1.
Jean-Baptiste Greuze
–
Jean-Baptiste Greuze was a French painter of portraits, genre scenes, and history painting. Greuze was born at Tournus, a town in Burgundy. In 1755 Greuze exhibited his Aveugle trompé, upon which, presented by Pigalle the sculptor, towards the close of the same year he left France for Italy, in company with the Abbé Louis Gougenot. In 1759,1761 and 1763 Greuze exhibited with ever-increasing success, in 1765 he reached the zenith of his powers, Greuze wished to be received as a historical painter, and produced a work which he intended to vindicate his right to despise his qualifications as a genre artist. This unfortunate canvas was exhibited in 1769 side by side with Greuzes portrait of Jeaurat, Greuze, greatly incensed, quarrelled with his confreres, and ceased to exhibit until, in 1804, the Revolution had thrown open the doors of the Academy to all the world. In the following year, on 4 March 1805, he died in the Louvre in great poverty, around the stem was a paper inscribed, These flowers offered by the most grateful of his students are emblems of his glory. It was Mlle Mayer, later the friend of Prudhon and that return to nature which inspired Rousseaus attacks upon an artificial civilization demanded expression in art. La Jeune Fille à lagneau fetched, indeed, at the Pourtals sale in 1865, one of Greuzes pupils, Madame Le Doux, imitated with success the manner of her master, his daughter and granddaughter, Madame de Valory, also inherited some traditions of his talent. Were the real subject of the picture, in the sixteenth chapter of E. M. Chinese author Xiao Yi mentions Greuzes work The Broken Pitcher throughout the first half of her novel Blue Nails. The Broken Pitcher is also mentioned in the first scene of the Jean-Paul Sartre play, / We like Beardsley and Green Chartreuse. / Faded boys, jaded boys, come what may, / Art is our inspiration / And as we are the reason for the “Nineties” being gay, edgar Munhall organized the first major exhibition devoted to the artist, Jean-Baptiste Greuze, 1725-1805. The exhibition opened at the Wadsworth Atheneum in Hartford and then traveled to the California Legion of Honor in San Francisco, in 2002, the first exhibition of Greuzes drawings was held at The Frick Collection in New York. It was also organized by Munhall, who wrote the catalog, Jean-Baptiste Greuzes works Les Neuf Sœurs References Sources Normand, J. B. Emma Barker, Greuze and the Painting of Sentiment and this article incorporates text from a publication now in the public domain, Chisholm, Hugh, ed. Greuze, Jean Baptiste. Works and literature at PubHist Europe in the age of enlightenment and revolution, a catalog from The Metropolitan Museum of Art Libraries, which contains material on Greuze
Jean-Baptiste Greuze
–
Self-portrait (
Louvre)
Jean-Baptiste Greuze
–
The Guitarist (1757),
National Museum in
Warsaw.
Jean-Baptiste Greuze
–
The White Hat, 1780
Jean-Baptiste Greuze
–
Portrait of
Benjamin Franklin, 1777
2.
Architect
–
An architect is someone who plans, designs, and reviews the construction of buildings. Etymologically, architect derives from the Latin architectus, which derives from the Greek, practical, technical, and academic requirements for becoming an architect vary by jurisdiction. The terms architect and architecture are used in the disciplines of landscape architecture, naval architecture. In most jurisdictions, the professional and commercial uses of the terms architect, throughout ancient and medieval history, most architectural design and construction was carried out by artisans—such as stone masons and carpenters, rising to the role of master builder. Until modern times, there was no distinction between architect and engineer. In Europe, the architect and engineer were primarily geographical variations that referred to the same person. It is suggested that various developments in technology and mathematics allowed the development of the gentleman architect. Paper was not used in Europe for drawing until the 15th century, pencils were used more often for drawing by 1600. The availability of both allowed pre-construction drawings to be made by professionals, until the 18th-century, buildings continued to be designed and set out by craftsmen with the exception of high-status projects. In most developed countries, only qualified people with appropriate license, certification, or registration with a relevant body, such licensure usually requires an accredited university degree, successful completion of exams, and a training period. To practice architecture implies the ability to independently of supervision. In many places, independent, non-licensed individuals may perform design services outside the professional restrictions, such design houses, in the architectural profession, technical and environmental knowledge, design and construction management, and an understanding of business are as important as design. However, design is the force throughout the project and beyond. An architect accepts a commission from a client, the commission might involve preparing feasibility reports, building audits, the design of a building or of several buildings, structures, and the spaces among them. The architect participates in developing the requirements the client wants in the building, throughout the project, the architect co-ordinates a design team. Structural, mechanical, and electrical engineers and other specialists, are hired by the client or the architect, the architect hired by a client is responsible for creating a design concept that meets the requirements of that client and provides a facility suitable to the required use. In that, the architect must meet with and question the client to ascertain all the requirements, often the full brief is not entirely clear at the beginning, entailing a degree of risk in the design undertaking. The architect may make proposals to the client which may rework the terms of the brief
Architect
–
Filippo Brunelleschi is revered to be one of the most inventive and gifted architects in history.
Architect
–
An architect at work, 1893.
Architect
–
Architect
Rem Koolhaas inspecting a model of the
Seattle Central Library
3.
Robert de Cotte
–
Robert de Cotte was a French architect-administrator, under whose design control of the royal buildings of France from 1699, the earliest notes presaging the Rococo style were introduced. First a pupil of Jules Hardouin-Mansart, he became his brother-in-law. After Hardouin-Mansarts death, de Cotte completed his projects, notably the royal chapel at Versailles. Fiske Kimball, the chronicler of the Rococo, notes that there are no surviving drawings by de Cotte from this period, from 1708, Robert de Cotte was Premier architecte du Roi and director of the Académie royale darchitecture. De Cotte, with ever-widening responsibilities at Court, was occupied with projects in Paris. His name is inscribed on the first draft for the project for Place Vendôme. Mariette attributed its design to François-Antoine Vassé, and Fiske Kimball, on the basis of surviving preparatory drawings, no new architects were added to the rolls of the Bâtiments du Roi. Balthasar Neumann, in Paris to consult him over the operations at Würzburg, found him. At this period, de Cotte was responsible for the Hôtel de Conti, rue de Bourbon, outside France, de Cottes team was commissioned for projects to be completed on site by local craftsmen. In Bonn, his team was employed by the Elector of Cologne, for the design of his rural Poppelsdorf Palace. The decoration of the Cabinet des Glâces in the palace followed designs by Oppenord that featured reverse curves and garlands applied to mirror surfaces. A new wing called the Buen Retiro was commissioned in the autumn of 1717, from newly-Bourbon Spain, the princesse des Ursins required his advice on the queens apartments of the royal palace in Madrid. An octagonal room was fabricated in Paris under de Cottes eye, 1713–1715, at La Granja, an assistant from de Cottes office, René Carlier, was employed in the designs for the parterres. For the cardinal de Rohan, de Cotte provided decors for the Château de Saverne in Alsace, Robert Neuman, Robert de Cotte and the Perfection of Architecture in Eighteenth-Century France, University of Chicago Press,1994. ISBN 0-226-57437-7 Robert de Cotte at the archINFORM database
Robert de Cotte
–
Robert de Cotte, 1701, oil on canvas by Joseph Vivien
Robert de Cotte
–
Palais Rohan, Strasbourg, for
Armand Gaston Maximilien, prince de Rohan,
bishop of Strasbourg (planned 1727–8, built 1731–42)
Robert de Cotte
–
Antechamber
Robert de Cotte
–
Grand Cabinet (with decorated mirrors)
4.
Jacques Gabriel
–
Jacques Gabriel was a French architect, the father of the famous Ange-Jacques Gabriel. The younger Jacques Gabriel was appointed one of the controlleurs généraux at the Bâtiments du Roi in 1688 and he was made a member of the Académie at Mansarts reorganization of that body in 1699. Gabriels work in Paris has been much remodelled, mariettes Architecture françoise offers plates illustrating several hôtels particuliers by Gabriel. He completed the Hôtel de Lassay nearby and he was responsible for the Hôtel Peyrenc de Moras, 1728-31. Period Rooms in the Metropolitan Museum of Art, a fully digitized text from The Metropolitan Museum of Art Libraries
Jacques Gabriel
–
Jacques Gabriel
5.
Place de la Bourse
–
Place de la Bourse is one of the most recognizable sights of Bordeaux. It was built from 1730 to 1775 In the original plan, however, the statue was destroyed during the French Revolution. After the destruction of the statue, a Corinthian column-fountain was built on the square, finally, in 1869 Three Graces was installed in the same location. Design of the buildings was finished by Ange-Jacques Gabriel in 1739. After his death, his son came in change and finished the construction of the buildings
Place de la Bourse
–
Place de la Bourse at night with the
Miroir d'eau and tram
6.
Bordeaux
–
Bordeaux is a port city on the Garonne River in the Gironde department in southwestern France. The municipality of Bordeaux proper has a population of 243,626, together with its suburbs and satellite towns, Bordeaux is the centre of the Bordeaux Métropole. With 749,595 inhabitants and 1,178,335 in the area, it is the fifth largest in France, after Paris, Lyon, Marseille and Lille. It is the capital of the Nouvelle-Aquitaine region, as well as the prefecture of the Gironde department and its inhabitants are called Bordelais or Bordelaises. The term Bordelais may also refer to the city and its surrounding region, Bordeaux is the worlds major wine industry capital. It is home to the main wine fair, Vinexpo. Bordeaux wine has been produced in the region since the 8th century, the historic part of the city is on the UNESCO World Heritage List as an outstanding urban and architectural ensemble of the 18th century. After Paris, Bordeaux has the highest number of preserved buildings of any city in France. In historical times, around 300 BC it was the settlement of a Celtic tribe, the Bituriges Vivisci, the name Bourde is still the name of a river south of the city. In 107 BC, the Battle of Burdigala was fought by the Romans who were defending the Allobroges, a Gallic tribe allied to Rome, the Romans were defeated and their commander, the consul Lucius Cassius Longinus, was killed in the action. The city fell under Roman rule around 60 BC, its importance lying in the commerce of tin, later it became capital of Roman Aquitaine, flourishing especially during the Severan dynasty. In 276 it was sacked by the Vandals, further ravage was brought by the same Vandals in 409, the Visigoths in 414 and the Franks in 498, beginning a period of obscurity for the city. In the late 6th century, the city re-emerged as the seat of a county and an archdiocese within the Merovingian kingdom of the Franks, the city started to play a regional role as a major urban center on the fringes of the newly founded Frankish Duchy of Vasconia. Around 585, a certain Gallactorius is cited as count of Bordeaux, the city was plundered by the troops of Abd er Rahman in 732 after storming the fortified city and overwhelming the Aquitanian garrison. After Duke Eudess defeat, the Aquitanian duke could still save part of its troops, the following year, the Frankish commander descended again over Aquitaine, but clashed in battle with the Aquitanians and left to take on hostile Burgundian authorities and magnates. In 745, Aquitaine faced yet another expedition by Charles sons Pepin and Carloman against Hunald, Hunald was defeated, and his son Waifer replaced him, who in turn confirmed Bordeaux as the capital city. During the last stage of the war against Aquitaine, it was one of Waifers last important strongholds to fall to King Pepin the Shorts troops. Next to Bordeaux, Charlemagne built the fortress of Fronsac on a hill across the border with the Basques, in 778, Seguin was appointed count of Bordeaux, probably undermining the power of the Duke Lupo, and possibly leading to the Battle of Roncevaux Pass that very year
Bordeaux
–
Clockwise from top:
Place de la Bourse by the
Garonne, Allees du Tourny and Maison de Vin,
Pierre Bridge on the Garonne, Meriadeck Commercial Centre, front of Palais Rohan Hotel, and
Saint-Andre Cathedral with
Bordeaux Tramway
Bordeaux
Bordeaux
–
Coins of the
Bituriges Vivisci, 5th–1st century BC, derived from the coin designs of
Greeks in pre-Roman Gaul.
Cabinet des Médailles.
Bordeaux
–
Merovingian tremisses minted in Bordeaux by the Church of Saint-Étienne, late 6th century.
British Museum.
7.
Palace of Versailles
–
The Palace of Versailles, Château de Versailles, or simply Versailles, is a royal château in Versailles in the Île-de-France region of France. Versailles is therefore not only as a building, but as a symbol of the system of absolute monarchy of the Ancien Régime. First built by Louis XIII in 1623, as a lodge of brick and stone. The first phase of the expansion was designed and supervised by the architect Louis Le Vau and it culminated in the addition of three new wings of stone, which surrounded Louis XIIIs original building on the north, south, and west. After Le Vaus death in 1670, the work was taken over and completed by his assistant, charles Le Brun designed and supervised the elaborate interior decoration, and André Le Nôtre landscaped the extensive Gardens of Versailles. Le Brun and Le Nôtre collaborated on the fountains, and Le Brun supervised the design. During the second phase of expansion, two enormous wings north and south of the wings flanking the Cour Royale were added by the architect Jules Hardouin-Mansart. He also replaced Le Vaus large terrace, facing the garden on the west, with became the most famous room of the palace. The Royal Chapel of Versailles, located at the end of the north wing, was begun by Mansart in 1688. One of the most baffling aspects to the study of Versailles is the cost – how much Louis XIV, owing to the nature of the construction of Versailles and the evolution of the role of the palace, construction costs were essentially a private matter. Initially, Versailles was planned to be a residence for Louis XIV and was referred to as the kings house. Once Louis XIV embarked on his campaigns, expenses for Versailles became more of a matter for public record. To counter the costs of Versailles during the years of Louis XIVs personal reign. Accordingly, all materials that went into the construction and decoration of Versailles were manufactured in France, even the mirrors used in the decoration of the Hall of Mirrors were made in France. While Venice in the 17th century had the monopoly on the manufacture of mirrors, to meet the demands for decorating and furnishing Versailles, Colbert nationalised the tapestry factory owned by the Gobelin family, to become the Manufacture royale des Gobelins. In 1667, the name of the enterprise was changed to the Manufacture royale des Meubles de la Couronne, the Comptes meticulously list the expenditures on the silver furniture – disbursements to artists, final payments, delivery – as well as descriptions and weight of items purchased. Entries for 1681 and 1682 concerning the silver used in the salon de Mercure serve as an example. 5 In anticipation, For the silver balustrade for the bedroom,90,000 livres II
Palace of Versailles
–
Aerial view of the Palace from above the
Gardens of Versailles
Palace of Versailles
–
Bust of Louis XIV by
Bernini in the
Diana Salon of the Palace of Versailles
Palace of Versailles
–
View of the Palace from the garden
Palace of Versailles
–
Marble Court
8.
Louis XV of France
–
Louis XV, known as Louis the Beloved, was a monarch of the House of Bourbon who ruled as King of France and Navarre from 1 September 1715 until his death. He succeeded his great-grandfather Louis XIV at the age of five, Cardinal Fleury was his chief minister from 1726 until the Cardinals death in 1743, at which time the young king took sole control of the kingdom. During his reign, Louis returned the Austrian Netherlands, territory won at the Battle of Fontenoy of 1745, Louis also ceded New France in North America to Spain and Great Britain at the conclusion of the Seven Years War in 1763. He incorporated the territories of Lorraine and Corsica into the kingdom of France and he was succeeded by his grandson Louis XVI in 1774. French culture and influence were at their height in the first half of the eighteenth century, however, many scholars believe that Louis XVs decisions damaged the power of France, weakened the treasury, discredited the absolute monarchy, and made it more vulnerable to distrust and destruction. Evidence for this view is provided by the French Revolution, which broke out 15 years after his death, norman Davies characterized Louis XVs reign as one of debilitating stagnation, characterized by lost wars, endless clashes between the Court and Parliament, and religious feuds. A few scholars defend Louis, arguing that his negative reputation was based on propaganda meant to justify the French Revolution. Jerome Blum described him as a perpetual adolescent called to do a mans job, Louis XV was born in the Palace of Versailles on 15 February 1710 during the reign of Louis XIV. His grandfather, Louis Le Grand Dauphin, had three sons with his wife Marie Anne Victoire of Bavaria, Louis, Duke of Burgundy, Philippe, Duke of Anjou, and Charles, Duke of Berry. Louis XV was the son of the Duke of Burgundy and his wife Marie Adélaïde of Savoy, the eldest daughter of Victor Amadeus II, Duke of Savoy. At birth, Louis XV received a title for younger sons of the French royal family. In April 1711, Louis Le Grand Dauphin suddenly died, making Louis XVs father, the Duke of Burgundy, at that time, Burgundy had two living sons, Louis, Duke of Brittany and his youngest son, the future Louis XV. A year later, Marie Adélaïde, Duchess of Burgundy, contracted smallpox and her husband, said to be heartbroken by her death, died the same week, also having contracted smallpox. Within a week of his death, it was clear that the two children had also been infected. The elder son was treated by bloodletting in an unsuccessful effort to save him. Fearing that the Dauphin would die, the Court had both the Dauphin and the Duke of Anjou baptised, the Dauphin died the same day,8 March 1712. His younger brother, the Duke of Anjou, was treated by his governess, Madame de Ventadour. The two year old Dauphin survived the smallpox, on 1 September 1715, Louis XIV died of gangrene, having reigned for 72 years
Louis XV of France
–
Louis XV by
Hyacinthe Rigaud (1730)
Louis XV of France
–
Signature
Louis XV of France
–
The duke of Brittany with his father Louis, Duke of Burgundy, his grandfather Louis, Le Grand Dauphin and his great-grandfather King Louis XIV in 1709. The future Louis XV, not yet born, is not on the painting.
Louis XV of France
–
Two
Louis d'or, 1717, depicting a very young Louis XV
9.
Place de la Concorde
–
The Place de la Concorde is one of the major public squares in Paris, France. Measuring 8.64 hectares in area, it is the largest square in the French capital and it is located in the citys eighth arrondissement, at the eastern end of the Champs-Élysées. The place was designed by Ange-Jacques Gabriel in 1755 as a moat-skirted octagon between the Champs-Elysées to the west and the Tuileries Garden to the east, decorated with statues and fountains, the area was named Place Louis XV to honor the king at that time. At the north end, two magnificent identical stone buildings were constructed, separated by the rue Royale, these structures remain among the best examples of Louis Quinze style architecture. Initially, the building served as the French Naval Ministry. Shortly after its construction, the building became the opulent home of the Duc dAumont. It was later purchased by the Comte de Crillon, whose family resided there until 1907, the famous luxury Hôtel de Crillon, which currently occupies the building, took its name from its previous owners. During the French Revolution the statue of Louis XV of France was torn down, the new revolutionary government erected the guillotine in the square, and it was here that King Louis XVI was executed on 21 January 1793. In 1795, under the Directory, the square was renamed Place de la Concorde as a gesture of reconciliation after the turmoil of the French Revolution. After the Bourbon Restoration of 1814, the name was changed back to Place Louis XV, after the July Revolution of 1830 the name was returned to Place de la Concorde and has remained that way since. To the west of the Place is the famous Champs-Élysées, to the east of the Place are the Tuileries Gardens. The Galerie nationale du Jeu de Paume and the Musée de lOrangerie, the eastern one houses the French Naval Ministry, and the western one is the Hôtel de Crillon. The Rue Royale leads to the de la Madeleine. The center of the Place is occupied by a giant Egyptian obelisk decorated with hieroglyphics exalting the reign of the pharaoh Ramesses II and it is one of two the Egyptian government gave to the French in the 19th century. The other one stayed in Egypt, too difficult and heavy to move to France with the technology at that time, in the 1990s, President François Mitterrand gave the second obelisk back to the Egyptians. The obelisk once marked the entrance to the Luxor Temple, the self-declared Khedive of Egypt, Muhammad Ali Pasha, offered the 3, 300-year-old Luxor Obelisk to France in 1829. It arrived in Paris on 21 December 1833, three years later, on 25 October 1836, King Louis Philippe had it placed in the center of Place de la Concorde. The obelisk, a granite column, rises 23 metres high, including the base
Place de la Concorde
–
Place de la Concorde as seen from the Eiffel Tower
Place de la Concorde
–
Place de la Concorde
Place de la Concorde
–
The old plaque, for "Place Louis XVI", and replacement plaque at the corner of
Hôtel de Crillon.
Place de la Concorde
–
The Fountain of River Commerce and Navigation, one of the two
Fontaines de la Concorde (1840) on the Place de la Concorde. Behind: the Hôtel de Crillon; to the left: the embassy of the United States.
10.
Rococo
–
Rococo artists and architects used a more jocular, florid, and graceful approach to the Baroque. Their style was ornate and used light colours, asymmetrical designs, curves, unlike the political Baroque, the Rococo had playful and witty themes. By the end of the 18th century, Rococo was largely replaced by the Neoclassic style. In 1835 the Dictionary of the French Academy stated that the word Rococo usually covers the kind of ornament, style and design associated with Louis XVs reign and it includes therefore, all types of art from around the middle of the 18th century in France. The word is seen as a combination of the French rocaille and coquilles, the term may also be a combination of the Italian word barocco and the French rocaille and may describe the refined and fanciful style that became fashionable in parts of Europe in the 18th century. The Rococo love of shell-like curves and focus on decorative arts led some critics to say that the style was frivolous or merely modish, when the term was first used in English in about 1836, it was a colloquialism meaning old-fashioned. While there is some debate about the historical significance of the style to art in general. Italian architects of the late Baroque/early Rococo were wooed to Catholic Germany, Bohemia and Austria by local princes, an exotic but in some ways more formal type of Rococo appeared in France where Louis XIVs succession brought a change in the court artists and general artistic fashion. By the end of the long reign, rich Baroque designs were giving way to lighter elements with more curves. These elements are obvious in the designs of Nicolas Pineau. During the Régence, court life moved away from Versailles and this change became well established, first in the royal palace. The delicacy and playfulness of Rococo designs is seen as perfectly in tune with the excesses of Louis XVs reign. The 1730s represented the height of Rococo development in France, the style had spread beyond architecture and furniture to painting and sculpture, exemplified by the works of Antoine Watteau and François Boucher. The Rococo style was spread by French artists and engraved publications, william Hogarth helped develop a theoretical foundation for Rococo beauty. Though not intentionally referencing the movement, he argued in his Analysis of Beauty that the lines and S-curves prominent in Rococo were the basis for grace. The development of Rococo in Great Britain is considered to have connected with the revival of interest in Gothic architecture early in the 18th century. The beginning of the end for Rococo came in the early 1760s as figures like Voltaire and Jacques-François Blondel began to voice their criticism of the superficiality, Blondel decried the ridiculous jumble of shells, dragons, reeds, palm-trees and plants in contemporary interiors. By 1785, Rococo had passed out of fashion in France, replaced by the order, in Germany, late 18th century Rococo was ridiculed as Zopf und Perücke, and this phase is sometimes referred to as Zopfstil
Rococo
–
Pair of lovers group of
Nymphenburg porcelain, c. 1760, modelled by
Franz Anton Bustelli
Rococo
–
The Rococo
Basilica at Ottobeuren (Bavaria): architectural spaces flow together and swarm with life.
Rococo
–
Rococo-style
House of the Good Shepherd in
Bratislava (
Slovakia) - an example of the 18th century
bourgeoisie house.
Rococo
–
François Boucher, Le Déjeuner, (1739,
Louvre), shows a rocaille interior of a French bourgeois family in the 18th century. The porcelain statuette and vase add a touch of
chinoiserie.
11.
Neoclassicism
–
The main Neoclassical movement coincided with the 18th-century Age of Enlightenment, and continued into the early 19th century, laterally competing with Romanticism. In architecture, the style continued throughout the 19th, 20th, European Neoclassicism in the visual arts began c.1760 in opposition to the then-dominant Baroque and Rococo styles. Each neo-classicism selects some models among the range of classics that are available to it. They ignored both Archaic Greek art and the works of Late Antiquity, the Rococo art of ancient Palmyra came as a revelation, through engravings in Woods The Ruins of Palmyra. While the movement is described as the opposed counterpart of Romanticism. The case of the main champion of late Neoclassicism, Ingres, demonstrates this especially well. The revival can be traced to the establishment of formal archaeology, the writings of Johann Joachim Winckelmann were important in shaping this movement in both architecture and the visual arts. With the advent of the Grand Tour, a fad of collecting antiquities began that laid the foundations of many great collections spreading a Neoclassical revival throughout Europe, Neoclassicism in each art implies a particular canon of a classical model. In English, the term Neoclassicism is used primarily of the arts, the similar movement in English literature. This, which had been dominant for decades, was beginning to decline by the time Neoclassicism in the visual arts became fashionable. Though terms differ, the situation in French literature was similar, in music, the period saw the rise of classical music, and Neoclassicism is used of 20th-century developments. Ingress coronation portrait of Napoleon even borrowed from Late Antique consular diptychs and their Carolingian revival, much Neoclassical painting is more classicizing in subject matter than in anything else. A fierce, but often very badly informed, dispute raged for decades over the merits of Greek and Roman art, with Winckelmann. The work of artists, who could not easily be described as insipid, combined aspects of Romanticism with a generally Neoclassical style. Unlike Carstens unrealized schemes, the etchings of Giovanni Battista Piranesi were numerous and profitable and his main subject matter was the buildings and ruins of Rome, and he was more stimulated by the ancient than the modern. Neoclassicism in painting gained a new sense of direction with the success of Jacques-Louis Davids Oath of the Horatii at the Paris Salon of 1785. Despite its evocation of republican virtues, this was a commission by the royal government, David managed to combine an idealist style with drama and forcefulness. David rapidly became the leader of French art, and after the French Revolution became a politician with control of government patronage in art
Neoclassicism
–
Antonio Canova 's
Psyche Revived by Love's Kiss
Neoclassicism
–
Henry Fuseli, The artist moved to despair at the grandeur of antique fragments, 1778–79
Neoclassicism
–
Johann Joachim Winckelmann, often called "the father of archaeology"
Neoclassicism
–
Print of a drawing by
John Flaxman of a scene in
Homer 's
Iliad, 1795
12.
Petit Trianon
–
Petit Trianon, built between 1762 and 1768 during the reign of Louis XV, is a small château located on the grounds of the Palace of Versailles in Versailles, France. The park of the Grand Trianon includes the Petit Trianon and it was designed by Ange-Jacques Gabriel by the order of Louis XV for his long-term mistress, Madame de Pompadour, and was constructed between 1762 and 1768. Madame de Pompadour died four years before its completion, and the Petit Trianon was subsequently occupied by her successor, Madame du Barry. Upon his accession to the throne in 1774, the 20-year-old Louis XVI gave the château and its park to his 19-year-old Queen Marie Antoinette for her exclusive use. Essentially an exercise on a cube, the Petit Trianon attracts interest by virtue of its four facades, overlooking the former botanical garden of the king, the remaining facade was left bare. The subtle use of steps compensates for the differences in level of the châteaus inclined location, Marie Antoinette would come to the Petit Trianon not only to escape the formality of court life, but also to shake off the burden of her royal responsibilities. At Versailles, she was under pressure and judgement from both her family and the court, and the Petit Trianon was her place of ease. Since all was de par la Reine, none were permitted to enter the property without the Queens express permission, such exclusivity alienated the court nobility, which she did very willingly, since only the queens inner circle were invited. A house of intimacy and of pleasure, the building was designed to require as little interaction between guests and servants as possible. To that end, the table in the salles à manger was conceived to be mobile, the tables were never built, but the delineation for the mechanical apparatus can still be seen from the foundation. Her bedroom, although simple, is elegant in accord with her general style, provided with furniture from Georges Jacob. The wallpaper was painted by Jean-Baptiste Pillement, on 5 October 1789, Marie Antoinette was in the gardens of the Petit Trianon when a page brought news of the imminent arrival of an armed crowd from Paris. With the enforced departure of the family the next day the Petit Trianon was almost abandoned except for the gardeners. Renovations that had been underway were interrupted, leaving large sums owed to builders, the former Queens gardener Antoine Richard was appointed as curator of the gardens and plant nursery in 1792 by the Minister of the Interior. The auction began on Sunday, August 25,1793 and continued until 11 August 1794, the properties sold were widely scattered. Silverware, lead and brass fixtures were requisitioned for use in the arsenals, the sculptor Amable Boichard was appointed in April 1794 to remove emblems of royalty and feudalism from the property. Under the new Republic the Petit Trianon underwent a number of changes, declared national property, the land was divided into ten lots. The City of Versailles proposed that a garden be established
Petit Trianon
–
The Petit Trianon
Petit Trianon
–
Petit Trianon, northern facade.
Petit Trianon
–
The Salle à manger (dining room): finely carved
boiseries are without gilding, simply painted to complement the bleu Turquin chimneypiece
Petit Trianon
–
The French Pavillon
13.
Pavillon du Butard
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The Pavilion du Butard is a hunting lodge in the Forêt de Fausses-Reposes in the territory of La Celle-Saint-Cloud in Yvelines, France. Part of the gardens of Versailles, it was designed by Ange-Jacques Gabriel for Louis XV and it was made state property on 27 June 1794 by François-Nicolas Périgon, notary at Paris, during the French Revolution. It was later also enjoyed by Charles X of France and emperor Napoleon III of France and it was occupied by the Prussians during the Franco-Prussian War. Still state property, it was made a monument historique on 29 August 1927, detailed history of the Pavillon du Butard by Ed Christen - on Gallica Philippe Loiseleur des Longchamps Deville, La Celle Saint-Cloud, cellule dhistoire, Pontoise, Graphédis,1979
Pavillon du Butard
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The Pavilion du Butard
14.
La Celle-Saint-Cloud
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La Celle-Saint-Cloud is a commune in the Yvelines department in the Île-de-France region in north-central France. It is located in the suburbs of Paris 15.6 km from the center. La Celle-Saint-Cloud is served by two stations on the Transilien Paris – Saint-Lazare suburban rail line, La Celle-Saint-Cloud and Bougival, château de la Celle, now property of the French minister for foreign affairs. It was also the home of English actress Harriet Howard following her affair with Napoleon III of France and she owned the château de Beauregard. The castle was owned by Maurice de Hirsch. Lucien-Rene Duchesne, mayor of la Celle-Saint-Cloud from 1959 to 1981, French actress and model Ludivine Sagnier is also a native of La Celle-Saint-Cloud. Since September 2014, Marine Le Pen currently resides in the town Communes of the Yvelines department INSEE Official website
La Celle-Saint-Cloud
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Castle of La Celle Saint-Cloud
La Celle-Saint-Cloud
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Former
Château de Beauregard, La Celle St Cloud, pictured in 1872 when it was owned by
Baron Maurice de Hirsch
15.
Loir-et-Cher
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Loir-et-Cher is a department in the Centre-Val de Loire region, France. Its name is originated from two rivers which cross it, the Loir on the North and the Cher on the South, the INSEE and La Poste gave it the number 41. The department of Loir-et-Cher covers a territory which had a population during the prehistoric period. However, politically, the region remains quartered between the earldoms and the duchies neighbouring, in 1397, the House of Orleans becomes the possession of the Comté of Blois. In 1497, Louis d’Orleans was crowned with the name of Louis XII, it’s the beginning of the importance of Blois and of the Blaisois in the politic life of the French, impressive especially under the last Valois. After that, there were religion’s wars which were extremely ferocious under Charles IXs reign, in 1576 and 1588, the General Estates get together in Blois. L’Orléanais, le Berry, la Touraine, le Perche et le Maine occupied le Loir-et-Cher, the Loir-et-Cher’s birth as a department was very difficult and laborious. The 29th September 1789, the advisory board made a report in which he wanted to attribute one of the 80 departments to Blois. However, some cities and canton capitals disagreed, such as Tours, inside of the department, Montrichard turns to Amboise and Tours, Saint-Aignan wants to turn to the Berry and Salbris to Vierzon. Finally, Orleans gives Blois an important part of the Sologne except Beaugency, the department is founded 4 March 1790, in accordance with the law of 22 December 1789. It is constituted of some old provinces of the Orleanais and of the Touraine along with a Berry’s plot. The department’s constriction in its centre and the maximum stretching out in its surface area beyond the Loir on the North, after the victory of the Coalises during the Waterloo’s battle, the Prussian’s troops occupied the department from June 1815 to November 1818. The poet Pierre de Ronsard, the inventor Denis Papin and the historian Augustin Thierry come from over here, others well-known people attached also to this department, like François the First, Gaston d’Orleans, the Marshall Maunoury, and the abbot Gregoire. In the artistic domain, there is the compositor Antoine Boesset, musician in the Louis XII de France’s court, the Loir-et-Cher’s department is a part of the Centre Region. It is adjacent of these departments, the Eure-et-Loir, the Loiret, the Cher, the Indre, the Indre-et-Loire, due to its surface area of 6343 km², it is on the 31st national place in the size’s domain. It has a privileged geographical situation because it is in the center of the Centre region, an axe lively and dynamic, brings Blois closer of the both tall urban conglomerations near it, Orleans and Tours. Located on the boundaries of the Perche, the Beauce, the Sologne, cut in its middle by the Loire, it shows an image of balance and diversity. Loir-et-Cher is a part of the region of Centre-Val de Loire
Loir-et-Cher
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Prefecture building of the Loir-et-Cher department, in Blois
Loir-et-Cher
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Blois
Loir-et-Cher
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Vendôme
Loir-et-Cher
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Château de Chambord
16.
Madame de Pompadour
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She took charge of the king’s schedule and was a valued aide and advisor, despite her frail health and many political enemies. She secured titles of nobility for herself and her relatives, and built a network of clients and she was particularly careful not to alienate the Queen, Marie Leszczyńska. On February 8,1756, the Marquise de Pompadour was named as the lady in waiting to the queen, a position considered the most prestigious at the court. She was a patron of architecture and decorative arts, such as porcelain. She was a patron of the philosophes of the Enlightenment, including Voltaire, Jeanne Antoinette Poisson, otherwise known as Reinette to her friends, was born on 29 December 1721 in Paris to François Poisson and his wife Madeleine de La Motte. It is suspected that her father was either the rich financier Pâris de Montmartel or the tax collector Le Normant de Tournehem. Her younger brother was Abel-François Poisson de Vandières, who became the Marquis de Marigny. Poisson was intelligent, beautiful and refined and she spent her early childhood at the Ursuline convent in Poissy where she received a good education. At the age of 9 in 1730 she returned to Paris under the care of her mother Madame Poisson, the fortune teller told her then that she would one day be the mistress of King Louis XV. From then on Madame Poisson thought, her daughter was destined for greatness and she must provide the means and opportunities to help her achieve it. So her mother took charge of her education at home by hiring tutors who taught her to recite entire plays by heart, play the clavichord, dance, sing, paint. She became an actress and singer, and also attended Pariss Club de lEntresol. On 15 December 1740, Tournehem made his nephew his sole heir, disinheriting all his nephews and nieces. These included the estate at Étiolles, a gift from her guardian. With her husband, she had two children, a boy who died a year after his birth in 1741 and Alexandrine-Jeanne, born 10 August 1744 and died June 1754. Contemporary opinion supported by artwork from the considered the young Mme dÉtiolles to be beautiful, with her small mouth. Her young husband was soon infatuated with her and she was celebrated in the world of Paris. She founded her own salon, at Étiolles, and was joined by many philosophes, as Jeanne Antoinette became known in society, King Louis XV came to hear of her
Madame de Pompadour
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Portrait by
François Boucher
Madame de Pompadour
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Madame de Pompadour, portrait by
François Boucher
Madame de Pompadour
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Madame de Pompadour (1756), portrait by
François Boucher (1703–1770)
Madame de Pompadour
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Madame de Pompadour as
Diana the Huntress, portrait by
Jean-Marc Nattier
17.
BnF
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The Bibliothèque nationale de France is the National Library of France, located in Paris. It is the repository of all that is published in France. The current president of the library is Laurence Engel, the National Library of France traces its origin to the royal library founded at the Louvre Palace by Charles V in 1368. Charles had received a collection of manuscripts from his predecessor, John II, the first librarian of record was Claude Mallet, the kings valet de chambre, who made a sort of catalogue, Inventoire des Livres du Roy nostre Seigneur estans au Chastel du Louvre. Jean Blanchet made another list in 1380 and Jean de Bégue one in 1411, Charles V was a patron of learning and encouraged the making and collection of books. It is known that he employed Nicholas Oresme, Raoul de Presle, at the death of Charles VI, this first collection was unilaterally bought by the English regent of France, the Duke of Bedford, who transferred it to England in 1424. It was apparently dispersed at his death in 1435, Charles VII did little to repair the loss of these books, but the invention of printing resulted in the starting of another collection in the Louvre inherited by Louis XI in 1461. Charles VIII seized a part of the collection of the kings of Aragon, Louis XII, who had inherited the library at Blois, incorporated the latter into the Bibliothèque du Roi and further enriched it with the Gruthuyse collection and with plunder from Milan. Francis I transferred the collection in 1534 to Fontainebleau and merged it with his private library, during his reign, fine bindings became the craze and many of the books added by him and Henry II are masterpieces of the binders art. Under librarianship of Amyot, the collection was transferred to Paris during which many treasures were lost. Henry IV again moved it to the Collège de Clermont and in 1604 it was housed in the Rue de la Harpe, the appointment of Jacques Auguste de Thou as librarian initiated a period of development that made it the largest and richest collection of books in the world. He was succeeded by his son who was replaced, when executed for treason, by Jérôme Bignon, under de Thou, the library was enriched by the collections of Queen Catherine de Medici. The library grew rapidly during the reigns of Louis XIII and Louis XIV, due in part to the interest of the Minister of Finance, Colbert. The quarters in the Rue de la Harpe becoming inadequate, the library was moved, in 1666. The minister Louvois took quite as much interest in the library as Colbert, the death of Louvois, however, prevented the realization of this plan. Louvois employed Mabillon, Thévenot and others to procure books from every source, in 1688 a catalogue in eight volumes was compiled. The library opened to the public in 1692, under the administration of Abbé Louvois, Abbé Louvois was succeeded by the Abbé Bignon, or Bignon II as he was termed, who instituted a complete reform of the librarys system. Catalogues were made which appeared from 1739–53 in 11 volumes, the librarys collections swelled to over 300,000 volumes during the radical phase of the French Revolution when the private libraries of aristocrats and clergy were seized
BnF
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Reading Room, Richelieu site
BnF
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Bibliothèque nationale de France (National Library of France)
18.
The Dictionary of Art
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A new edition was published in 2003 by Oxford University Press. Written by 6,700 experts from around the world, its 32, 600-pages cover over 45,000 topics about art, artists, art critics, art collectors, or anything else connected to the world of art. According to The New York Times Book Review it is the most ambitious art-publishing venture of the late 20th century, almost half the content covers non-Western subjects, and contributors hail from 120 countries. Topics range from Julia Margaret Cameron to Shoji Hamada, Korea to Timbuktu, the Enlightenment to Marxism, entries include bibliographies and a vast number of images. The dictionary is available in a standard hardcover edition, though the leather-bound version appears to be out of print. The Grove Dictionary of Art is published by Oxford University Press, the online version, which is updated three times a year, is available by subscription and includes some extra content. In the UK, many libraries offer it free to their online users using their library membership number. The Grove Dictionary of Art was first offered online through the Grove Art Online web site in 1998. The site was expanded and renamed as Oxford Art Online, including works, The Oxford Companion to Western Art, Encyclopedia of Aesthetics. In 2011, the Benezit Dictionary of Artists was added to the database, the New Grove Dictionary of Music and Musicians References Sources Jane Turner
The Dictionary of Art
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The Dictionary of Art
19.
Virtual International Authority File
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The Virtual International Authority File is an international authority file. It is a joint project of national libraries and operated by the Online Computer Library Center. The project was initiated by the US Library of Congress, the German National Library, the National Library of France joined the project on October 5,2007. The project transitions to a service of the OCLC on April 4,2012, the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together, a VIAF record receives a standard data number, contains the primary see and see also records from the original records, and refers to the original authority records. The data are available online and are available for research and data exchange. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol, the file numbers are also being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAFs clustering algorithm is run every month, as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records
Virtual International Authority File
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Screenshot 2012
20.
Integrated Authority File
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The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used mainly for documentation in libraries and increasingly also by archives, the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero license, the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, and an approach to unambiguous identification of single elements. It also comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format
Integrated Authority File
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GND screenshot
