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"Musée du Louvre"
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اللوفر : فجر العشق الإبداعي /
يأخذ الكتاب القارئ في زيارة مختلفة لمتحف اللوفر الفرنسي، معتمدا خارطة جديدة لأقسام المتحف المعتادة، خارطة مختلفة عن كل ما تحدث عنه العالم حول المتحف من حيث المساحة الجغرافيا المبنى العتيق حدائق المتحف، أو عن أقسامه الفرعوني والياباني والآشوري والحضارات المختلفة، أو عن المدرسة الكلاسيكية والفن الأكاديمي وعصر النهضة وليوناردو دافنشي ومايكل أنجلو.
Book
APOLLINAIRE ET SES AMIS. LE LOUVRE EN SES AMBIVALENCES
L’attitude d’Apollinaire et des écrivains de son entourage témoigne moins d’une opposition systématique que d’un rapport ambivalent au Louvre et au musée en général, lieu de légitimation de l’art. Faisant le point sur les relations équivoques, voire contradictoires des promoteurs de « l’art vivant » (Salmon) au Louvre, l’article se propose de relire l’épisode du vol de La Joconde sur le plan imaginaire et symbolique, comme transgression esthétique et travestissement carnavalesque.
The attitude of Apollinaire and the writers around him is less symptomatic of a systematic opposition than of an ambiguous relationship with the Louvre and museums in general, the place where art is legitimated. Taking stock of the equivocal, even contradictory relations of the promoters of “l’art vivant” (Salmon) at the Louvre, this article proposes to reread the episode of The Mona Lisa’s theft on the imaginary and symbolic plane as an aesthetic transgression and carnivalesque travesty.
Journal Article
LA POSTÉRITÉ LITTÉRAIRE ET ARTISTIQUE DE LA VICTOIRE DE SAMOTHRACE
La Victoire de Samothrace a fait couler beaucoup d’encre depuis son exposition sur le palier Daru en 1883. L’étude de sa postérité, analysée sur les modes majeur et mineur dans la littérature, la peinture, la statuaire, la numismatique, la philatélie, la mode, l’opérette, la caricature, met en avant des enjeux esthétique et politique. Une place particulière est accordée au roman de Simon Gantillon (1911) et à l’érection de la statue en figure patriotique pendant la Grande Guerre.
The Victory of Samothrace has been the subject of much attention since its exhibition on the Daru landing in 1883. The study of its legacy, analyzed in major and minor modes in literature, painting, statuary, numismatics, philately, fashion, operetta, and cartoons puts the spotlight on aesthetic and political issues. A special place is given to the novel by Simon Gantillon (1911) and the erection of the statue as a patriotic emblem during the Great War.
Journal Article
LE LOUVRE DES OBJETS FANTASTIQUES. À PROPOS DE JEAN FANFARE DE PAUL D’IVOI (1897)
Le Louvre est le lieu d’un triple enjeu dans le roman de Paul d’Ivoi Jean Fanfare (1897) : pédagogique (il s’agit de l’évoquer plaisamment pour un public adolescent) ; narratif (comment libérer une jeune fille enfermée dans une statue exposée au musée ?) ; poétique (comment exploiter le fantastique du xixe siècle pour entraîner un lectorat sur les chemins de la muséographie moderne ?). De cette triple inspiration naît un récit palpitant, qui annonce peut-être l’imagination poétique de Cocteau.
The Louvre is the site of a threefold challenge in Paul d’Ivoi’s novel Jean Fanfare (1897): pedagogical (a question of portraying it in a pleasing way for an adolescent audience); narrative (how to release a girl locked in a statue exhibited at the museum?); poetic (how to exploit the nineteenth-century fantastic to usher readers into the realm of modern museography?). From this threefold well of inspiration is born a thrilling narrative, which perhaps foreshadows Cocteau’s poetic imagination.
Journal Article
The Louvre : the many lives of the world's most famous museum
\"Some nine million people from all over the world flock to the Louvre each year to enjoy its incomparable art collection. Yet few of them are aware of the remarkable history of that place and of the buildings themselves-a fascinating story that historian James Gardner elegantly chronicles in the first full-length history of the Louvre in English. More than 7,000 years ago, men and women camped on a spot called le Louvre for reasons unknown; a clay quarry and a vineyard supported a society there in the first centuries AD. A thousand years later, King Philippe Auguste of France constructed a fortress there in 1191, just outside the walls of a city far smaller than the Paris we know today. Intended to protect the capital against English soldiers stationed in Normandy, the fortress became a royal palace under Charles V two centuries later, and then the monarchy's principal residence under the great Renaissance king François I in 1546. It remained so until 1682, when Louis XIV moved his entire court to Versailles. Thereafter the fortunes of the Louvre languished until the tumultuous days of the French Revolution when, during the Reign of Terror in 1793, it first opened its doors to display the nation's treasures. Ever since-through the Napoleonic era, the Commune, two World Wars, to the present-the Louvre has been a witness to French history, and expanded to become home to a legendary collection, including such masterpieces as the Mona Lisa and Venus de Milo, whose often-complicated and mysterious origins enliven a colorful narrative that rivals the building's grand stature\"-- Provided by publisher.
Book
INGRES AU LOUVRE. LA CONSTRUCTION DE LA GRANDEUR PAR LA VIE ET PAR LES SALLES
Du point de vue de la fortune critique d’Ingres, plus spécifiquement littéraire, la période allant de la mort de l’artiste en 1867 au début des années 1930 paraît moins riche que celle de son vivant, marquée par les critiques des Salons. Pourtant, l’entrée des toiles au Louvre en 1875 et les grandes expositions consacrent l’artiste. Les écrivains, quand ils dépassent les anecdotes sur le caractère d’Ingres, se concentrent sur La Grande Odalisque ou Le Bain turc, acquises par le Louvre en 1899 et 1911.
From the point of view of Ingres’ critical, more specifically literary, fortunes, the period from the death of the artist in 1867 to the early 1930s seems impoverished compared to that of his lifetime, and marked by criticism from the Salons. However, the arrival of paintings at the Louvre in 1875 and major exhibitions establish and legitimize the artist. Writers, when they go beyond anecdotes about Ingres’ character, focus on La Grande Odalisque or Le Bain turc, acquired by the Louvre in 1899 and 1911.
Journal Article
