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

© 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

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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

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 (18581860).

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

Claude Monet,
The Pie (1868-1869).

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

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 (18951900).

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

  • 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

On other Wikimedia projects:

Bibliography

Literature

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 (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

Paris

 

 Old Maps of Paris

Paris (Lutèce) Circa 508

Clovis I, who in 481 became king at 16 years of age, made Paris his capital in the year 508. Clovis I is considered to be the founder of the Merovingian Dynasty, which ruled the Frankish kingdom for the next 200 years. He was the king of the Franks who would successfully unify all Frankish tribes into one kingdom under one ruler.

 

 

Paris Circa 1422

In 1466, perhaps 40,000 people died of the plague in Paris. During the 16th and 17th centuries, the black plague visited Paris for almost one year out of three.

France is under the rule of House of Valois with the death of Charles VI. After the death of King Charles VI, King Henry VI of England (House of Lancaster), becomes regent of France after the Treaty of Troyes. His rule lasts from 1422 to 1453. At the same time Charles VII also claims the throne with the death of his father.

The House Valois of France rules until 1589 when The House of Bourbon inherits the throne.

Maps after this date will indicate the growth that followed this period.

 

 

Paris 1615 Plan De Mérain

The construction of the Luxembourg Palace and gardens begins in 1615.

 

The geography of Paris – from paris-city.fr

Paris, the capital of France and of the Ile de France region, covers a surface area of 105 km² and has a population, according to the last census in 1999, of 2,125,246. At the end of the 20th century, the Paris agglomeration counted 11,131,412 inhabitants, of which 2,147,274 within the city proper.

Parisians make up 19.4% of the population of the Ile de France region (estimated 1st January 2003). The overall population of the region has been in constant decline for over 70 years.

 

 

Paris is administrative department 75, and within the department, the city is divided into 20 administrative arrondissements. The arrondissements are set out in the form of a spiral, with the first arrondissement in the centre and the numbers increasing outwards in a clockwise direction.

 

 

Paris occupies the heart of a sedimentary basin in the western reaches of the great plains of Northern Europe. In the centre of the fluvial plain of the Seine, the city lies just downstream of the Seine-Marne confluence and upstream of the confluence with the Oise. The naturally occurring waterway crossroads explains the existence and exceptional development over fifteen centuries of this urban pole.

More precisely, Paris formed around the l’île de la Cité at the junction of two great waterways. The north-south axis weaves between the hills of Montmartre and Belleville over the hillock of la Chapelle, the gateway to gares du Nord et de l’Est and the Saint-Martin canal.
At Châtelet in the centre, the east-west axis runs alongside the Seine on the right bank, through la Bastille, the Louvre and the Champs-Élysées, over to the suburbs in Chaillot and beyond, la Défense.From there, the axis runs along Rue Saint-Martin and Rue Saint-Denis, crosses the Seine at the pont au Change and climbs up the right bank, following the Montagne Sainte-Geneviève.

 

This axis was followed underground when the first metro line was built, inaugurated in 1900, the line ran from Porte Maillot to Vincennes (later extended to Neuilly in the west). This route through the city is dotted with prestigious monuments, which, together with the presence of Place de l’Etoile and Nation at either end of the line, then the forests of Vincennes and Boulogne beyond, demonstrates the east-west symmetry of the city. City facts : Insee
The UNESCO has classified as a collective world heritage site over 30 bridges that cross the Seine in Paris, from Pont-Neuf, completed in 1607, to Pont Charles de Gaulle, inaugurated in 1996. Upriver, the banks of the Seine have changed radically since the 1980’s; the right bank has seen the emergence of the ZAC (Concerted Development Zone) at Bercy, with the new Ministry of the Economy rising above the river.

The opposite bank is occupied by the big construction zone of Tolbiac, dominated by the four towers of the National Library, now called the Bibliothèque François-Mitterrand (architect : Dominique Perrault). Once past the gare de Lyon (right bank) and the d’Austerlitz (left bank), the Seine moves into the historical heart of Paris, flowing around the little islands of Ile Saint-Louis and Ile de la Cité.There, in an area of less than 20 hectares, are gathered the Cathedral Notre-Dame, the Hôtel-Dieu and, inside the walls of the old royal palace, Sainte-Chapelle and the Palais de justice. Just across the river, on the right bank, stands the Hôtel de ville.Beyond, the Seine stretches before the long colonnade of the Louvre.

 

Further to the west are the Jardin des Tuileries and Place de la Concorde on the right bank. The monuments here bring to mind the Universal Expositions that took place in Paris: the Eiffel tower, put in place for the exposition of 1889; the Petit et Grand Palais (1900); the Palais de Chaillot (1937).
Before leaving Paris the Seine passes the Maison de la Radio and the towers of operation Front de Seine. Paris has served for ten centuries as a political capital for a number of reasons: its geographical situation in the centre of the Parisian basin, which is the site of important river confluences; the busy crossroads that it naturally forms for road and rail networks, as well as busy flight paths; its easy access to the sea via the navigable river Seine; its proximity to North-Western Europe, which is one of the most concentrated industrialised and urbanised regions in the world. Paris is in a marginal position relative to the industrial axis that stretches from Rotterdam to Milan, however the putting in place a European fast rail network would largely compensate for this, making Paris the hub for transport through the channel tunnel into the U.K.
Paris has the highest rates of business activity and productivity in France. The tertiary sector alone employs 3 million people in the Greater Paris area. Almost a third of that employment stems from the city’s function as the political and administrative capital.

In other words, the standard of living is higher in Paris than anywhere else in the country. This is the result of different activities and economic processes that come with any very large city, and the snowball effect that they have on the surrounding environment. The tertiary sector grows and diversifies; while the resulting intensification of communication and transaction activities pushes the industrial sector out to the suburbs.
For some years, there has been clear increase in high-tech industries, particularly in the electronics and computer sectors, matched by a simultaneous decline in traditional industries like timber, clothing, leather and printing. What’s more, the number of businesses has decreased by 15%, or 30,000 companies, predominantly among trade activities and light industry.
Paris and the Parisian region therefore constitute one of the most complex industrial poles there is, much more even than the large industrial regions, such as La Lorraine or Le Nord. In reality, efforts to decongest the capital are constantly battling against the need to keep a sufficient mass of jobs there for the tertiary sector to be supported and developed. The array of tertiary activities being conducted in Paris and its suburbs is more and more visible as time goes on. The effect on the city is an increased demand for office space, and consequently modern office buildings rapidly springing up throughout the city. Along the axis formed by la Défense, the Champs-Élysées and Bercy, one of the most attractive tertiary sector corridors in Europe stretches over 30 km all the way from Saint-Germain-en-Laye to Marne-la-Vallée.

This is visibly the case, zones of industrial activity are heavily present around the outskirts of the city today, notably the automotive sector which pioneered the outward migration.The greater urban area represents a network of industries, which are linked to each other by complex relationships: the tourism sector with luxury industries, scientific research and artistic activities with high-tech industries and producers of cultural goods. Paris attracts more conferences, salons and expositions than any other city in the world. Some of the city’s attractions are visited by more than a million visitors each year, notably the Pompidou Art & Cultural Centre or the Eiffel Tower, or outside the city: Versailles or Disneyland-Paris, at Marne La Vallée. Certain monuments, of course, will always remain the must-see spectacles for tourists: the Eiffel Tower, the Arc de Triomphe, Montmartre, Notre-Dame, the Pantheon, the Louvre, or the Palais des Invalides. Of course, tourists also make up a great number of the visitors to the 200 museums, the 120 theatres and music venues and the hotels: 200,000 rooms are available in Ile de France, three quarters of them in the capital. The wholesale food business was radically transformed by the transfer from Les Halles to Rungis, which has become a unique centre for the redistribution of produce, not only throughout the whole of France but even overseas.

The greatest concentration of head-quarters and power centres are located in the west of the city. Since 1977, Paris has been administrated by a mayor elected by universal suffrage. Jacques Chirac was the first person to be elected to that post.
The Elysée Palace, residence of the President of the Republic, is situated on the right bank of the Seine, behind the gardens of the Champs-Elysées. The ministries are located on the other side of the river, in sumptuous buildings in Faubourg Saint-Germain (such as Hôtel Matignon, the residence of the prime minister). Nearby, and closing the perimeter inside which are gathered the central powers, the Palais Bourbon houses the Assemblée Nationale, facing Place de la Concorde, and the Palais du Luxembourg, constructed for Marie de Medici in the early 17th century, which now houses the Senate. The relocation of the Ministry for Public Facilities to the Grande Arche de la Défense didn’t very much change the geography of the official palaces.

The centres of economic and financial power are almost exclusively on the right bank, in the quarters most marked by Haussmann’s works, between Opéra and Place de Étoile. This business quarter, based around the Banque de France and the stock exchange, or Bourse (1808-1826, architect Brongniart) the second in Europe after London, has been expanding steadily towards the west. There you can find the headquarters of various insurance companies, banks and big businesses, but equally the area has many luxury stores: jewellers in the Place Vendôme, big car dealerships on the Champs-Elysées and fashion houses on Avenue Montaigne.
On the left bank, within the triangle formed by the Natural History Museum, the Ecole Normale Supérieure and the Institut de France, can be found the most prestigious academic establishments in France: Sorbonne and the Collège de France . The cultural vocation of the quarter is further emphasised by the presence of numerous publishing houses and by the general literary life that animates the area around the church of Saint-Germain-des-Près.

The right bank is not entirely left out: the Palais Royal, which was home to the Orleans family, was in the 18th century one of the centres of the Enlightenment movement. Napoleon I also made an impact on the right bank when he decided to transform the Louvre into a museum. With the construction of the Georges Pompidou Centre for Art & Culture, the Picasso Museum, the Cité des Sciences at La Villette and the Bastille Opera, cultural points of interest were installed in parts of the city that had, until then, been quite barren. While the west of Paris developed a bourgeois and plush character, the eastern districts have long housed a working class population and various industrial and trade activities. The story of the Commune of Paris and the inexorable march of the Versailles forces from west to east, until the Wall of the Federates in Père Lachaise cemetery, illustrate this political and social asymmetry in the city.

The presence of the Saint-Martin canal, the major freight stations (North, East, Tolbiac) and the warehouses of Bercy explains the location of materials handling and conversion activities in the north and east of the city. Bastille was traditionally the quarter of the cabinet makers, while the rug makers of “Manufacture des Gobelins” set up shop close to Place d’Italie.
The desire to rebalance the city towards the east, combined with the departure of industry from the city, brought about efforts to rapidly install tertiary activities in these districts – a prime example is the ZAC at Bercy. Simultaneously, the arrival of wealthier residents in the east of Paris is gradually changing the social composition of that part of the city.

 

 

 

 

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Portail de Paris Portail de Paris

Château de Versailles

Queens bedroom last modified by Marie Antoinette

 

 

 

From the official website

The Palace of Versailles has been listed as a World Heritage Site for 30 years and is one of the greatest achievements in French 17th century art. Louis XIII’s old hunting pavilion was transformed and extended by his son, Louis XIV, when he installed the Court and government there in 1682. A succession of kings continued to embellish the Palace up until the French Revolution.

 

 

In 1789, the French Revolution forced Louis XVI to leave Versailles for Paris. The Palace would never again be a royal residence and a new role was assigned to it in the 19th century, when it became the Museum of the History of France in 1837 by order of King Louis-Philippe, who came to the throne in 1830. The rooms of the Palace were then devoted to housing new collections of paintings and sculptures representing great figures and important events that had marked the History of France. These collections continued to be expanded until the early 20th century at which time, under the influence of its most eminent curator, Pierre de Nolhac, the Palace rediscovered its historical role when the whole central part was restored to the appearance it had had as a royal residence during the Ancien Régime.

 

The Palace of Versailles never played the protective role of a medieval stronghold. Beginning in the Renaissance period, the term “chateau” was used to refer to the rural location of a luxurious residence, as opposed to an urban palace. It was thus common to speak of the Louvre “Palais” in the heart of Paris, and the “Château” of Versailles out in the country. Versailles was only a village at the time. It was destroyed in 1673 to make way for the new town Louis XIV wished to create. Currently the centrepiece of Versailles urban planning, the Palace now seems a far cry from the countryside residence it once was. Nevertheless, the garden end on the west side of the Estate of Versailles is still adjoined by woods and agriculture.

 

 

 

 

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