Category: Applied Arts

A walk to the Bastille on Mayday via the Marais district

 

Le Palais des Tournelles

The Marais area is situated between the 3rd and 4th arrondissements of Paris. Spared by the great Haussmannian works in the 19th century, it is above all an area of ​​exceptional architecture and there remain many magnificent manors built during the 17th century, now mainly housing museums. Originally settled on a vast marshy area, (the name Marais means “Marsh”), the district had its heyday in the early 17th century when King Henry IV decided to build a sublime place dedicated to stroll: la Place des Vosges (inaugurated in 1612).

The hôtel des Tournelles is a now-demolished collection of buildings from the 14th century onwards north of place des Vosges. It was named after its many ‘tournelles’ or little towers.[1][2]

It was owned by the kings of France for a long period of time, though they did not often live there. Henry II of France died there in 1559 of wounds he received in a joust. After his death, his widow Catherine de Médici, abandoned the building, by then quite derelict and old-fashioned. It was turned into a gunpowder magazine, then sold to finance the construction of the Tuileries, designed and developed to suit the queen’s Italian style.

Contents

Site and description

The district around the Hôtel des Tournelles in 1550

At the beginning of the 15th century, the district around the hôtel formed a huge rectangle, marked out by the rue Saint-Antoine, rue des Tournelles, rue de Turenne and rue Saint-Gilles, a rectangle broken from within by the park of the royal estate. During the English occupation of Paris (1420-1436), John of Lancaster, Duke of Bedford, extended the district by purchasing eight and a half acres from the nuns of Sainte-Catherine for 200 livres 16 sous, thus extending the property to the fortified wall of Paris, which was then situated on what is now known as the boulevard Richard Lenoir.

This extension was annulled in 1437 after the English left. The main entrance to the hôtel was at the bottom of a cul-de-sac currently known as Impasse Guéménée (fr). The hôtel was said to be able to accommodate 6,000 people.

Tournelle gate to St. Nicolas des Champs

Like the Hôtel Saint-Pol, the hôtel des Tournelles was a collection of buildings spread over an estate of more than 20 acres (8.1 ha), including twenty chapels, several pleasure grounds, ovens and twelve galleries including the Duke of Bedford’s famous galerie des courges (so-called due to the painted green squash or courges on its walls. Under its tiled roof the Duke’s arms, devices and heraldry were displayed). It also included a maze called ‘Dedalus’, two parks planted with trees, six kitchen gardens and a ploughed field. The council chamber was notable for the magnificence of its decoration. Three other rooms bore the names salle des Écossais (room of the Scots), salle de brique (brick room) and salle pavée (paved room).

One part of the hôtel des Tournelles, named Logis du Roi, had an entrance decorated with the French coat of arms, painted by Jean de Boulogne, known as Jean de Paris. In 1464, Louis XI built a gallery there which connected this house to the Hôtel-Neuf of Madame d’Étampes, across the rue Saint-Antoine. He also built an observatory for his doctor, Jacques Coitier. Menageries based on those at the hôtel Saint-Paul were later added to house some of the animals previously held at the hôtel Saint-Paul. New specimens were imported from Africa, such as lions, giving the enclosures the name of hôtel des lions du Roi.

No traces remain of the hôtel besides a copy of one of its gates, which forms the south gate of the église Saint-Nicolas-des-Champs, and some cellars buried below buildings in the district.

History

Charles VI

At the beginning of the 14th century, the building that became the Hôtel des Tournelles was merely a house facing the hôtel Saint-Pol. Pierre d’Orgemont, seigneur de Chantilly and chancellor of France and the Dauphiné under Charles VI, or perhaps his eldest son Pierre, rebuilt it in 1388. It was bequeathed to the younger Pierre in 1387. This house may have formerly been the property of Jean d’Orgemont, the presumed father of the elder Pierre.[3][4] On 19 March 1387 Pierre d’Orgemont divided his lands among his ten children, leaving the maison des Tournelles to his eldest son Pierre, bishop of Paris, who was already living there.[5] After his father’s death in 1389, the bishop sold the house on 16 May 1402 for 140,000 gold écus, to the duc de Berry, brother of Charles V. In 1404 the duc de Berry gave it to his nephew Louis, the duc d’Orléans and the younger brother of Charles VI, in exchange for the hôtel de Gixé on rue de Jouy. The duc d’Orléans was assassinated on 23 November 1407 and the hôtel passed to his heirs, becoming the property of Charles VI, who lived there from 1417 onwards. The house took the name Maison royale des Tournelles.

Louis XII

Thanks to the Treaty of Troyes, the English entered Paris on 18 November 1420. After Charles VI‘s death on 22 October 1422 in Paris, the hôtel was seized and became the primary residence of John of Lancaster, the Duke of Bedford, younger brother of Henry V of England and regent for the kingdom of France until his nephew Henry VI came of age. In 1436, after the English left Paris, Charles VII gave the hôtel to his Orléans cousins. When John died in 1467, the property passed to his widow, Marguerite, Duchess of Rohan. In 1486 Marguerite left the buildings to her son Charles of Orléans, father of Francis I of France. It thus became a royal residence once again. In 1563 it was still called the “hôtel des Tournelles et d’Angoulème”. It thus passed to John of Orléans, count of Angoulême, and was for a time called the hôtel d’Angoulême (not to be confused with the later Hôtel d’Angoulême Lamoignon).

Different kings of this era stayed for short or long periods at the hôtel – Louis XI made a few brief stays there:

Fleeing his coronation festivities,[clarification needed] the new king took refuge there on Tuesday 1 September 1461 after dinner[7] but left for Tours by 25 September.

Nor did Louis’ successors Charles VIII of France and Louis XII of France stay there much, though the latter did die there on 1 January 1515. Francis I of France did not live there, preferring the château de Fontainebleau, the Louvre and the castles on the River Loire. The Hôtel des Tournelles was used as a residence by his mother Louise of Savoy then by his mistress Anne de Pisseleu, a tradition repeated by Henry II of France when he made it the residence of Diane de Poitiers. In 1524 the magician Cornélius Agrippa lived there under the name Agrippa de Nettesheim, as doctor and astrologer to Louise de Savoie, to whom he made dead and living people appear.[citation needed]

Henry II on his deathbed at the hôtel des Tournelles

The hôtel saw several lavish and unusual festivals, such as the “danse macabre” on 23 August 1451 before Charles, Duke of Orléans. Henry II celebrated his coronation there in 1547 and then the signing of the Treaties of Cateau-Cambrésis in 1559. The last festival held there was also in 1559, to mark the double marriage of Élisabeth de France to Philip II of Spain and of the king’s sister Marguerite de France to the duke of Savoy. On this occasion, a tournament was organised on 29 June on rue Saint-Antoine, the widest street in Paris at the time and thus known as the La Grant rue St Anthoine, with the same dimensions as in the present day. During a joust in front of the hôtel de Sully (level with what is now number 62), Henry II was seriously wounded by an accidental lance thrust by Gabriel de Lorges, count of Montgomery, captain of the king’s Scottish guard. Moved to the hôtel des Tournelles, the king died there on 10 July 1559 in terrible agony, despite attempts to save him by both the famous surgeon Ambroise Paré and the surgeon to the king of Spain, Andreas Vesalius.

Catherine de Médici, an Italian princess who had grown up in Roman palaces, disliked the Hôtel des Tournelles’s medieval appearance and took Henry’s death as a pretext to sell it off. Gaining total power as regent to her young sons, the heirs of Henry, she turned the property into an arsenal, then had it closed and demolished. On 28 January 1563, in the name of her son Charles IX of France, she issued letters patent ordering the demolition.[8] This took place in stages and financed her major works on the more modern royal residences in Paris, particularly on the Madrid and the Tuileries. Some of the materials from the old hôtel were reused in the construction of the palace. The stables were reused to create the important Marché aux chevaux, horse market, where two thousand horses were sold every Saturday.

Certain parcels of land from the Hôtel’s estate were sold off, though a large estate remained and was used in military training. In January 1589 the estate was used to exercise the mercenaries charged with defending Paris against Henry IV of France. It also became a traditional site for bloody duels – on 27 April 1578, at 5 am, three favourites of Henry III of France beat three favourites of the duke of Guise in a duel there, with all six men ending up killed or seriously wounded.

Henry IV

In August 1603, Henry IV tried to re-use part of the Hôtel’s buildings to create a silk, gold and silver factory, bringing in 200 Italian artisans for this purpose, but the attempt failed. Finally, on 4 March 1604, he issued an edict instructing his minister Sully to measure out the site. He donated a parcel of 6,000 toises (yards) to his main noblemen, who built pavilions there, on the condition that they stuck to the layout, materials and main dimensions laid down by the architects Androuet du Cerceau and Claude Chastillon. On 29 March 1605 Henry wrote to Sully:

Thus the place Royale, later known as the place des Vosges, was born.

References

  1. J-A Dulaure, Histoire de Paris, Gabriel Roux, Paris, 1853, p. 189
  2. Le Magasin Pittoresque, 1851, p.96
  3. Le journal des Sçavans, 1913, pp. 186–188
  4. Léon Mirot (1914). “Les d’Orgemont”. Journal des savants (in French). Berger Élie. pp. 186–188 – via Persée.
  5. “Partage des biens de Pierre d’Orgemont” [Sharing of the assets of Pierre d’Orgemont]. Bulletin de la Société de l’histoire de Paris (in French): 130–135. 1887.
  6. H. Champion, Le journal d’un Bourgeois de Paris, 1881, p. 360
  7. Paul Murray Kendall, Louis XI, Arthème Fayard, 1974, p. 110
  8. Archives du royaume, section domaniale, série 9, N°1234
  9. Mon amy, ceste-cy sera pour vous prier de vous souvenir de ce dont nous parlasmes dernièrement ensemble, de cette place que je veux que l’on fasse devant le logis qui se fait au marché aux chevaux pour les manufactures, afin que si vous n’y avez esté vous alliez pour la faire marquer: car baillant le reste des autres places a cens et rente pour bastir, c’est sans doute qu’elles le seront incontinent et je vous prie de m’en donner les nouvelles.

Bibliography

  • Jacques Hillairet, Connaissance du vieux Paris, Editions Princesse, 1956, p. 28
  • F. Lazare, Dictionnaire administratif et historique des rues de Paris et de ses monuments, F. Lazare, 1844/1849, pp. 600–602
  • J-A Dulaure, Histoire de Paris, Gabriel Roux, 1853, p. 189
  • Gilette Ziegler, Histoire secrète de Paris, Stock, 1967, p. 69
  • Le Magasin Pittoresque, 1851, pp. 95–96
  • Le Magasin Pittoresque, 1907, pp. 332–334
  • G. Kugelman, Les rues de Paris, Louis Lurine, 1851
  • Giorgo Perrini, Paris, deux mille ans pour un joyau, Jean de Bonnot, 1992
  • A walk to the Bastille via the Marais district begins from behind the Pompidou Centre.
  • Marais district traders
  • Marais district boulangerie
  • Famous falafel queues
  • One of several Jewish Memorials in the Marais
  • One of several Jewish Memorials in the Marais
  • Bibliothèque Historique de la Ville de Paris (BHVP)
  • The famous Amorino icecreameries
  • Place des Vosges, the oldest planned town square in Paris
  • Place des Vosges, the oldest planned town square in Paris
  • Place des Vosges, Statue - Louis XIII
  • Place des Vosges
  • Approaching the Bastille on Mayday 2018 - year of the 50th anniversary of the famous student strikes Paris 1968.
  • Approaching the Bastille on Mayday 2018 - year of the 50th anniversary of the famous student strikes Paris 1968.
  • The former church of the Convent de la Visitation Sainte-Marie, now the Temple du Marais (1632–34) by François Mansart.
  • The July Column in the Place de la Bastille (1831–40) by Joseph-Louis Duc.
  • Bastille on Mayday 2018 - year of the 50th anniversary of the famous student strikes Paris 1968 - a smoky BBQ.
  • Paris real estate ..
  • A walk back towards the Seine.
  • A walk back towards the Seine.
  • Remnants of the original Bastille, stormed on the 14th July 1789 marking the commencement of the 1789 revolution.
  • La Seine.
  • Houses at 13-15 rue Francois-Miron, 4th arrondissement (16th-17th centuries)
  • Houses at 13-15 rue Francois-Miron, 4th arrondissement (16th-17th centuries)
  • The Hôtel de Ville de Paris has been the seat of the Paris City Council since 1357.
  • The current building, with a neo-renaissance style, was built by architects Théodore Ballu and Edouard Deperthes on the site of the former Hôtel de Ville.
  • The current building is on the site of the former Hôtel de Ville which burnt down during the Paris Commune in 1871.
  • Mayday march moves through the 4th arrondissement from the Bastille.
  • Tour Saint-Jacques is all that remains of the former 16th-century Church of Saint-Jacques-de-la-Boucherie ("Saint James of the butchery"), which was demolished in 1797, during the French Revolution, leaving only the tower.[2] What remains of the destroyed church of St. Jacques La Boucherie is now considered a national historic landmark.
  • The original was demolished in 1797, during the French Revolution, leaving only the tower.
  • What remains of the destroyed church of St. Jacques La Boucherie is now considered a national historic landmark.

 

 

 

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1er Arrondissement de Paris

 

Musée de l’Orangerie

Jardin des Tuileries, Place de la Concorde, Saint-Germain-l’Auxerrois

 

The 1st arrondissement of Paris is one of the 20 arrondissements (administrative districts) of the capital city of France. Situated principally on the right bank of the River Seine, it also includes the west end of the Île de la Cité. The arrondissement is one of the oldest in Paris, the Île de la Cité having been the heart of the city of Lutetia, conquered by the Romans in 52 BC, while some parts on the right bank (including Les Halles) date back to the early Middle Ages. It is the least populated of the city’s arrondissements and one of the smallest by area, a significant part of which is occupied by the Louvre Museum and the Tuileries Gardens. Much of the remainder of the arrondissement is dedicated to business and administration.

 

Quartiers

Each of the 20 Paris arrondissements is divided into four quarters (quartiers). The 1st Arrondissement is comprised of four quartiers as follows:

 

– Quartier Saint-Germain-l’Auxerrois

 

From Planet Bpm : The Saint-Germain-l’Auxerrois district is the heart of the French capital. It spreads from the western tip of Île de la Cité to the Jardin des Tuileries, the biggest, oldest garden in Paris. Fluctuat nec mergitur. (“She is battered by the waves, but does not sink”) was the motto of the boatmen’s guild which had its headquarters here during the reign of Hugh Capet, and the phrase subsequently became the city’s own motto.

Saint-Germain-l’Auxerrois surrounds the Louvre, whose buildings house a significant portion of French history. Originally built around 1190 by Philip II, ‘Augustus’, as a fortress to contain royal treasure before the monarch left to join the Crusades, the Louvre is now devoted entirely to culture, displaying Western art from the Middle Ages to 1848, treasures of Antiquity and, since 2005, Islamic art. The Church of Saint-Germain-l’Auxerrois, after which the district is named, adjoins the Louvre and can be visited outside service times. louvre-1209283_640The grounds of the Jardin des Tuileries host three major Paris museums: the Musée de l’Orangerie, devoted to Monet’s Nymphéas and the Jean Walter and Paul Guillaume collections, the Musée du Jeu de Paume, which exhibits contemporary art and photography, and the Musée des Arts Décoratifs with its significant fashion and textiles collection as well as a more recent section devoted to advertising.

Île de la Cité in the eastern part of the district also has some emblematic historical buildings such as the Conciergerie, the first royal residence in the city and later a forbidding prison under the Terror. It is a stone’s throw from Sainte-Chapelle, a masterpiece of the Gothic style with richly hued stained glass windows built by St Louis within the Palais de la Cité, now the Palais de Justice law courts.

 

– Quartier Les Halles

History

Design of Les Halles in 1863, By Victor Baltard.[5]

View of Les Halles from Saint-Eustache in 1870

Paris – Les Halles

The wholesale market

Les Halles was the traditional central market of Paris. In 1183, King Philippe II Auguste enlarged the marketplace in Paris and built a shelter for the merchants, who came from all over to sell their wares. The church of Saint-Eustache was constructed in the 16th century. The circular Halle aux Blés (Corn Exchange), designed by Nicolas Le Camus de Mézières, was built between 1763 and 1769 at the west end of Les Halles. Its circular central court was later covered with a dome, and it was converted into the Bourse de Commerce in 1889.[6] In the 1850s, Victor Baltard designed the famous glass and iron buildings, Les Halles, which would last until the 1970s. Les Halles was known as the “Belly of Paris”, as it was called by Émile Zola in his novel Le Ventre de Paris, which is set in the busy marketplace of the 19th century.

Major conversion

Rue Pierre Lescot outside the Forum des Halles

Unable to compete in the new market economy and in need of massive repairs, the colourful ambience once associated with the bustling area of merchant stalls disappeared in 1971, when Les Halles was dismantled; the wholesale market was relocated to the suburb of Rungis. Two of the glass and cast iron market pavilions were dismantled and re-erected elsewhere; one in the Paris suburb of Nogent-sur-Marne, the other in Yokohama, Japan.[6]

The site was to become the point of convergence of the RER, a network of new express underground lines which was completed in the 1960s. Three lines leading out of the city to the south, east and west were to be extended and connected in a new underground station. For several years, the site of the markets was an enormous open pit, nicknamed “le trou des Halles” (trou = hole), regarded as an eyesore at the foot of the historic church of Saint-Eustache. Construction was completed in 1977 on Châtelet-Les-Halles, Paris’s new urban railway hub. The Forum des Halles, a partially underground multiple story commercial and shopping center, opened at the east end of the site in 1979 and remains there today. A public garden covering four hectares opened in 1986.[6] Many of the surrounding streets were pedestrianized.

Paris Les Halles: an urban transit hub to redevelop

Underground rail system in Châtelet-Les Halles

Gare de Châtelet – Les Halles is Paris’s most used rail station, serving 750,000 travelers on an average weekday. The buildings and their surroundings have been criticized for their design. In 2002 Mayor Bertrand Delanoë announced that the City of Paris would begin public consultations regarding the remodeling of the area, calling Les Halles “a soulless, architecturally bombastic concrete jungle”.[7][8]

A design competition for the Forum and gardens was held, with entries from Jean Nouvel, Winy Maas, David Mangin, and Rem Koolhaas. Mangin’s design for the gardens, which proposed replacing the landscaped mounds and paths of the 1980s design with a simplified pattern of east-west pedestrian promenades and a large central lawn, was selected. The plan also includes extending the pedestrianized area further east to include all the streets bordering the gardens. Another competition was held for the redesign of the Forum. Ten teams submitted plans, and the proposal by Patrick Berger and Jacques Anziutti was selected in 2007. Their design includes a large undulating glass canopy which will cover the redesigned Forum.[8] STIF and RATP began plans for the remodeling of the Châtelet-Les-Halles station in 2007, and the following year Berger and Anziutti were awarded a contract for redesign of the station.

The station redesign includes new entrances on Rue Berger, Rue Rambuteau, and Place Marguerite de Navarre, an expanded RER concourse, and improved pedestrian circulation. Construction began in 2010 on a project which includes the gardens, Forum, and station, and is scheduled to continue through 2016. The clients are the City of Paris, RATP, which operates the Paris Metro, and La Société Civile du Forum des Halles de Paris, which operates the Forum.[6]

In film

Part of the actual demolition of the site is featured in the 1974 film Touche pas à la femme blanche (Don’t Touch the White Woman!), which iconoclastically restages General Custer‘s ‘last stand’ in a distinctly French context in and around the area.

In 1977, Roberto Rossellini made a 54-minute documentary film that testified to the public’s response to the demolition of Les Halles and the construction of Centre Georges Pompidou. “The result was a sceptical vision rather than a pure celebration.”[9]

The open-air market and Baltard’s pavilions were digitally reconstructed for the 2004 film Un long dimanche de fiançailles (A Very Long Engagement), which was set after the First World War.

 

– Quartier Palais-Royal (Royal Palace District)

image illustrating Paris

Formed for the first time at the time of the French Revolution , the district of Palais-Royal was formed of four districts :

In 1790 this district takes the revolutionary name of section of the Mountain .

By prefectural decree of , the section of the Mountain, now section of the Butte-des-Moulins , which was located in the former 2nd arrondissement of Paris takes the name of district of the Palais Royal .
Its limits are then:

Starting from Place Vendôme and following the streets of Neuve-des-Petits-Champs , Neuve-des-Bons-Enfants and Saint-Honoré to Place Vendôme.

The law of June 16, 1859 assigns this administrative district to the 1st arrondissement , with the following limits:

A line starting from the rue de Rivoli, and following the axis of the streets of Dauphin and Neuve-Saint-Roch, Neuve-des-Petits-Champs, the Place des Victoires, the streets of Croix-des-Petits-Champs, Marengo, and Rivoli to the point of departure.

Situation and limits

The administrative districts of the 1st arrondissement.

The district of the Palais-Royal is formed of a rectangle, limited to the West by the street Saint-Roch, to the East by the streets of Marengo and Croix-des-Petits-Champs, to the North by the street of Little Champs, and to the South by the Rue de Rivoli.

In the heart of the 1st district, the district is between the neighborhoods of Place-Vendôme in the West, Les Halles in the East, Saint-Germain-l’Auxerrois in the South, Vivienne, in the 2nd district, in the North.

The two main North-South axes are Rue de Richelieu in the west of the Jardin du Palais Royal and Rue Croix-des-Petits-Champs in the East. The garden being crossed by no way, besides the lanes that limit it, only rue Saint-Honoré crosses the neighborhood from side to side in the east-west direction. The Haussmannian breakthrough that is the Avenue de l’Opera cuts the grid drawn in the seventeenth century oblique. The rue Coquillière, which connects the district Les Halles was pierced in the twelfth century at the time of the construction of the enclosure of Philippe Auguste; it is the oldest way of the district.

 

Main buildings

The district is organized around the eponymous Royal Palace and its garden , open to the public.

Administration

Private Hotels

Religious life

Tourism

Theaters

Library

Cafes, restaurants, cabarets, bars

Closed house (closed)

Covered passageways

Along the Garden of the Palais-Royal

Clockwise:

Access to the Palais Royal Garden

Clockwise:

Second crown around the Jardin du Palais-Royal

Clockwise:

Fountains

Public art

In the subway :

Famous businesses

 

– Quartier Place Vendôme.

The section of the Place Vendôme was created in 1790, administrative district which became in 1792 the section of the Spades then in 1795 the area of ​​the Place-Vendôme, located then in the 1st district of Paris whose limits started from the place Vendôme and following on the left, the streets of Neuve-des-Petits-Champs, Louis-le-Grand, Chaussée-d’Antin, Saint-Lazare, Arcade, Madeleine, Faubourg-Saint-Honoré and Saint-Honoré. ‘in the Place Vendôme 1 .

A new administrative district is created by the imperial decree of November 1 , 1859, whose annexed map defines the district as: “[Quartier] Place Vendome [sic] . A line starting from the rue de Rivoli and following the axis of the streets of [sic] Saint-Florentin, Richepance and Duphot. New-Capucines streets, Neuve-des-Petits-Champs. Neuve-Saint-Roch, of the Dauphin. And from Rivoli to the point of departure 2 .“

 

 

François Mansart

 

François Mansart,
detail of a double portrait of Mansart and Claude Perrault,

 

François Mansart (23 January 1598 – 23 September 1666) was a French architect credited with introducing classicism into Baroque architecture of France. The Encyclopædia Britannica cites him as the most accomplished of 17th-century French architects whose works “are renowned for their high degree of refinement, subtlety, and elegance”.

Mansart, as he is generally known, made extensive use of a four-sided, double slope gambrel roof punctuated with windows on the steeper lower slope, creating additional habitable space in the garrets that ultimately became named after him—the mansard roof.
  • Buildings : Château de Balleroy, Temple du Marais, Château de Maisons, Church of the Val-de-Grâce
  • Projects: Château de Blois
  • Design : plans to redesign the Louvre and the royal mausoleum at Saint-Denis

    Career

    François Mansart was born to a master carpenter in Paris. He was not trained as an architect; his relatives helped train him in as a stonemason and a sculptor. He is thought to have learned the skills of architect in the studio of Salomon de Brosse, the most popular architect of Henry IV‘s reign.

    Mansart was highly recognized from the 1620s onward for his style and skill as an architect, but he was viewed as a stubborn and difficult perfectionist, tearing down his structures in order to start building them over again. Only the richest could afford to have him work for them, as Mansart’s constructions cost “more money than the Great Turk himself possesses”.

    The only surviving example of his early work is the Château de Balleroy, commissioned by a chancellor to Gaston, Duke of Orléans, and started in 1626. The duke himself was so pleased with the result that he invited Mansart to renovate his Château de Blois (1635). The architect intended to rebuild this former royal residence completely, but his design was stymied and only the north wing was reconstructed to Mansart’s design, cleverly using classical orders. In 1632, Mansart designed the Church of St. Mary of the Angels using the Pantheon as an inspiration.

    Most of Mansart’s buildings were subsequently reconstructed or demolished. The best preserved example of his mature style is the Château de Maisons, which uniquely retains the original interior decoration, including a magnificent staircase. The structure is strictly symmetrical, with much attention given to relief. It is thought to have heralded and inspired the 18th-century Neoclassicism.

    In the 1640s, Mansart worked on the convent and church of the Val-de-Grâce in Paris, a much coveted commission from Anne of Austria. His alleged profligacy led to his being replaced with a more tractable architect, who basically followed Mansart’s design.

    In the 1650s, Mansart was targeted by political enemies of the prime minister Cardinal Mazarin, for whom Mansart frequently worked. In 1651, they published “La Mansarade”, a pamphlet accusing the architect of wild extravagance and machinations.

    After Louis XIV‘s accession to the throne, Mansart lost many of his commissions to other architects. His designs for the remodeling of Louvre and for the royal mausoleum at Saint-Denis were never executed, in the case of the Louvre because he would not submit detailed plans. Some of his plans were subsequently reused by his grandnephew, Jules Hardouin Mansart. Mansart died in Paris in 1666.

The Temple du Marais, sometimes known as the Temple Sainte-Marie, or historically, as the Church of Sainte Marie de la Visitation, is a Protestant church located in the 4th arrondissement of Paris, in the district of Le Marais at 17 Rue Saint-Antoine. It was originally built as a Roman Catholic convent by the Order of the Visitation of Holy Mary, whose sisters were commonly called the Visitandines. The church was closed in the French Revolution and later given to a Protestant congregation which continues its ministry to the present. The closest métro station is Bastille

 

From Wikipedia:

 

4ème Arrondissement de Paris

Vaugondy’s map of Paris (4e arrondissement) – 1760

 

The 4th arrondissement of Paris is located on the right bank of the Seine . It is bordered on the west by the 1st arrondissement , on the north by the 3rd arrondissement , on the east by the 11th and 12th arrondissements and on the south by the Seine and the 5th arrondissement . The eastern part of Île de la Cité and Île Saint – Louis are also part of the 4th arrondissement. Île Saint-Louis is the result of the union in the Middle Ages of Île Notre-Dame and Île aux Vaches. According to the General code of local authorities, it also bears the name of “arrondissement of the Hôtel-de-Ville” but this name is rarely used in the daily life.

The first dwellings on the Ile de la Cité may date from the Gallic period. In Roman times, Île de la Cité is connected to both banks by bridges located on the site of the current Little Bridge and Notre Dame Bridge . The route of Rue Saint-Martin corresponds to that of the main Roman road.

The extension of the houses on the right bank dates back to the fifth century with the construction of the sanctuary of St. Gervais. In the 9th century, Saint-Gervais is protected by a wall that was probably located at the rue de Rivoli and extend to the Seine , rue des Barres to the rue de la Tacherie . The town develops around the market of Greve (current place of the Hotel-de-Ville ) from the 11th century.

In 1111 , the city was plundered by Robert I , Count of Meulan, who destroyed the two bridges of the island. Louis VI decided to rebuild further west the bridge on the right bank and protect it with a chatelet. The construction of Pont au Change at the site brought about the appearance of a new district around the Châtelet where butchers settled.

Until the beginning of the 17th century, Île Saint-Louis was uninhabited and was a pasture area for livestock. It was fully sold under the reign of Louis XIII (1610-1643). It was at this time that it took its current name in honor of the king.

The current boundaries of the 4th arrondissement were set in 1860 , during the Second Empire , following the law of the giving rise to a new division of Paris into 20 districts .

 

For more of this article read Arrondissement 4e – translated from Wikipedia

 

Museums and galleries in the Marais

A thriving art scene in Paris’s pretty historical centre

By Time Out editors Posted: Tuesday April 14 2015

© Photo : B. Fougeirol

Museums

 

Musée de la Chasse et de la Nature

Musée de la Chasse et de la Nature

 A two-year overhaul turned the three-floor hunting museum from a musty old-timer into something really rather special. When it reopened in 2007, it had kept the basic layout and proportions of the two adjoining 17th-century mansions it occupies, but many of its new exhibits and settings seem more suited…

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Musée d'Art et d'Histoire du Judaïsme

Musée d’Art et d’Histoire du Judaïsme

 It’s fitting that a museum of Judaism should be lodged in one of the grandest mansions of the Marais, for centuries the epicentre of local Jewish life. It sprung from the collection of a private association formed in 1948 to safeguard Jewish heritage after the Holocaust. Pick up a free audio-guide in English to help you navigate through displays illustrating ceremonies…

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Musée Carnavalet

Musée Carnavalet

 Here, 140 chronological rooms depict the history of Paris, from pre-Roman Gaul to the 20th century. Built in 1548 and transformed by Mansart in 1660, this fine house became a museum in 1866, when Haussmann persuaded the city to preserve its beautiful interiors. Original 16th-century rooms house Renaissance collections, with portraits by Clouet and furniture and pictures…

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Musée des Arts et Métiers

Musée des Arts et Métiers

The ‘arts and trades’ museum is, in fact, Europe’s oldest science museum, founded in 1794 by the constitutional bishop Henri Grégoire, initially as a way to educate France’s manufacturing industry in useful scientific techniques. Housed in the former Benedictine priory of St-Martin-des-Champs, it became a museum proper in 1819; it’s a fascinating, attractively laid out…

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Atelier Brancusi

Atelier Brancusi

When Constantin Brancusi died in 1957, he left his studio and its contents to the state, and it was later moved and rebuilt by the Centre Pompidou. His fragile works in wood and plaster, the endless columns and streamlined bird forms show how Brancusi revolutionised sculpture.

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Galleries

 

 

The Centre Pompidou

The Centre Pompidou

The primary colours, exposed pipes and air ducts make the Centre Pompidou one of the best-known sights in Paris. The then-unknown Italo-British architectural duo of Renzo Piano and Richard Rogers won the competition with their ‘inside-out’ boilerhouse approach, which put air-conditioning, pipes, lifts and the escalators on the outside…

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Maison Européenne de la Photographie (MEP)

Maison Européenne de la Photographie (MEP)

Probably the capital’s best photography exhibition space, hosting retrospectives by Larry Clark and Martine Barrat, along with work by emerging photographers. The building, an airy mansion with a modern extension, contains a huge permanent collection. The venue organises the biennial Mois de la Photo and the Art Outsiders festival of new media web art in September.

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Galerie du Jour – Agnès B.

Galerie du Jour – Agnès B.

‘We say gallery, but we could also say a place for showing the other faces and the side issues of things’ explained Agnès B. in November 1984, when she launched La Galerie du Jour a few steps from the Centre Pompidou. The designer and founder of the wildly successful eponymous label shows here anything that pleases her – painting, sculpture, contemporary art and…

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Galerie Suzanne Tarasiève

Galerie Suzanne Tarasiève

 Suzanne Tarasiève opened her vast Loft19 in 2008, part of the rapid artistic expansion of the Belleville neighbourhood, within a few years became the favourite destination for young alternative galleries in Paris. Her second space, opened in the Marais in May 2011, is a stronghold for the most powerful representatives of the Parisian art market…

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Galerie Thaddaeus Ropac

Galerie Thaddaeus Ropac

 Ropac’s main base is in Salzburg, but he also runs this attractive Paris gallery, featuring American Pop and neo-Pop by Warhol, Tom Sachs and Alex Katz, along with European artists such as Ilya Kabakov, Sylvie Fleury and Gilbert & George.

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Centre Pompidou – Musée National d’Art Moderne

 

 

Centre Georges-Pompidou from Notre-Dame de Paris, 2011

 

The Musée National d’Art Moderne National Museum of Modern Art) is the national museum for modern art of France. It is located in Paris and is housed in the Centre Pompidou in the 4th arrondissement of the city. It is among the most visited art museums in the world and one of the largest for modern and contemporary art.

In 1937, the Musée National d’Art Moderne succeeded the Musée du Luxembourg, established in 1818 by King Louis XVIII as the first museum of contemporary art created in Europe, devoted to living artists whose work was due to join the Louvre 10 years after their death. Imagined as early as 1929 by Auguste Perret to replace the old Palais du Trocadero, the construction of a museum of modern art was officially decided in 1934 in the western wing of the Palais de Tokyo. Completed in 1937 for that year’s International Exhibition of Arts and Technology, it was temporarily used for another purpose, since the exhibition of national and foreign art indépendant was then preferably held in the Petit Palais and the Musée du Jeu de Paume. Although due to open in 1939, construction was eventually interrupted by the war; following the nomination of its first Chief Conservator in September 1940, the museum partially opened in 1942 with only a third of the collection brought back from some national collection caches hidden in the province. But its real inauguration didn’t take place until 1947, after World War II and the addition of the foreign schools collection of the Musée du Luxembourg, which had been held at the Musée du Jeu de Paume since 1922.

In 1947, then housed in the Palais de Tokyo, its collection was dramatically increased by its first director, Jean Cassou, thanks to his special relationship with many prominent artists or their families, such as Picasso and Braque. With the creation of the Centre Pompidou, the museum moved to its current location in 1977.

The museum has the second largest collection of modern and contemporary art in the world, after the Museum of Modern Art in New York, with more than 100,000 works of art by 6,400 artists from 90 countries since Fauvism in 1905. These works include painting, sculpture, drawing, print, photography, cinema, new media, architecture, and design. A part of the collection is exhibited every two years alternately in an 18,500-square-metre (199,000 sq ft) space divided between two floors, one for modern art (from 1905 to 1960, on the 5th floor), the other for contemporary art (from 1960, on the 4th floor), and 5 exhibition halls, on a total of 28,000 m2 (300,000 sq ft) within the museum. The Atelier Brancusi is located in its own building adjacent to the Centre Pompidou.[2]

The works displayed in the museum often change in order to show to the public the variety and depth of the collection. Many major temporary exhibitions of modern and contemporary art have taken place on a separate floor (the 6th) over the years, among them many one-person exhibitions. Since 2010, the museum has also displayed unique, temporary exhibitions in its provincial branch, the Centre Pompidou-Metz, in a 10,000-square-metre (110,000 sq ft) space divided between 3 galleries and since 2011, in a small mobile museum touring the province.

 

Collections

Modern art (1905–1960)

Many styles of modern art, including Fauvism, Expressionism, Cubism, Dada, Abstract art, Surrealism are represented with works by Matisse, André Derain, Maurice de Vlaminck, Raoul Dufy, Albert Marquet, Le Douanier Rousseau, Paul Signac, Georges Braque, Pablo Picasso, Jean Metzinger, Albert Gleizes, Fernand Léger, Juan Gris, Frida Kahlo, Ernst Ludwig Kirchner, August Macke, Alexej von Jawlensky, Emil Nolde, Oskar Kokoschka, Otto Dix, George Grosz, Kurt Schwitters, Marcel Duchamp, Francis Picabia, Carlo Carrà, Umberto Boccioni, Giacomo Balla, Gino Severini, Marc Chagall, Natalia Goncharova, Mikhail Larionov, Alexander Rodchenko, František Kupka, Piet Mondrian, Theo van Doesburg, Paul Klee, Wassily Kandinsky, Kasimir Malevich, Jacques Villon, Robert Delaunay, Sonia Delaunay, Georges Rouault, Balthus, Max Beckmann, Constantin Brâncuși, Alexander Calder, Chaïm Soutine, Amedeo Modigliani, Kees van Dongen, Jean Arp, Giorgio de Chirico, André Breton, Magritte, Max Ernst, Joan Miró, Man Ray, Alberto Giacometti, René Iché, Nicolas de Staël, André Masson, Yves Tanguy, Jean Tinguely, Simon Hantaï, Yves Klein, Jackson Pollock, Mark Rothko, Barnett Newman, Willem de Kooning, and Francis Bacon.

Contemporary art (art from 1960 on)

Pop Art, Nouveau Réalisme, Conceptual art and other tendencies or groups are represented with works by Andy Warhol, Richard Hamilton, Rauschenberg, Dan Flavin, Eduardo Arroyo, Dan Graham, Daniel Buren, George Brecht, Arman, César, Bill Viola, Anish Kapoor, Wim Delvoye, Yves Klein, Niki de Saint-Phalle, Yaacov Agam, Vasarely, John Cage, Cindy Sherman, Dieter Roth, Beuys, Roy Lichtenstein, Burhan Dogancay, Dubuffet, Nam June Paik, Wolf Vostell, Gilbert & George, David Hockney and Louise Bourgeois.

Works of architecture and design include Philippe Starck, Jean Nouvel, and Dominique Perrault.

 

 

 

An icon of 20th-century architecture

Designed as an “evolving spatial diagram” by architects Renzo Piano and Richard Rogers, the architecture of the Centre Pompidou boasts a series of technical characteristics that make it unique in the world – the inspiration, even the prototype, of a new generation of museums and cultural centres. It is distinctive firstly in the way it frees up the space inside, with each floor extending through the building entirely uninterrupted by load-bearing structures. The whole of each 7 500 m2 floor is thus available for the display of works or other activities, and can be divided up and reorganised at will, ensuring maximum flexibility. With its use of steel (15 000 tons) and glass (11 000 m²) and the externalisation of its load-bearing structure together with circulation and services, it was a truly pioneering building for its time, an heir to the great iron buildings of the Industrial Age. In many ways futuristic, the Centre Pompidou is heir to the architectural utopias of the 1960s, exemplified in the work of Archigram and Superstudio. Its innovative, even revolutionary character has made the Centre Pompidou one of the most emblematic buildings of the 20th century.

  • Centre Georges Pompidou - entry side
  • Centre Georges Pompidou - entry side
  • The queue half an hour before opening
  • The glass tube passage way
  • The queue one hour after opening
  • Sacre Coeur - Montmartre
  • Sacre Coeur - Montmartre
  • Kazimir Malevich
  • Wassily Kandinski
  • Marcel Duchamp
  • Marcel Duchamp
  • Marcel Duchamp
  • Yayoi Kusama
  • Performance Art - Yayoi Kusama
  • Cy Twombly
  • Marcel Duchamp
  • Piet Mondrian
  • Susan Delaunay
  • Susan Delaunay
  • Susan Delaunay
  • Henri Matisse
  • Rem Koolhas
  • Rem Koolhas
  • Rem Koolhas
  • Rem Koolhas
  • Gerhardt Richter
  • Gerhardt Richter
  • Gerhardt Richter
  • Gerhardt Richter
  • Gerhardt Richter
  • Gerhardt Richter
  • Gerhardt Richter
  • Gerhardt Richter room
  • Art & Language
  • Art & Language
  • Art & Language
  • Eva Hesse
  • Joseph Beuys - Joseph Beuys, Plight, Installation: Felt, grand piano, chalkboard, thermometer, 310 x 890 x 1813 cm, original 1985, Anthony d'Offay Gallery, London; rebuild 2006 at Paris Centre Pompidou
  • Joseph Beuys - Joseph Beuys, Plight, Installation: Felt, grand piano, chalkboard, thermometer, 310 x 890 x 1813 cm, original 1985, Anthony d'Offay Gallery, London; rebuild 2006 at Paris Centre Pompidou
  • Joseph Beuys - Joseph Beuys, Plight, Installation: Felt, grand piano, chalkboard, thermometer, 310 x 890 x 1813 cm, original 1985, Anthony d'Offay Gallery, London; rebuild 2006 at Paris Centre Pompidou
  • Centre Georges Pompidou - entry side

 

 

 

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Pompidou Centre website

Google maps – Pompidou Centre

Musée d’Orsay – A museum in a station

 
Logo musée d'Orsay.png

 

Orsay Museum, North-West view, Paris 7th 140402.jpg

View of the Musée d’Orsay.

www.musee-orsay.fr

 

Collections : French and European art from 1848 to 1914

Number of objects : 79,470 of which 5,765 on deposit – 4,000 works permanently presented

Architect : Gae Aulenti

Location : 62, rue de Lille, 75007 Paris

The Musée d’Orsay is a national museum inaugurated in 1986, located in the 7th arrondissement of Paris along the left bank of the Seine. It is installed in the former Orsay train station, built by Victor Laloux from 1898 to 1900 and refitted as a museum by decision of the President of the Republic Valéry Giscard d’Estaing. The collections present Western art from 1848 to 1914, in all its diversity: painting, sculpture, decorative arts, graphic art, photography, architecture, etc. It is one of the largest museums in Europe.

The museum has the largest collection of Impressionist and Post-Impressionist paintings in the world, with nearly 1,100 paintings 2 in total of more than 3,450, and can be seen as masterpieces of painting and sculpture such as Edouard Manet’s Breakfast on the Grass and Olympia, a proof of Degas’s Fourteen-year-old Little Dancer, The Origin of the World, A Burial in Ornans, The Painter’s Studio in Courbet, Card players Cezanne or five paintings of the series of Cathedrals Rouen Monet and Mill Ball Galette Renoir.

Temporary monographic or thematic exhibitions periodically cover the work of an artist, a current or a question in the history of art. An auditorium hosts diverse events, concerts, cinema, shadow theater, conferences and seminars and shows specifically for a young audience.

 

 

 

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A museum in a station

The history of the Musée d’Orsay, of its building is quite unusual. In the centre of Paris on the banks of the Seine, opposite the Tuileries Gardens, the museum was installed in the former Orsay railway station, built for the Universal Exhibition of 1900. So the building itself could be seen as the first “work of art” in the Musee d’Orsay, which displays collections of art from the period 1848 to 1914.

The station

On the eve of the 1900 World Fair, the French government ceded the land to the Orleans railroad company, who, disadvantaged by the remote location of the Gare d’Austerlitz, planned to build a more central terminus station on the site of the ruined Palais d’Orsay. In 1897, the company consulted three architects: Lucien Magne, Emile Bénard and Victor Laloux. The project was a challenging one due to the vicinity of the Louvre and the Palais de la Légion d’honneur: the new station needed to be perfectly integrated into its elegant surroundings. Victor Laloux, who had just completed the Hôtel de Ville in Tours, was chosen as winner of the competition in 1898.

 

Anonyme Sous le plancher métallique de la gare d'Orsay 1899 aristotype (épreuve au citrate) H. 11,9 ; L. 16,9 cm Paris musée d'Orsay, don de la SNCF, 1986
Under the metal floor of Orsay railway station
© RMN-Grand Palais (Musée d’Orsay) / Hervé Lewandowski
The station and hotel, built within two years, were inaugurated for the World Fair on July 14th, 1900. Laloux chose to mask the modern metallic structures with the façade of the hotel, which, built in the academic style using finely cut stone from the regions of Charente and Poitou, successfully blended in with its noble neighbours. Inside, all the modern techniques were used: ramps and lifts for luggage, elevators for passengers, sixteen underground railtracks, reception services on the ground floor, and electric traction. The open porch and lobby continued into the great hall which was 32 metres high, 40 metres wide and 138 metres long.
 The Gare d’Orsay © Musée d’Orsay
From 1900 to 1939, the Gare d’Orsay was the head of the southwestern French railroad network. The hotel received numerous travellers in addition to welcoming associations and political parties for their banquets and meetings. However, after 1939, the station was to serve only the suburbs, as its platforms had become too short for the modern, longer trains that appeared with the progressive electrification of the railroads.

From station to museum

The Gare d’Orsay then successively served different purposes : it was used as a mailing centre for sending packages to prisoners of war during the Second World War, then those same prisoners were welcomed there on their returning home after the Liberation. It was then used as a set for several films, such as Kafka’s The Trial adapted by Orson Welles, and as a haven for the Renaud-Barrault Theatre Company and for auctioneers, while the Hôtel Drouot was being rebuilt.

The hotel closed its doors on January 1st, 1973, not without having played a historic role: the General de Gaulle held the press conference announcing his return to power in its ballroom (the Salle des Fêtes).

Projet Guillaume Gillet-René Coulon pour la construction d'un hôtel à l'emplacement de la gare (c) Musée d'Orsay - Fonds Urphot - droits réservés
 Project by Guillaume Gillet and René Coulon
© Musée d’Orsay

In 1975, the Direction des Musées de France already considered installing a new museum in the train station, in which all of the arts from the second half of the 19th century would be represented. The station, threatened with destruction and replacement by a large modern hotel complex, benefitted instead from the revival of interest in nineteenth-century architecture and was listed on the Supplementary Inventory of Historical Monuments on March 8, 1973. The official decision to build the Musée d’Orsay was taken during the interministerial council of October 20, 1977, on President Valéry Giscard d’Estaing’s initiative. The building was classified a Historical Monument in 1978 and a civil commission was created to oversee the construction and organisation of the museum. The President of the Republic, François Mitterrand, inaugurated the new museum on December 1st, 1986, and it opened to the public on December 9th.

 

 

 

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The museum is located on the site of the Palais d’Orsay, built in 1810 and decorated with frescoes by Théodore Chassériau 3, which in 1840 hosts the State Council on the ground floor and two years later late the Court of Accounts on the first floor. It was burned down in 1871 during the Paris Commune and left in the state of ruins until the construction by Victor Laloux of the station of Orsay, former terminus of the Company of the Railway of Paris in Orleans, to welcome the visitors and foreign delegations from the 1900 World Exhibition.

Its esplanade, to the west, was arranged in 1985 and endowed with numerous statues including the group called Statues of the 6 continents, initially installed on the terrace of the palace of Trocadéro during the world exhibition of 1878 4.

The Musée d’Orsay opened in the converted train station, the. To allow its transformation into a museum of arts of the nineteenth century, according to the will of the President of the Republic Valery Giscard d’Estaing, the building was reconfigured from 1983 to 1986 by architects Renaud Bardon, Pierre Colboc and Jean-Paul Philippon, laureates of an architectural competition organized in 1979, then joined by the Italian interior designer Gae Aulenti.

In the night of during the Nuit Blanche, individuals broke into the museum and seriously damaging a painting by Claude Monet, The Bridge of Argenteuil, dating from 1874, making a tear of 10 cm 5. The painting has been restored since.

 

Facade of the Musée d’Orsay.

 

 

 

 

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Collections

Alexandre Charpentier, paneling in the dining room of Adrien Bénard, mahogany, oak, poplar, gilded bronze and enamelled stoneware (1900-1901).

Decorative arts

Main article: Decorative arts at the Musée d’Orsay (1848-1889).

Inaugurated at the Marsan Pavilion of the Louvre in 1905, the Museum of Decorative Arts was considered in 1879 on the site attributed to the station of Orsay in 1897, which will finally find this museum vocation in 1986. The Gate of Hell of Rodin, whose plaster is visible at the median level – terrace Rodin, was to constitute the monumental entrance.

In 1977, a collection of decorative arts objects from the 1848-1914 period was created at the Musée d’Orsay. Apart from the Charpentier dining room of 1900, reconstituted in a clean space ( period room ), furniture and objects are shown out of context. Consisting of representative works of the production of ceramics, glassware, jewelery and furniture, this collection testifies to the mutation of the production of objets d’art related to the industrial revolution, that of the fine arts applied to the industry. It has some masterpieces long unknown or poorly considered and also exhibits evidence of the exceptional quality of luxury industries of that time. The museum division of the collections of objects of art distinguishes by their location those produced under the Second Empire (1852-1870) and in the first two decades of the Third Republic (1870-1940) of those corresponding to the Art Nouveau style (to from 1890).

Painting

Honoré Daumier,
Crispin and Scapin (1858 – 1860).

Jean-Louis-Ernest Meissonier,
Campaign of France 1814 (1864).

Henri Fantin-Latour,
Tribute to Delacroix (1864).

Gustave Courbet,
The Origin of the World (1866).

Claude Monet,
The Pie (1868-1869).

Gustave Caillebotte,
The planers parquet (1875).

Alfred Sisley,
The Flood at Port-Marly (1876).

Edgar Degas,
The Star, or the Dancer on Stag, (1878).

Paul Sérusier,
The Talisman (1888).

Vincent van Gogh,
Starry night on the Rhone (1888).

The Musée d’Orsay exhibits and preserves the largest collection of Impressionist paintings (more than 480 paintings) 6 and post-Impressionists (more than 600 paintings 2 cloisonnists, neo-Impressionists, Symbolists, Nabis …) at world, as well as outstanding paintings of the Barbizon School, realistic, naturalistic, orientalist and academic, including foreign schools. Nearly 5,200 paintings make up the collection, but a large number of works, including some 1,720 paintings , including about 100 non-localized or destroyed, are deposited in public buildings or provincial museums, such as 20 of the 95 paintings 7 of Vuillard, 21 of Bonnard’s 87 paintings , 19 of 83 paintings by Renoir or 33 of Maurice Denis’s 79 paintings.

This non-exhaustive list lists the main painters represented at the Musée d’Orsay with the number of their works painted in the collections as well as the title of their main achievements, whether or not they are exhibited, given the regular renewal of the clashes. This list also mentions pastels, for the artists concerned: indeed, although not belonging to the painting department, a certain number of pastels are exhibited in the permanent collections of the museum.

Other artists

William Bouguereau,
Dante and Virgil (1850).

Henri de Toulouse-Lautrec,
The bed (around 1892).

Paul Gauguin,
Arearea or Joyeusetés (1892).

Paul Cézanne,
Still life with apples and oranges (1895 – 1900).

The Source, by Ingres.

The Angelus of Millet.

The Fife Player, Edouard Manet.

The Balcony, Edouard Manet.

The Swing, Renoir.

Card players, Paul Cézanne.

Woman at the coffee maker, Paul Cezanne.

The Way to Louveciennes, by Alfred Sisley.

Absinthe, by Edgar Degas.

The coffee concert, Edgar Degas.

The room in Arles, Vincent Van Gogh.

Portrait of Dr. Gachet.

Women of Tahiti, Paul Gauguin.

The snake charmer, Douanier Rousseau.

War, the Douanier Rousseau.

Paul Signac,
Entrance to the port of La Rochelle (1921).

Click on a thumbnail to enlarge.

Sculpture

Eugene William, Anacreon, 1849-1851, marble.

Charles Cordier, Negro of Sudan, 1857.

Albert-Ernest Carrier-Belleuse, Sleeping Hebe, 1869, marble.

Jean-Baptiste Carpeaux, The Dance , 1869, group in stone.

Louis-Ernest Barrias, bust of Henri Regnault, 1871.

Jean-Baptiste Hugues, Muse at the Source, 1900.

The six continents, 1878, forecourt of the museum.

Honoré Daumier, busts load of the Celebrities of the Right Middle, towards 1832.

Neoclassicism

Romanticism

Eclecticism of the Second Empire

  • Jean-Baptiste Carpeaux (Valenciennes, 1827-Courbevoie, 1875), 117 sculptures of which:
    • Ugolino and his children , 1860, bronze
    • Princess Mathilde, 1862, marble
    • The Imperial Prince and his dog Nero, 1865, marble
    • The Four Parts of the World Supporting the Celestial Sphere, 1868-1872, Lacquered Gum Plaster
    • Danse, 1869, group of Echaillon stone deposited from the Opera Garnier
  • Charles Cordier (Cambrai, 1827-Algiers, 1905)
    • Sudan Negro, 1857, onyx, bronze and porphyry
    • Capresse des colonies, 1861, onyx, bronze and pink marble
  • Paul Dubois (Nogent-sur-Seine, 1829-Paris, 1905)
    • Florentine singer, 1865, silver-plated bronze
  • Albert-Ernest Carrier-Belleuse (Anisy-le-Chateau, 1824-Sevres, 1887)
    • Bust of a woman wearing a tiara, 1860-1870, terracotta
    • Sleeping Hebe, 1869, marble group
  • Auguste Clésinger (Besançon, 1814-Paris, 1883)
  • Jean-Joseph Perraud (Monay, 1819-Paris, 1876)
    • Despair, 1869, marble
  • Gustave Doré (Strasbourg, 1832-Paris, 1883)
    • Joyeuseté , 1881, bronze
  • Alexandre Falguière (Toulouse, 1831-Paris, 1900)
    • The Winner in cock fight, 1864, bronze
    • Tarcisius, 1868, marble
    • Asia from the series of six continents, 1878, cast iron, parvis of the museum
  • Antonin Mercié (Toulouse, 1845-Paris, 1916)
    • David, 1871, bronze
  • Hippolyte Moulin (Paris, 1832-Charenton, 1884)
    • A find in Pompeii, 1863, bronze
  • Jean-Baptiste Baujault (The Crèche near Breloux, 1828-1899)
    • Young Gaul or Mistletoe year nine, 1870-1875, marble, mistletoe and bronze serp disappeared
  • Alexandre Schoenewerk (Paris, 1820-1885)
    • The Young Tarentine, 1871, marble
    • Europe from the series of six continents, 1878, cast iron, forecourt of the museum
  • Eugene Delaplanche (Belleville, 1839-Paris, 1891)
    • Eve before sin, 1869, marble
    • Africa from the series of six continents, 1878, cast iron, parvis of the museum
  • Augustin-Jean Moreau-Vauthier (Paris, 1831-1893)
    • Bacchante lying, 1892, marble

Eclecticism of the Third Republic

  • Jean-Paul Aubé (Longwy, 1837-Cape Breton, 1916)
    • Monument to Léon Gambetta, plaster model
  • Frederic Auguste Bartholdi (Colmar, 1834-Paris, 1904)
  • René de Saint-Marceaux (Reims, 1845-Paris, 1915)
    • Genius keeping the secret of the grave , 1879, marble
  • Jean-Baptiste Hugues (Marseille, 1849-Paris, 1930)
    • The Source Museum, 1900, cast iron, marble, bronze
    • Oedipus at Colone, 1885.
    • Lady Rateau bust, patinated plaster
    • Vine , terracotta
  • Emmanuel Fremiet (Paris, 1824-1910)
    • Saint-Michel slaying the dragon , 1897, enlarged copper hammered
    • Young elephant trapped , 1878, cast iron, forecourt of the museum
  • Louis-Ernest Barrias (Paris, 1841-1905)
    • Bust of Georges Clairin , painter, 1875, terracotta
    • The Nubians (Alligator Hunters), 1894, plaster high relief
    • Nature unveiling at Science , 1899, marble, onyx, granite, malachite, lapis lazuli.
  • Theophile Barrau (Carcassonne, 1848-Paris, 1913)
    • Suzanne, 1895, marble
  • Jules Coutan (Paris, 1848-1939)
    • Eagle Hunters, 1900, plaster
  • Jean-Léon Gérôme (Vesoul, 1824-Paris, 1904)
    • Gerome performing “The Gladiators”, bronze
    • Tanagra, polychrome marble
    • Bust of Sarah Bernhardt, tinted marble
    • Corinth, polychrome plaster, wax, metal
  • Denys Puech (Gavernac, 1854-Rodez, 1942)
    • Aurora, white and pink marbles.
  • Alexandre Falguière (Toulouse, 1831-Paris, 1900)

Realism

  • Honore Daumier (Marseille, 1808-Valmondois, 1879)
    • Celebrities of the Juste Milieu, circa 1832, 36 busts caricatures in colored raw earth
    • Ratapoil, around 1851, bronze
  • Jules Dalou (Paris, 1838-1902)
    • The Smith, 1886, study, patinated plaster
    • The Republic, 1879, terracotta sketch
    • The Great Peasant , 1897-1902, bronze
  • Constantin Meunier (Etterbeek, 1831-Ixelles, 1905)
    • Industry, 1892-1896, bronze relief
    • The Harvest , 1895, bronze relief
  • Henri Bouchard (Dijon, 1875-Paris, 1960)
    • The Tank Top, 1905, bronze
  • Bernhard Hoetger (Hörde, 1874-Beatenburg, 1949)
    • The Human Machine , 1902, bronze
  • Alfred Gilbert (London, 1854-London, 1934)
    • Saint George, 1901-1910, bronze and ivory
  • Anders Zorn (Mora, 1860-1920)
    • Figure for a fountain II, 1910, bronze

Impressionism and Auguste Rodin

Rodin, Saint John the Baptist (Orsay Museum).

Rodin, Door of Hell , 1880-1917, plaster.

Paul Gauguin, Oviri, 1894.
  • Edgar Degas (Paris, 1834-1917), 76 sculptures of which:
    • The Little Dancer of fourteen, 1921-1931 after the original of 1881, bronze, tulle, satin
    • Dancer looking at the sole of her right foot , 1921-1931, bronze
    • Dancer, large arabesque, third time , 1921-1931, bronze
    • Woman sitting in an armchair wiping the left armpit , 1921-1931, bronze
    • Jockey , 1921-1931, bronze
    • Picking apples , 1921-1931, bronze bas-relief
    • The tub , 1921-1931, bronze
  • Auguste Renoir (Limoges, 1841-Cagnes-sur-Mer, 1919) and Richard Guino (Girona, 1890-Antony, 1973)
    • Madame Renoir , 1916, polychrome mortar
    • Judgment of Paris , 1914, plaster
    • Water , 1916, bronze
    • Fire , after 1916, bronze
  • Auguste Rodin (Paris, 1840-Meudon, 1917), 26 sculptures of which:
    • Bust of Madame Vicuna , 1917, bronze
    • Bust of Jules Dalou , 1917, bronze
    • The Bronze Age, 1877, bronze
    • Bust of Jean-Paul Laurens , 1917, bronze
    • Thought (portrait of Camille Claudel) , 1886-1889, marble
    • Fugit amor , circa 1881, small bronze group
    • Monument to Balzac , 1898, plaster model
    • Saint John the Baptist , 1878, bronze
    • the walking man , 1905, bronze
    • The Gate of Hell, 1880-1917, High Relief in Plaster
  • Camille Claudel (Fere-in-Tardenois, 1864-Avignon, 1943)
    • The Wall Age, circa 1902, bronze
    • Clotho’s torso, circa 1893, plaster
    • Old woman’s head, study for Mature age, circa 1890, plaster
    • Study II for Sakountala, circa 1886, terracotta
  • Medardo Rosso (Turin 1858-Milan, 1928)
    • Aetas Aurea, 1886, bronze
    • Ecce puer, 1906, bronze

Primitivism

  • Paul Gauguin (Paris, 1848-Atuana, Marquesas Islands, 1903), 30 sculptures and works of art including:
    • Be mysterious, 1890, polychrome linden wood
    • Mask of Tehura, 1891-1893, polychrome pua wood
    • Idol with the shell, 1892-1893, ironwood, mother-of-pearl and bone
    • Idol with pearl, 1892-1893, painted and gilded wood, pearl, gold chain
    • Oviri (Wild), 1894, partly enamelled stoneware
    • Maison du jouir , 1901, 5 reliefs in painted wood of sequoia gigantéa.
  • Georges Lacombe (Versailles, 1868 – Saint Nicholas of the Woods, 1916)
    • Existence, 1894-1896, walnut
    • Iris, 1893-1894, polychrome mahogany

Symbolism

  • Albert Bartholomew (Thiverval, 1848-Paris, 1928)
    • Crying little girl , 1894, bronze.
  • Marie Bashkirtseff (Gawronzi, 1860-Paris, 1884)
    • The pain of Nausicaa, 1884, bronze.
  • Boleslas Biegas (Koziczyn, 1877-Paris, 1954)
    • The Sphinx, 1902, plaster relief.
  • Leonardo Bistolfi (Casale Monferrato, 1859-Turin, 1933)
    • The Crib , 1906, plaster,
  • Arnold Böcklin (Basel, 1827-San Domenico, 1901)
    • Shield with the face of Medusa , 1897, papier-mache painted.
  • Rupert Carabin (Saverne, 1862-Strasbourg, 1932)
    • The Savernoise Legend , 1914, pear wood.
  • Jean Carriès (Lyon, 1855-Paris, 1894)
    • Bishop , 1883-1889, bronze.
    • Loyse Labé , around 1990, sandstone.
    • Fauna , 1893, bronze.
  • Alexandre Charpentier (Paris, 1856- Neuilly, 1909)
    • Louis Welden Hawkins , 1893, bronze.
  • Henry Cros (Narbonne, 1840-Sèvres, 1907)
    • The history of water , 1894, bas-relief in glass paste.
  • Jean Dampt (Venarey, 1853-1946)
    • Towards the ideal through suffering , 1900-1906, pink marble of Comblanchien .
  • Paul Dardé (Olmet, 1888-Lodeve, 1963)
    • The Eternal Pain , 1913, gypsum.
  • Alfred Drury (London, 1859-Wimbledon, 1944)
    • The Spirit of the night , 1898-1905, bronze.
  • Fernand Khnopff (Montigny-le-Bretonneux, 1858-Brussels, 1921)
    • Future , 1898, marble, brass and copper.
  • Max Klinger (Leipzig, 1857-Grossjena, 1920)
    • Cassandra , 1886-1900, bronze.
  • Maurice Maignan (Beaumont-sur-Sarthe, 1845-Saint-Prix, 1908)
    • A beggar , 1897, sitting statuette, bronze.
  • Pierre-Felix Masseau, (Lyon, 1869-Paris, 1937)
    • The Secret , 1894, polychrome mahogany and ivory.
  • Franz Metzner (Wscherau, 1870-Berlin, 1919)
    • The weight of sorrow , around 1912, patinated black plaster
  • Carl Miles (Lagga, 1875-Lidingö, 1955)
    • Young girl with a cat , around 1900, bronze.
    • Beggar , around 1900, bronze.
    • The fight for life , before 1929, bronze and marble
  • George Minne (Ghent, 1866-Sint-Martens-Latem, 1941)
    • The mason , marble
    • Kneeling at the fountain , 1898, bronze
    • Porter of addition , 1897, bronze.
  • Pierre Roche (Paris, 1855-1922)
  • Augustus Saint-Gaudens (Dublin, 1848-Cornish, 1907)
    • Amor caritas , 1885-1898, bronze.
  • Franz von Stuck (Tettenweis, 1863-Munich, 1928)
    • Ludwig van Beethoven , 1900, polychrome plaster
  • City Vallgren (Porvoo, 1855-Helsinki, 1940)
    • Pain , circa 1893, polychrome oolitic limestone .
    • Beggar and her child or misery , 1892, bronze.
    • Christ , circa 1889, patinated plaster.
  • Félix Vallotton (Lausanne, 1865-Neuilly-sur-Seine, 1925)
    • Woman holding back her shirt , 1904, bronze
  • Adolfo Wildt (Milan, 1868-1931)
    • Vir temporis acti , 1921, bronze.

Animal Sculpture

Henri-Alfred Jacquemart, Rhinoceros, 1878, forecourt of the museum.
  • Alfred Barye (Paris, 1839-1882)
  • Antoine-Louis Barye (Paris, 1795-1855), 34 sculptures of which:
    • Lion’s paw raised on a snake, 1832, bronze
    • Two bears fighting, 1833, bronze
    • Tartar warrior on horseback, 1845, bronze
    • Seated lion, 1847, gum-lacquered plaster
    • Order, 1854-1855, plaster, wood
    • The war, 1855, plaster, wood
  • Émile-Coriolan Guillemin (Paris, 1841-1907)
  • Henri-Alfred Jacquemart (Paris, 1824-1896)
    • Rhinoceros, 1878, cast iron, forecourt of the museum
  • Rembrandt Bugatti, (Milan, 1884-Paris, 1916), 61 sculptures of which:
    • Panther walking, circa 1904, plaster
    • White elephant, 1907, bronze
    • Giraffes, 1907, plaster
    • Lion of Nubia, circa 1911, plaster
    • Two lamas, 1911, bronze

The white bear of François Pompon.
  • François Pompon, (Saulieu, 1855-Paris, 1933), 131 sculptures of which:
    • Polar Bear, 1925, Lens Stone 8
    • Polar bear, 1920, plaster draft
    • Polar bear, 1927, bronze
    • Hippopotamus, 1918-1931, bronze
    • Gray Crane, 1920, bronze
    • Owl, 1923, bronze
    • Great deer, 1929, plaster

The return to style

  • Antoine Bourdelle (Montauban, 1861- The Vesinet, 1929)
    • Apollo, 1909, gilt bronze
    • Penelope, (1907-1926), bronze
    • The Force of the Will, (1914-1915), bronze, forecourt of the museum
    • The Victory, (1914-1915), bronze, forecourt of the museum
    • Herakles Archer, 1909, bronze and gilding, after the second version of 1923, melted by Eugène Rudier in 1924

  • Albert Bartholomew (Thiverval, 1848-Paris, 1928)
    • Bust of Federico Zandomenighi , painter, 1890, plaster
  • Joseph Bernard (Vienna, 1866-Boulogne-Billancourt, 1931)
    • Water carrier, 1912, bronze
    • Dance, 1911-1913, marble relief
  • Aristide Maillol (Banyuls-sur-Mer, 1861-1944)
    • Mediterranean or Thought, 1905-1927, marble
    • Ile-de-France, 1925-1933, stone
    • Bather with raised arms, 1900, bronze
    • Desire, 1905-1907, relief in lead

Photography

The photography collection of the Musée d’Orsay was entirely made from scratch from the late 1970s when the project of transforming the former Orsay railway station into a museum of the XIX th century has been taken, no museum fine arts in France does not yet have a section dedicated to photography. It became apparent that this major invention of the XIX th century was to take place in the future museum 9. The works of many photographers are preserved in the collections of the Musée d’Orsay, including those of Hippolyte Bayard, Édouard Baldus, Christian Bérard, Louis-Jacques-Mande Daguerre, Felix Nadar, Nicephore Niepce, Constant Alexander Fam …

 

 

 

 

Notes and references


  1. [archive]
  2. ↑ a and b Not including the 414 paintings , sketches and studies of the studio collection of the symbolist painter Alphonse Osbert.
  3. ↑ The Louvre retains some frescoes Chassériau, spare the grand staircase, some in the last rooms of the Department of French sculptures.
  4. ↑ Statues in front of the Orsay Museum  [ archive ] on the Paris 1900 site  [ archive ] , accessed March 30, 2014
  5. ↑ Drunk, they damage a Monet TF1  [ archive
  6. ↑ Including 64 paintings by Gauguin, Van Gogh and Toulouse Lautrec.
  7. ↑ When searching for “paintings” of an artist in the online catalog of the museum, it is necessary to deduce the deposits of particular collections, as well as the “designation: drawing”, because after 2014 the drawings are kept in the museum of Orsay, rather than the Louvre as before.
  8. ↑ According to the original plaster of 1922 exhibited at the Musée de l’Homme
  9. ↑ See the history of the constitution of the photography collection at the official site of the Musée d’Orsay  [ archive ]
  10. ↑ ” The museum of Orsay authorizes the photos … thanks to a tweet of Fleur Pellerin? »  [ Archive ] , on metronews.fr/ ,(accessed April 27, 2015 )
  11. ↑ ” The Musée d’Orsay forbade photos … to Fleur Pellerin ”  [ archive ] , on lefigaro.fr ,(accessed April 27, 2015 )
  12. ↑ Decree reproduced on the website of the Musée d’Orsay  [ archive ]
  13. ↑ Decree reproduced on the website of the Musée d’Orsay  [ archive ]
  14. ↑ Article Site Artclair  [ archive ]
  15. ↑ Status  [ archive ] on the site of the Musée d’Orsay.
  16. ↑ Decree of the Minister of Culture and Communication dated 2 May 1979 published in the Official Journal of the French Republic on 18 (appointment of the Director of the public institution of the museum of XIX th century from 15 October 1978) .
  17. ↑ Decree of 15 March 1986 appointing the director of the Musée d’Orsay.
  18. ↑ Decree of 12 August 1994 appointing the director of the Musée d’Orsay.
  19. ↑ Order of 9 April 2001 concerning the interim appointment of the director of the Musée d’Orsay.
  20. ↑ Decree of 26 November 2001 appointing the Director of the Musée d’Orsay.
  21. ↑ Decree of 26 May 2004 appointing the President of the Public Establishment of the Musée d’Orsay.
  22. ↑ Decree of 5 July 2007 appointing the President of the Public Establishment of the Musée d’Orsay – Mr. Lemoine (Serge).
  23. ↑ Decree of 28 January 2008 appointing the President of the Public Establishment of the Musée d’Orsay – Mr. Cogeval (Guy).
  24. ↑ Decree of 15 March 2013 appointing the President of the Public Establishment of the Musée d’Orsay and the Musée de l’Orangerie – Mr. COGEVAL (Guy).
  25. ↑ ” Laurence des Cars in Orsay: the new president, this is it! »  [ Archive ], on France Culture ,(accessed April 3, 2017 )
  26. ↑ ” The SAMO ”  [ archive ] , on http://www.amis-musee-orsay.org  [ archive ] (accessed July 4, 2014 )
  27. ↑ ( in ) AFMO , ” News & Events – AFMO ”  [ archive ] , on AFMO (accessed 29 January 2016 )
  28. ↑ ” Musée d’Orsay: Get involved! Join the Circle of Patron Women! ”  [ Archive ], on www.musee-orsay.fr (accessed January 29, 2016 )
  29. ↑ Notice of the book, on the Orsay Museum site.  [ archive ]
  30. ↑ “The ideal library # 46:” Modern Olympia “, a pictorial fantasy Catherine Meurisse” article article Télérama  [ archive ] , the 26/03/2014.
  31. Album index on the site of its co-publisher Futuropolis.  [ archive ]
  32. ↑ The book, on the Orsay Museum site.  [ archive ]

See also

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Related Articles


Musée du Louvre

 

Official website

 

Wikipedia

The Louvre or the Louvre Museum (French: Musée du Louvre), is the world’s largest art museum and a historic monument in Paris, France. A central landmark of the city, it is located on the Right Bank of the Seine in the city’s 1st arrondissement (district or ward). Approximately 38,000 objects from prehistory to the 21st century are exhibited over an area of 72,735 square metres (782,910 square feet). In 2017, the Louvre was the world’s most visited art museum, receiving 8.1 million visitors.

The museum is housed in the Louvre Palace, originally built as a fortress in the late 12th to 13th century under Philip II. Remnants of the fortress are visible in the basement of the museum. Due to the urban expansion of the city, the fortress eventually lost its defensive function and, in 1546, was converted by Francis I into the main residence of the French Kings. The building was extended many times to form the present Louvre Palace. In 1682, Louis XIV chose the Palace of Versailles for his household, leaving the Louvre primarily as a place to display the royal collection, including, from 1692, a collection of ancient Greek and Roman sculpture. In 1692, the building was occupied by the Académie des Inscriptions et Belles Lettres and the Académie Royale de Peinture et de Sculpture, which in 1699 held the first of a series of salons. The Académie remained at the Louvre for 100 years. During the French Revolution, the National Assembly decreed that the Louvre should be used as a museum to display the nation’s masterpieces.

The museum opened on 10 August 1793 with an exhibition of 537 paintings, the majority of the works being royal and confiscated church property. Because of structural problems with the building, the museum was closed in 1796 until 1801. The collection was increased under Napoleon and the museum was renamed Musée Napoléon, but after Napoleon’s abdication many works seized by his armies were returned to their original owners. The collection was further increased during the reigns of Louis XVIII and Charles X, and during the Second French Empire the museum gained 20,000 pieces. Holdings have grown steadily through donations and bequests since the Third Republic. The collection is divided among eight curatorial departments: Egyptian Antiquities; Near Eastern Antiquities; Greek, Etruscan and Roman Antiquities; Islamic Art; Sculpture; Decorative Arts; Paintings; Prints and Drawings.

 

 

 

 

 

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Louvre Databases

 

Musée de l’Orangerie

 

Musée de l’Orangerie

Musée de l’Orangerie exterior.JPG
Musée de l’Orangerie (Estb. 1852) entrance
Location – Place de la Concorde
75001 Paris, France
Access – Concorde

Website – www.musee-orangerie.fr

The Musée de l’Orangerie is an art gallery of impressionist and post-impressionist paintings located in the west corner of the Tuileries Gardens next to the Place de la Concorde in Paris. Though most famous for being the permanent home for eight Water Lilies murals by Claude Monet, the museum also contains works by Paul Cézanne, Henri Matisse, Amedeo Modigliani, Pablo Picasso, Pierre-Auguste Renoir, Henri Rousseau, Alfred Sisley, Chaim Soutine, and Maurice Utrillo, among others.

 

Location

The gallery is on the bank of the Seine in the old orangery of the Tuileries Palace on the Place de la Concorde near the Concorde metro station.

History

 According to the museum’s website, the Orangerie was originally built in 1852 by the architect Firmin Bourgeois and completed by his successor, Ludovico Visconti, to shelter the orange trees of the garden of the Tuileries. Used by the Third Republic in the nineteenth century as deposit for goods, an examination room, and place of lodging for mobilized soldiers, it also served to house sporting, musical, and patriotic events. Additionally, it was a place to display exhibitions of industry, animals, plants, as well as rare displays of painting.
 As art historian Michel Hoog states, “In 1921, the administration of the Beaux-Arts decided to assign to the Direction des Musées Nationaux (as it was then called) the two buildings overlooking the Place de la Concorde, the Jeu de Paume, and the Orangerie, which until then had been used for their original purpose. The Orangerie became an annex of the Musée du Luxembourg, unanimously criticized for being too small, while the Jeu de Paume was to be used for temporary exhibitions and to house contemporary foreign painting.” Claude Monet had requested to donate decorative panels to the French government as a monument to the end of World War I, and former politician (and close friend of Monet) Georges Clémenceau suggested that Monet install the paintings at the newly available Orangerie (rather than at the Jeu de Paume, which had smaller wall space, or, as was formerly planned, as an annex to the Musée Rodin).

On April 12, 1922 Claude Monet signed a contract donating the Nymphéas series of decorative panels painted on canvas to the French government, to be housed in redesigned, oval rooms at the Orangerie. With input from Monet, the head architect at the Louvre, Camille Lefèvre, drafted new plans and elevations in 1922 to house Monet’s large Nymphéas canvases, incorporating natural light, plain walls, and sparse interior decoration. According to Hoog’s research, “funds were made available on August 17, 1922, work began in October and seems to have been finished in [the] following year.” Unwilling to relinquish his final works of art, these water lilies paintings stayed with Monet until his death on December 5, 1926. On January 31, 1927 the Laurent-Fournier company agreed to install and mount the panels (a process that involved gluing the canvas directly to the walls), and the paintings were in place by March 26 of that year. On May 17, 1927 Monet’s Nymphéas at the Musée de l’Orangerie opened to the public.

According to Hoog, “In August 1944, during the battle for the Liberation of Paris, five shells fell on the rooms of the Nymphéas; two panels (those situated on the wall between the two rooms) were slightly damaged and immediately restored. In 1984, this restoration work was renewed and a general cleaning was effected.”

In January 2000, the museum was closed for renovation work, completely reviewed and restructured, and re-opened to the public in May 2006.

Paul Guillaume‘s widow, Mrs. Jean Walter, donated their modern art collection to the Musées Nationaux in 1958. The Orangerie has housed the Paul Guillaume collection of 19th and 20th century modern paintings since 1965.

Monet’s Water Lilies

Claude Monet‘s Nymphéas on display in the museum.

A cycle of Monet’s water-lily paintings, known as the Nymphéas, was arranged on the ground floor of the Orangerie in 1927. They are available under direct diffused light as was originally intended by Monet. The eight paintings are displayed in two oval rooms all along the walls. The museum was closed to the public from the end of August 1999 until May 2006. For several months before it was closed there was a special exhibit of Monet’s Nymphéas that were gathered from museums throughout the world. More than 60 of the 250 paintings he made of the water lilies in his garden were included. The walls were repainted in shades of purples and violet for this special exhibit. The Orangerie was renovated in order to move the paintings to the upper floor of the gallery.

 

Art museum – Impressionist and Post-impressionist paintings

Château de Saumur Exterior

 

In brief

Fortress during the 13th century under the minority of Saint Louis then residence of the dukes of Anjou, the castle of Saumur overhangs majestically the Loire River. In 1480 Saumur returned to the estates of Louis XI, King of France, following the death of King René, the last duke of Anjou. The site successively became a residence for the town governors, a prison and a munitions depot. The monument houses the municipal museum since 1912.

The monument has been the object of a meticulous restoration campaign. The beautiful pieces from the collections are displayed in the Château and in the Abbatial hall.

 

 

 

 

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Saumur

Château de Saumur porcelain collection

Exposition de Cheval

 

Google Maps – Château de Saumur

 

 

 

 

 

French Porcelain

 

The Château de Saumur holds a significant collection of ceramic art.

 

I will revisit the rooms later to take better images but the slides give an idea of the size of this permanent collection.

 

 

 

 

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