompany Director’s Foreword · ¸ the exhibition Painting History: Delaroche and Lady Jane Grey The National Gallery, London, õ February to õÁ May õb Authors’ Acknowledgements · y Copyright © õb National Gallery Company Limited The Authors have asserted their rights under the Copyright, Designs and Patents The Story of Lady Jane Grey · Act, b, to be identified as Authors of this work. John Guy All rights reserved. No part of this publication may be transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any storage and retrieval system, without the prior Lost and Found · by permission in writing of the publisher. Christopher Riopelle First published in Great Britain in õb by National Gallery Company Limited St Vincent House · Á Orange Street The Sense of the Past · õÓ London dA4 ²44 Linda Whiteley www.nationalgallery.co.uk %vÍ: í ²ï°ïï²Éí ô²í ô The Victim as Spectacle: ïAïôÉ° Paul Delaroche’s ‘Lady Jane Grey’ and Mademoiselle Anaïs · ÁÓ British Library Cataloguing-in-Publication Data. Stephen Bann A catalogue record is available from the British Library. Library of Congress Control Number: AÉÉíí{²ïô² dúºGÓ: · ¸ Publisher Louise Rice Stephen Bann and Linda Whiteley, Project Editor Claire Young Editor Rebecca McKie with Christopher Riopelle and Anne Robbins Picture Researcher Suzanne Bosman Production Jane Hyne and Penny Le Tissier Paul Delaroche: Chronology · bÓy Designed and typeset in Brunel by Dalrymple Anne Robbins Reproduction by Altaimage, London Printed in Italy by Conti Tipocolour Cover, pages , b¸, õ, Á and b¸–y (details): Paul Delaroche (byy–bÓ¸), Lenders to the Exhibition · b¸ The Execution of Lady Jane Grey, bÁÁ.
    [Show full text]
  • Review Volume 9 (2009) Page 471
    H-France Review Volume 9 (2009) Page 471 H-France Review Vol. 9 (August 2009), No. 112 Mark Ledbury, ed. David after David: Essays on the Later Work. Williamstown, Mass.: Sterling and Francine Clark Art Institute, 2007; distributed by Yale University Press. xvi + 360 pp. 135 b/w and 15 color illustrations. Notes. $65.00 U.S. (cl). ISBN 978-0-931102-69-1 and 978-0-300-12151-3. Review by Jann Matlock, University College London. Jacques-Louis David has emerged, over the last two decades, as the most influential artist of the pivotal moment of the birth of modernity. Head of a powerful teaching studio that produced some of the most important young artists of his era, David was elected president of the National Convention and thus served to organize revolutionary festivals as well as to conceptualize the new art of revolutionary institutions. He not only produced some of the most important canvasses of the late eighteenth century--Belisarius (1781), The Oath of the Horatii (1785), The Lictors Returning to Brutus the Bodies of His Sons (1789), but he elaborated some of the Revolution’s most significant representations (The Death of Marat; Bara; Le Pelletier de Saint-Fargeau on His Deathbed [all 1793]), even as he helped frame crucial questions about political representation. Not surprisingly, David’s work of the 1780s and 1790s has been instrumental for scholars formulating new enquiries about visual culture. Since the 1980s, a series of challenging studies asked new questions about power, politics, representation, and ideology. David took center stage in these shifting frameworks because his work from the late eighteenth century, from Belisarius to The Intervention of the Sabine Women (1799), was so thoroughly imbricated in political and social change.
    [Show full text]
  • Alexandre Lenoir and the Musée Des Monuments Français (1795–1816)
    Making National Museums New Nation, New History: Alexandre Lenoir and the Musée des Monuments français (1795–1816) Jennifer Carter School of Architecture, McGill University, Canada [email protected] In answer to one of this conference’s foundational questions, “How has the con- cept of the national museum been understood and defined by different actors in the past?”, this paper proposes a case study of the design and creation of the Musée des Monuments français (1795-1816) by its founding curator, Alexandre Lenoir, in late eighteenth-century France. As France’s original national museum of sculpture, architecture, and monuments, the Musée des Monuments français emerged in the wake of the French Revolution – indeed as a direct consequence of this revolution – just as the nation’s first national public museums were taking shape. The paper considers the Musée des Monuments français as one individual’s endeavour to explore the new aims of history and its uses in the expanded social and public spheres of France’s post-Ancien régime, and positions the Musée as an example of a specific museological genre – the narrative history museum. As a hermeneutic study of this genre, the terms of engagement range from parallel readings on the subjects of historiography, pedagogy, and cultural reform, in ad- dition to landscape and architectural theory, to demonstrate how a changed sense of history and theories of sense perception informed museum scenography at a pivotal moment in its development. 165 Preface: The Narrative History Museum and the Hermeneutic Circle The narrative history museum is one that purports to represent historical events in a continu- ous and cohesive narrative environment, effected through the aesthetic, spatial, temporal, and architectural mise-en-scène of the museological setting and the placement of objects within this setting.
    [Show full text]
  • Aarbøger for Nordisk Oldkyndighed Og Historie
    aarbøger for nordisk Oldkyndighed og Historie Annual of the Royal Society of Northern Antiquaries 2007 Det Kongelige Nordiske Oldskriftselskab København 2010 65227_aarbog2007_.indd 3 09-03-2010 15:57:26 © 2010 Det Kgl. Nordiske Oldskriftselskab Frederiksholms Kanal 12 DK-1220 København K. ISBN 978-87-87483-14-8 ISSN 0084-585X Redaktion: Poul Otto Nielsen (ansv.) og Ulla Lund Hansen Grafisk tilrettelæggelse og billedbehandling: Jan Holme Andersen Udgivet med støtte fra Forskningsrådet for Kultur og Kommunikation Grunddesign, prepress og tryk: Narayana Press, Gylling Skrift: Minion Papir: 130 g Chorus Satin Omslag: Den Kongelige Commission for Oldsagers Opbevaring nedsat ved forordning af Kong Christian VII den 22. maj 1807 Medlemmer i perioden 1807-1816, fra toppen mod højre: Kommissionens formand A.W. Hauch, F. Münter, kommissionens sekretær R. Nyerup, P.J. Monrad, W.H.F. Abrahamson, B. Thorlacius, E. Vargas Bedemar, E.C. Werlauff, og L.S. Vedel Simonsen Alle manuskripter sendes til vurdering hos to anonyme referees, inden de accepteres til trykning All papers are subject to anonymous peer refereeing Vor einer möglichen Publikation werden alle Manuskripte zwei anonymen Referenten zur Begutachtung vorgelegt Salg til ikke-medlemmer i kommission hos: Herm. H. J. Lynge & Søn Internationalt antikvariat Silkegade 11 DK-1113 København K. www.lynge.com [email protected] Salg med rabat til medlemmer direkte fra Selskabet – se bagest i bogen 65227_aarbog2007_.indd 4 09-03-2010 15:57:26 Oldsagskommissionens tidlige år forudsætninger og internationale forbindelser Nationalmuseets 200 års Jubilæumssymposium 24.-25. maj 2007 arrangeret af Nationalmuseet og Wormianum i samarbejde med Kulturarvsstyrelsen 65227_aarbog2007_.indd 5 09-03-2010 15:57:26 Kong Hildetands høj.
    [Show full text]