Immigration, from the Caribbean to the Middle East, has given Paris city a colorful blend of international cuisines.
France, similar to Britain, had an enormous empire once. For the past sixty years, thousands of immigrants from these colonies have made Paris their home, including Moroccans who have gone to great lengths to recreate their country’s dishes. This makes the capital city an ideal place to take on a memorable culinary trip.
Moroccan Food in the Capital City
Traveling to the City of Light is a great chance to take lunch or dinner in any Moroccan restaurants in Paris. The very refined and varied Moroccan food, is very much loved by Parisians and the Couscous is one of favorite dishes of French people.
Even though it had been a challenge for traditional restaurants had to mark their presence to the French palate, they have eventually become a part of France’s daily life. The country’s favorite dish is couscous which is available at least once a week in many school cafeteria. Fatéma Hal, a chef from Morocco has launched in 1985 the Mansouria restaurant. She has been known internationally as an ambassador of Moroccan cuisine.
Having an amazing Arabian Nights vibe and lavish Moroccan palace interior decor filled with gold chandeliers, Moorish furniture highlighting lovely and fine crafted stucco, cut with a knife by artisans. Experience the historic splendor and refined architecture of the city with Timgad, an elegant Moroccan restaurant adorned with fine stuccowork.
The Timgad in the 17th district, situated close to Place d’Etoile, is a gem of Moroccan cuisine in Paris. This address is well known with the Parisians set in smart casuals longing for the sun and warmth of the Mediterranean. This small corner of the Orient, which borrows its name from an ancient North African city, is worth the detour for its only decoration.
Diners will sure have an enjoyable meal. Along with quality service over the years, your senses will surely be in for a treat. A small fountain adds charm to the idyllic setting. Of course not to be missed is their best-seller couscous and tagine dishes and the delicate Moroccan pastries. The menu is in tune: rich selection of couscous (semolina is a rare delicacy), tagines and pastillas
The restaurant offers only the best eastern traditional cuisine: hand-rolled couscous, lamb “mechoui” cooked on a wood fire. Chef Ahmed Laasri of Timgad delights guests with its mix of sweet and savory flavors. There are dozens of couscous to choose from, served in generous amount but also some specialties such as farm chicken skewers grilled with charcoal or almond pigeon tagine.
Timgad is your best Moroccan restaurant in a Paris neighborhood. So if you want to get a taste of Moroccan and North African cuisine, head out to one of Paris’ best dining restaurant at 21 Rue Brunel, 75017 Paris, France.
Paris, France: In an effort to promote heritage as a vital element of cultural diversity and emphasize the best practices to take care of the preservation and development of heritage, Ateliers d’Art de France in close collaboration with the Ministry of Foreign Affairs, the Ministry of Culture, embassies, cities and ministries of partner countries, and associations will host the 24th Salon International du Patrimoine Culturel that takes place on October 25 – 28, 2018 at Carrousel du Louvre in the city of Paris.
This 2018 carries the theme “European Heritage, Common Heritage”, as it fosters dialogue between cultures, citizens and European countries through recognizing the cultural heritage. The event brings together a variety of heritage professionals in an opportunity to share their expertise and experiences on heritage protection.
Established around 25 years ago, the International Cultural Heritage Fair has developed to become the leading heritage event in Europe. From its conception, it has innately upheld itself as a much attended fair by the industry’s game changers – passionate professionals from the field of Cultural heritage preservation.
A Gathering of Heritage Professionals
The annual event has attracted thousands of keen visitors who attend to discover the immense passion and professionalism shown by its participants and exhibitors.
Through the many lively conferences, roundtables and with support from speakers, the fair presents an opportunity for communication exchange amongst visitors and professionals.
Both French and global exhibitors come to impart the excellence and the singularity of their specific skills and to meet with enthusiastic and qualified visitors. Their support seeks to stimulate the cultural appeal of both the French and European heritage.
The event has bloomed to become one of the much-awaited events in the culture and heritage sector. The areas of interest include education, organizations, fine crafts, press and publishing, and service. These businesses who have played a huge part in boosting France’s cultural and heritage.
By attending the International Cultural Heritage Fair, the Ministry of Culture affirms its commitment to the preservation and dissemination to the public of the national and European heritage. Participation in several events at the show will be an opportunity to announce the variety of services of the Ministry of Culture and its General Directorate of Heritage.
About Ateliers d’Art de France
The mission of Ateliers d’Art de France is to bring to light the vital role and responsibility of arts in our society. It aims to bring together over 6,000 professionals
on the national level. It intends to represent and protect professional artists and contributes to the economic development of the sector, in France and abroad.
For this, Ateliers d’Art de France:
- Commits to the professional structuring of the crafts. In 2014, the official recognition of the crafts in the Law Crafts, Trade and TPE as an economic sector in its own right had laid the first milestone. Since then, Ateliers d’Art de France continues its fight and is today the ambassador in the creation of a professional branch of the arts.
- Promote crafts and their creations, through the organization, international trade fairs and events (such as MAISON&OBJET*, Revelations at the Grand Palais or Salon International Cultural Heritage) and the animation of a network of 6 places of sale in Paris and in the region, including EMPREINTES, plus large concept store of European crafts and 1st platform
- Invests in the cultural influence of the crafts, mainly through the creation of Editions Ateliers d’Art de France and the organization of the International Film Festival on Trades
Art. Federation, debater and firm defender of the workshops, heritage and creation service, Ateliers d’Art de France is a place of exchange of professionals of the crafts with the
institutions, the public authorities, and society.
European Year of Cultural Heritage
The International Cultural Heritage Fair is an important part of the European Year of Cultural Heritage as it seeks to convey the following:
– Promoting heritage as a central element of cultural diversity
– Valuing best practices to ensure the conservation and enhancement of heritage
– Foster dialogue between cultures, citizens and European countries through the recognition of a common cultural heritage.
The Salon will be the last major public and professional event of this European Heritage Year: a great way to end this intense cultural and heritage journey.
Attending the 24th Salon International du Patrimoine Culturel is Mohamed Dekkak, the Chairman and Founder of Adgeco. A firm believer and supporter of events that highlight the importance and appreciation of art, culture, and heritage, Mohamed continues to extend his support. He recently leads a team of volunteers in organizing a travel and cultural event entitled, “International Festival of Ibn Battuta”, held last November 2017 in the quaint city of Tangier in the Kingdom of Morocco.
Despite his celebrity and the prominence of his rank in the French school of the seventeenth century, Le Brun remains unknown: the official career of the first painter of the king often forget the work, which is often thought boring. This work, which must certainly be put back in time to understand its spirit, however, bears the mark of a strong and rich personality, who had given proof of independence before serving the royal will.
The son of the sculptor Nicolas Le Brun was noted for his early talent. His apprenticeship with François Perrier (around 1590-1656), then Simon Vouet initiated him in a broad and noble manner. The Brun also studied with profit the frescoes of Fontainebleau, the paintings and the antiques of the royal collections. Before the age of twenty, he had already secured the protection of Chancellor Séguier (1588-1672) and had begun to frequent a literary community. The first important order came from Richelieu, who had him paint in 1641, for the Palais-Cardinal (Palais-Royal), three paintings, of which remains (at the Nottingham Museum) the Diomedes delivered by Hercules to his horses, a juvenile passion. The following year, Le Brun offered to the Parisian community of painters and sculptors, for his chapel established in the church of the Holy Sepulcher, a Martyrdom of Saint John the Evangelist (today in Saint-Nicolas-du-Chardonnet ), a great composition which shows him already in possession of his means. He wanted, however, to perfect his education in Italy. In Rome, where he arrived in 1642, he was influenced by Poussin and the Bolognese while studying Raphael. Poussin’s lesson inspires Mucius Scaevola in front of Porsenna (Macon museum), where a more frank realism betrays, however, the personality of the young artist: the influence of the Guerchin prevails in the pathetic Pietà he sent to Chancellor Séguier (Musée du Louvre). On the way back, Le Brun stopped at Lyon; it is there without doubt that he painted a Death of Cato (museum of Arras) realistic until the brutality.
Returning to Paris in 1646, Le Brun soon made a name for Philippe de Champaigne, Le Sueur, La Hire, Bourdon and Jacques Stella (1596-1657), painters of classical attendance taught him to temper his realism; however, he had to keep more vigor and wealth. In 1648 he was one of the founding members of the Royal Academy of Painting and Sculpture, of which he was to be the soul. The following year, the disappearance of Vouet offered him the opportunity to impose himself, and he obtained important orders for the religious establishments of the capital. Inspired by devout circles, he adopted a dignified and serious language, but without coldness, charged with symbolic intentions and with archaeological accuracy. In 1647 and 1651 he painted for the Silversmiths of Paris two of the “buts” of Notre-Dame, the Martyrdom of St. Andrew, and the Martyrdom of St. Stephen; Domenichino’s influence is sensible. From 1652, he gave the Carmelites several paintings of an ample style; those who represent Christ in the desert served by the angels (Louvre), the Meal at Simon (Accademia of Venice) and the repentant Madeleine (Louvre) are preserved. From the decoration commissioned in 1654 by Jean-Jacques Olier (1608-1657) for the chapel of the seminary of Saint-Sulpice, there remains only the altarpiece, a The descent of the Holy Spirit with a large chiaroscuro effect ( Louvre). There follow smaller compositions, long meditated, where the balance between nobility and realism reigns: the Holy Family, called the Sleep of the Child Jesus; the meal of the Holy Family, says the Blessing, commanded by the Brotherhood of Carpenters (both at the Louvre). At the same time, we know some frank and sensitive portraits; more sumptuous is the large painting representing the Chancellor Seguier with his suite (Louvre). But Le Brun also devoted much of his time to decorating Parisian hotels, in an opulent style where the memory of the Bolognese adds to that of Perrier and Vouet. In 1652, the abbot of La Rivière ordered two large-arched ceilings (today at the Carnavalet museum), the Lever du jour and the Histoire de Psyché. A powerful breath animates the Works of Hercules painted around 1655 in the vault of the gallery of the Lambert hotel. In 1658, finally, Charles Le Brun was commissioned by the Superintendent Nicolas Fouquet to direct the interior decoration of his castle of Vaux-le-Vicomte. Finding the maturity of his style, he completed the salon of the Muses, that of Hercules and the king’s room where the relief of stucco is associated with painting; but he did not have time to execute the grandiose project he had conceived for the dome of the central salon, in which the Palace of the Sun was to appear. The Brown in the service of Louis XIV Arrested in 1661 by the fall of Fouquet, the shipyard of Vaux had proved the genius of Le Brun in the role of prime contractor. Louis XIV thus found the artist he needed, the interpreter of his thoughts. He made Le Brun his first painter, granted him letters of nobility, and appointed him director of the Royal Gobelins Manufacture. Stunned by the service of the sovereign, Le Brun had to practically stop working for the private clientele and for the churches; One can hardly quote that the Resurrection painted in 1676 for the brotherhood of the Merciers of Paris (today with the museum of Lyon) and the Descent of Cross ordered in 1679 by the Carmelites of Lyon (museum of Rennes). We must put aside the work done for Colbert in his area of Sceaux: the cupola of the chapel (1674), destroyed, and that of the flag of Aurora (1677), which remains.
Charles Le Brun, Passage of the Rhine in the presence of the enemies For the king, Le Brun was commissioned in 1661 to decorate the vault of the Apollo Gallery in the Louvre. From about 1665 to 1673, he traced the History of Alexander (Louvre) in four huge paintings where a breath of epic (Louvre). Works were entrusted to him at Saint-Germain-en-Laye, but it was at Versailles that he had to give his full measure. From 1674 to 1678 he directed the decoration of the sumptuous staircase of the Ambassadors, where triumphed the art of trompe l’oeil, but which was a victim of the transformations of the eighteenth century. A team of painters worked under his orders at the King’s and Queen’s apartments. Charles Le Brun, Conquest of Franche-Comté With his assistants, Le Brun decorated the vault of the Hall of Mirrors from 1678 to 1684; to the symbolic works of Hercules originally planned was substituted a vast program celebrating, in a semi-historical, half-allegorical language, the most glorious actions of the monarch; the whole was completed by the ceilings of the salons of War and Peace. At the same time, Le Brun drew innumerable projects for sculptures, fountains, furniture, interior decoration details as well as for feasts and ceremonies. He is credited with the models of the main Gobelins woven tapestry hangings: the Four Elements, the Four Seasons, the History of Meleager, the Months or the Royal Houses and the History of the King, which accurately illustrates several episodes of the reign. The Brun even occupied himself with architecture; with Claude Perrault and Le Vau, he was in charge of developing the project of the colonnade of the Louvre; From 1679 to 1686, he designed the painted decoration of the facades of Marly. The death of Colbert in 1683 deprived him of an effective protector. Despite the favor of the king, Le Brun had to face a cabal fomented by the jealousy of Pierre Mignard and supported by Louvois. The conduct of the great works of decoration was withdrawn. In his later years, Le Brun began to paint easel pictures, where the memory of Poussin is recognized. The continuation of the Life of Jesus, commanded by the king, includes an adoration of the shepherds where the emotion is born of a beautiful effect of chiaroscuro, as in the one that Le Brun painted for himself, with still more fervor (both canvases are in the Louvre). The master died while the cabal triumphed; Mignard succeeded him in all his duties.The PainterLe Brun’s work is not only the testimony of a career – the most brilliant of his century. His style is male, serious, heroic, sometimes brutal at the beginning. The execution is broad, without the refinement of a La Hire or a Le Sueur, and the color less bright and warmer than that of most French masters of the century. The Brown is at ease in allegory, for which he immediately finds legible and living forms. This gift allows him to excel in the great decoration. However, realism never loses its rights; it inspires tasty pieces, especially in the works of the first period (for example the stove and the cat of the Sleep of the Child Jesus), but still in some of the maturity, as the staircase of the Ambassadors or the tapestries of the King’s story. The Project Manager. Brun could not have overcome his businesses without the intervention of many helpers. This explains some of the weaknesses in the execution, which is especially noticeable in the great decorations of the Versailles period. While Jean-Baptiste de Champaigne (1631-1681), Noël Coypel (1628-1707), Antoine Paillet (1626-1701), Michel II Corneille (1642-1708), Jean-Baptiste Corneille (1649-1695), René Antoine Houasse (1645-1710), etc., working under his direction, have preserved their individual mark, other painters, such Louis Licherie (1629-1687) or François Verdier (1651-1730), nephew of the master, reflect more directly its influence. Among the collaborators of Le Brun, it is also necessary to make the contribution of the specialists: Jacques Rousseau (1630-1693), who painted architectures in trompe-l’oeil; Jean-Baptiste Monnoyer (1634-1699), author of sumptuous still lifes; Belin de Fontenay (1653-1715), painter of flowers; without forgetting Adam Frans Van der Meulen (1632-1690), the painter of battles, to whom Le Brun entrusted landscape funds for his tapestry models.The official career of Le Brun overflows, as we have seen, the field of painting. The incredible wealth of his invention is illustrated by the drawings he gave to the talent of sculptors, carvers, carpenters, goldsmiths, upholsterers. In most cases he contented himself with providing them with “thoughts” which admitted rather great freedom of execution, but assured the unity of the decorative style which accompanies the most brilliant period of the reign of Louis XIV.
Charles Le Brun is a French painter whose career is inseparable from the reign of King Louis XIV, of which he was the director of the Royal Academy of Painting and Sculpture. He is mainly known for his predominant role in the decoration of the Palace of Versailles.
Charles Le Brun was born on February 24, 1619 in Paris. Son of sculptor, it is in this discipline that he makes his weapons in the middle of the art. But it is by his provisions for painting that the young Le Brun is spotted by the Chancellor Pierre Séguier, while he learned the trade from François Perrier. He continues his apprenticeship at Simon Vouet, Nicolas Poussin, to finally perfect his apprenticeship in Italy. He returned to Paris in 1646, and quickly obtained many commissions such as “The Martyrdom of St. Andrew” (1647).
Hardly accepted by his peers in the 1650s, he is nonetheless very much supported by Séguier. His gigantic paintings offer him the opportunity to realize the decoration of the castle of Vaux-le-Vicomte between 1656 and 1661. This enormous building site contributes greatly to its fame, and to its introduction at the end of the years 1650 with the king Louis XIV by Mazarin. He began by making the royal entrance, then was entrusted in 1661 his largest project: the decoration of the Palace of Versailles. This mission will occupy him all the rest of his life, so much so that he is appointed director of the Royal Academy in 1663, then painter of the king in 1664. He will exercise his talents near the court until his death February 12, 1690, realizing in particular the sumptuous gallery of ice creams of Versailles.
Paris, France: A major exhibit organized at the Arab World Institute utilized modern digital techniques that give visitors a unique a virtual journey on some of the Arab world’s significant sights that have either been destroyed or is under threat. The exhibition runs between October 10, 2018, until February 10, 2019.
The resounding places of Mosul, Palmyra, Aleppo, and Leptis Magna represents not only as images of brilliant civilizations and mythical prehistoric heritage, as well as one of the numerous sites sacrificed and damaged by recent clashes and the madness of some extremists.
Created in a joint effort with the start-up Iconem, in collaboration with Ubisoft and UNESCO, the show’s exhibition puts together huge screen projections that provide the virtual reality experience, archived manuscripts and photos, and additional audiovisuals and statements from native populace.
The exhibit presents visitors on an adventure travel through time and space, delving into the magnificent past of these sites, until the recent past stained by devastation, and to a future with the possibility of rehabilitation allowing people to envision with a sense of hope.
The main point of the exhibit is to engage the civic society in the grandeur of the world heritage of these prime historical sites, and also to bring massive awareness regarding the stakes associated in safeguarding and ensuring this valuable and fragile wealth.
The 4 noteworthy locales significant of the Arab world highlighted in the exhibition:
Mosul, in Iraq, flaunts as the set of Nineveh’s ancient city with its Neo-Assyrian remnants, the burial spot of the prophet Jonah, its prehistoric city, and the Great Mosque of Al-Nuri with its inclined minaret: guests will have the chance to sightsee this ancient city recently taken back from the Islamic State.
The Pearl of the Desert, Syria’s Palmyra is a legendary Greco-Roman site that was as of late the casualty of significant devastation that stunned the whole world. By reproducing its remnants and displaying the excellent work project being carried out by field archeologists, the Arab World Institute is exhibiting how vital it is to preserve such ruins for humankind.
Aleppo, in Syria, is where Muslim empires from the Umayyads to the Ottomans succeeded each other, building structural jewels – the souks, Great Mosque, and its citadel enable guests to explore more than the archaeological site but rather an entire urban area of unrivaled heritage.
A remarkable location spot in Libya and the jewel of the Mediterranean in the third century CE, Leptis Magna is established by the Phoenicians and was referred to as the African Rome. The Arab World Institute offers a tour among the most outstanding structures of this tremendous spot.
The introduction of these sites brings to mind Middle East’s legacy, in its embodiment, multi-religious and multicultural, at the core of trades between 3 continents, and that it is part of the universal heritage of humankind. It is partly the goal of the Arab World Institute to stimulate that wealth and diversity, which to some, sees as a target.
During his trip to Paris, France, Chairman and Founder of Adgeco Group, Mohamed Dekkak, has recently attended the exhibit “Millennium Cities – A Virtual Journey from Palmyra to Mosul” to support the mission of the Arab World Institute in promoting cultural diversity and tolerance.
The Arab World Institute
The Arab World Institute was formed to be able to produce a solid and resilient cultural tie while promoting constructive dialogue amongst France, Europe, and the Arab World. A perfect place for the advancement of cultural projects, in cooperation with institutions, creators and thinkers from the Arab world.
James-Alexandre de Pourtalès
James-Alexandre de Pourtalès, known as Pourtalès-Gorgier, born November 28, 1776 in Neuchâtel and died March 24, 1855 in Paris, is a banker, diplomat and collector of Swiss art.
Coming from a large family of Protestant financiers, James-Alexandre de Pourtalès is the son of Jacques Louis de Pourtalès (1722-1814), a banker in Naples, and the countess born Rose Augustine Marie de Luze (1751-1791). He married on June 12, 1809 in Neuchâtel Anne Henriette Falconnet of Palézieux (1792-1836).
Purchaser in 1813 of the seigniory of Gorgier, James-Alexandre de Pourtalès is created count and named chamberlain by a rescript of Frederick William III of Prussia of November 30, 1814. It was he who freed the Bérochaux carts of charroi in 1822 and received as a sign recognition a bench to his coat of arms (removed in 1848) to the church. In addition, the commune of Gorgier granted him the middle class of honor. Member of the General Audiences (1816-1829), he settled in Paris in 1815. In his mansion, built in 1838-1839 by Felix Duban Street Tronchet, it brings together one of the most important collections of antiquities and paintings (including Bronzino, Rembrandt and Ingres) of his time, dispersed at auction by his children in 1865 according to his will. In 1806, he acquired the Château de Bandeville in Saint-Cyr-sous-Dourdan (Essonne), whose landscaped park was remodeled in 1833 by the landscape architect Louis-Sulpice Varé, of which he was the owner. one of the first known works. In 1809, James Alexander acquired for 150,000 Swiss francs the castle of Luins.
1846 – Half-size portrait of Count de Pourtalès by Paul Delaroche. This painting was photographed in 1858 by Robert Jefferson Bingham to illustrate the work of the painter, plate 47, preserved at the National Library of France.
Painter Paul Delaroche, 1797- 1856, Paris
Born in the Louvre into a family already illustrious in painting, Horace Vernet was perhaps the most popular painter of his time. Friend of the soldiers with whom he bivouacked, he had all his life the esteem of the greatest. Jerome Bonaparte, Napoleon I, Charles X, Louis Philippe and his family, Tzar Nicolas I, Napoleon III ordered their portraits. The king of Prussia has twice called him to him, and he is not until the Pasha of Egypt, who does not bring him to Syria to paint the Battle of Nezib in 1839.
These numerous travels across Europe and Africa have scattered an abundant work very early on. An entire room, the gallery of Constantine in the castle of Versailles was reserved to him by Louis Philippe to paint the campaign of Africa.
The author of our painting, Paul Delaroche himself was very early member of the Institute, in 1832, at age 35, thanks to a rapid and impressive success as a painter of history. He is also a remarkable portraitist. His portraits according to Charles Blanc “would be enough to establish his titles at the master’s degree, because all those who studied painting know that nothing is more difficult than a portrait, and that it is the touchstone of great artists. Gifted himself with a strong personality, Delaroche was made to understand that of others.
Also, not one of his portraits that does not betray a temperament, which reveals a soul. Sometimes wanting to express the proud stiffness of a minister for whom the forum was a professor’s chair, he uses contours felt he is a sure-fire man, precise to the point of drought, sometimes he adopts a soft, past and buttery touch, as if to respond to the ideas of gentleness and good humor inspired by the patriarch of Polish immigration. But always his character is all of a piece; he is painted as he is conceived, he is one. ”
In addition to an obvious quality whose absence would be difficult to explain, our painting has the exceptional character of representing a great painter filled with glory and consideration, by another member of the painting ghota. When he painted our painting in 1846, the fame of Paul Delaroche is immense, and has long since passed the European frontiers; he is a member of the academies of Milan, Vienna, St Luke in Rome, Amsterdam, St Petersburg, Naples, Belgium, Scotland and the fine arts of Prussia. The esteem of the two men is reciprocal and the admiration for the elder has gradually turned into a fraternal friendship, with a note of deference likely, due by a respectful son-in-law. Because It is also a family portrait. Eleven years earlier, January 28, 1835, Paul Delaroche married Louise Vernet, only daughter of Horace. In 1846, the two men had just suffered the same atrocious loss: Louise died on December 18, 1845; the ceremony was held on December 22 at Notre Dame de Lorette church in the presence of more than four thousand people.Paul Delaroche will never recover and the other portrait, opposite, in pencil and sanguine that he makes of Horace in 1846 is far from that of the conqueror bon vivant and willingly facecious to whom everything has always succeeded. The gaze always reflects the prontitude of observation and the lucidism which makes it possible to dominate the obstacles; but it is also borrowed from a deep sadness, perhaps to the limit of despair.Our painting is posterior of several months, since we see appear a beard with the chin still modest by its importance, comparable to the “royal” in the fashion under Louis XIII, and which announces “the imperial” or other “goatee” that he will keep until the end of his life; we are close to the second empire. This is also the time for portraits in black clothes, emanating from a new clientele made necessary by the narrowing of the large painting market; victim to the faith of a constitutional monarchy becoming economical and impoverishment, in every sense of the term, of religious production. Vanity is obviously not the slightest excuse for being portrayed for many enriched bourgeois. Although emerging from the same background, artists whose romanticism and culture willingly accommodated a more aristocratic patronage, tend to despise them.Although Delaroche has the happiness, or the intention, of painting only the most eminent politicians like Guizot, Salvandy, Remuzat or Thiers, the richest bankers like Mallet, Delessert, Hottinguer, Pourtalès-Georgier, the most powerful industrialists like Aubé, Schneider or Péreire.For this reason, no doubt, and despite its uncompromising accuracy supported by irreproachable technique, none of these portraits approaches the vulgarity or fierce caricature of Bertin the Elder. If it had been necessary, moreover, to create the exact antithesis of the rapacious flask which excited Baudelaire so much, our Horace Vernet could agree. Paul Delaroche, with perhaps his model, chose to represent the great artist, man of the world. The coat, a dark gray barely tinged with blue, can be seen at most. A subtle, dull monochrome translates a supple fabric, soft to the touch. More cuttlefish, the strict tie of a navy black is somehow content to continue the habit, without attracting otherwise attention by judiciously distributing the four white flashes of the table, the two more discreet emphasize the head.So that all the attention “sartorial” focuses on the refinement of the vest: result in as little space of a sublime management of tone-on-tone harmonies and oppositions, completed by the subtle reminders of the exact complementary ocher dark echoing the thin blue threads. The tie and the vest remain, moreover, the only singularities permitted in the uniform procession of the black clothes of time; sometimes a glove or the texture of a hat, but it is about accessories. The accessory whole is limited here to a discreet Rosette of the Legion of Honor and the stripes of the vest underlines the somewhat military rigor of a dazzling dandy romantic certe, but nevertheless capable of asceticism in his Bulimia of work. It is not surprising that the lighting focuses on the forehead of the great artist. The skeptical look, as well as the sobriety of the maintenance, express this ostentatious pride that gives the consciousness of an aristocratic superiority of the spirit. Before lodging at the Institute, Horace Vernet often received the elite of the Parisian society in the sumptuous villa he lived in Versaille. At the time of our painting he lives, as well as Paul Delaroche, rue de la Tour des Dames, in the heart of the district elegantly nicknamed “the new Athens”. It is necessary to imagine the quality of the turns of table representing a whole Olympian in black dress, of demi-gods of the art, poets, painters, musicians, actors, writers, reunited in the English coffee, the Riche coffee, or in the privately-owned hotels This area of the 9th arrondissement, still 160 years old, is surrounded by country corners and where for over half a century, it was almost all the other romantic celebrations of our history. Delaroche was barely 27 years old when he exhibited his Joan of Arc in the salon of 1824, which, in the words of Eugene de Mirecourt, immediately won him “one of the most famous artists of his time.” Follow the Death of Elizabeth in 1827, The Cardinal of Richelieu on the Rhone in 1829, The Children of Edward in 1830, Cromwell in 1831. In 1834, the Duke of Orleans, eldest son of King Louis-Philippe, is so satisfied with the Assassination of the Duke of Guise, that he spontaneously doubled the asking price. According to the Magasin Pittoresque of the same year, the Lady Jane Gray exhibited for six months at the Salon also arouses enthusiasm: “for many years, no work of art had yet achieved a success more popular than the Jeanne Gray” ( The Jane Gray and the Cromwell and the Hemicycle are commented on our html page Charles Baudelaire It was in June 1834 that Delaroche made his first trip to Italy, “to make his novitiate and reflect on the great examples of the past.” He stays in Florence, Pisa, Arezzo, Siena, and finally Rome where he is the host Horace Vernet then director of the Académie de France at Villa Medici. On his return from Rome, he resumed in 1835 the studio of his master Gros, whose suicide could be linked to the growing power and violence of criticism.Because of this, or the attitude of Thiers on the project of the Church of the Madeleine, or both, it distances itself from the Salon. He refuses to participate in that of 1836. The salon of 1837 will be the last for him. The semicircle of the School of Fine Arts, inaugurated in 1841 will remain the last public manifestation of his talent, after which he will abandon the great historical compositions. His reputation is made. His paintings are intended for an elite, preserved in the collections of royal families, the richest aristocrats, or bankers; no doubt it is in the middle of the nineteenth century the most famous and most appreciated painter of the western world. Louis Philippe entrusted him in 1838 with a commission of five paintings for the king’s pavilion at Versailles. The big business bourgeoisie is not left out. A prestigious Swiss collector, the Count of Pourtales-Georgier bought Cardinal Mazarin and Cardinal de Richelieu in 1831.Prince Alexander Demidoff is another glitzy amateur. Married to Princess Mathilde Bonaparte, Demidoff is the owner of the Temptation of St Anthony and later, in 1865, Lady Jane Gray; he is a sponsor and influential friend in Eastern Europe. Two important paintings leave in Central Europe: The Pilgrims of Rome thanks to Anasthasius Raczinsky, member of one of the largest families of the Polish aristocracy – the original version of the Napoleon in Fontainebleau is by another bought by the banker Heinrich Schletter. The painting will take a prominent place in 1858 in the background of the new Museum der bildenden Künste Leipzig. Thomas Baring is another amateur financier of Delaroche, the British one. Queen Victoria, perhaps influenced by the Orleans family also appreciates Delaroche. She buys him at least three paintings and afterwards will remain faithful to him, as well as other members of the British aristocracy, as the Dowager Countess of Sandwich, the Duke of Sutherland and his brother, future tale of Elesmere . The fourth Marquis of Hertford, who lived more readily in France between his hotel in the Rue Laffitte and the Château de Bagatelle bought at Louis Philippe in 1835, occupies a special place. He bought no less than twelve paintings, some of which came later from the Auction of Count Pourtàles in 1865, including the Richelieu on the Rhone and Cardinal Mazarin. This ensemble is today the most important gathering of Delaroche’s works. It was the subject of a recent study by Stephen Duffy, published in 1997: “Paul Delaroche, Paintings in the Wallace Collection”. The Anglo-Saxon researchers seem more interested in extracting Delaroche from the deep oblivion in which he was buried for more than a century. This phenomenon resulted from profound changes, both of taste and of sponsors. Emerging in France less than two decades after the disappearance of Delaroche, a new colorful range appears, freed from secular references to nature. The drawing, the anatomy, the perspective, the model become accessory, even academic and binding. It is not so much for the painter, to represent, but to “translate”. The simultaneous appearance in France of the first paintings dealers accredits this “modern” painting and manages to impose it on the Atlantic, where wealth is concentrated at the dawn of the twentieth century. century. Against all odds, this rupture, which was initially considered extravagant, to the point of being originally a crime, became the custom and suddenly, the last heirs of six centuries of evolution of European painting opportunely made figures. mold for merchants being broken), dinosaurs, pastists, academics, archaic or other retarded hijackers, guilty of not having known to see or understand the evolution of art etc. Another equally French paradox was more specifically prejudicial to Delaroche and Vernet who were his Turkish (x) heads. This is Baudelaire’s posthumous “sacralisation” with the extension that results from systematic eruptions and other divagations on art, including the distance between art, truth and morality, of which France is true is happening consistently; renewing since and until the nausea, the acclamations of September 30, 1938 … (commentary of April 2003).In addition to Stephen Duffy’s monograph, two other fundamental studies were recently devoted to Delaroche besides Channel: Norma Ziff’s thesis in 1977, and in 1997, the important work of Stephen Bann, professor at the University of Kent in Canterbury.Finally, a first pavé of nearly 340 pages in French appears in 1999, editions of the National Museums in collaboration with the cities of Nantes and Montpellier.
We know the gradual impoverishment of religious painting begun at the end of the 17th century. The brush at the origin, guided by the fervor passes between warmer hands, the communion moves away in proportion, one can not transmit what is foreign to you, and if it allows sometimes to reach the sublime, the Religious art more than another is inseparable from sincerity. Also the lack of breath is it a constant production of the nineteenth, contained in essence in repetitions, but which become insipid, in that they no longer overcome the pitfall of a sentimentality cutesy, disturbing, cleaner to to disconcert that to convert the last undecided.
The last paintings of Delaroche, which nearly disappeared with him memories, would be enough to buy this sinking. The credit goes to Stephen Bann for us to rediscover them and we greet the attention of Ladies German-Cosneau and Isabelle Julia who conclude their work by reconstructing what Charles Blanc described as a testament of the painter. These little paintings forever scattered, we arrive together and coherence and emotion restored thanks to the book and the magic of a photogravure of high quality.
Mrs Isabelle Julia to find the testimonies and comments of the time: by Barbey d’Aurevilly, Louis Ulbach and Charles Blanc on which it would be presumptuous to add. “One can not describe in words this scene of mourning, or the painter so strongly expressed, and with so much soul all the variants of the pain, the desolation of the holy women, the deep, but male and contained affliction, of Saint Peter, the tender despair of St. John, and the unbridled anguish of the Virgin, who, standing on her knees, gazes past the executioners.with infinite delicacy, the painter has made the virginal character of the motherhood of Mary, and I do not know what shade of respect for this son who is a God … The Return of Golgotha, The Crown of Thorns are still pieces of an unexpected beauty, of a lugubrious and penetrating poetry.This was the testament of the master “. This is a short excerpt from Charles Blanc’s tribute to the paintings that Delaroche painted in the last year of his life.To satisfy himself – according to Eugene de Mirecour – “freed from all the weight of traditions ordinarily imposed on those who treat such a subject (…) Delaroche designed to make a series of compositions on the death of Christ, but considered a new point of view, as if he had himself witnessed the tragedy.So he painted in small dimensions Jesus in the Garden of Olives, and The Burial of Christ. Then he represented the holy women on their knees in a dark room. At their head, the Virgin Mary, mother of Jesus. They see through a window the pikes of the soldiers who lead the Man-God to the torture. In this deeply sad scene, the real pain is expressed with such sincerity that the soul, filled with this spectacle, asks the painter nothing more. Continuing this terrible work, the artist painted the Virgin returned to her room and considering with unspeakable pain the thorn crown dyed with the precious blood of her son. At last he was working on the last act of this dreary tragedy, The Fading of the Virgin Surrounded by the Apostles and the Holy Women when Death Suddenly Struck Her “.
The Saint Veronica is painted very early, also dated 1856. It is possible that Delaroche with it, wanted to recall the vanity of the stylistic evolutions undertaken since the middle of the fifteenth century. century.The subtleties for most of the oil painting were acquired, the anatomy and perspective mastered; a marvelous way of expressing reached maturity, and some quattrocento artists were technically able to reach the truth. The rest is a matter of heart, and faith, the canvas a convenience to come and Delaroche has exceptionally used a wooden panel, installing for perhaps pasticher Mantégna, Saint Véronique in a shortened scholar, built with the touch dry and meticulous of this master. The tone of the set and the opposition of a brushed background in large dark footprints dispel the ambiguity. But the message remains, of simple, intangible truths. Art for art, artifice, evolution itself is a farce, without the simple, but how much necessary possession of the craft. This manifesto may have deserved more echoes, at a time or is looming around, according to Barbey d’Aurevilly: “the sieves of the sun on the canvas and limiters of outlines, the material rage of the color which is the whole painting for vermilion drinkers.”
Only certainty, religious painting will never be rescued. But let us conclude, on the personality of the painter, the last words to Charles Blanc: “So, whether one examines one’s life or work, one always comes back to admire, in Paul Delaroche, a character, yes, a character, and this is rather rare nowadays, among artists as elsewhere, so that we take care.Reserved until the appearance of coldness, Delaroche was a generous and devoted man, an excellent friend, full of righteousness, disinterestedness and greatness of soul. Better than anyone, perhaps, we were able to know what he did, in 1848, to help his comrades. He then took for the others the role of solicitor, whom he was incapable of taking for himself, and resolved, besides, not to accept any work, in spite of the sudden withering away of his fortune, of which he did not speak. He wrote to the director of the Beaux Arts, on the distress of some of his pupils, letters filled with the eloquence of the heart, and which would throw a beautiful light on his biography.
The Louvre Museum in Paris, France is undeniably among the world’s largest museums and a historical landmark. This 60,600 square meters long-standing museum is established on the Right Bank of the Seine at the heart of Paris, accommodating almost 35,000 arts and artifacts covering early history up to the 21st century.
The establishment is lodged in the Louvre Fortress, formerly constructed as a stronghold during the reign of Philip II. At present, the fragments of the castle are still perceptible in the cellar. The palace has received several modifications and enhancements in terms of its size, which leads to the present design of the Louvre Palace.
It was ruled that Louvre should be converted as a gallery to exhibit the country’s masterworks. The collection was increased during the reign of Napoleon and it was renamed as the Museum of Napoléon. Furthermore, the collections were increased during the reigns of Louis XVIII and Charles X, and by the time of the Second French Empire, the collections boosted to 20,000 pieces.
Some of the well-known art exhibitions include the Mona Lisa portrait by Leonardo da Vinci, Virgin and Child with St. Anne, St. John the Baptist, and Madonna of the Rocks. In 2008 the collection in the museum was expanded and was divided into eight sections which are the Greek, Roman, and Etruscan Artefacts; Sculptures; Embellished Arts; Paintings; Prints and Drawings; Egyptian Relics; Near Eastern Antiquities; and Islamic Art.
The section where Egyptian Antiquities are kept comprises of 30 rooms housing more than 50,000 relics from the Nile civilizations, which date from 4,000 BC to the 4th century.
Aside from pyramids, Egypt is also well known for its Sphinx and a Large Sphinx guards the section for Egyptian relics. When the Egyptian museum opened, it came as a wonderful surprise to the public as the museum usually exhibits Roman and Greek paintings and relics. Among the statues and artefacts inside the section are Egyptian pharaohs, religious artefacts and everyday objects.
One statue that really gets attention is the Great Sphinx of Tanis located in Room 11. According to the historians and archaeologists, the relic was made around 1750 B.C., end of the Middle Egyptian Empire. The granite splendour weighs 9.5 tons and it is said that King Ramses II and his son King Merenptah, fourth ruler of Prehistoric Egypt’s 19th Dynasty, had their names imprinted in the statue five hundred years later.
The Sphinx, being associated with the sun god, represents meaningful elements during Ancient Egypt. It is a beast lying down with a body of a lion and a male human head. It signifies power and authority. It symbolizes the Egyptian king as a defender of his people and vanquisher of the adversaries of Egypt. It has more positive connotation compared to its female counterpart in the sphinx in Greek mythology.
As you see the inscriptions on the chest and around the base of the statue, you will feel a sense of understanding about how the people of the Ancient Egypt honour and commemorate the greatness of their Kings and how dedicated and creative they are by making a masterpiece out of a rock.
Whenever a visitor travels to Paris, France, the Eiffel tower is always on the bucket list, or rather observe the mystery in the smile of the Mona Lisa’s portrait.
Mr. Mohamed Dekkak has a one of a kind experience during his travel around Paris, which he found worth sharing to other travellers who also want to discover other things aside from the Mona Lisa at the Louvre. It is the majestic Napoleon III Apartments at the Richelieu wing of the Louvre museum.
The Louvre is currently one of the world’s most recognized museums and is celebrated by visitors who love both history and arts. The Louvre museum has three huge annexes: Sully, Richelieu and Denon.
The Sully wing is the oldest part of the Louvre. The second floor is dedicated mostly to French paintings, illustrations and designs. The first and ground floors of the Sully wing present the works from the vast collection of artefacts. On the other hand, the Denon Wing is usually the most visited among the three wings because it is where the Mona Lisa of Leonardo da Vinci is exhibited.
On the level of the Richelieu wing, you will find the luxuriously decorated Napoleon III Apartments. The Napoleon III Apartments are an exceptional record of the Second French Empire decorative art. They give you an idea of what the old interior design of Louvre looked like when it was still in use as a royal palace. It is said that the apartments were refurbished during the Second Empire for the Ministry of State. After that, Napoleon III only used it for official purposes.
The apartments were designed and constructed between 1852 and 1857 by the architects Louis Visconti and later Hector-Martin Lefuel to link the Louvre and Tuileries palaces. The Apartments consists of a salon theatre, the Grand Salon, and a Dining room.
The Room 85 or also known as the salon theatre of the Napoleon III Apartments features a painted ceiling Les Saisons des fleurs by Auguste Genron and the décor of the room is sculpted by Theophile Murgey.
The furniture in the salon theatre is mostly inspired by the Second Empire style. A mix of 17th and 18th-century styles using high-quality fabrics and rich colours. There are many Louis XV Chaperone chairs or ‘Indiscreet chairs’ are found in the salon. It is said that these chairs are specially built for casual conversations.
A wall portrait of Napoleon III painted by Franz Xaver Winterhalter is perfectly placed in the room. Franz Xaver Winterhalter also painted a portrait of Empress Eugenie. The dress she wore in the painting perfectly suits her form and sets the standard as an empress. If you look closely at the painting, the empress is wearing a crown ornamented with pearls, which proves of her fascination to pearls.
The Grand Salon shows extravagant decorations through the glimmering chandeliers, gold-plated edgings, silk draperies, velvet fixtures, and baroquely decorated ceilings.
The columns take the shape of female figures. The beauty of these ‘caryatides’ is even enhanced by an artistically painted ceiling by Charles-Raphael Marechal illustrating the construction of the Richelieu wing.
The grand table is the star in the Dining room. Golden cabinets in black-stained wood with gilt bronze decorations are strategically placed around the room. It is said that the spacious dining room is only used during feasts.
The elegance of the Napoleon III Apartments is definitely a must see at the Louvre. It is an effective way of revisiting the past and to learn about the lifestyle of early France.
This section of the Louvre can make even the richest person gasp in awe. Every detail is crazy luxurious but what’s even more interesting is people actually lived here years ago, occupying such opulent spaces.
The areas of what is known these days as Napoleon III apartments were redecorated for the Ministry of State during the Second Empire. At that time, they were among the brand new section of the Louvre constructed from 1852 to 1857 by Louis Visconti as the initial architect then later Hector-Martin Lefuel to connect the Louvre and Tuileries palaces. In 1856 and 1861, the project was carried out and managed by Lefuel under the guidance of the Minister of State, Achille Fould. The reception rooms, lavishly decorated in the Louis XIV fashion, have kept their original ornament and furniture. The private apartments are located on both sections of the lead staircase. In 1871, following the Paris Commune, the rooms were given to the Ministry of Finance.
Napoleon III Apartments, Grand Salon
The Grand Salon is the largest and most luxurious area of the reception apartments.
Surrounded by vibrant colors of red velvet and gold contrasts. Chandeliers meant to light the enormous spaces filled with lush crimson chairs.
The large drawing room of the Napoleon III Apartments exemplifies the period’s fascination for lavish interiors. The ceiling features The Reuniting of the Louvre and the Tuileries by Napoleon III painted by Charles-Raphaël Maréchal while the extravagant stucco decors are by Tranchant.
Maréchal was the son of the glass painter who trained him at a young age the charcoal technique. In 1872, the City of Metz purchased a huge charcoal artwork entitled “Prayer In The Wilderness”, which Maréchal had created for the Metz Exposition of 1861.
The Napoleon III apartments are located in the Richelieu wing on the 1st floor in Room 87. One of the museum’s satisfied visitor was Chairman and Founder of Adgeco Group, Mohamed Dekkak, who has recently arrived in Paris and was able to squeeze a trip to the Louvre given his tight schedule. Mr. Dekkak appreciates art that he has collected numerous paintings through the years.
LeMusée du Louvre in French, the Louvre is the largest museum in the world and contains some of history’s most extraordinary masterpieces. Standing along the banks of the Seine River, the stunning, baroque-style museum and palace is one of Paris city’s biggest tourist attractions.
Brief History of the Louvre
Initially intended to be constructed as a fortress in 1190, the Louvre was rebuilt in the 16th century to function as a royal palace. “Similar to other structures, it was build up and reconstructed throughout the years.
The Louvre saw a remarkable progress in its period as a royal residence. Almost all ruler developed it that it now spans a combined space of 60,600 sq. meter. It was in 1682, when Louis XIV transferred the royal residence to Versailles. In August 1793, the National Assembly launched the Louvre as a museum with 537 art collection and houses several art academies, and offers regular exhibitions of its members’ works.
Due to problems in its build structure, the museum closed in 1796. Napoleon opened gain the museum in 1801, expanded its collection, renaming it Musée Napoléon. It was Napoleon Bonaparte who established the foundation of the globally celebrated museum as he oversees the creation of art collections. In 1802, he renamed it to the ‘Napoleon Museum,’ stating he wanted to build a museum of France that also covers significant masterpieces from across the globe. The collection increases as he brought artworks coming from private donations, military campaigns, and from his commissions. When Napoleon renounced the Treaty of Fontainebleau in 1815, thousands of art pieces were sent back to their countries of origin. France was able to keep some paintings, and the Louvre reverted to its original name.
Louvre’s Art Collection
Amongst the thousands of art collection in the Louvre’s are prehistoric Roman and Greek sculptures, works of Islamic art, Egyptian antiques, paintings from before 1800 made by renowned European painters, Western art from the medieval period as well as crown jewels and other artifacts. Over 35,000 artworks are being displayed at any given time.
The collection is classified into 8 Departments, defined by the activities of its curators, collectors, and donors. Egyptian Antiquities; Near Eastern Antiquities; Greek, Etruscan, and Roman Antiquities; Decorative Arts; Islamic Art; Sculptures; Paintings; and Prints and Drawings.
Evidently, the most popular artwork is the “Mona Lisa” painted by Leonardo da Vinci who attracts thousands of visitors. The legendary painting, though small with just 21×30 inches in measurement is protected by a bullet proof glass and heavily secured by guards.
Louvre’s Unique Pyramid Architecture
Even though the art collection is the museum’s highly important element, the building itself is equally an interesting art structure. The building is mainly of French Classic and Renaissance. Its medieval features coming from the old fortress may still be observed underground, around the lobby area that is beneath the pyramid.
When the Louvre was renovated in 1983, one of the plans needs a new design for the main entrance. The project was awarded to Architect I.M. Pei so he designed an underground lobby and contemporary glass pyramid structure in the courtyard to combine the traditional with modern architecture.
Need to Know before visiting
It is plain impossible to see the whole of Louvre in just one visit due to its expansive area and collection scale, not to mention the sheer size of crowds. But they have several tools to assist visitors to navigate and plan their trip such as “Masterpieces Visitor Trail that covers the top 10 most popular artworks, museum map and advance ticket options.
The Louvre is open everyday except Tuesday and other holidays. Opening hours are Monday, Thursday, Saturday, and Sunday from 9 a.m. to 6 p.m., and Wednesday and Friday from 9 a.m. to 9:45 p.m.
Admission costs to visit the whole museum is 15 euros and 17 euros if ordered online. Kids and under 18 can enter for free as well art teachers, pass holders and people with disabilities.
Interested in art and inspired by French artists, the Chairman and Founder of Adgeco Group, Mohamed Dekkak, included a tour to the Louvre museum during his recent visit to Paris, France. An avid art collector, Mohamed has also several collections of artworks displayed in the U.A.E.
Offering the very best of Paris, The Hotel Plaza Athénée is a historical luxury hotel that is included in the Dorchester Collection group of international luxury hotels. This is where legends and fashion gave birth and classic love stories have played out.
On 20 April 1913, The Hotel Plaza Athénée launched on Avenue Montaigne where the first manager Emile Armbruster named it as such. Artists and composers and usually take their meals at Plaza Athénée after performances. During that period, London Gourmet Prize Winner, Jacques-Léon Colombier, was the head chef of the hotel’s restaurant. The Hotel Plaza Athénée continued to be open throughout World War I.
Around 1920s, the hotel expanded with the addition of La Cour Jardin restaurant, apartment hotels, and 2 salons. During the Liberation of Paris, the Le Relais restaurant turned into a cafeteria for U.S. soldiers. Christian Dior opened his couture house beside the hotel in 1947. Past forward in 2008, the famed Dior Institute was established at the hotel. It was in 2012 that the Hotel Plaza Athénée was awarded the “Palace” distinction, which is the highest recognition for luxury hotels in France.
Aside from the 7th and 8th level that are furnished in Art Deco style, most of the hotel interior is designed in classic French.
Hotel Plaza Athénée houses five restaurants and a bar in the hotel. Alain Ducasse wanted Athénée to house his haute cuisine restaurant. Inspired by the fish-vegetables-cereals trilogy, Alain Ducasse au Plaza Athénée serves healthier and more natural meals. Keeping in mind the respect our planet rightfully deserves, the restaurant caters a free and an innate interpretation of Haute Cuisine that reveals the food’s original flavor.
Le Relais Plaza allows diners to immerse in old-school charm, classic French cuisine.
For a lot of Parisians, La Galerie is the perfect spot for breakfast, a light lunch, unplanned drinks before dinner or a delicious afternoon tea.
The inner courtyard, La Cour Jardin offers a touch of serenity in a busy city. Enveloped by lush curtains of foliage. The restaurant is famous for Riviera-style cooking, serving seasonal dishes from May to September. It’s a must to experience it during the cozy, twinkling wonderland of winter.
The perfect spot for admiring local Parisian fashionistas, La Terrasse Montaigne is an al fresco terrace restaurant that sits right on the hotel’s façade.
A famous night spot, Le Bar’s creative cocktails can be customized to whatever you fancy, be it a classic drink or their modern signature black mojito. While on travel to Paris, Chairman and Founder of Adgeco Group, Mohamed Dekkak, together with friend Mustapha Alaoui enjoyed a nice evening at Le Bar where they get to sample some of the bar’s sparkling drinks paired with good music inside a bar of sheer style.
A Premier Address
Hôtel Plaza Athénée is located at 25 Avenue Montaigne in the 8th arrondissement of Paris, close to Palais de Tokyo and Champs-Élysées. It simply offers the best of everything Paris has as it stands with pride on the classiest avenue of Haute Couture, with the breathtaking view of the Eiffel Tower at one end, and the Champs-Elysées at the other.
Utterly magnificent, a room per night can cost from USD 1,150 to USD 20,000 for the hotel’s premier suite. At Hôtel Plaza Athénée is where unique and delightful experience awaits.