Tag: Paris

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 .“

 

 

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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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

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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Sections and quartiers de Paris
Sections révolutionnaires Amis-de-la-Patrie · Arcis · Arsenal · Bon-Conseil · Bondy · Bonne-Nouvelle · Bonnet-Rouge · Brutus · Chalier · Champs-Élysées · Cité · Contrat-Social · Droits-de-l’Homme · Faubourg-du-Nord · Faubourg-Montmartre · Faubourg-Poissonnière · Finistère · Fontaine-de-Grenelle · Fraternité · Gardes-Françaises · Gravilliers · Guillaume-Tell · Halle-aux-Blés · Homme-Armé · Indivisibilité · Invalides · Lepeletier · Lombards · Maison-Commune · Marat · Marchés · Montagne · Mont-Blanc · Montreuil · Muséum · Mutius-Scaevola · Observatoire · Panthéon-Français · Piques · Popincourt · Quinze-Vingts · République · Réunion · Révolutionnaire · Sans-Culottes · Temple · Tuileries · Unité
Quartiers entre 1811 et 1849 Arcis · Arsenal · Banque-de-France · Bonne-Nouvelle · École-de-Médecine · Champs-Élysées · Chaussée-d’Antin · Cité · Faubourg-Montmartre · Faubourg-Poissonnière · Faubourg-Saint-Antoine · Faubourg-Saint-Denis · Faubourg-Saint-Germain · Feydeau · Hôtel-de-Ville · Île-Saint-Louis · Invalides · Jardin-du-Roi · Lombards · Louvre · Luxembourg · Mail · Marais · Marchés · Marché-Saint-Jean · Monnaie · Montmartre · Montorgueil · Mont-de-Piété · Observatoire · Palais-de-Justice · Palais-Royal · Place-Vendôme · Popincourt · Porte-Saint-Denis · Porte-Saint-Martin · Quinze-Vingts · Roule · Saint-Eustache · Saint-Honoré · Saint-Jacques · Saint-Marcel · Saint-Martin-des-Champs · Saint-Thomas-d’Aquin · Sainte-Avoye · Sorbonne · Temple · Tuileries
Quartiers entre 1850 et 1860 Archives · Arsenal · Arts-et-Métiers · Babylone · Banque · Bonne-Nouvelle · Bourg-l’Abbé · Champs-Élysées · Douane · École-de-Médecine · Élysée · Faubourg-Saint-Antoine · Faubourg-Saint-Martin · Hauteville · Hôtel-de-Ville · Les Îles · Invalides · Italiens · Jardin-des-Plantes · Louvre · Luxembourg · Madeleine · Marais · Marchés · Ministères · Monnaie · Mont-de-Piété · Montholon · Observatoire · Opéra · Palais-de-Justice · Palais-Royal · Place-Maubert · Popincourt · Quinze-Vingts · Roule · La Roquette · Saint-Eustache · Saint-Georges · Saint-Joseph · Saint-Laurent · Saint-Marcel · Saint-Merri · Saint-Sauveur · Sorbonne · Temple · Théâtres · Tuileries
Quartiers administratifs actuels Amérique · Archives · Arsenal · Arts-et-Métiers · Auteuil · Batignolles · Bel-Air · Belleville · Bercy · Bonne-Nouvelle · Chaillot · Champs-Élysées · La Chapelle · Charonne · Chaussée-d’Antin · Clignancourt · Combat · Croulebarbe · École-Militaire · Enfants-Rouges · Épinettes · Europe · Faubourg-Montmartre · Faubourg-du-Roule · Folie-Méricourt · Gaillon · Gare · Goutte-d’Or · Grandes-Carrières · Grenelle · Gros-Caillou · Halles · Hôpital-Saint-Louis · Invalides · Jardin-des-Plantes · Javel · Madeleine · Mail · Maison-Blanche · Monnaie · Montparnasse · Muette · Necker · Notre-Dame · Notre-Dame-des-Champs · Odéon · Palais-Royal · Parc-de-Montsouris · Père-Lachaise · Petit-Montrouge · Picpus · Place-Vendôme · Plaine-de-Monceaux · Plaisance · Pont-de-Flandre · Porte-Dauphine · Porte-Saint-Denis · Porte-Saint-Martin · Quinze-Vingts · Rochechouart · La Roquette · Saint-Ambroise · Saint-Fargeau · Saint-Georges · Saint-Gervais · Saint-Germain-l’Auxerrois · Saint-Germain-des-Prés · Saint-Lambert · Saint-Merri · Saint-Thomas-d’Aquin · Saint-Victor · Saint-Vincent-de-Paul · Sainte-Avoye · Sainte-Marguerite · Salpêtrière · Sorbonne · Ternes · Val-de-Grâce · Villette · Vivienne

Portail de Paris Portail de Paris