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Andrew McClellan’s Inventing the Louvre follows the key moments in creating the legacy of the Louvre museum in Paris, France. The Louvre museum was initially a fortress built by King Philip II. Before museums were even made, most artwork were only seen by kings, queens, and other major artists of the time. King Louis XIV, specifically, built a very grand palace at Versailles which included many great paintings that no one saw but himself, painters, and the servants. Inventing the Louvre follows the creation of the Louvre from the 1750’s to about 1810, during Louis XIV to the French Revolution and Napoleonic Empire. The book mainly explains how many great and beautiful paintings were acquired. McClellan also tries to show that different museums …show more content…
This could be considered a strength because most people could have thought this was what the book was mainly about. McClellan explained there was a small committee who picked the paintings. Most of the paintings were from major artists of the time and their apprentices. The rest were put in a room only used for art scholars and were not allowed to be shown to the public. The placement of the pictures were determined a little differently. At first it was decided that the painting would be hung in different rooms based on who created them and where they came from. Some of this still holds true today. It was then added that smaller more detailed picture would be hung lower to the ground and the bigger more elaborate picture would be hung higher to the ceiling. They hoped that be doing this the public would be able to appreciate the paintings better. Many museums today like this idea and put in into effect in their museums.
In this book, a major theme present throughout is the collecting of major artworks. McClellan focuses mostly on how the museum was created, not about how it influences modern art museums. The book explains how the Louvre has collected artwork from different countries in Europe. As said before, these paintings were sometimes given as presents for the king or queen at the time, as a reward for a battle that
In the Wallach Gallery exhibition of Anna Hyatt Huntington’s sculpture (1876-1973), the viewer gets to discover different versions of the emblematic figure that is Joan of Arc, from small bronze medals, to much bigger works of art. A digital replication of the initial statue that was unveiled at Riverside Drive and 93rd Street in December 1915 is also available the public in the gallery. The success of the Joan of Arc – or The Maid of Orleans’s depictions results from the symbol that she fosters in European and American culture: a French medieval patriotic heroine who received visions directly from God and who was told to help France combat the English domination and who died burned at the stake, as a martyr.
The Los Angeles County Museum of Art, or LACMA as it is commonly known, is among the world’s largest art collections in North America, and to be specific enough the most prevalent artwork in the western United States (Compton 165). This massive art museum has a collection of over 100,000 artworks, which extends from the ancient times to present days (Gilbert and Mills 174). These collections, which are mainly from Asia, Africa, Europe, Latin-America and America itself, are grouped into several departments within the museums buildings, depending on the region, culture, media, and time period. This paper analyzes the different genres of art and explains the main features that make the Islamic artworks distinguish themselves as historic masterpieces, by using stylistic and interpretive analysis methods.
The trip to the metropolitan museum was a great trip to learn and to study art. What is art you may ask, well art is an expression you use to show a visual picture. It can be through painting or through sculptures. Some other example of art is music, literature and dancing. For today 's paper we will be talking about art as a sculpture. The two sculptures in this photo are King Sahure and a Nome God and Marble Statue of Dionysos leaning on archaistic female figure (Hope Dionysos). You can find these statues in the Metropolitan Museum of Art. King Sahure and a Nome God is an Egyptian art that was made in 2458-2446 BCE. The artist is unknown. It was during the 5th dynasty and it also belong to the old kingdom. The Marble statue of Dionysos Leaning in the archaistic female figure is a Greco-Roman art. Belonging to the Roman imperial period of the late first century A.D. Augustan or Julio-Claudian period 27 B.C., to 68 AD. It is classified as a stone sculpture and it is made out of marble. The height of the statues is 82 ¾ inches. There is no evidence who was the original artist.
The Dark Ages was a time period in which barbarians raided, diseases spread rapidly, and kingdoms started to emerge. For nearly one thousand years Europe endured the Middle Ages, caused by the fall of the roman empire in 473. The Medieval time period had its ups and downs, however, it was mainly highlighted by the horrible things the people that were born during that time had to endure. Europe needed a break from the dread and needed some time of peace and innovation. Luckily the Renaissance was on its way, and it was Florence, Italy that was the ground zero for the “Rebirth” or “Revival” of European life. The Renaissance changed the way people saw their world by opening everyone’s eyes and showing them the good things. Such is self-evident
For my study, I visited two museums. First I went to the Guggenheim Museum which is located at Upper East Manhattan, at the corner of 89th Street and fifth Avenue, then I later visited Metropolitan Museum of Art. The reason why I decided to visit two museums is because Guggenheim does not display the kind of art I was interested in, as its main genre of art if Modern art. My focus for this project was studying work from the Renaissance period, by Piero di Cosimo, the painting of” A Hunting Scene”.
Art is a key element in understanding history and culture. It is the written words, drawings, constructions of a nation. Eric Mortimer Wheeler, an archaeologist and British officer, was part of one of the first efforts to conserve art during the war. A fellow officer asked Eric Wheeler how important the destruction to buildings in Leptis Magna, a great city of a Roman emperor, by the British army were. His words were, “They’re irreplaceable. They’re history. They’re… It’s our duty as soldiers to protect them, sir. If we don’t, the enemy will use that against us (Edsel 35)”. Another example of art’s importance is seen when Walter Hancock gave a Torah to a Jewish chaplin. It was previously thought by Jewish survivors at his previous service that all Torah scrolls were destroyed. When the Jewish chaplin brought it to his next service, the scroll received great emotional response, “the people weeping, reaching for it, kissing it, overcome, with joy at the sight of the symbol of their faith (Edsel 310)”. Art protection was crucial during World War II. “This was the moment of art conservation; there was not a second to lose if the world’s cultural patrimony was going to be preserved (Edsel 27)”.
The “superstar” museum gained this status by considering every important detail during its establishment and initial phases of conversion from royal palace to museum (Gombault, 2002). As the purpose of the building changed, each room addressed new functions with new requirements. Although the function of the Louvre is different from the building’s original intention, the building is still appears dignified and important enough to display priceless artifacts and painting (Steffensen-Bruce, 1998). This consideration was applied in designing the Met. The Met looked towards the South Kensington Museum (Victoria and Albert) and the “ideal role model” due to its extensive collections and international reputation (Heckscher, 1995). The Met found itself in a similar situation to the South Kensington, because it did not have a building or a collection to start with (Heckscher, 1995). When designing museums, architects strived to create monuments that “prepare and educate the mind of the visitor (Steffensen-Bruce, 1998).” Education is an essential function of a museum. Acquiring, preserving, and properly displaying materials, permits a museum to fulfill this duty (Steffensen-Bruce, 1998). For instance, lighting is a factor that affects the manner in which artwork is viewed and can be properly appreciated. When determining the proper lighting for the Louvre, Comte d’Angiviller, strongly believed that natural, overhead lighting was the most effective solution (McClellan, 1994, p. 72). The same determination impacted the decision to add skylights at the Met. During the initial phase, architects Vaux and Mould, added skylights to the upper floor, and windows to the lower floor that provided a natural light solution (Heckscher, 1995). Additionally, glass-roofed courtyards provided “unimpeded light” for displaying
time researching emerging architect. In the early Eighties, President in France wanted to reconstruct the Louvre,. The goverment collected designs and most of the candidates are famous architect from France. Mr,Pei said that Parisians scolded him a year and half and they even described his design like a fake diamond) thecer-werkinety percent of Parisians don't like his idea. Mr. Pei spent four months there to see how they, allocated the collections and learn the history, then he figured out after enter; the gate there is no directions and if you want to see Mona lisa you should pass a long dark path to reach
...troversy as all countries have lost, to a great or lesser extent, treasures of national renown and significance over time. Wars, theft, treasure seeking, changing boundaries and migration have all in some way contributed to this diaspora of art. There is clear evidence that the historic placing of objects in locations remote from their origin has on occasion afforded protection and preservation, The Elgin Marbles in The British Museum being a case in point. However, given the overarching principle of self determination it is difficult to argue that serendipitous historic placement is sufficient reason for items of true national heritage to be kept indefinitely. A world-wide system of touring exhibitions and cultural exchange, with context being provided by the originating society may provide the natural progression to the accessible widening of people’s experiences.
One pleasant afternoon, my classmates and I decided to visit the Houston Museum of Fine Arts to begin on our museum assignment in world literature class. According to Houston Museum of Fine Art’s staff, MFAH considers as one of the largest museums in the nation and it contains many variety forms of art with more than several thousand years of unique history. Also, I have never been in a museum in a very long time especially as big as MFAH, and my experience about the museum was unique and pleasant. Although I have observed many great types and forms of art in the museum, there were few that interested me the most.
The questionable influence and dominance of western culture is at the forefront of a new form of seemingly ephemeral diplomatic history that is termed ‘new internationalism’. Internationalism itself is not really a new concept, and is basically a system based on equality for all people and cultures on a global scale. In the global art world ‘new internationalism’ is an active topic and was the focus of a 1994 INIVA Symposium entitled, A New International Symposium. The topics discussed included: Recording the International; Art, History and the Modern Museum; Beyond Diversity and Difference; Curatorship and International Exhibitions.1 During his lecture at the symposium, sculptor, essayist and poet Jimmie Durham puts forth the idea that, “…Europeans seem to think that, as art is their invention, effective art is within a developed vocabulary and accent…”2 This kind of statement emphasizes the enormous task of disuniting ‘actual’ art history from that recorded under the influence of western culture, and it demonstrates the long-standing influence of imperial thinking.
Cullen, Alison. “From the Trivial to the True: The French Revolution and Painting”. Kirsch Computing ECFS. Web. 5th May 2013.
Paris today is known as a center of arts and rich culture both acclaimed and original. Famous moments pop up through the history of France’s art, such as the impressionistic artworks by Monet, the École des Beaux-Arts teachings of classicism, and the iconic Eiffel Tower by Stephen Sauvestre. Paris augments itself with numerous museums to catalog countless masterpieces and sculptures throughout France’s enduring, yet sometimes gritty, history. As a whole, Paris comprises of a mixture between historic architectural themes like rusticated brick clad, mansard roofs, striated columns, and a modern day architectural themes like engineered metalwork, and external program support machinery. The notion of classic French architecture, juxtaposed to modern French architecture, creates unsettled opinions about the urban fabric. Among controversial architecture, the Louvre stands a testament to the evolution of art and architecture from the structure’s foundational roots built several centuries back to the modernistic steel and glass geometric surfaces today. Touring the building today offers the sight of blue mansard rooftops, ornate rhythm in the façade, exorbitant stonework detail, and one obtrusive glass pyramid. The Louvre was not founded as a museum, but rather a fortress of defense whose program changed as the centuries turned. The history of the building’s program, in addition to the architecture styles fabricated through the centuries, convey the Louvre as a piece of art still a work in progress by an artist. In fact, much like I. M. Pei’s controversial installation of a glass pyramid into the courtyard, a new out-of-place architectural element sets itself in the Louvre’s domain within the past 18 months as a new stroke on th...
The subject of art conservation and restoration has long been debated in the art world. Experts and historians have never agreed that all art must be salvaged at any cost. This paper will examine what art conservation and restoration is, what is involved in these endeavors, and what has been done over the centuries to many of history’s cherished art pieces.