DOCSLIB.ORG

Announcement.Program.Private Classical Pascal Paris.9.10

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Announcement.Program.Private Classical Pascal Paris.9.10 “Private Classical Paris” Sponsored by Institute of Classical Architecture & Classical America Arranged by Pamela Huntington Darling Exclusive Cultural Travel Programs Sunday, September 12 – Saturday, September 18, 2010 In view of the success of the “Private Classical Paris” tour in 2008 and 2009, offering a rich variety of decorative arts and architecture, we are pleased to invite you to attend an exclusive 6-day, 6-night program of exceptional private visits and receptions with their prominent hosts and experts, to take place during the renowned international art and antiques fair, the “Biennale des Antiquaires”. During six extraordinary days, “Private Classical Paris” will offer participants exemplary, behind-the-scenes visits to sites representing the most significant examples of French classical architecture, designed by François Mansart, Louis Le Vau, Antoine Lepautre, Jules Hardouin Mansart, Jacques-Ange Gabriel, and Claude-Nicolas Ledoux; as well as outstanding private residences. Guests will enjoy private access to ambassadorial residences, to renowned French institutions, to private residences and châteaux of distinction owned by members of the French nobility and private art collectors, many inaccessible to the public, housing the highest level of décor, rare and extensive collections of artwork, lead by knowledgeable experts, as well as private receptions and dinners at remarkable residences with the proprietors. Participants will reside at the charming 3-star boutique Hôtel Saint Vincent, combining Parisian chic, modern amenities and Napoleon III style décor, located on a quiet street in the aristocratic neighborhood of Saint Germain des Pres, with prestigious boutiques nearby (www.hotelsdufaubourgsaintgermain.com ). A favorite of interior designers, Hôtel Saint Vincent offers charm, comfort and tranquility with a pleasant reception room, breakfast room, and handsomely appointed bedrooms with marble bathrooms, and attentive room service. The welcoming and highly professional staff is available 24 hours a day. In order to assure participants full enjoyment of this significant program and to recuperate from transatlantic travel, we suggest arrival a day in advance. Extra nights at the hotel can be arranged for you at negotiated rates. The program is limited to 18 participants (12 participants minimum). Reservations will be treated according to the reception date of participant registration. We look forward to welcoming you in Paris for this exclusive and memorable program! Pamela Huntington Darling -- Exclusive Cultural Travel Programs 1 Tel + 33 (0)1 45 67 62 81 – Cell + 33 (0) 6 75 86 67 75 – Email: [email protected] “Private Classical, Pascal Paris” The renown of Paris in architectural, intellectual and artistic matters began in the 12 th century when the Capetian kings made it the capital of the Kingdom of France. However, the particularly large number of Classical works of architecture in France has their origins with the influence of the Italian Renaissance in the late 15 th century. Numerous residential, civic, and religious structures built between the late 15 th century and the early 17 th century evolved a uniquely French form of Classicism that became known as the French Renaissance. This style of Classical architecture in France incorporated the greco-roman influences of the Italian Renaissance with Gothic traditions in subtle but important ways. Paris’s hôtel particuliers and the numerous chateaux surrounding the city, such as Maisons at Maisons-Laffitte, Versailles, and Vaux le Vicomte are representative of the intense and diverse influence of Classical architecture in and near the city. The garden-chateau relationship also became important during these centuries, leading to the great collaborations of architects with landscape architects, such as Louis Le Vau with André Le Nôtre. This garden-to-residence relationship can be seen in its earlier incarnations in many of the hôtels particuliers in the Marais, the Jardins Tuileries, Vaux le Vicomte, reaching its pinnacle at Versailles. By the 17 th and 18 th centuries, French Classical architecture influenced building styles both in Europe and in North America. President Thomas Jefferson used French classical architecture as a model, and famous American architects, such as Richard Morris Hunt and Louis Sullivan, studied at the École des Beaux Arts in Paris in the late 19 th Century. Tour Highlights * Private Architectural tour to the Marais with Dr. Michael Herrman, Architect, Prix de Rome For those participants arriving in Paris before Sunday morning, we offer an extra visit—a walking tour in the Marais, with architectural historian Michael Herrman. Our tour will begin with the Cour Carré of the Louvre, examining its development from the early 16 th century until its enlargement by Louis XIV, including its eastern façade by Claude Perrault that has influenced buildings throughout the world. We will examine the largest surviving fragment of Phippe Auguste’s 12 th century wall that once defined the edge of the Marais. The adjacent Hôtel de Sens, the oldest hôtel particulier in the Marais, end of the Medieval period, illustrates the pre- Classical style of Parisian 15 th -century architecture. We will visit the classical Hôtel de Sully, passing through its courtyards to enter the Place des Vosges, the heart of the aristocratic Marais. We will continue to the Hôtel Carnavalet, examining its façade and two courtyards, whose construction involved Jules-Hardouin Mansart and includes with relief work by Jean Goujon. * Private, Behind-the-Scenes Visit to Château de Maisons, architect François Mansart We will be welcomed by the Château’s director and expert guide who will lead us on a behind-the-scenes visit after closing hours. Château de Maisons in Maisons-Laffitte, designed by François Mansart, built between 1632 and 1646, was the precursor to and the inspiration of Château Vaux le Vicomte and Château de Versailles. The château remains one of the finest examples of French Classical architecture, one of the most significant buildings in the history of European architecture, and one of the most handsome buildings in the world. * Dinner Reception at the Residence of the Editor of Edward Andrew Zega & Bernd H. Dams We will welcomed for a dinner reception by Catherine Cormery, editor, at her residence in the historic Gallimard family’s hotel particulier on the Left Bank, with Andrew Zega and Bernd Dams and a private viewing of their works. We will discover watercolor masterpieces of these foremost architects and artists, their limited editions, including "An Architectural Abecedario," and “Versailles”, as well as their latest collection of porcelain. Institutions priding Zega and Dams works include, among others, the Cooper-Hewitt Museum, the New-York Historical Society, Princeton University, and the Avery Architectural Library of Columbia University and the Morgan Library. Pamela Huntington Darling -- Exclusive Cultural Travel Programs 2 Tel + 33 (0)1 45 67 62 81 – Cell + 33 (0) 6 75 86 67 75 – Email: [email protected] * Private Visit: Residence of the Ambassador of Germany, Hôtel de Beauharnais, one of the most emblematic residences in France We will be guided on a memorable visit of the Hôtel by Dr. Ulrich Leben, historian, and member of the Hôtel de Beauharnais scientific restoration committee. Anyone who has the privilege of visiting Hôtel de Beauharnais will remember the experience forever. Featured in magazine articles on historical homes of outstanding interest, it is truly one of Europe’s astounding jewels. It is exceptional for its opulence, its superbly preserved, pure Empire interior decoration, furniture and works of art that have come down to us unchanged. Hôtel de Beauharnais was purchased in 1803 by the son of Josephine, Eugene de Beauharnais, adopted by Napoleon and titled Prince of Venice and Viceroy of Italy. The Hotel de Beauharnais remains one of the only completely preserved historical residences of the period in the world. This is, indeed, an unrivaled experience. * Château de Versailles – closed to the public on this day – Behind-the-Scenes Architectural & Decorative Arts Visit with the Château’s Senior Architect Closed to the public, we will enjoy a private, behind-the-scenes visit with Arnaud Amelot, Senior Architect, Château de Versailles. Thanks to the French government, corporate and individual funding, restoration work has recently been accomplished on a major scale. We will discover the recently restored work of the three master architects of Versailles, Louis Le Vau, Jules Hardouin Mansart, and Ange-Jacques Gabriel, including the reconstruction of Louis XIV’s Royal Entrance Gate, the Royal Chapel, the Royal Opéra, created for the marriage of Louis XVI and Marie-Antoinette, reopened in 2009 after three years of restoration, the Hall of Mirrors, and the latest restored rooms of the Private Apartments of the King, including King Louis XVI’s wardrobe room and his private study with its outstanding carved wall panels. The luxurious detail using three shades of gold on carved paneling is symbolic of the extraordinary splendor of Chateau of Versailles, renowned as the “museum of the finest boiseries in the world”. We will also discover the recently restored rooms of the Queen’s Private Apartments, including the Queen’s Cabinet de la Méridienne and the Cabinet de Toilette. This will definitely be a feast for the eyes! * Dinner Reception at Private Residence with Curators of the Louvre Museum We will be welcomed
Load more

Recommended publications
  • Livret Visiteur
    Bienvenue à l’Institut de France 1 L’Institut de France 3 MISSIONS Créé en 1795, l’Institut de France a pour L’Institut de France est également mission de proposer aux cinq Académies le gardien d’un important patrimoine, — l'excellence dans le cadre des travaux académiques, préserver un cadre harmonieux pour perfectionner à commencer par le Palais du quai de Perpétuer et garantir l'accès à un patrimoine exceptionnel. les lettres, les sciences et les arts à titre Conti, bâti au XVIIe siècle, situé en plein non lucratif. cœur du Paris historique, sur les rives de la Seine, elles-mêmes inscrites Mécène, il encourage la recherche, au patrimoine mondial de l’Unesco. soutient la création et finance de Il a également la responsabilité de — et défendre les lettres, les sciences et les arts, mais aussi la recherche nombreux projets humanitaires à travers quatre bibliothèques majeures, dont Soutenir et l'engagement envers la société à travers l'action philanthropique des la remise de prix, de bourses et de la bibliothèque Mazarine, et de fondations abritées. subventions (près de 25 millions d’euros nombreuses demeures et collections distribués chaque année par le biais de qui lui ont été confiées depuis la fin du ses fondations abritées). Les appels à XIXe siècle : le château de Chantilly, candidatures sont régulièrement mis le musée Jacquemart-André, le château — en proposant, par la rencontre et la transmission des savoirs, un en ligne sur les sites de l’Institut et des de Langeais, le manoir de Kerazan, regard sur le monde au service de tous et une expertise auprès des Académies.
    [Show full text]
  • Place Saint-Michel the Place Saint-Michel Is
    Place Saint-Michel The Place Saint-Michel is simple – a triangle between two streets, uniform buildings along both, designed by the same architect, a walk of smooth cobblestone. The centerpiece is St. Michael defeating a devil; far above them are four statues symbolizing the four cardinal virtues of prudence, fortitude, temperance, and justice. This monument came to be because of the 1848 Revolution and a cholera epidemic in Paris that followed it which killed thousands. This idea of abstract concepts given human form had been popular during the Revolution, the big one, representing the kind of big virtues – like the Four Cardinal Virtues – that everyone could strive for, instead of a single human being whose actions and legacy would turn people against each other. Simultaneous with the creation of Place Saint-Michel, Napoleon III’s renovation brought the Boulevard Saint-Michel into being, and that is the next part of our walk. Facing the fountain with the river at your back, walk on Boulevard Saint-Michel, it’s the street to your left. Walk away from the river along that street. Ultimately, you’ll be turning left on Rue des Écoles, but it’ll be about five minutes to get there, and you can listen to the next track on the way. Boulevard Saint-Michel The character of the street you’re on – wide-open space lined with trees and long, harmonious buildings, plus, often, a view of some landmark in the distance – was a central part of the renovation plan, or the Haussmann plan, as it’s also known.
    [Show full text]
  • The Petite Commande of 1664: Burlesque in the Gardens of Versailles Thomasf
    The Petite Commande of 1664: Burlesque in the Gardens of Versailles ThomasF. Hedin It was Pierre Francastel who christened the most famous the west (Figs. 1, 2, both showing the expanded zone four program of sculpture in the history of Versailles: the Grande years later). We know the northern end of the axis as the Commande of 1674.1 The program consisted of twenty-four Allee d'Eau. The upper half of the zone, which is divided into statues and was planned for the Parterre d'Eau, a square two identical halves, is known to us today as the Parterre du puzzle of basins that lay on the terrace in front of the main Nord (Fig. 2). The axis terminates in a round pool, known in western facade for about ten years. The puzzle itself was the sources as "le rondeau" and sometimes "le grand ron- designed by Andre Le N6tre or Charles Le Brun, or by the deau."2 The wall in back of it takes a series of ninety-degree two artists working together, but the two dozen statues were turns as it travels along, leaving two niches in the middle and designed by Le Brun alone. They break down into six quar- another to either side (Fig. 1). The woods on the pool's tets: the Elements, the Seasons, the Parts of the Day, the Parts of southern side have four right-angled niches of their own, the World, the Temperamentsof Man, and the Poems. The balancing those in the wall. On July 17, 1664, during the Grande Commande of 1674 was not the first program of construction of the wall, Le Notre informed the king by statues in the gardens of Versailles, although it certainly was memo that he was erecting an iron gate, some seventy feet the largest and most elaborate from an iconographic point of long, in the middle of it.3 Along with his text he sent a view.
    [Show full text]
  • OF Versailles
    THE CHÂTEAU DE VErSAILLES PrESENTS science & CUrIOSITIES AT THE COUrT OF versailles AN EXHIBITION FrOM 26 OCTOBEr 2010 TO 27 FEBrUArY 2011 3 Science and Curiosities at the Court of Versailles CONTENTS IT HAPPENED AT VErSAILLES... 5 FOrEWOrD BY JEAN-JACqUES AILLAGON 7 FOrEWOrD BY BÉATrIX SAULE 9 PrESS rELEASE 11 PArT I 1 THE EXHIBITION - Floor plan 3 - Th e exhibition route by Béatrix Saule 5 - Th e exhibition’s design 21 - Multimedia in the exhibition 22 PArT II 1 ArOUND THE EXHIBITION - Online: an Internet site, and TV web, a teachers’ blog platform 3 - Publications 4 - Educational activities 10 - Symposium 12 PArT III 1 THE EXHIBITION’S PArTNErS - Sponsors 3 - Th e royal foundations’ institutional heirs 7 - Partners 14 APPENDICES 1 USEFUL INFOrMATION 3 ILLUSTrATIONS AND AUDIOVISUAL rESOUrCES 5 5 Science and Curiosities at the Court of Versailles IT HAPPENED AT VErSAILLES... DISSECTION OF AN Since then he has had a glass globe made that ELEPHANT WITH LOUIS XIV is moved by a big heated wheel warmed by holding IN ATTENDANCE the said globe in his hand... He performed several experiments, all of which were successful, before Th e dissection took place at Versailles in January conducting one in the big gallery here... it was 1681 aft er the death of an elephant from highly successful and very easy to feel... we held the Congo that the king of Portugal had given hands on the parquet fl oor, just having to make Louis XIV as a gift : “Th e Academy was ordered sure our clothes did not touch each other.” to dissect an elephant from the Versailles Mémoires du duc de Luynes Menagerie that had died; Mr.
    [Show full text]
  • The Baroque Era 1. Title 2. Anthony Van Dyke, Charles I Dismounted, Oil on Canvas, 1635 3. Diego Velázquez, King Philip IV Of
    The Baroque Era 1. Title 2. Anthony van Dyke, Charles I Dismounted, oil on canvas, 1635 3. Diego Velázquez, King Philip IV of Spain (Fraga Philip), oil on canvas, 1644 4. Charles leBrun, Apotheosis of Louis XIV, oil on canvas, 1677 5. Hyacinthe Rigaud, Portrait of Louis XIV, oil on canvas, 1701; 6. Aerial view, Palace of Versailles, Louis Le Vau and Jules Hardouin-Mansart, architects; interior design Le Vau and Hardouin-Mansart with Charles LeBrun, masonry, stone, wood, iron and gold leaf; sculpture in bronze and marble; original gardens designed by André LeNôtre, Versailles, France, begun 1669 7. Plan of Versailles and gardens 8. “Le Vau envelop,” courtyard 9. alternate view of above 10. Louis Le Vau, Jules Hardouin-Mansart, and Charles LeBrun, Hall of Mirrors, Chateau de Versailles, ca. 1680 11. Louis Le Vau, Jules Hardouin-Mansart, and Charles LeBrun, Hall of Mirrors, Chateau de Versailles, ca. 1680 (after 2007 restoration) 12. Charles LeBrun, The King Governs by Himself, from the ceiling of the Hall of Mirrors 13. Jules Hardouin-Mansart and Charles Le Brun, Salon de la Guerre, Chateau de Versailles, ca. 1680 14. Jules Hardouin-Mansart and Charles Le Brun, detail of bas relief of Louis XIV on Horseback, Salon de la Guerre, Chateau de Versailles, ca. 1680 15. Jules Hardouin-Mansart and Charles Le Brun, Salon de la Paix, Chateau de Versailles, ca. 1681-1686 16. Charles LeBrun, La Salle des Gardes de la Reine 17. Jules Hardouin-Mansart, Royal Chapel, upper level, Chateau de Versailles, 1698 18. Palace of Versailles, gardens originally designed by André LeNôtre 19.
    [Show full text]
  • WHAT Architect WHERE Notes Arrondissement 1: Louvre Built in 1632 As a Masterpiece of Late Gothic Architecture
    WHAT Architect WHERE Notes Arrondissement 1: Louvre Built in 1632 as a masterpiece of late Gothic architecture. The church’s reputation was strong enough of the time for it to be chosen as the location for a young Louis XIV to receive communion. Mozart also Church of Saint 2 Impasse Saint- chose the sanctuary as the location for his mother’s funeral. Among ** Unknown Eustace Eustache those baptised here as children were Richelieu, Jeanne-Antoinette Poisson, future Madame de Pompadour and Molière, who was also married here in the 17th century. Amazing façade. Mon-Fri (9.30am-7pm), Sat-Sun (9am-7pm) Japanese architect Tadao Ando has revealed his plans to convert Paris' Bourse de Commerce building into a museum that will host one of the world's largest contemporary art collections. Ando was commissioned to create the gallery within the heritage-listed building by French Bourse de Commerce ***** Tadao Ando businessman François Pinault, who will use the space to host his / Collection Pinault collection of contemporary artworks known as the Pinault Collection. A new 300-seat auditorium and foyer will be set beneath the main gallery. The entire cylinder will be encased by nine-metre-tall concrete walls and will span 30 metres in diameter. Opening soon The Jardin du Palais Royal is a perfect spot to sit, contemplate and picnic between boxed hedges, or shop in the trio of beautiful arcades that frame the garden: the Galerie de Valois (east), Galerie de Montpensier (west) and Galerie Beaujolais (north). However, it's the southern end of the complex, polka-dotted with sculptor Daniel Buren's Domaine National du ***** 8 Rue de Montpensier 260 black-and-white striped columns, that has become the garden's Palais-Royal signature feature.
    [Show full text]
  • Dépliant Fondation Simone Et Cino
    Une Fondation sous l’égide Simone et Cino Del Duca, de l’Institut de France une même vocation Simone Del Duca a présidé la Fondation jusqu’à sa Cino Del Duca s’installe en France en 1932 pour fuir le disparition en 2004. Élue en 1994 correspondant de régime fasciste italien. En 1934 il fonde en France les l’Académie des beaux-arts, elle désigne l’Institut de France Éditions Mondiales, puis en Italie, les maisons d’édition son légataire universel en lui confiant le soin de pérénniser Moderna et Universo. Patron de presse publiant des son action. magazines populaires Depuis 2005, la Fondation à succès, éditeur de Simone et Cino Del Duca, nombreux ouvrages, administrée par des Cino Del Duca devient représentants des cinq également producteur de académies, conformément cinéma. Mécène éclairé, aux volontés de sa très tôt il souhaite partager fondatrice, se consacre à sa réussite en créant dès favoriser la recherche dans 1952, la Bourse Del Duca les domaines scientifique, culturel et artistique, ainsi qu’au destinée à récompenser rayonnement académique, en France et à l’étranger. de jeunes auteurs. ... La Fondation est présidée par le Chancelier de l’Institut de Devenue veuve en 1967, Simone Del Duca poursuit France: Pierre Messmer jusqu’en 2006 (ci-dessus aux côtés de l’œuvre et les activités de son mari et crée à sa mémoire Simone Del Duca), puis Gabriel de Broglie. en 1975 la Fondation Simone et Cino Del Duca. Durant trente ans elle multiplie les initiatives dans ses domaines « Simone et Cino Del Duca, ces de prédilection, encourageant de nombreux écrivains, deux noms résonnent aujourd’hui penseurs, peintres et musiciens.
    [Show full text]
  • Bulletin Trimestriel 1Er Trimestre 2016 4.39 Mo
    décembre 2015 – 1er trimestre 2016 ÉDITORIAL Le Président, Marc FUMAROLI, de l’Académie française la société des amis du louvre Chers Amis du Louvre, a offert au musée Dans notre dernier Bulletin, je vous avais sous couvert du secret annoncé que notre n La Table de Breteuil, dite Table de Teschen Société se préparait à une acquisition majeure. Vous le savez désormais : il s’agissait (participation) de L’Amour essayant une de ses flèches du sculpteur français Jacques Saly (1717-1776), l’un des artistes préférés de Madame de Pompadour. Notre Conseil d’administration a voté un mécénat exceptionnel de 2.8 millions d’euros en faveur de l’acquisition de ce chef- d’œuvre emblématique du goût rocaille dont la maîtresse royale était l’inspiratrice. Cette somme correspond à plus de la moitié du prix de cette magnifique statue négociée pied à pied à 5.5 millions d’euros avec l’actuel propriétaire. Pour compléter le budget d’acquisition du Louvre, nous avons tenu à nous associer à la campagne d’appel aux dons Tous Mécènes lancée cet automne par le Musée auprès de tous les Français pour réunir 600 000 euros supplémentaires. Cette cam- pagne se poursuivra jusqu’au 14 février 2016. D’ores et déjà, je remercie tous les Amis du Louvre qui ont, à titre personnel, choisi de contribuer à financer, en plus de leur cotisation, cette acquisition patrimoniale. Au-delà de cette campagne d’acquisition, le génie de Madame de Pompadour est également célébré cet hiver au Louvre-Lens qui inaugure le 5 décembre une exposition dont Xavier Salmon, Directeur du département des Arts graphiques est le commis- saire et qui s’intitule: Dansez, embrassez qui vous voudrez.
    [Show full text]
  • Louis XIV: Art As Persuasion Supporting the Dominance of France in 17Th Century Europe
    Lindenwood University Digital Commons@Lindenwood University Student Research Papers Research, Scholarship, and Resources Fall 11-30-2010 Louis XIV: Art as Persuasion Supporting the Dominance of France in 17th Century Europe Matthew Noblett [email protected] Follow this and additional works at: https://digitalcommons.lindenwood.edu/student-research-papers Part of the Arts and Humanities Commons Recommended Citation Noblett, Matthew, "Louis XIV: Art as Persuasion Supporting the Dominance of France in 17th Century Europe" (2010). Student Research Papers. 1. https://digitalcommons.lindenwood.edu/student-research-papers/1 This Research Paper is brought to you for free and open access by the Research, Scholarship, and Resources at Digital Commons@Lindenwood University. It has been accepted for inclusion in Student Research Papers by an authorized administrator of Digital Commons@Lindenwood University. For more information, please contact [email protected]. Louis XIV: Art as Persuasion Supporting the Dominance of France in 17th Century Europe Matthew D. Noblett 11/30/10 Dr. James Hutson ART 55400.31 Lindenwood University Noblett 1 In 17th century France there was national funding combined with strict controls placed on the arts and all areas of the administration of Louis XIV. This was imperative to present the country as one of the greatest European powers of its time. It was done by creating personas of Louis as the Sun King, sole administrator of France or “'L'etat c' est moi” (I am the State) and conqueror. All were reinforced and often invented in rigid confines through state funded propaganda. His name has become synonymous with the French arts of the 17th century through significant investments in all forms of media, from poetry, music and theatre to painting, sculpture and architecture.
    [Show full text]
  • AH 275 PARIS MUSEUMS IES Abroad Paris DESCRIPTION: This
    AH 275 PARIS MUSEUMS IES Abroad Paris DESCRIPTION: This course will approach the history of French Art from a chronological perspective, from the 17th century to modern art, as seen in the museums of Paris. Our route will begin at the Louvre with Nicolas Poussin (17th century) and will finish with the avant-garde (Fauvism and Cubism). Along the way, we will visit Neo-Classicism (David), Romanticism (Géricault, Delacroix), the Realists (Courbet, Manet), the Impressionists (Monet, Renoir, Degas), and many others. Each class/visit will be devoted to a work, a historical movement, or a specific artist. Our visits will take us to different types of museums, from the most renowned to the lesser known, from the most traditional to the most original: the large, national museums (Le Louvre, Musée d’Orsay), art collectors’ former houses (Le Musée Jacquemart-Andre, le Musée Marmottan Monet), artist studios (Musée Delacroix, Musee Gustave Moreau), and places of study and production (L’Institut de France, L’ecole Nationale des Beaux-arts). In order to maintain a diverse approach and to benefit from our presence here in Paris, we will devote two classes to locations that have inspired artists. We will give priority to Impressionism, visiting Montmartre (where Renoir painted Le Bal au Moulin de la Galette), and Montparnasse, where the avant- garde found its home in 1910. CREDITS: 3 credits CONTACT HOURS: 45 hours LANGUAGE OF INSTRUCTION: French PREREQUISITES: none METHOD OF PRESENTATION: ● Visits to museums ● Note taking ● Literary texts in chronological
    [Show full text]
  • 1 David Van Zanten Mary Jane Crowe Professor in Art And
    1 David Van Zanten Fontaine.Rome.21,23,28.i.08,24.viii.,2,5,6.ix.09,5,6,8.xi.10 Mary Jane Crowe Professor in Art and Art History Northwestern University, Evanston, IL, 60208-2208, USA 847-491-8024 [email protected] LE FONDS FONTAINE A L’ART INSTITUTE A CHICAGO1 I. THE FONTAINE PURCHASE, 1927 The story of the arrival at the Chicago Art Institute of the Fontaine collection of 416 volumes – many consistently and elegantly bound in the Empire style – is recorded in a 4-page typescript there, headed “Burnham Library”. The Burnham Library itself had been founded with a bequest of $50,000 from the architect Daniel Burnham upon his death in Heidelberg in 1912 meant to be a trust fund for a “library of architecture”.2 The minutes of the Library Committee meeting of February 1, 1927, record the offer of the Fontaine library by Maggs Brothers (through their newly-founded Paris branch). A member of Burnham’s successor firm, Graham, Anderson, Probst and White, was sent to Europe to assess the collection. Upon his favorable report, the Library Committee meeting on March 11, 1927, decided to make the purchase at $4,620.00 with a loan of some $5,000.00 and to solicit contributions from the Chicago profession to retire it. The Committee’s minutes of April 19, 1927, record the arrival of the collection and the 1 It is a pleasure to acknowledge the help of Mary Woolever, Art and Architecture Archivist at the Burnham Library of the Art Institute of Chicago, and Elizabeth Oliver, graduate student in the Department of Art History, Northwestern University.
    [Show full text]
  • Symbolism and Politics: the Construction of the Louvre, 1660-1667
    Symbolism and Politics: The Construction of the Louvre, 1660-1667 by Jeanne Morgan Zarucchi The word palace has come to mean a royal residence, or an edifice of grandeur; in its origins, however, it derives from the Latin palatium, the Palatine Hill upon which Augustus established his imperial residence and erected a temple to Apollo. It is therefore fitting that in the mid-seventeenth century, the young French king hailed as the "new Augustus" should erect new symbols of deific power, undertaking construction on an unprecedented scale to celebrate the Apollonian divinity of his own reign. As the symbols of Apollo are the lyre and the bow, so too were these constructions symbolic of how artistic accomplishment could serve to manifest political power. The project to enlarge the east facade of the Louvre in the early 1660s is a well-known illustration of this form of artistic propaganda, driven by what Orest Ranum has termed "Colbert's unitary conception of politics and culture (Ranum 265)." The Louvre was also to become, however, a political symbol on several other levels, reflecting power struggles among individual artists, the rivalry between France and Italy for artistic dominance, and above all, the intent to secure the king's base of power in the early days of his personal reign. In a plan previously conceived by Cardinal Mazarin as the «grand dessin,» the Louvre was to have been enlarged, embellished, and ultimately joined to the Palais des Tuileries. The demolition of houses standing in the way began in 1657, and in 1660 Mazarin approved a new design submitted by Louis Le Vau.
    [Show full text]