{"id":16366,"date":"2019-06-02T14:53:59","date_gmt":"2019-06-02T12:53:59","guid":{"rendered":"https:\/\/www.colleensparis.com\/?p=16366"},"modified":"2020-04-21T17:44:46","modified_gmt":"2020-04-21T15:44:46","slug":"romantic-paris-1815-1848-the-lull-between-upheavals","status":"publish","type":"post","link":"https:\/\/staging-wptechsupport.com\/colleensparis\/2019\/06\/romantic-paris-1815-1848-the-lull-between-upheavals\/","title":{"rendered":"Romantic Paris (1815-1848) The Lull Between Upheavals"},"content":{"rendered":"

\"SceneWas there a single event that led to Romanticism? Where did it begin? You could say the era Enlightenment and war brought on Romanticism. It started in Germany. The Petit Palais’s latest exhibition, Paris Romantique<\/em> (1815-1848) until September 15, is one of a two-part exhibition. The second part takes place at the Mus\u00e9e de la Vie Romantique. Initially, I went to the exhibition\u00a0out of curiosity; drawn to this period of emotional art. I found Romantic stylings of the Gothic, Middle Ages and Renaissance, decor, furnishings, the influence of women as artists, writers, composers, sculptors. If found elements of the medieval and the erotic, theatre and fashion. I left Googling the whole story, its influences, philosophical connections and realised that between wars, there is always a period of experimentation (think 1920s and 1930s).<\/p>\n

Throughout continental Europe after the Napoleonic wars, was it a coincidence that the arts, literature and clothing, suddenly took on a more peaceful lifestyle? Was this Romantic period the cultural equivalent of war and conquests? Or was this a cultural phenomena, a lull between the violence of war and revolution, an interpretation of the Enlightenment of the 1700; a return to nature? Or knowledge that would cause restlessness among the masses and lead to revolution?<\/p>\n

What I saw<\/h3>\n

Women are given some space at the exhibition as authors, artists and sculptors instead of the traditional<\/p>\n

\"Sculpture
Sculpture Jeanne d'Arc crying at the sight of an injured Englishman; sculpted by Princess Marie d'Orl\u00e9ans 1834<\/div><\/a>\"\"
Studio of Princess Marie d'Orl\u00e9ans Tuileries Palace, Prosper Lafaye (1806 - 1883) <\/div><\/a>\"Painting
George Sand, Auguste Charpentier, 1838, Mus\u00e9e de la Vie Romantique, Mus\u00e9e Carnavalet\nGeorge Sand published over sixty novels, twenty plays, short stories and various writings; one of the most prolific authors of her time. Mentioned in the description: Indiana (1832), Consuelo (1843), La Mare au diable (1846) C\u00e9sarine Dietrich (1871). She was a remarkable public figure whose writings played an important part in women\u2019s emancipation<\/div><\/a>\"Painting
Marie de Flavigny, comtesse d\u2019Agoult (aka Daniel Stern), Henri Lehmann, 1843, Used the pen name of Daniel Stern, including autobiograhical novel, N\u00e9lida, published in 1846. Passionate love affair with Franz Liszt, for whom she braved all social conventions, left her husband, followed Liszt to Switzerland and then Italy. They had three children together and separated in 1844.<\/div><\/a><\/div>\n

homemakers, entertainers or prostitutes. In the display case of books, two books are written by Frances Trollope, “Paris et Les Parisien<\/em>s” and Lady Morgan (n\u00e9e Sydney Owensonj) “La France<\/em>“.\u00a0Although the books were very successful, the French readers were unhappy with the judgments made by both authors.<\/p>\n

Marie d’Orl\u00e9ans was an accomplished artist and sculptor and studied under Ary Scheffer. Marie,\u00a0a daughter of Louis-Philippe, King of the French (1830-1848), lived in the Tuileries palace. In a Prosper Lafaye painting, her plaster model, “Jeanne d’Arc crying at the sight of a wounded English enemy”, is on display. The painting also shows her trendy, newly remodelled salon at the Tuileries. During this Romantic period newly remodelled meant in Medieval and Renaissance styles.<\/p>\n

\"Dresses
Sleeves got progressively puffier (\"gigot\") and the cinched waistline dropped down from the Empire style<\/div><\/a>\"Image
Image of comb and jewellery in Room 2 for fashion <\/div><\/a>\"Image
Room 2, The Palais-Royal, Bonnets and \"gigot\" sleeve dresses, and Dandies, Paris the commerce and fashion capital<\/div><\/a><\/div>\n

On display in one hall are multiple cases with ladies jewellery, hair ornaments, fabric, scarves, decorative arts, clocks, glass and porcelain and clothes. Traditionally, women renewed their wardrobe every seven years. Not to be left out are examples of the Dandy, the men known for being open-minded, carefree, “fashionistas” and dapper with a cane. The Dandy wore clothes that accentuated the waist and shoulders. Their silhouette was defined with corsets and padded calves.<\/p>\n

\"Bulletin<\/a>\"Bulletin
Not as extreme as the Incredibles (Incroyables), Romantic-period clothing featured enough eccentric elements to lend itself to satire<\/div><\/a>\"Bulletin<\/a><\/div>\n
\"Painting<\/a>

La Esmeralda, Charles Steuben, 1839, Salon de 1839
Steuben\u2019s specialty was painting battle scenes. Here he represents the seductive heroine of The Hunchback of Notre-Dame. The ogive-shaped frame is a reminder of the craze for the Middle Ages, typical of the period.<\/p><\/div>\n

Timely for its current debate on renovations for Notre-Dame de Paris, the exhibition opened about a month after the Notre-Dame de Paris fire.\u00a0Room 4 “Notre-Dame de Paris” speaks to the visitor of the monument’s condition pre-Eug\u00e8ne Viollet-le-Duc renovation. The room’s theme references the “colorful depictions and dramatic love story” found in Victor Hugo’s 1831 book Hunchback of Notre-Dame. <\/em>He began writing the book in 1829. Its Medieval setting fit in with the Romantic period. It was also a demonstration of using literature for subtle references to the run-down conditions of Notre-Dame in 1829 and why Gothic architecture should be valued.<\/p>\n

\"One<\/a>

One of two volumes, Notre-Dame de Paris, Victor Hugo<\/p><\/div>\n

Guide to the Exhibition in English<\/a> describes the eight rooms\/themes, the Epilogue of 1848 and the set design of the exhibition.<\/p>\n

\"Clock
Clock pendulum of Notre-Dame, 1835-1845, encrusted wood with brass and chiseled bronze and gold<\/div><\/a>\"Illustration
Illustration of Notre-Dame 1833 Charles Frechot le Parvis de Notre -Dame (Architect of the City of Paris) considerable damage after the Revolution<\/div><\/a>\"Notre-Dame
Notre-Dame vue du quai Saint-Bernard, Thomas Shotter Boys,1839<\/div><\/a><\/div>\n

My Advice for the Visit<\/h3>\n

For interesting details, definitely rent the audioguide (five Euros) available in English when you buy your ticket. The main explanations printed on the walls are in English and French. Some of the display items also have labels translated into English. The exhibition pamphlets and books related to the exhibition are in French.
\nArrive during lunch on a Sunday between noon and 2 pm and avoid a crowd. By 3 pm the rooms fill up.
\nThe visit can take up to three hours depending on your speed and note taking.<\/p>\n

Press release from Petit Palais<\/h3>\n

After “Paris 1900: La Ville Spectacle” the Petit Palais is presenting Romantic Paris, a further episode in its overview of the great periods that have shaped the city\u2019s identity. This is both an exhibition and a cultural event: a sweeping panorama of the French capital during the Romantic years from the fall of Napoleon in 1815 to the revolution of 1848. Over 600 works\u2013 paintings, sculptures, costumes, objets d\u2019art, furniture \u2013 plunge the visitor into the artistic, cultural and political ferment of the time. The exhibition\u2019s immersive design takes the form of a tour of the period\u2019s emblematic Paris sites: the Tuileries, the Palais-Royal, the Nouvelle Ath\u00e8nes quarter, Victor Hugo\u2019s Notre-Dame, and the Grand Boulevards and their theatres. At the same time an additional segment at the Mus\u00e9e de la Vie Romantique rounds off the exhibition with a look at the city\u2019s literary and high-society salons.<\/em><\/p>\n

Further reading and images<\/h3>\n

Guide to the Exhibition in English<\/a>
\nImages from the Paris Romantique exhibition<\/a>
\nPress release from Petit Palais in English<\/a>
\nUprisings in 1848 against the monarchies of Europe<\/a>
\nRomanticism across Borders<\/a>
\nRomanticism Art Movement<\/a>
\nOverview of the exhibit rooms for Paris Romantique<\/a>
\nNotre Europe,\u00a0quelle historie! (6\/10)<\/i>\u00a0” (“Oh, Europe! (6\/10) In the Shadow of the Sun King”) If it is available in your country, this is an ARTE television program. Click on language upper right for English subtitles.<\/p>\n

\"Photo<\/a>\"Exterior<\/a>\"Interior<\/a>\"La
Under Louis-Philippe four large balls were organized at the Palais des Tuileries every winter. Around midnight was offered to the ladies. The balls hosted 3,000 guests. La Banquet des Dames dans la salle de spectacle des Tuileries (bal de 1835) Eug\u00e8ne Viollet-le-Duc<\/div><\/a>\"Furnishings
Furnishings that the popular Duchesse de Berry would have used in the Pavillon de Marsan at Tuileries Palace<\/div><\/a>\"Illustration
L\u2019H\u00f4tel de Sens, Thomas Shotter Boys, 1833, an engraver by training, English watercolor group in France. H\u00f4tel de Sens, built in the fifteenth century, takes its name from its first owners, the archibishops of Sens.<\/div><\/a>\"Illustration
L\u2019H\u00f4tel de Cluny, Thomas Shotter Boys, Mus\u00e9e Carnavalet\nBuilt at the end of the fifteenth century as a Parisian town house for the abbots of Cluny.<\/div><\/a>\"reduced
In the room explaining the 1830 revolution is the reduced plaster model of the genie de la libert\u00e9, by Augustin Demont. The original measures 4 meters high and erected in 1845.<\/div><\/a><\/div>\n

Romantic Paris, 1815-1848
\n22 May – 15 September 2019
\nOPENING HOURS
\nTuesday to Sunday 10:00 am to 6:00 pm
\nClosed on Mondays and July 14
\nLate opening Friday until 9:00 pm.
\nPETIT PALAIS
\nMus\u00e9e des Beaux-Arts de la Ville de Paris
\nAvenue Winston-Churchill – 75008 Paris
\nTel: + 33 1 53 43 40 00
\nAccessible to handicapped persons.
\nTRANSPORT
\nMetro stations: Champs-\u00c9lys\u00e9es Clemenceau Line 1, 13 – Franklin D. Roosevelt, Line 1, 9
\nInvalides RER C – Bus : 28, 42, 72, 73, 83, 93<\/p>\n","protected":false},"excerpt":{"rendered":"

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