Gardens and gods 12 June – 16 September 2018 Grand Trianon “grand & tranquil sojourn where we spend days but also moments; fountains, gardens, peristyle, palace full of pleasures, wherein the royal hand for whom everything is easy in its noble relaxation, has plotted the ornaments; show us, show us your charming appeal. ”
Le Palais de Flore, ballet danced at Trianon on [ ] January 1689, Paris, Ballard, 1689. First entrance
Press contacts Hélène Dalifard, Aurélie Gevrey, Violaine Solari +33 (0) 1 30 83 75 21 [email protected] presse.chateauversailles.fr follow us at chateauversailles.fr Press release p.6 Foreword by Catherine Pégard p.8 Foreword by Laurent Salomé p.9 contents
timelines p.11 The life of Jean Cotelle (1646 - 1708) p.13 The Grand Trianon during the reign of Louis XIV p.15
the exhibition p.17 1- Depicting the groves in the 17th century p.18 2- The “Cotelle Gallery” p.19 3- Italian inspiration p.21 4- Lost decor from the Château of Saint-Cloud p.22 5- Restoration of the paintings in the “Cotelle Gallery” p.22 6- Cotelle and the dissemination of models p.24 7- Religious subjects p.25 8- In the service of the King p.25 the exhibition in the gardens p.27 Exceptional flower planting p.28 in connection with the exhibition p.31 Exhibition catalogue p.32 Explore the subject further p.33 Versailles inspires p.34
exhibition patrons p.37 A unifying patronage campaign p.38 Exhibition partners p.41
Practical information p.45 Jean Cotelle, gouache on paper, before 1693. before paper, on Cotelle, gouache Jean
4 Arethusa, pursuing Alpheus with Mountain or Water Star the of View Fouin / Christophe de Versailles © Château Jean Cotelle Thanks to the rediscovery of numerous archival pieces, we restoration of the works of art 1646-1708 now have a better understanding of the artist’s life. The son of a decorator and ornamentalist, Jean Cotelle Most of the paintings in the “Cotelle Gallery” required Gardens and gods probably trained under the portraitist Claude Lefebvre. restoration in order to renew the fresh colours and After a long stay in Italy, he returned to the French Royal precision of the design. The operation was carried out Versailles, 11 June 2018, Academy of Painting and Sculpture as a miniaturist. He thanks to support from multiple patrons (the Friends of Press Release was tasked with illustrating the Campaigns of Louis XIV. Versailles Society, Fondation du Patrimoine and individual Having earned a certain reputation, he was solicited by patrons) as part of the “Adopt a painting in the Cotelle Jean Cotelle 1646 - 1708. Gardens and gods is the first exhibition dedicated to the 17th-century painter. This “Painter Monsieur, the king’s brother, around 1680 to decorate Gallery” campaign launched in 2013. to the King” was an excellent miniaturist and a talented decorator who practised almost all painting genres. The the jewellery cabinet (which has since been lost) at the exhibition will present his entire career through a hundred or so works, including 21 paintings in the Grand Trianon Château of Saint-Cloud. The artist was also one of those to gallery that have been recently restored through patronage. For the occasion, the gardeners of the Grand Trianon receive a commission for a May for Notre-Dame cathedral Exceptional flower planting will also be replanting the parterres to reflect the depictions by Jean Cotelle. in Paris, depicting The Marriage at Cana. In 1693, he left Paris for Marseilles where he became assistant director The flower gardens of the Grand Trianon will echo the of the Opera and decorated the ceiling of the City Hall. exhibition. From June to September, the Trianon garden From 1687, after the Versailles of Charles Le Brun Thanks to his talents as a decorator he contributed to department will be replanting the parterres to reflect one of which the Hall of Mirrors was the culminating preparing the temporary decorations for the entry of the of Jean Cotelle’s paintings, titled View of the Grand Trianon achievement, the decor in the Marble Trianon, a secluded Dukes of Burgundy and Anjou into Avignon. After his from the parterres, with Flora and Zephyr. Replanted in like leisure palace set away from the court, paved the way for a return to Paris in 1703, his career appears to have been design, the parterre will reflect the colour scheme used new generation of painters who focused on the search for more low-key, and he shifted towards the creation of in the painting, with a palette of pinks, blues and whites ornamentation and representation of nature. Jean Cotelle drawings for engravings and gouaches for fans. He died on against a bold green background that evokes Cotelle’s was one of the central figures of this generation and a 24 September 1708 in Villiers-sur-Marne. gardens. well-known artist. The exhibition explores the different aspects of his career and creates, for the first time, an initial corpus of his works, His skills were much appreciated at the time and he was shining the spotlight on an artist whose contributions have appointed to carry out most of the decoration in the been overlooked by history. main gallery in Trianon, comprising 21 paintings which were produced between 1688 and 1693. For this location, measuring almost 53 metres long with 16 large windows positioned at regular intervals and looking out onto the gardens, the artist opted for canvasses in portrait format. They depict every grove in the gardens of Versailles with characters from mythology and fables, organised into two registers (earthly and heavenly) and modelled on the bucolic landscapes of the Bolognese painter, Albani. A unique set of paintings that reveals Louis XIV’s fondness for his gardens, the series remains an important source of reference among depictions of French formal gardens and continues to improve our knowledge of the groves of Versailles. In echo to these works, fourteen gouache illustrations by Cotelle, miniatures of the gallery paintings, will also be on display. Lead sculptures from the decor of some of the groves no longer in existence in the garden Jean Cotelle, View from the parterres of the Marble Trianon with Zephyr and Flora asleep, 1688-1693, oil on canvas. of Versailles, such as the Maze Grove and the Grove of © Château de Versailles, Dist. RMN- Grand Palais / Thomas Garnier the Domes, will exceptionally feature in the exhibition. Nevertheless the gallery, which was a royal commission and without doubt the artist’s major achievement, must not overshadow other aspects of his career.
curators Scenography Béatrice Sarrazin: Head Curator for Heritage at the Musée National des Design: Scénografia, Nicolas Groult and Valentina Dodi Châteaux de Versailles et de Trianon Graphic design: Graphica, Igor Devernay Lighting: Ponctuelle, Damien Joyeux Assisted by Clara Terreaux, Art Historian Parterres of the Grand Trianon © Château de Versailles / Thomas Garnier
6 7 foreword foreword by catherine pégard by laurent salomé President of the Établissement Public du Châ- Director of the Musée National des Châteaux teau, du Musée et du Domaine National de de Versailles et de Trianon Versailles
Whether rediscovering little-known works or like a walk around the estate of Trianon. Big and small. Cotelle used both formats for his series individual artist contributes and, with Cotelle, suspended discovering an artist who is unknown to many people, of views of the Estate of Versailles, where the gods are time, the Italian sky, the precious colouring, the dramatic there is always something incredible about finding, This first exhibition devoted to Jean Cotelle, given over attending to their business and their love affairs. Which perspective, the voluptuousness of the gardens and the several centuries after the event, the explanation of a to the first overall restoration of the Trianon gallery of the two formats belongs to him most? References sensation of fresh air make us want to follow the gods’ commission or the fragments of a forgotten life. paintings since they were returned there a century ago in to the painter are full of ambiguity. Was he brilliant or heartaches and score settling. 1913, contributes to the desire to see this estate brought naive, revolutionary or archaic? He was the only painter Bringing Jean Cotelle’s works back to the gallery of the back to life to exist alongside Versailles in its own right, to have the idea of merging, as if the approach was quite Although the artist was sometimes described as puerile, Grand Trianon that bears his name involved a challenge: as Louis XIV and his successors wanted. natural, a freshly-drawn, precise depiction of modern it was perhaps because he confronts us with what some restoring his paintings, somewhat the worse for wear. Versailles with stories from mythology: reality and people – but Louis XIV was not one of them – hesitate The generosity of our patrons, particularly the Friends The exhibition, which brings together all kinds of arts, is eternity. The idea was so original that the two painters to allow to come to the surface: the vivacity of childhood of Versailles Society, along with the tenacity of Béatrice a testimony to the unrelenting work of all those involved who completed the decoration of the gallery in the new emotions. Sarrazin, Head Curator for Heritage at the Musée that allows us to share the magic. 2018 is an auspicious Palace of Trianon, Martin and Allegrain, did not try to The 17th century knew how to cultivate this most National des Châteaux de Versailles et de Trianon, year which, thanks to the skill of the gardeners, has copy it and simply populated their contributions with precious of all possessions as the finest flower in its revealed a set of works that, while retaining their transformed the parterres into a mirror image of Cotelle’s promenading courtiers. garden. mystery, inform us equally about the tastes of a period paintings, as in a reversal of history. and the desires of a king. Nevertheless, there is nothing new about the procedure This tribute to Jean Cotelle has legitimately rendered of introducing a mythological figures to ennoble a realist From a long and varied career, which could have been him his place in a long history that had forgotten him. representation: the technique dates back to medieval even more brilliant, emerges this unique creation whose illumination and belongs to the tradition of decorators mysterious singularity reinforces its charm. With the and engravers of frontispieces. Cotelle came from this exception of these 21 paintings that have survived humanist culture but his career as painter to the king for posterity, the whole of Jean Cotelle’s life seems to led him to transpose it into another dimension. Under have been an eclipse, even before his work was lost. the rays of the Sun King, everything had to be bigger Nevertheless, he rubbed shoulders with the sun, Louis and better. Miniatures were transformed into large-scale XIV, without whom nothing would have been possible. decorations, creating a new genre... that unfortunately Even more astonishingly, he managed to understand the did not last. It was a unique period that should be king’s dreams. Although we do not know why Louis XIV appreciated in all its appeal and its rarity, now that the chose him to carry out the major part of the commission restoration of the paintings has finally done them justice. that was to illustrate the manual written by the king Being able to consider a large proportion of the painter’s himself on “how to display gardens”, we understand known output, including his attempts at great historical that the artist managed to transcribe the king’s way paintings with the May of Notre-Dame, give us, for the of looking at things. His paintings are a condensed first time, a glimpse of his personality and originality representation of the gardens, precisely depicting their which imposes itself almost despite the man himself. foliage, walks and water features. But walking around the Cotelle Gallery is not the same as walking around the It is not a question of rehabilitating him by making him groves of Versailles. The painted gardens are filled with conform more than he really did to the normal criteria mythological tales drawn from Ovid and La Fontaine. of art history, which always requires the same things: They have the elegance of Le Nôtre’s designs but they brilliance of touch, intensity of expression, breadth of also present a spectacle, like the real gardens. Looking at movement, mastery of draughtsmanship... Cotelle does them with the “prince’s eye”, as imaginary scenes, evokes not offer these. It is equally pointless to compare him to both meanings of the word “picture”. In the intimacy of Albani, who was certainly one of his main inspirations the Trianon and in 21 scenes, Cotelle has depicted the but who pursued quite different objectives. As Auguste passions and the culture of a period. Why him? We will Renoir asked angrily: “why do people always ask artists never really know. Béatrice Sarrazin and those who share for what they do not have?” Why criticise Rubens for his her questions today are right to leave the subject open. excesses, why find Poussin boring, why reproach Ingrès These unresolved mysteries stimulate our imagination for being too smooth? A wise person knows what each
8 9 ICItimelines part I part partie XX partie MON TITre de partie The “Cotelle Gallery” of the Grand Trianon Trianon “Cotelle Gallery”The Grand of the Manaï / Jean-Marc de Versailles © Château
10 11 The life of
part I part jean cotelle (1646- 1708)
April 1646 1687-1688 Born in Paris. He received a royal commission for 21 paintings, 20 His father, Jean I, was a well-known and educated gouaches and one pen-and-ink drawing for the Trianon ornamental painter. His sisters Marguerite and Jeanne gallery. both married renowned painters: Nicolas Loir and François de Troy. Jean was trained by his father and most 1693 likely by the portraitist Claude Lefebvre. A royal commission for two new paintings and their modelli for the Cool Room in Trianon. August 1665-1670 Stay in Italy. 1694 Lived in the Lyon area 4 April 1671 Jean Cotelle was accreditedby the Royal Academy 1695-1703 of Painting and Sculpture upon presentation of the Lived in Provence. Ravishment of the Sabines (lost). 1696 10 October 1672 He painted the ceiling fresco of the great hall for the City Acceptance by the Academy with The Entry of the King Hall in Marseille. and Queen into Paris Beneath Allegorical Figures 1697 3 March 1674 He co-directed the Marseilles Opera with the musician Marriage to Marie Amelot. Jean-Baptiste Duplessis.
1678-1680 April 1698 He produced miniatures for Campaigns of Louis XIV of Death of his wife Marie Amelot. 1675 and 1676, conserved in Paris at the French National Library 1701 In Avignon, Jean Cotelle created ephemeral architectural 1680s decorations for the entry of the Duke of Burgundy and Jean Cotelle contributed to the decoration of the the Duke of Berry. Jewellery Cabinet of Philippe d’Orléans, the king's brother, at the Château of Saint-Cloud (destroyed). 1703 Return to Paris. 1682
detail), Jean Cotelle, oil on canvas, 1688-1693. canvas, on Cotelle, oil detail), Jean He received a commission for a May for Notre-Dame 1704 de Paris, (The Marriage at Cana) (Saint Pierre church, Presentation of ten paintings at the Salon. Yssingeaux). 1704-1708 He painted The Birth of the Virgin in collaboration with The end of his life seems to have been difficult. François de Troy for the chapel of Notre-Dame of Mont- He turned towards the production of drawings for Carmel in Toulouse (lost). engraving.
He also painted the portrait of Catherine Touchelée, 28 June 1706 made known by the engraving by Jean Louis Roullet. Second marriage, to Jeanne-Jacqueline Bouquet de Bremont. End of the 1680s Production of three paintings for the menagerie of the 24 September 1708 Château of Chantilly on the theme of the Fables of La Cotelle died at Villiers-sur-Marne. Fontaine (lost). View of the entrance to Maze Grove with nymphs and cupids taking birds ( birds cupids taking and with nymphs Grove Maze to entrance the of View Fouin / Christophe de Versailles © Château 12 13 the grand trianon part I part during the reign of louis XIV
THE POrCELAIN TrIANON 1715 11 August. While at the Trianon, The King felt the first 1668 symptoms of the illness that would carry him off on 1 Purchase of the village of Trianon by Louis XIV. Creation September of the same year. in its place of a garden with trellises.
1670 Construction of the first palace by the architect Louis Le Vau: the Porcelain Trianon, completed by François d’Orbay, was built as a place for the King to meet his lover, Madame de Montespan. The gardens were designed by Le Nôtre’s nephew, Michel III Le Bouteux.
1671-1672 Digging of the northern arm of the Grand Canal, which led directly to the Porcelain Trianon.
View of the Grand Trianon from the entrance side during the reign of Louis XIV, Antoine Aveline THE MArBLE TRIANON (1691-1743), etching, early 18th century. © Château de Versailles
1687 Paintings at the Grand Trianon Demolition of the Porcelain Trianon and construction of the Marble Trianon by Jules Hardouin-Mansart, shortly “It [the Trianon] is adorned with all sorts of flowers, modified by Robert de Cotte (erection of the peristyle). and the air that one breathes there is always scented André Le Nôtre was put in charge of the gardens; few with the jasmine and orange blossoms under which changes were made to those created for the Porcelain one walks.” Trianon. In 1674, Félibien admired the richness of the gardens surrounding the Porcelain Trianon. Hardly 1688 astonishing for this place, nicknamed “The Palace of First paintings commissioned for the Trianon. Flora” after the ballet that was danced there in 1689: 13 November: the Marquis de Dangeau noted in his at the Marble Trianon, designed as a country retreat Journal that the palace was completed and furnished. for the King, nature took precedence. Although the Palace of Versailles was predominately composed 1689 of marble, gold and large, decorative paintings, 5 January. Performance of a ballet by the ladies of the Louis XIV ordered that the Trianon should be more court, The Palace of Flora, in the presence of James II, intimate and less grandiose. King of England, who was in exile in Saint-Germain. Between 1988 and 1715 nearly 160 easel paintings 1692 were hung on white woodwork – mythological The King installed his new apartments in the left wing of subjects, paintings of flowers and gardens – painted the Palace. by François Verdier, René-Antoine Houasse, Charles
Martin Pierre Denis (1663-1742), c. 1724, oil on canvas on Denis (1663-1742), c. 1724, oil Pierre Martin de la Fosse and Louis II de Boullogne… 1694 28 April. Louis XIV slept at Trianon for the first time. The iconography of each work shows close links with nature; Cotelle’s paintings followed this logic and, 1700 - 1701 like so many fictional views of the groves, competed Transformation of the gardens by Mansart, successor to with the gallery’s big windows, which open onto the Le Nôtre, who died in 1700. gardens. RMN-Grand Palais (Château de Versailles) de Versailles) (Château Palais RMN-Grand © View of the Grand Trianon from the avenue, avenue, from the Trianon Grand the of View 15 Viewof the orangery and the lake of the Swiss Guard with Vertumnus and Pomona (detail), Jean Cotelle, 1688-1693, oil on canvas © Château de Versailles / Christophe Fouin
part II exhibition the plan of the 1 - depicting the 2 - The "Cotelle Gallery" exhibition II part groves in the 17th century
Drawings, engravings and paintings of the Palace and Gardens of Versailles were disseminated across the world in the late 1660s.
These depictions had a political purpose and, beyond their topographical and documentary value, celebrated the power of Louis XIV through major artistic works produced during his reign.
The dissemination of the image of Versailles was therefore regarded as an official undertaking. Between 1667 and 1678, only engravers and printers chosen by Colbert were awarded the privilege of producing images. Among them, Pierre Aveline, Israel Silvestre The “Cotelle Gallery”” in the Grand Trianon © Château de Versailles / Thomas Garnier and Adam Pérelle and his sons were prolific in their artistic production. Though of incomparable quality, The gallery connects the Cool Room to the Garden the fashion of the time. The reasons for this differing all conformed to the same codes: use of high-angle and Room on the same level, opening onto the parterres perspective, which disrupts the unity of the gallery style, low-angle views to accentuate the width and depth of to the south and the Spring Grove to the north. remain unknown. However, it would appear that Louis the scenery, reliance on vegetation to reveal the scale Flooded with light, imbued with the scent of flowers XIV approved this choice since he monitored the work at of the architecture and the presence of contemporary and decorated with mirrors, this long room became Trianon quite closely. characters to create a picturesque and theatrical style. a reflection of the surrounding verdant environment. Twenty-four paintings representing the gardens of Versailles complement the big openings looking over the real gardens. Two-thirds of them were completed at the end of 1689, and the last few before 1693, the date of the final payments. Cotelle received most of the commission (21 paintings) while Étienne Allegrain painted two and Jean-Baptiste Martin, one.
Here Cotelle created unique works by adding narrative scenes to his topographical paintings. The painter sought to depict each location accurately, sometimes offering a second perspective of the same Grove, such as the Water Theatre Grove and the Triumphal Arch Grove. The works also preserve the memory of groves that were later destroyed, such as the Maze Grove, the Marsh Grove and the Water Theatre Grove. The Banqueting Hall at Versailles, Anonymous, gouache on vellum with gold high- lights, before 1706. © Château de Versailles / Christophe Fouin In Cotelle’s paintings, the groves served as a setting for a narrative inspired by mythology and fables. In each space he depicted an idealised and gallant world, such as Olympus descending to earth, a world of similar-looking characters who were eternally young and similarly dressed, gods recognisable by their attributes and often- dissipated love.
The three paintings by Allegrain and Martin are quite different from Cotelle's works, through their birds-eye View of the entrance to the Maze Grove with nymphs and cupids taking birds, Jean view and, especially, the presence of figures dressed in Cotelle, oil on canvas, 1688-1693. © Château de Versailles / Christophe Fouin
18 19 3 - Italian inspiration MINIATUrES OF THE GArDENS
Cotelle created a series of miniatures of groves that were, to a greater or lesser extent, variations on the paintings. Were these sketches, plans, reductions? Cotelle observed Bolognese painters, particularly Albani, The gouaches were part of the collections owned by probably when he stayed in Italy and later in France, the Marquis de Louvois at the Château of Meudon, where he had access to the collections of Mazarin, and then those belonging to the Grand Dauphin from André Le Nôtre and above all that of Louis XIV, which 1695. In addition to the 14 gouaches that still remain contained 31 paintings by the Italian artist. Cotelle was there is also a miniature by Jean Joubert (The Antique not the only person to succumb to Albani’s charm; Room), which was ordered to replace a lost Cotelle the decor of the gallery of the Château of Saint-Cloud painting. The delicacy of the colours and precision of by Pierre Mignard was also an echo of the Bolognese the brush work is a reminder of Cotelle's skill in the painter’s poetic representations. miniature format, a technique the artist first started with. Albani’s world is peopled by small, eternally youthful figures and depicts love stories between the gods in harmonious and idyllic settings whose soft, delicate atmosphere suits the narration of Ovid’s Metamorphoses. Cotelle appropriated this style and, in the Trianon gallery, transposed Albani’s idealised landscapes to the groves and gardens of Versailles. Multiple more or less precise references can be observed, particularly in the four famous “cycle of Venus” paintings, a source of inspiration for the artist who either saw them in person or in the immediately famous engravings by Benoit I Audran and Étienne Baudet.
The Orangery and the Lake of the Swiss Guard with Vertumnus and Pomona, gouache on paper, before 1693 © Château de Versailles / The Mirror Pool and the Royal Isle, Étienne Allegrain (1644-1736), Christophe Fouin oil on canvas, 1688-1693. © Château de Versailles / Christophe Fouin
Adonis leaving to go hunting, Jean Cotelle, oil on canvas, 1680-1690, Hermitage Museum, Saint Petersburg. © The State Hermitage Museum / photo by Pavel Demidov
View of the Star or Water Mountain with Alpheus pursuing Arethusa, gouache on paper, before 1693.© Château de Versailles / Christophe Fouin
Apollo and Mercury or the Allegory of the Air, Francesco Albani (1578-1660), oil on canvas, c. 1635, Palace of Fontainebleau. © RMN-Grand Palais (Château de Fontainebleau) / Gérard Blot
Perspective of the Antique Gallery Grove at Versailles, Jean-Baptiste View of the Water Theatre with the toilette of Psyché,gouache on Martin (1659-1735), oil on canvas, 1688. paper before 1693 © Château de Versailles / Christophe Fouin © Château de Versailles / Christophe Fouin
20 21 4 - lost decor from 5 - restoration of the château of the paintings in the saint-cloud "Cotelle Gallery"
Philippe d’Orléans, known as Monsieur, received the The 24 paintings in the Trianon gallery have had estate of Saint-Cloud from his brother Louis XIV in an eventful history, as evidenced by their state of 1658. He renovated the ancient château with sumptuous conservation prior to the most recent restoration adornments, transforming it into one of the most campaign. beautiful residences of his time. Cotelle’s painting suited Monsieur’s taste for miniatures and gracefully- 1693 View of the Marble Trianon parterres with Zephyr and Flora asleep (detail, during the restoration process), Jean Cotelle, 1688-1693. © Château de Versailles / Thomas Garnier represented mythology. During the 1680s, the prince The paintings were hung in the gallery. commissioned him to decorate one of his cabinets of curiosities on the first floor: the Jewellery Cabinet. It is 1809 not known how many paintings Cotelle produced, nor The 24 canvases were taken down and placed in storage their format or layout. in the Louvre Museum.
1837 Successive interior redecoration work, followed by the The works were returned to the Palace. Louis-Philippe château's demolition in 1870, erased the memory of displayed them in the historical galleries. Cotelle’s work and all that remains is a set of engravings and drawings on the history of Venus. 1913 The paintings were returned to the Trianon gallery after being restored.
2013-2018 The conservation department of the Palace of Versailles, in collaboration with the French Museums’ Centre for Research and Restoration (C2RMF) decided to launch a major restoration campaign: 16 paintings in a critical state of conservation benefited from major restoration work; five others were subject to more minor cleaning works. 25 picture restorers took part in this ambitious project.
Prior to restoration, the condition of the paintings was documented using scientific imaging and the cause of the deterioration was determined to establish a Before restoration After restoration View of the Triumphal Arch with Venus and Adonis, Jean Cotelle, oil on canvas, 1688- diagnosis. 1693. © Château de Versailles / Christophe Fouin
A crucial step involved cleaning the pictoral layer to As for the support structure, almost all the paintings paste) and certain details that had disappeared were return each painting to as close to as possible to its showed cleavage; certain canvases no longer supported recreated. original state, while taking account of the passage of the pictoral layer. The majority had been subject to time. format changes and heavy restorations that even went “Windows” of several centimetres were opened during as far as transferring the work (removing and replacing Venus and Adonis, Jean Cotelle, pen and ink, brown wash and highlights in gouache on paper, c. 1680-1690. Paris, Louvre Museum, department of Graphic Arts. cleaning tests to allow conservators to determine the the original support). Six paintings required restoration The restoration of the paintings in the Grand Trianon © RMN-Grand Palais (Louvre Museum) / Tony Querre level of work needed. following a previous transfer. Other paintings needed gallery was made possible thanks to the patronage During cleaning, conservators removed yellowed and occasional consolidation work as well as re-tightening of Ms Évelyne Landeau, Ms Anne Laplanche, Mr oxidized varnish and some of the overpaint, which was and restoration of the canvas to its original plane. Jean-Louis Laplanche, Mr Bruno Lépolard, Mr Olivier often excessive and sometimes clumsy, and which altered Obst, Mr Frank Troncoso, Mr Ange Yungmann, the work. The restoration of the pictoral layer aimed to restore as well as the Friends of Versailles Society with the clarity to the work. Wear was repaired, craquelures were support of Fondation du Patrimoine. attenuated, holes were filled in (with white or coloured
22 23 6 - Cotelle and the 7 - religious SUBJECTS dissemination of models
Through his connections with the most prolific artist provided fanmakers with a number of composition Compared with his prolific mythological work, Jean Jean Cotelle received prestigious orders right from the publishers of the time such as Jean Mariette, Henri II models in pencil, pen or gouache, sometimes based on Cotelle showed little interest in biblical subjects. start of his career. Bonnart and Étienne Gantrel, a number of drawings by his own works. Though not all productions bearing his Jean Cotelle were used for engravings. signature can be attributed to him with certainty, it does It was most likely his family connections which led to As a miniaturist, he helped illustrate the Campaigns show that Cotelle was recognised for his production of the two major religious commissions of his career: a May of Louis XIV, manuscripts that celebrated the French As well as the beautiful engravings collections based such objects. for the Notre-Dame de Paris Cathedral (The Marriage conquest during the Franco-Dutch War (1672-1678). on his works - such as the Book of Seven Families that at Cana, 1682) and a painting for the chapel of Notre- But it was above all as a painter and decorator that the he engraved himself – the artist also worked on more Dame-du-Mont-Carmel in Toulouse (The Birth of the artist carried out his most ambitious projects. In addition modest projects. His collaboration with Jean Mariette Virgin, lost). to the paintings in the Trianon gallery, Cotelle also (1660-1742) – heir to the greatest Parisian publishing contributed to the decor in the Château of Saint-Cloud and printselling dynasty of the 17th century – and Other descriptions of religious works painted by Cotelle (the Jewellery Cabinet) and Château of Chantilly (three Bernard Picart (1673-1733) resulted in an extensive appear almost exclusively in Salon booklets: in 1673, the paintings based on the Fables for the menagerie), commercial production. artist presented a Moses Saved from the Waters, followed now lost. The support of the Marquis de Louvois, by two other subjects from the Old Testament in 1704 Superintendent of the King's Buildings, may have His choice of themes seems to have been dictated by (lost). Through his choice of biblical subjects, Cotelle facilitated Cotelle's access to these commissions. what was popular at the time: Flemish-style village may have sought to defend his position as a historical celebrations, inspired by Jacques Stella's Pastorales; painter with the Academy. During his time in Provence, Cotelle received other fashionable figures with a gallant or even licentious important political commissions, such as the ceiling spirit; sketches depicting musicians and dancing couples Though Cotelle produced few religious paintings, he did of the City Hall in Marseille and his participation in in theatre costumes, etc. nonetheless explore the genre through miniatures, and the ephemeral decorations for the entry of the Duke of particularly by delivering models for engravings. Burgundy and the Duke of Berry into Avignon. Some of Cotelle's drawings also served as a model for the decorative arts. His drawings of female heads in the French National Library, in an oval or circular format, probably served as preparatory work for decorations on tobacco pouches or boxes. However, it was in the production of fans – introduced as a piece of finery in France by Catherine de’ Medici and which became increasingly popular in the 17th century – that Cotelle's foray into the decorative arts appears most notable. The Six oval and one rectangular drawing, Jean Cotelle, Paris, French National Library, department of Etchings and Photography. © Bibliothèque nationale de France
The Wedding at Cana,Jean Cotelle, oil on canvas, 1682, listed as a Historic Monu- Frontispiece of the Campaigns of Louis XIV, Jean Cotelle, gouache on parchment, c. ment on 2 May 1988, St Peter’s church, Yssingeaux. 1678, © Christophe Fouin Paris, French National Library, Manuscript Department. Nymphs in a palace garden (detail), Jean Cotelle, gouache on paper, early 17th century, private collection. © Bibliothèque nationale de France © Thomas Garnier
24 25 The Marble Trianon parterres with Zephyr and Flora asleep (detail), Jean Cotelle, pen-and-ink and gouache on paper, before 1693. © Château de Versailles / Christophe Fouin
part III gardens in the the exhibition Exceptional flower
part III part planting
The peristyle and the upper parterres of the Grand Trianon. © Château de Versailles / Thomas Garnier
Alongside the exhibition and to encourage visitors Blue, white and pink to discover the Grand Trianon gardens, the Estate of Trianon gardeners have drawn inspiration from the The shades of blue come from the four different types painting and gouache titled The Marble Trianon parterres of Salvia sage that serve as a foundation for the parterre with Zephyr and Flora asleep to create a new composition thanks to their full foliage. The upright columns of for the upper parterres for the summer. Lobelia provide structure to the composition.
These works show very dense parterres in front of the For the white, the gardeners used the classic and very Grand Trianon peristyle. Since it was difficult to identify elegant Alstroemeria, Agrostemma, and Ageratum. As the varieties that were depicted, the gardeners have for the numerous white and pink Cosmos, their graceful Watercolours by Coralie Beaune, from the Trianon gardens department, for the planning of the parterres. not attempted to create a perfect replica of the Trianon silhouette is backed by Limonium sinuatum, which look parterres under Louis XIV's reign, at the time of Cotelle, like crepe paper. but instead strove to offer a rich and subtle composition that embodies the spirit of the parterres at the end of the 17th century.
The Marble Trianon parterres with Zephyr and Flora asleep, Jean Cotelle, pen-and-ink and gouache on paper, before 1693. Trianon parterre ©Château de Versailles / Thomas Garnier © Château de Versailles / Christophe Fouin Table summarising the distribution of the different species in the upper parterres.
28 29 View of the Marsh or Holm Oak Grove with nymphs playing various games (detail), Jean Cotelle, 1688-1693, © Château de Versailles / Christophe Fouin
part IV exhibition with the connection In Exhibition catalogue Explore the subject part IV part part IV part further
Jean Cotelle (1646-1708). guided tours SUITABLE FOr ALL families Gardens and Gods Guided tour of the exhibition (French only) Visit-game “THE GRAND Multi-author work edited by Béatrice Sarrazin, 23 and 29 June; TrIANON THE FUN WAY” Head Curator for Heritage at the Musée National des 4, 17, 27 and 29 July; Châteaux de Versailles et de Trianon. 8 and 25 August; Aimed at children of 6 and over, this 9 and 14 September 2018; 12-page booklet contains information, In 1688, Louis XIV called upon Jean Cotelle, highly at 2.30pm. questions and games enabling young appreciated historical painter and experienced visitors to actively discover the Grand miniaturist, to contribute to the decoration of the Grand The Grand Trianon: a country house Trianon. Lavishly illustrated, designed Trianon, a leisure palace well away from the hustle and The Grand Trianon was always used as a retreat where to be both educational and fun, it bustle of the court. While the King was writing the first the constraints of official and political life could guides young visitors around the rooms of the Grand version of How to Show the Gardens of Versailles, he be forgotten. Many monarchs and statesmen have Trianon, and an outdoor visit-game will lead them expressed the desire to adorn the Trianon gallery with appreciated its calm and harmony. Some even took around the old “Palace of Flora”. an ambitious cycle of 24 paintings showing the gardens, the time to leave their mark. However, none of them recently laid out by André Le Notre. modified the atmosphere that its creator, Louis XIV, had In partnership with Paris Mômes wanted. Cotelle was entrusted with the major part of the Available free of charge at the entrance or prestigious commission, which he carried out in only 16 and 21 June; downloadable from chateauversailles.fr three years. In order to adapt his work to the gallery, he 7, 10, 20 and 31 July; painted in a fairly unusual vertical format. The groves 4, 12 and 24 August; “Secrets of trianon” visit lend themselves to the representation of the Gods and at 2.30pm
their pleasures and loves, hidden in the vegetation. Prices: €10 + admission fee Free for under-10s Cotelle peopled his canvases with nymphs, goddesses Length: 1h 30 Booking required at www.chateauversailles.fr, by telephoning + 33 (0)1 30 83 78 00 or Co-publication Palace of Versailles / Liénart and heroes drawn from mythology and fable. at the Palace on the day of the visit, North Ministers’ Wing (subject to availability). 240 pages, 24 x 28 cm, 200 illustrations Visits start directly at the entrance to the Grand Trianon. The full programme is given on chateauversailles.fr €39 But the artist’s career was much richer and more diverse. Available at www.boutique-chateauversailles.fr and from the shops at the Palace of Versailles This book, the first published about Jean Cotelle, will enable readers to discover the career and works of a Royal artist, revealing the riches of the 17th century. visitor application Éditions Liénart press contact
Michaële Liénart Le Claire Meil illustration + 33 (0) 1 45 63 96 50 The official Palace of Versailles visitor © [email protected] application for smartphones and tablets is free of charge and includes The Grand Trianon was Louis XIV’s desire. He even the audio guide to the visit of the drew the plan and the elevation. Using clues and mystery Grand Trianon and the gardens of the objects, families seek the details that reveal many of the Trianon estate. An interactive map of secrets of this unequalled country residence. the estate is also available and may be For children aged 6 and over. used without an Internet connection. 17 June, 7 and 21 July, 5, 14 and 26 August, 9 September They can be downloaded from the App Store and from 2.30pm - 4pm Google Play
Prices: €10 + admission fee Free for visitors under 10 years and those aged 10 to 25. €10. Length: 1h 30 Booking required at www.chateauversailles.fr or by telephoning + 33 (0)1 30 83 78 00 The full programme is available at chateauversailles.fr
32 33 Versailles inspires part IV part
Limited edition bags and accessories 1693 Trianon candle made from the exhibition publicity banners The “Palace of Versailles” candle Collection available from November 2018. collection is directly Available exclusively from the Palace of Versailles on- inspired by the line shop: www.boutique-chateauversailles.fr world of the Palace of Versailles. “Palace Since 2012, the Palace of Versailles” of Versailles has scented candles are handmade in the purest tradition been collaborating of French candle-makers. The jars are made by master in a responsible and glassworkers. sustainable approach with Bilum, a specialist The 1693 Trianon candle is available in M and XL sizes, French company that scented with wallflowers, dame’s violet and carnations recycles advertising with orange blossom. banners using, the promotional material to On sale at www.boutique-chateauversailles.fr and in create unique products. the Estate shops. Each item is hand-made in France by companies specialised in saddlery and leather goods. Limited edition handbags, clutch “Palace of Versailles” bench bags, make-up bags and other items made from the Trianon model publicity banners will be available. “Château de Versailles®” garden furniture has been adapted from the historical models found in the Park to adorn contemporary exteriors. The symbolic orange tree boxes, benches and vases from the gardens of Versailles are today reproduced and adapted by an artisan French company, Jardins du Roi Soleil, which perpetuates the tradition of Le Nôtre.
This bench was designed by Pierre-André Lablaude, former Architect for Historic Monuments responsible for the Gardens of Versailles and Trianon, based on 17th canvas on Cotelle, 1688-1693, oil (detail), Jean and 18th century engravings. The interlaced design is hand-sculpted in solid oak and the constituent parts are hand-finished and assembled in the traditional manner with mortices, tenons and tapered wedges.
Information and quotes at: www.boutique-chateauversailles.fr
34 35 View of the Ballroom Grove with Armida crowning Rinaldo crowning with Armida Grove Ballroom the of View © Château de Versailles / Christophe Fouin Fouin / Christophe de Versailles © Château ICIexhibition partie XX partie part V part MONpatrons TITre de partie
Jean Cotelle, 1688-1693 Cotelle, Jean
View of the Grove of the Three Fountains with Venus and nymphs (detail), (detail), nymphs and Venus with Fountains Three the of Grove the of View Fouin / Christophe de Versailles © Château
36 37 part V 38 painting in the Cotelle Gallery” campaign. campaign. Gallery” painting intheCotelle of Fondation du Patrimoine) of the“Adopt aspart a as theFriends of Versailles thesupport with Society from patrons multiple (private aswell individuals out to thanks support This operation wascarried precision of thedesign. restored inorderbeen to thefresh renew colours and have Half of thepaintings inthe“Cotelle Gallery” campaign a unifyingpatronage Laplanche Laplanche and Mr. Jean-Louis patronage from Mrs. Anne Work restored to thanks Trianon Châteaux deVersailles etde Versailles, Musée National des 1688-1693 Étienne Allegrain (1644-1736) Royal Isle View of the Mirror Pool and the Landeau patronage from Mrs. Evelyne Work restored to thanks Trianon Châteaux deVersailles etde Versailles, Musée National des 1688-1693 Jean Cotelle (1648-1708) striking the down giant Enceladus Grove Jupiter with
Lépolard patronage from Mr. Bruno Work restored to thanks Trianon Châteaux deVersailles etde Versailles, Musée National des 1688 1735) Jean-Baptiste Martin (1659- Gallery View of the Grove of the Antique Laplanche Laplanche and Mr. Jean-Louis patronage from Mrs. Anne Work restored to thanks Trianon Châteaux deVersailles etde Versailles, Musée National des 1688-1693 Jean Cotelle (1648-1708) cupids gardening Fountains with View of the Grove of the Three Yungmann patronage from Mr. Ange Work restored to thanks Trianon Châteaux deVersailles etde Versailles, Musée National des 1688-1693 Jean Cotelle (1648-1708) nymphs Fountains with Venus and View of the Grove of the Three
Friends ofVersaillesSociety Works restored withthesupportof
Cotelle has been madewith supportCotelle hasbeen from: about restorationThe film the of works the of Jean Society through Friends the of Versailles Obst and Mr Frank Troncoso, patronage from Mr Olivier Work restored to thanks Trianon Châteaux deVersailles etde Versailles, Musée National des 1688-1693 Jean Cotelle (1648-1708) taking birds nymphsMaze with and cupids View of theentrance to the from Fondation du Patrimoine. Versailles Society, with support patronage from Friends the of Work restored to thanks Trianon Châteaux deVersailles etde Versailles, Musée National des 1688-1693 Jean Cotelle (1648-1708) pursuing Arethusa Alpheus Mountain with View of the Star orWater of Versailles Society brought together by Friends the patronage from private donors Work restored to thanks Trianon Châteaux deVersailles etde Versailles, Musée National des 1688-1693 Étienne Allegrain (1644-1736) Council RoomGrove View of the Banqueting Hall or
from Fondation du Patrimoine. Versailles Society, with support patronage from Friends the of Work restored to thanks Trianon Châteaux deVersailles etde Versailles, Musée National des 1688-1693 Jean Cotelle (1648-1708) Grove Venus with and Adonis View of the Arc detriomphe from Fondation du Patrimoine. Versailles Society, with support patronage from Friends the of Work restored to thanks Trianon Châteaux deVersailles etde Versailles, Musée National des 1688-1693 Jean Cotelle (1648-1708) asleep parterres with Zephyr and Flora View of the Marble Trianon from Fondation du Patrimoine. Versailles Society, with support patronage from Friends the of Work restored to thanks Trianon Châteaux deVersailles etde Versailles, Musée National des 1688-1693 Jean Cotelle (1648-1708) the apotheosis of Venus View of the Water Parterre with from Fondation du Patrimoine. Versailles Society, with support patronage from Friends the of Work restored thanks to Trianon Châteaux deVersailles etde Versailles, Musée National des 1688-1693 Jean Cotelle (1648-1708) toilette of Psyché Water Theatre Grove the with
39 exhibition part VI part partners arnier (detail) Jean Cotelle, gouache on paper, early 18th century, paper, on Cotelle, gouache (detail) Jean © Château de Versailles / Thomas G / Thomas de Versailles © Château
Nymphs in a palace garden, garden, a palace in Nymphs collection private 40 For several years now Radio Classique has attracted First published in the 1930s in the Lyon region, l’Ami an audience of more than one million listeners every des jardins et de la maison is aimed at all those who love day thanks to the elegance, accessibility and quality beautiful gardens and gardening. The editorial team, of its programmes. Our presenters – Ève Ruggieri, made up of specialist gardeners from the different fields Christian Morin, Laure Mézan, Jean-Michel Dhuez, of botany, horticulture, vegetable and fruit growing, give Alain Duault, Olivier Bellamy, Francis Drésel – offer practical advice and share their expertise. Since 1974, mk2 has stood up for a different kind of As General de Gaulle said, “history is the encounter an excellent selection of programmes every day, within cinema through the production and distribution of art between willpower and an event”. everybody’s reach and highlighting classical masterpieces Every month, l’Ami des jardins et de la maison includes: films. Founded by Marin Karmitz, mk2 has chosen high- and the best performers. There are also many cultural • complete dossiers on the best methods, techniques and quality cinematography through its network of cinemas, TOUTE L’HISTOIRE is a leading channel on the theme programmes, beginning with Guy Boyer’s Friday evening tips to help readers, depending on the season, its free cultural magazine TROISCOULEURS and its of history where viewers can relive the biggest conflicts show (7pm) devoted to art and music: “La Grande • 24 pages of expert advice in a removable booklet, lecture programmes, open to all. mk2 is committed and changes that have shaped the modern world. Galerie de Radio Classique” (Radio Classique’s Big • tutorials to help produce an original, natural and to sharing and making accessible all types of art and Gallery) successful garden, knowledge to as many people as possible. It is a loyal Original productions, documentaries, narratives and • a selection of the finest private gardens to visit, partner to all those involved in culture who support eye-witness accounts reveal the secrets of historical Every year we tirelessly pursue our most cherished • news and horticultural innovations… artistic creation in Paris and beyond. After having events and personalities: from artistic grand masters to mission: broadcasting classical music and culture to collaborated with several exhibitions, mk2 is pleased to American presidents, from Napoleonic conflicts to world the greatest possible number of people, providing L’Ami des jardins is also a strong, active community be associated once again with the Palace of Versailles, wars. information in a serious but relaxed manner, of enthusiasts who want to learn new techniques and helping visitors to discover the works of Jean Cotelle. highlighting the artists and new talent that give us the discover new gardens. Today, TOUTE L’HISTOIRE invites you into the world moments of happiness that are the essence of life. of 17th-century French royalty through the images of the artist Jean Cotelle in the heart of the Palace of Versailles.
TOUTE L’HISTOIRE belongs to Groupe AB, leading producer of pay-to-view television and France’s biggest independent content producer and distributor. Groupe AB produces 18 television channels and associated digital services and distributes a catalogue of more than 15,000 hours of programmes. Thanks to the variety of its publications, Connaissance des Arts provides its readers with the essential keys to better understand art from all eras, from archaeology to contemporary creation, from the art of gardens to photography, from design to architecture. As a complement to its monthly magazine (11 editions each year), Connaissance des Arts publishes 40 special editions and art books. Also present on the Internet, connaissancedesarts.com is the reference site for all national and international artistic news, with background articles, portfolios, podcasts and videos. Connaissance des Arts is now available in a digital version with an application rich in photos and videos…
Every month, Connaissance des Arts keeps its readers up to date with all the international news. Exhibitions, auctions, fairs and salons are commented on by the best journalists and experts.
42 43 practical part VII part information , (detail), Jean Cotelle, gouache on parchment, c.1678, parchment, on Cotelle, gouache , (detail), Jean Campaigns of Louis XIV Louis of Campaigns
Frontispiece from from Frontispiece department. Manuscript Library, National French Paris, de France nationale © Bibliothèque 44 practical
part VII part information
Getting to the Palace from Paris The exhibition is open to the public from 12 June to Admission to the exhibition with the Passport or Estate Palace visit: audio guides in 11 languages, – RER line C, 16 September 2018, every day except Mondays, from of Trianon ticket, the “A Year in Versailles” card, and and a version in French sign language. Prices towards Versailles Château - Rive Gauche 12pm to 6.30pm (last admissions at 5.30pm). for those eligible for free admission (under 18s, EU – SNCF trains from Gare Montparnasse, residents under the age of 26, disabled people, job Exhibition visits: 2 versions available getting here towards Versailles - Chantiers The Palace is open every day except Mondays seekers in France, etc.) Guided tours (French and English). – SNCF trains from Gare Saint - Lazare, Opening hours and on 1 May, 25 December and 1 January: towards Versailles - Rive Droite – from 9am to 6.30pm in high season, last admissions Palace ticket, includes admission to temporary Audio guides available for children from 8 years. – RETP bus line 171 from Pont de Sèvres towards at 6pm (tills close at 5.50pm). exhibitions: €18, concessions €13. Versailles Place d’Armes – from 9am to 5.30pm in low season, last admissions – A13 motorway (towards Rouen) at 5pm (tills close at 4.50pm). Exhibition ticket, fast-track ticket on sale only online Free unaccompanied visits of the Palace, the Trianon exit Versailles-Château at www.chateauversailles.fr, for the duration of the Palaces and Marie-Antoinette’s Estate, and temporary – Parking at Place d’Armes. Parking is charged, except The Trianon palaces and Marie-Antoinette’s exhibition: €18 exhibitions, except on Musical Fountains show days: for disabled people and excluding the evenings of shows estate are open every day except Mondays – for disabled people and the person accompanying from 7.30pm. and on 25 December and 1 January: Ticket for Trianon palaces and them on presentation of proof of disability.
– from 12pm to 6.30pm in high season for the Grand Marie-Antoinette’s estate : €12, concessions €8. Versailles for all – for people receiving social benefits on presentation of Getting to the Trianon Palaces Trianon and the Petit Trianon, last admissions at 6pm proof dating from a maximum of 6 months. and Marie-Antoinette’s Estate: (tills close at 5.50pm). Passport ticket (1 day) includes admission to the Palace, Information and booking: + 33 (0)1 30 83 75 05 – From Paris: A13 motorway (towards Rouen); Last admissions to the exhibition at 5.30pm. gardens, Trianon Palaces and Marie-Antoinette’s and [email protected] 2nd exit Versailles Notre - Dame. Entrance via the Saint – from 1pm to 7.30pm for the gardens and the Queen’s Estate, and to the temporary exhibitions: €20 / €27 on Anthony gate. Admission is charged and is from 7am to Hamlet (gardens emptied from 7pm). Musical Fountains show days. 7pm – from 12pm to 5. 30pm in low season, last admissions in high season and from 8am to 6pm in low season at 5pm (tills close at 4.50pm). 2-day Passport ticket includes admission for two – From the Palace: consecutive days to the Palace, gardens, Trianon Palaces Palace visit: audio guides in 11 languages, 25 minutes on foot through the gardens, Petit Trianon The Park and gardens of Versailles are open and Marie-Antoinette’s Estate, and to the temporary and a version in French sign language. and Grand Trianon stops on the little train. every day: exhibitions: €25 / €30 on – from 7am to 8.30pm in high season for the park and Musical Fountains Show days. Exhibition visits: 2 versions available from 8am (French and English)
to 8.30pm for the gardens. Free for under 18 years and under 26 years resident of Free audio guide – from 8am to 6pm in low season. the European Union, except on Musical Fountains show Audio guides available for children from 8 years. and Musical Gardens days. Admission to the park is free all year round. Admission to the gardens is free, except on Musical High season: 1 April - 31 October Fountains show and Musical Gardens days. Low season: 1 November - 31 March
Press contacts Palace of Versailles @CVersailles Hélène Dalifard, Aurélie Gevrey, Violaine Solari facebook.com/chateauversailles twitter.com/CVersailles +33 (0) 1 30 83 75 21 [email protected] presse.chateauversailles.fr Palace of Versailles Chateauversailles plus.google.com/+chateauver- instagram.com/chateauver- sailles sailles More information + 33(0)1 30 83 78 00 Souvenir photos Versailles Media chateauversailles.fr flickr.com/groups/versaillesfamille
Palace of Versailles
46 47 In partnership with
Jean Cotelle, View from the parterres of the Marble Trianon with Zephyr and Flora asleep (detail), 1688-1693, oil on canvas. © Château de Versailles, Dist. RMN-Grand Palais / © Thomas Garnier - Design: graphica