Category Archives: Paris Sights

Nelie and Edouard’s 100th

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The year 2013 was the 100th anniversary of the opening of the Musee Jacquemart-Andre on the Boulevard Haussman in Paris.  Nelie and Edouard had built the palatial mansion and stuffed it with priceless art with this very purpose in mind, once their glittering lives of art collecting and high-toned socializing were over.

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What they achieved was an exquisite melding of architecture, decorative arts and fine arts. The museum is not covered by the Paris Museum Pass, and most tourists pass it up in favor of the ever-crowded Louvre and Orsay Museums. It’s well worth the price of admission, though.  The audioguide is lively; music ushers the visitor into each of the grand state rooms as though a party were just beginning. In fact, there is a musicians’ gallery where Nelie and Andre used to station a small orchestra when they entertained. The rooms have been left just as they were when Nelie died in 1912.

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Nelie herself created a very distinguished bronze bust of Edouard in 1890 (if I’m reading the caption correctly). She certainly had every reason to honor Edouard. Her life changed the minute she landed the extremely rich bachelor. One day she was a struggling painter, trying to get society portrait commissions; the next she was traveling the world with a handsome, dashing gazillionaire.  By all reports, she made him very happy. After Edouard’s death in 1894, she continued to build their collections. When Nelie died in 1912, she left their mansion–and her own country chateau, also stuffed with art–to the Institut de France. Both Nelie and Edouard lived out their lives in the glamorous bubble their wealth created.  They never had to deal with the terrible events of the Great War, or with the wrenching changes that war brought to their world.

Join me next time for more explorations in the art and history of Europe!

 

 

Tiepolo for Two at Jacquemart-Andre

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When Nelie and Edouard Jacquemart-Andre were planning their Paris mansion, they visited Venice in 1893. They were delighted to snap up a fresco by Giambattista Tiepolo. In fact they felt that it was just sitting there waiting for them, and  to this day it remains the crown jewel of all their art collecting.  The fresco had been painted for the Villa Contarini around 1745, when the great artist was at the height of his powers. The title is “Henri III Being Welcomed to the Contarini Villa.”  It depicts an event that actually happened in French history:  in 1574, the very young King Henri III, who was of Italian descent through his mother, Catherine de Medicis, stopped on his way to Paris to claim the throne. He was the fourth in line and had not been expected to reign.  His brother,  24-year-old Charles IX, had died unexpectedly.

I don’t know why the fresco (and a companion ceiling, which the Jacquemart-Andres also bought) were up for sale.  Presumably the noble Venetian family that had commissioned them had fallen on hard times.  In any case, the French “Gazette des Beaux-Arts” rhadsodized about the fitness of this exquisite fresco for a grand French home:  “No other Tiepolo can be closer to our heart; one would say it was made for us. The last great Venetian painter and a part of the history of France: is it not the most beautiful blend of Venetian and French?”

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The colors are clear and delicate; the figures are arranged in a grand tableau that is also entirely natural. The king and his retinue of guards and ladies, dwarves and servants are climbing the stairs of the villa, ready to greet the Contarinis.

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Faces look calm and dignified, as though greeting a king were an everyday occurence.

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Just across the canal are beautiful palaces and gardens.

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The occasion is grand, but gracious and informal. There’s even a little dog making the king feel welcome.

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An attendant’s foot extends out of the outline of the painting.  No problem!  After all, Nelie and Edouard built an entire Belle Epoque mansion around this fresco. They just made a place in the marble frame for the errant foot.

There’s much more about the fresco, and about the mansion, at museejacquemart-andre.com.  Vive la France!

Nelie and Edouard

Edouard Andre was a scion of a fabulously wealthy Protestant banking family. A measure of the family’s wealth and prestige is that he had his portrait painted by Franz Zavier Winterhalter, who routinely painted royal and imperial subjects all over Europe.

Portrait of Edouard Andre, Winterhalter, Public Domain

Portrait of Edouard Andre, Winterhalter, Public Domain

For some reason, Edouard also chose to have his portrait painted by an up-and-coming society painter, the young Nelie Jacquemart.

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The resulting portrait was nondescript.  It hangs in their Belle Epoque mansion, now the Musee Jacquemart-Andre, but relegated to the back of a room display. Andre was one of the most eligible bachelors in Europe at the time.  What went on between Nelie and Andre? Nothing seemed to happen other than the production of an OK portrait, but ten years later they were married. She was 40; he was 48. They shared a passion for collecting art, and they had so much money to spend on art that they decided to work cooperatively with the Louvre so as not to outbid the great museum during sales and auctions.

Nelie gave up her career as a painter and concentrated on taking care of Andre–and spending his money. He designed a beautiful studio for her in their Paris mansion, but it became a gallery for art instead. She left her brushes and tubes of paint behind as soon as she was married.

Self Portrait of Nelie Jacquemart, Public Domain

Self Portrait of Nelie Jacquemart, Public Domain

Their marriage seems to have been very happy.  They hosted glittering society parties in their fabulous mansion of Boulevard Haussman. They traveled at least yearly to Italy to add to their collections. They lived in luxurious rooms replete with satins, marble, and fine woods.

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What was not to like? I could get used to life in a Belle Epoque mansion!

 

Musee Jacquemart-Andre: The Belle Epoque Lives

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A Belle Epoque mansion, open to the public, still exists in Paris:  the Jacquemart-Andre Museum. The wealthy banker Edouard Andre built it with and for his wife, Nelie Jacquemart.  Work began in 1869 and was completed in 1875.  The mansion on the Boulevard Haussman was a glittering social hub which contained the couple’s fantastic art collection in purpose-built rooms. It became a museum in 1913, after the widowed Nelie bequeathed it to the Institut de France.

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My favorite room in all of Paris (at least the part of Paris that is open to a lowly tourist) is the Winter Garden, replete with marble, plants, and a skylight to brighten dreary Paris winter days.

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The double-helix marble staircase in the Winter Garden is a marvel of engineering and architecture. And the visitor climbing up is treated to a Tiepolo fresco at the top. Nelie and Andre snapped up the fresco during one of their many art-foraging trips to Italy.  (A fresco is not just a painting on a wall; the pigment is actually embedded in the plaster, so moving it requires carefully dismantling the entire wall.  With the Andre banking fortune, this was no problem at all for Edouard)

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Join me next time!   I’ll be posting more about Jacquemart-Andre, one of the most beautiful and fascinating sights in Paris.

Accessories Make the Outfit

The Art Nouveau movement featured so prominently in the Paris 1900 Exhibit was expressed in the smallest details of daily life.  I saw several beautiful examples of decorative combs to be worn in women’s hair.

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Natural forms were everywhere, but developed into the most sophisticated designs.

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One of these combs would be just the thing to anchor an artistically tousled chignon.

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My favorite item, though, was a short fitted jacket in linen and cotton. It was made special with elaborate assymmetrical embroidery and all manner of fine needlework details. In 1900, women had all kinds of new freedoms.  I can see a fashionable woman grabbing this jacket and tossing it on over a simple skirt, on her way out the door with plans to cross Paris on the newly-opened Metro subway. I’d have cheerfully taken this jacket home right out of the display case.  I think it would look great with jeans.

Join me next time for more explorations in the art and history of Europe!

Paris Fashion1900: Worth It

 

WorthDressThis dress, featured in the Paris 1900 exhibit last spring, was made in the atelier of the man generally reputed to be the first “couturier,” or artist whose chosen art form was women’s fashion. Charles Frederick Worth laid the groundwork for Dior, St. Laurent and others in that rarefied sphere.

Charles Frederick Worth, Public Domain

Charles Frederick Worth, Public Domain

Charles Frederick Worth founded the venerable House of Worth, which clothed rich and beautiful women beginning in 1858 in Paris.  He was actually an Englishman, and he got his start in drapery shops.  In his spare time, he made dresses for his wife.  Soon his designs were in demand, and he was on his way. The Empress Eugenie (wife of Napoleon III) found her way to his shop, and other rich and titled women followed.

Previously, a woman who wanted a dress went to a dressmaker and specified how the dress was to be made. Worth came up with a brilliant idea:  he held fashion shows four times a year featuring various styles.  Women could choose a style, then choose the fabric and have it tailored to their own figures.

This particular dress had a sort of matronly look, I thought. It was made in about 1895, five years before the Exposition of 1900.  I much preferred the more ethereal dresses in sheer white fabrics. But the rich and titled no doubt still needed imposing clothes in expensive fabrics. For such women, Worth was their man.

Join me next time for more explorations in the art and history of Europe!

 

Paris Fashion 1900

The Paris 1900 exhibit had delicious examples of the all-important art of dressing–always a priority for the French.  No wonder women who could afford it traveled from England and America just to buy their wardrobes.

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I loved this dress, just the thing for attracting admiring glances–and filling up one’s dance card–at a ball. I can hear the music!

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Fine leather boots would look fetching while stepping out of a carriage.

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An elegant skirt and ruffled blouse, maybe for entertaining in one’s Paris town-home. The sinuous curving lines of Art Nouveau were not just for furniture.  Women delighted in wearing Art Nouveau.

The Belle Epoque–what an era!

Join me next time for more explorations into the art and history of Europe!

 

Petit Palais: Belle Epoque Revisited

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I’m giving myself permission to go on for awhile about the wonderful Paris exhibit currently in the Petit Palais, “Paris 1900.” Actually, if I had the means and the time, I’d hop a plane to Paris to see it again.  It closes August 17, 2014.  Hint:  go online and get advance tickets.  I saw it on my last day in Paris in April, had not planned ahead, and waited in line about 45 minutes.  I imagine the wait would be longer now.  The good thing is that only a certain number of visitors are allowed in at a time, so it will not be mobbed like the Louvre  and the Orsay in summer.

Exciting artists like Cezanne, Monet, Renoir, Pissarro, Vuillard, Maillol, Denis, and Rodin are featured in the fine arts section. Art Nouveau masterpieces abound.

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The building itself is glorious.  It is the only remaining complete building from the Paris Exposition 1900, and it gives some idea of the pre-World War I exuberance of Paris. The future seemed limitless to the 51million tourists who attended the Exposition. That is a stupendous number of people, at a time when the Metro had just opened and travel was much more difficult than it is today.

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There’s a beautiful plant-filled inner courtyard, which allows light into the large building.

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The galleries on the main floor contain a permanent collection which is interesting in itself.  Everything seems spacious, light and airy.

A link to the exhibit is at

http://www.petitpalais.paris.fr/en/expositions/paris-1900-city-entertainment

An Evening in Paris

PreCatalan

 

At the “Paris 1900” exhibition in April of this year, I admired this wall-sized painting of an elegant evening from days gone by. It was painted by Henri Gervex in 1909. The title is “Une Soiree au Pre Catalan.” It depicts guests at a celebrated restaurant in the Bois de Boulogne.

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Some of them are recognizable: the duke of Talleyrand-Perigord and his rich American wife, Anna Gould. It must have seemed to these privileged people that there was no good reason that life as they knew it would not continue indefinitely. But in just a few short years, the First World War would wreak havoc on the lives of all, including the most privileged.

This painting is from the Musee Carnavalet in Paris, one of the stellar free sights of Paris. I have never seen it crowded. I’d head to the Carnavalet right now if I found myself in the summer crowds of Paris, having just read that so many people are picnicking on the grounds of the Louvre and the Tuileries that large rats are appearing in daylight to scavenge food.  The hushed corridors and quiet galleries of the Carnavalet  are  housed in a Renaissance mansion that has its own history.  A visit gives a glorious overview of the history of Paris. This particular painting will not be there right now, but anyone interested in art and history will find plenty of treasures to contemplate.

Join me next time for more explorations into the art and history of Europe!

 

 

Dancing into the 20th Century

 

PorcelainDancersThese porcelain dancers from the Paris 1900 Exhibit, in the Petit Palais of Paris in 2014, epitomize the ideals of beauty of the period:  slender, tall, and above all, in graceful motion. The corseted and bustled female form was gone; in its place was a slender silhouette, able to move about the world with new freedom.

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Fashionable women of the period cultivated similar ideals as they went about their daily lives. The corseted and bustled female form was gone; in its place was a slender silhouette, perfect for the modern woman.

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Coming or going, the fashionable woman of 1900 exuded femininity and grace.