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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. -
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. -
Rome Vaut Bien Un Prix. Une Élite Artistique Au Service De L'état : Les
Artl@s Bulletin Volume 8 Article 8 Issue 2 The Challenge of Caliban 2019 Rome vaut bien un prix. Une élite artistique au service de l’État : Les pensionnaires de l’Académie de France à Rome de 1666 à 1968 Annie Verger Artl@s, [email protected] Follow this and additional works at: https://docs.lib.purdue.edu/artlas Part of the History of Art, Architecture, and Archaeology Commons, and the Music Commons Recommended Citation Verger, Annie. "Rome vaut bien un prix. Une élite artistique au service de l’État : Les pensionnaires de l’Académie de France à Rome de 1666 à 1968." Artl@s Bulletin 8, no. 2 (2019): Article 8. This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. This is an Open Access journal. This means that it uses a funding model that does not charge readers or their institutions for access. Readers may freely read, download, copy, distribute, print, search, or link to the full texts of articles. This journal is covered under the CC BY-NC-ND license. Artl@s At Work Paris vaut bien un prix. Une élite artistique au service de l’État : Les pensionnaires de l’Académie de France à Rome de 1666 à 1968 Annie Verger* Résumé Le Dictionnaire biographique des pensionnaires de l’Académie de France à Rome a essentiellement pour objet le recensement du groupe des praticiens envoyés en Italie par l’État, depuis Louis XIV en 1666 jusqu’à la suppression du concours du Prix de Rome en 1968. -
Les Peintres Aux Prises Avec Le Décor. Introduction
Les peintres aux prises avec Le d´ecor.Introduction Catherine Cardinal To cite this version: Catherine Cardinal. Les peintres aux prises avec Le d´ecor.Introduction. Catherine Cardinal. Les peintres aux prises avec le d´ecor.Contraintes, innovations, solutions. De la Renaissance `a l'´epoque contemporaine, Presses universitaires Blaise-Pascal, pp.9-12, 2015, 978-2-84516-718-6. <http://pubp.univ-bpclermont.fr/public/Fiche produit.php?titre=Les HAL Id: hal-01225643 https://hal-clermont-univ.archives-ouvertes.fr/hal-01225643v2 Submitted on 18 Nov 2015 HAL is a multi-disciplinary open access L'archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destin´eeau d´ep^otet `ala diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publi´esou non, lished or not. The documents may come from ´emanant des ´etablissements d'enseignement et de teaching and research institutions in France or recherche fran¸caisou ´etrangers,des laboratoires abroad, or from public or private research centers. publics ou priv´es. S’aventurer dans la réalisation d’un décor intérieur ou extérieur exige des peintres de Sous la direction de s’adapter aux données du lieu et de répondre souvent aux obligations formulées par Catherine Cardinal les commanditaires. De ce faisceau de contraintes surgissent des solutions et parfois des innovations. Dans le présent volume, des historiens de l’art engagent des ques- tionnements sur les difficultés rencontrées par les peintres de l’époque moderne et les artistes contemporains aux prises avec le décor. Après une introduction mettant en lumière l’histoire de l’expression “art décoratif” et celle de la notion d’“arts décoratifs”, le sujet est abordé à travers l’examen de réalisations précises comme le Grand Palais ou le Pont Neuf empaqueté, l’étude de peintres-décorateurs tels Jacques de Lajoüe, l’observation de mises en images suggestives, par exemple la peinture d’architectures, la figuration du temps. -
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. -
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. -
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. -
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. -
The Portrait of the Sovereign
The Portrait of the Sovereign Painting as Hegemonic Practice in the Work and Discourse of Charles Le Brun and the Académie Royale de Peinture. Student: Nuno Atalaia Student Number: 1330004 Specialization: ResMA Arts and Culture Supervisor: Prof. dr. Frans-Willem Korsten Second Reader: Prof. dr.Yasco Horsman 1 Table of Contents Introduction ........................................................................................................................................ 3 Painting as hegemonic practice ...................................................................................................... 4 Expanding discourse ........................................................................................................................ 6 Absolutism and Social Collaboration ............................................................................................. 11 The king’s portrait as icon ............................................................................................................. 14 Overview ....................................................................................................................................... 17 Chapter I – Hegemony and Academic Strategy................................................................................. 19 Academic ambitions ...................................................................................................................... 21 Academic discourse ...................................................................................................................... -
Pour L'égal Accès De Tous À La Culture Présentation
LE CHÂTEAU DE versailles pour l'égal accès de tous à la culture présentation L’établissement public du château, du musée et du domaine national de Versailles souhaite permettre aux publics peu familiers des musées de découvrir son site et ses collections en développant des activités et visites adaptées. Travailleurs sociaux, professionnels ou bénévoles, vous êtes les « relais culturels » du château de Versailles. Cette brochure vous donnera les clés pour comprendre l’histoire des lieux mais aussi son évolution au fil des siècles et ainsi préparer au mieux la venue de ces publics dans le cadre de multiples offres. sommaire repères historiques et artistiques construction du château de Versailles 5 Les rois et les reines 9 lieux emblématiques 13 Les jardins 19 Les châteaux de Trianon et le domaine de Marie-Antoinette 27 lexique 34 sommaire Versailles en perpétuelle évolution Aux lendemains de la révolution 37 versailles aujourd'hui 39 Quelques travaux de restauration récents 41 visites et activités pour les publics éloignés des musées 45 Fiche pratique 48 partie I repères historiques et artistiques 7 La construction du château de Versailles Chronologie de la construction du château de Versailles et de l'installation de la cour à Versailles En 1623, un pavillon de chasse est construit pour accueillir le roi Louis XIII et ses compagnons lorsqu’ils viennent chasser sur les terres à gibier (renards, cerfs…) de Versailles. Ce logis comprend l’appartement du roi à l’étage et celui du capitaine des gardes au rez-de-chaussée. Il est précédé de deux avancées formant les communs : au nord les cuisines, au sud le garde-meuble et les commodités. -
No. 209 Frédérique Lemerle, Le Voyage Architectural En
H-France Review Volume 19 (2019) Page 1 H-France Review Vol. 19 (October 2019), No. 209 Frédérique Lemerle, Le voyage architectural en France (XVe-XVIIe siècles): Antiquité et Modernité. Turnhout, Belgium: Brepols Publishers, 2018. 287 pp. 29 b/w ill., 8 color ill., bibliography, and index. €35.00. (pb). ISBN 978-2-503-58128-6. Review by Jason Nguyen, Getty Research Institute. Frédérique Lemerle’s book contributes to the growing literature on travel and mobility in early modern Europe. The majority of recent studies on this topic have focused on the city of Rome, which attracted countless pilgrims, politicians, humanists, and artists during the period, or the process of colonization and the development of international trade, for which explorers (often with artists and scientists in tow) left Europe in the pursuit of territorial conquest and financial gain. Instead, Lemerle casts an eye to her native France, a land rich in Gallo-Roman antiquities, medieval monuments, and modern architectural curiosities. In her detailed study, she considers how European travelers perceived and wrote about the French-built environment during the late fifteenth, sixteenth, and early seventeenth centuries (from the reign of Louis XI to the Fronde). Lemerle is therefore most interested in the mobility of people (as opposed to things). In this regard, her study eschews the materialist and object-oriented approaches of much recent scholarship in art history in favor of a more anthropological method that focuses on the human experience. In constructing this story, she relies on textual sources such as guidebooks, travel logs, and memoirs as well as printed illustrated compendiums, especially Jacques Androuet du Cerceau’s Les plus excellents bastiments de France (1576-79) and Caspar Merian’s Topographia Galliæ (1655). -
DESSINS TABLEAUX ANCIENS Vendredi 16 Décembre 2011 À 14H
DESSINS TABLEAUX ANCIENS Vendredi 16 décembre 2011 à 14h Hôtel Drouot, salles 1 et 7 9, rue Drouot 75009 Paris Tél. : + 33 (0)1 48 00 20 01 EXPERTS Dessins Cabinet de Bayser 69, rue Sainte-Anne 75002 Paris Tél. : +33 (0)1 47 03 49 87 [email protected] Tableaux anciens Cabinet Éric Turquin 69, rue Sainte-Anne 75002 Paris Tel : +33 (0)1 47 03 48 78 Fax : +33 (0)1 42 60 59 32 www.turquin.fr [email protected] [email protected] Expositions partielles Cabinet de Bayser Jusqu’au mardi 13 décembre 2011 De 14h30 à 18h30 du lundi au vendredi Cabinet Éric Turquin Jusqu’au mardi 13 décembre 2011 De 9h à 19h du lundi au vendredi De 11h à 17h le samedi Exposition publique Hôtel Drouot, salles 1 et 7 Jeudi 15 décembre 2011 de 11h à 18h Vendredi 16 décembre de 11h à 12h Renseignements chez Piasa Émilie Grandin Tel : +33 (0)1 53 34 10 15 [email protected] 1 École italienne du XVIe siècle, entourage de Francesco SALVIATI (1510- 1563) L’Assemblée des dieux Plume et encre brune, lavis brun et rehauts de gouache blanche 27,5 x 19,5 cm (Papier bruni) 1 000 / 1 200 € 2 Atelier de Paolo VÉRONÈSE (1528-1588) Saint Jérôme Crayon noir, rehaut de gouache blanche 29,5 x 17 cm Annoté sur le montage « Étude pour le St Jérôme du Louvre » en bas au centre et « piqué pour un report » en bas à droite (Dessin doublé, piqué en vue d’un report ; pliures et déchirures, taches, épidermures) Notre feuille est à rapprocher du tableau de Paolo Véronèse, Saint Jérôme dans le désert, conservé à l’église de San Pietro Martire à Murano.