A Plan of the Louvre's Cour Carrée and the Making of the Architecture Française journal18.org/issue2/a-plan-of-the-louvres-cour-carree-and-the-making-of-the-architecture-francaise (original) (raw)

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This paper examines the significance of an album of drawings of the Louvre's Cour Carrée, focusing on a particular plan that reflects various transformations in the French architectural context during the 18th century. It argues for the attribution of the plan's updates to architectural educator Jacques-François Blondel, situating his work within broader debates on royal architecture and city planning that engaged with the contemporary architectural culture. By analyzing the revisions and the context in which this plan was created, the authors aim to shed new light on Blondel's contributions to the Architecture Française, challenging previously held notions about his architectural philosophy and practices.

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An Unpublished Drawing of Louvre AO 19914 in the British Museum

1980: The Journal of the Ancient Near Eastern Society of Columbia University 12: 1-8.

Discussed is a previously unpublished 1854 drawing showing only the upper portion of the so-called "ziggurat" relief. The author questions whether a severed head originally existed on the bas-relief, based upon several original drawings (1854). Illustrated.

Framing the Artifact Murals for the Display of Antiquity in the Louvre

Throughout the nineteenth century archaeological artefacts were contemplated as the pieces of a puzzle that, it was hoped, would someday be completed to form an integral reconstruction of past worlds. As the background for their display, museum murals completed the visitor’s experience by creating a complete visual environment. Over the course of the century, neo-classical murals on mythological themes were supplanted by schemes of decoration that featured specific references to the objects on display. An increased valorisation of the fragment accompanied the important transformation in museums that saw white walls replace earlier decors during the first half of the twentieth century in accordance with modernist aesthetics. We will consider this evolution by examining the murals conceived for the display of Greco-Roman and Oriental objects in the Louvre from the Musée Charles X (1827) to the decoration (1887) and subsequent stripping (1934) of the Daru staircase that frames the Victory of Samothrace.

Architecture as Portrait: Exotism and the Royal Character of the Louvre, 1380–1668

IKON, 2012

The architectural evolution of the Louvre between the 15th and 17th centuries is characterized by systematic attempts to single out the building against the broader context of French styles. In the 15th and early 16th centuries, this is achieved by producing grander and more elaborate versions of then-current French architectural solutions. From the late 16th century on, the affectation of an Italian manner becomes the most significant way of achieving this distinction. This article goes over the interventions on the Louvre under Charles V, Francis I, and Henry IV, then stresses the importance of resorting to an Italian style in the process of building Louis XIV’s East façade. Its famous colonnade, before coming to be seen as a hallmark of French classicism, owes its existence to the intent of differentiating the King’s palace from then-prevalent standards of French aristocratic architecture, thus marking the monarch’s uniqueness.

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