“The passing years seem to bring you only good. You have gained experience and wisdom, but without losing your dynamism or your youthfulness. Mostly, do not change anything, you are my model! very happy birthday.” Celebrating Mr. Naïm’s Birthday was such an honor! Everyone is gathered to wish him a very happy birthday.
Located at 25 Avenue Montaigne and built in two campaigns between 1902 and 1909, Hotel Plaza-Athénée is an eight-storey luxury hotel, designed in an eclectic style by architect Charles Lefèvre.
On the occasion of a change of ownership in 1933, the hotel is modernized. He opened again in 1936. During the Second World War, he was successively occupied by the German and American commands. It will return to commercial activity in 1946. In 1970, the ground floor is modified: the Salon Montaigne is created on this occasion by the meeting of the former reading room and the salon called “Regency”. The dining room was rehabilitated in 1984.
The Plaza Athénée is part of the very closed circle of Parisian palaces. After 11 months of work, it reopened in September 2014, and they find everything that makes the soul of the hotel: classic and luxurious suites, a restaurant completely transformed and taken over by Alain Ducasse, the same upscale service that has made it famous, a large, refurbished interior courtyard, and still the Dior spa. A breath of modernity and a tribute to the past, here is essentially what now offers the Plaza Athénée.
The palace of Avenue Montaigne opened on April 20, 1913. A century later, the jewel of the Parisian hotel remains at the top of the bill.
Once upon a time, the palace of tomorrow. “François Delahaye, managing director since 1999 of the prestigious liner of 146 rooms and 45 suites (average revenue, € 980 per night), summarizes his commitment. He explains: “The Plaza Athénée must always be one step ahead.” Demonstration: this is where, for the first time, a color code, red, was applied everywhere in a hotel, geraniums with windows included, that the rooms were equipped with a minibar and air conditioning, a huge chef ( Alain Ducasse ) picked three macaroons less than a year after installation, soon followed by pastry chef Christophe Michalak, that a rink carpeted the inner courtyard, that a lounge bar opened under the woodwork of another time, that the staff was interested in the smooth running of the house (€ 3,500 premium per person in 2012. The man, temples of money and student smile, keeps the meaning of the formula: “We are innkeepers. Leading the hotel is to set the pace and trust the 550 employees. Our exceptional location must be highlighted by impeccable service. When a customer pays 9 € for coffee, there can be no challenge. ”
François Delahaye does not lack ideas either. In addition to organizing a sparkling birthday, he takes the initiative to enclose in a waterproof box a collection of objects that tell 100 years of the Plaza Athénée. An iPad with video of the hotel, the whistle of the hunter who, in 1913, hailed the cabs, letters from famous customers, some silverware, a bottle of wine, photos, etc. The precious container the size of a suitcase will be hidden “somewhere” under the marble of the Gobelins gallery which runs along the inner garden and the two restaurants. “I’ll dig it up after I leave!”
While waiting for this message to the future to delight its inventors, the Plaza Athénée savors its daily life. First, this car show in the open, on the alleyways of Avenue Montaigne. Mercedes and Porsche, almost banal, Bentley is more serious, Maserati , yes, if it is the latest model registered in Geneva, Ferrari , eternal star of bitumen, dress in harmony with the flowers and the Monegasque plates. Or those of Brunei. The Sultanate has owned the establishment since 1997. A step ahead, of course; he murmurs that when he arrives in Paris, a certain prince of the sands demands to have several of his cars in front of him and that McLaren engineers make a special trip from Great Britain. The automobile tradition was born with the hotel and had parked here the Delage , Bugatti, Hispano-Suiza, huge Phantom Rolls, Versailles convertible with whitewall tires, the DS Pallas and their driver … Yesterday as today the onlooker keeps his eyes round.
A cocoon out of space-time
Then there is the table. La grande, pronounce ADPA (Alain Ducasse at the Plaza Athénée), an exceptional plate and a meticulous service never stilted. Class, the real one. And the brewery Le Plaza, a joyful formula without tie, always animated by Werner Kuchler , memory of a thousand and one celebrations alternating beer and champagne, Bavarian maestro with the repertoire of 120 songs, Marlene, Aznavour , Montand. A step ahead? This will be the raclette served at the edge of the ice rink in winter, on tables way cottage. Down jackets and hats obligingly lent. Unless greeting the arrival of spring in the same place, but flower garden version. Alain Ducasse marries asparagus from Provence with morels and sweetbreads with black truffle. Some are crying with gratitude, others go away hopping with joy in this Gobelins gallery that tells the century: crystal sconces, embroidered doilies and damask armchairs, pale gray cocktail, soft pink and light yellow.
Good news, this path of low tables and padded confidences leads to the bar, new pole of excellence of the Parisian night. DJ turntables, huge carved iceberg counter, Plexi chairs or deep armchairs, log fire video, scholar penumbra, map on iPad. We love it in a cocoon out of space-time. Guaranteed surprise when the solid cocktail comes: vodka-peach lollipop planted in ice or slice of liqueurs. This joke of high flight necessarily generates good mood and starred eyes.
Finally, please take the elevator lined with wood to climb the floors. After all, the Plaza Athénée is first and foremost a house where sleeping is good. Float the legends. Peter Komma, receptionist and four decades in the service of the palace, tells Hitchcock “always on the first floor, by terror of a fire”, Sinatra just out of the police station that is unloading the rest of the night on the piano of his Then, the American couple with a little dog who, in his room, opens the trunk containing squares of the lawn of their house, history that the dog keeps his marks.
Christian Dior held there salon
Or, the installation of Michael Jackson’s penthouse : dozens of balloons, as many bowls filled with Smarties and a chocolate Eiffel Tower, at height of man. Follow Karajan , Borg , Harrison Ford , Roger Moore , Elton John , Shakira , Mike Jagger … The CAC 40 , the Nyse , the FTSE, the mundane, the Hollywood plateaus and the hit parades of the last twenty years parade at the Plaza, pinstripe suit, light muslins with diams to scratch the mirrors, tips of stars stashed behind their dark glasses. Like to extend the night. She is so cozy when you spend in a room away from the ordinary world. Carpets accented with Persian rugs, crystal chandeliers, sofas and armchairs stretched in thick velvet, furniture inspired by centuries of light, master paintings, heavy hangings, tanned wood paneling, all stained with red, a lampshade, a cushion, a trimmings, a bouquet. The highest-rated rooms are those on the upper floors that open onto Avenue Montaigne. The palace plays the sentries. Creators and actors have made their den.
As a neighbor, Christian Dior held a salon and organized his presentations. Since then, chic claws are the most fashionable counter-aisles in Paris. It is said that a regular in the Gulf requires, for a fee, all shops can be opened and privatized for his suite, day and night. Jean-Claude Elgaire, chief concierge and 49 years here before making the beautiful days of Mama Shelter, remembers this American couple arrived at Saint-Lazare station at the end of his transatlantic crossing. The gentleman of a certain age contemplated the ten trunks of his young conquest and announced that there would be a little more in return, when he would have yielded to the whims of his haute couture. “My daily life was to privatize the Concorde, to find a starred table, a cabriolet, a vintage bottle. I do not remember an unmet wish. The 12-person Plaza concierger is considered the best in the world. ”
France is packed with a lot of palaces and castles, usually in splendid locations, each one rich in history. These are no longer just remnants of the past, as at present it is possible for us to experience living history in a French chateau.
The word “chateau” is a French term which has been included in the English language. The French word “chateau” signifies a variety of structural buildings such as a Renaissance palace, medieval fortress, and a 19th century country house.
The Paris region having a unique history has several chateaux to discover, wherein some are considered extraordinary heritage sites. If you are currently traveling in Paris, get on a romantic journey or take your family for a day trip and imagine yourselves as a rich 17th-century Parisian as you discover the grandness of chateaux within and around Paris.
Open all year round, these chateaux offer locals and tourists the chance to travel through France’s history and discover the region of Paris’ cultural heritage gems.
Must-See Châteaux Around Paris
Château de Chantilly
Although not visited by crowds of tourists, this chateau is a fairly easy getaway from Paris. Château de Chantilly rewards visitors with a spectacular view once they enter the property grounds. The gardens which comprises of canals, lakes, and manicured lawns with each having a unique theme are all works of art. The gardens itself are worth the trip and best appreciated at a relaxed phase. The castle is home to one of France’s luxurious art galleries as the previous owner, the Duke of Aumale, was an avid collector.
Château de Fontainebleau
A beautiful castle situated 55 kilometers southeast of Paris, Le Château de Fontainebleau is a must-see tourist spot in the French capital. A huge forested estate, the original castle is enclosed by beautiful forest and was constructed in the 12th century as a hunting ground for king Louis VII of France. From then on, his successors spent time and money expanding and and decorating the castle that at present, Fontainebleau is one of the most beautiful and largest royal castles in France.
Palace of Versailles
Probably the most popular palace in France, Palace of Versailles is among the most visited travel destinations in the world. Located ten miles from the capital, this luxurious château has once been France’s seat of power, and eventually became a museum that displays the country’s history. The Palace welcomes over eight million visitors a year. The chateau, built in 1600s is comprised of a splendid garden, 2300 rooms and a Grand Canal. Not to be missed is the Hall of Mirrors which has over 350 mirrors.
Château de la Belle au Bois Dormant
Otherwise known as Sleeping Beauty’s Castle, Le Château de la Belle au Bois Dormant is situated at Disneyland Paris’ Main Street. This famous fairytale castle is surely worth a visit if you need a pot of magic in your life. This is the only Disney castle with its own massive robotic dragon in the dungeon underneath, which usually when awakened blows up a smoke.
If will be visiting Disneyland Paris during the night, the park also projects the Illuminations Show onto the castle front along with scenes from Disney films, fountains, lasers and fireworks.
Whether your interest is gardens, art, or to experience the French lavishness, a trip to Paris would not be complete without immersing into the countryside and visit the region’s grand châteaux.
If you are looking for a chic night out and craving for some treat while on your tour in Paris, this has to be included on the top spots to try out.
The La Societe is a restaurant located in Saint-Germain-des-Prés. The avenue is what you describe as effortlessly fashionable and all things picturesque. Alongside the street are famous fine-dining restaurants, tiered cafés, haute-couture shops, and ivy-covered fences.
If you are also into arts and antique crafts, there are galleries and small museums standing around the corners. The restaurant is where you can also find a historical landmark that is the oldest church in Paris. Brilliant musicians perform on the streets. Famous celebrities and middle-class Parisians often roam Saint Germain and once you get there you will realize that it is obviously a district where afternoon people-watching from a café or playing cards in a brasserie is normal daily happening.
La Societe is a fashion hub of grand Parisian style built by one of France’s leading designers Christian Liaigre and is owned by the Costes. Once you enter the restaurant, you will notice how beautiful and properly dressed the crew are. Anyone can easily assume that they are also guests and not working in the restaurant. Being a high-end restaurant in heart of Paris, La Societe does not only fill you with delicious foods but also fill your senses with elegance and style. The waiters are not only head-turners but also friendly and accommodating. While having your meal, your ears will be welcomed with music played from the grand piano, which sets a relaxing and serene atmosphere in the restaurant.
Mr. Mohamed Dekkak is a fan of mixed French-European and Asian cuisines and this is what La Societe is well known for. According to him, the restaurant is in a great location. The area is easy to access as it is just right on top of the Metro station. You have a choice to dine inside and be immersed in the artistic yet elegant interiors of the restaurant or if you are a nature lover, there are tables outside with canopies and the atmosphere is even better at night.
Once you find your preferred table and made your orders, you will be given a glass of champagne, and while drinking, you will get enough time to perceive the design of the restaurant. Everything from furniture and fixtures, and the floorings are of premium quality and you can choose from a plenty of loungers and leather-covered benches inside the restaurant. However, reservation is recommended if you have preferred spots, as there are times that the restaurant is jam-packed.
The food and drink are exceptional and served generously from the starter, the main course, and to dessert. La Societe exudes a lavish ambience that offers a distinctive and invigorating menu. Fish dishes are magnificent especially the sea bass tartar and steamed salmon, so was the prawn risotto.
At nighttime, the restaurant turns into a high-end club with lounge anthems and graced with dressy collections of Left Bank artists and fashion lovers. Some of the most notable dishes include a roasted duck, tuna nicoise and Le Club Saint Germain.
People do not just come to Le Societe for the food, but also for the experience and everything is worth the price spent. Initially, it is certainly not a tourist place so you get to watch really nice, aristocratic Parisiennes with their families and friends. It offers an all-day menu of post-modern brasserie faire served by the staff of impeccably good looks with manners to match and the ambience speaks of chic and trendy all over the place.
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.