It looks like a salon in a grand 18th century hôtel particulier in Paris, doesn’t it?
A salon in the Museu Nacional de Arte Antiga (MNAA), Lisbon.
In fact, this salon is from the Paar Palace in Vienna, but it’s now installed in the Museu Nacional de Arte Antiga (MNAA) in Lisbon. I apologize for the slight blurriness of these images. The light was difficult. I also apologize for the inadvertent selfie!
The rape of Orithyia by Boreas seems to have been a popular subject in art during the Versailles Century (1682-1789). A Google search turns up a number of works in oil, in bronze, and in porcelain. Our featured art work today on the blog is the small bronze Rape of Orithyia by Boreas by the Florentine sculptor Foggini, pictured below. Dated “before 1702,” it’s on display at the Art Gallery of Ontario (AGO) in Toronto.
The Rape of Orithyia by Boreas; Giovanni Batista Foggini, Florence, before 1702.
The lighting was not conducive to getting a clear shot on my phone camera, so I’ve had to doctor it with filters. My apologies for the sepia tone.
Jean Baptiste Claude Séné (1748-1803) was a master chair maker in Paris who was active from the later years of Louis XV’s reign through to the Revolution.
I photographed these chairs of his in the museum of the Gulbenkian Foundation in Lisbon last year.
Pair of fauteuils by J.B.C. Séné in the Gulbenkian Foundation museum in Lisbon.
Lisbon is a surprisingly good place to see French fine and decorative arts of the Versailles Century (1682-1789) period. Apart from the Gulbenkian Foundation, there’s also the Museu Nacional de Arte Antiga (MNAA) and various palace museums. The Portuguese elite were such francophiles that many high quality pieces make their home in the city by the Tagus. Apart from the chairs pictured above, there are many other items of French furniture in the Gulbenkian’s collection that I’ll share in future posts.
Madame Adélaïde (1732-1800) was one of Louis XV’s children. As such, she was a “Daughter of France,” and was accorded a truly royal apartment in the main block of the Château.
Portrait of Mme Adélaïde in 1787 by Adélaïde Labille-Guiard. It hangs in her sister’s apartment at Versailles.
Her apartment adjoins that of her younger sister, Mme Victoire (1733-1799). I previously described Mme Victoire’s apartment in an early post on this blog: http://versaillescentury.com/2016/09/22/versailles-mme-victoires-apartment/#more-304
The 2 sisters were the last of Louis XV’s offspring still alive and living in the Château towards the end of the reign of their nephew, Louis XVI. The latter also gave them the Château de Bellevue, and, unprecedentedly, the joint dukedom of Lauzun. The layout of the rooms today is as it was arranged for the sisters in the 1780s.
The Rue du Bac is a narrow but fascinating street in Paris to wander along. Lined with antique shops, boutiques, restaurants, and cafes, it stretches from the quai opposite the Louvre deep into the heart of the Left Bank.
Rue du Bac in Paris.
It’s also home to the Paris Foreign Missions Society, usually abbreviated as MEP using the French initials (Missions Étrangères de Paris). The unassuming street entrance to the MEP complex is shown below.
The entrance to the MEP complex at 128 Rue du Bac.
This venerable organization, still active today, was responsible for the Catholic evangelization of North America and much of East and Southeast Asia.
The Cour de Marbre is part of the footprint of Louis XIII’s original chateau, which was intended to be nothing more than a hunting lodge and a place of quiet refuge from court life.
The Cour de Marbre facade of the Chateau de Versailles.
Louis XIV, of course, had very different ideas for his father’s hunting lodge. Still, he respected his father’s memory to such an extent that he planned his expansion of the Chateau around the original building instead of knocking it down and starting fresh. Thus was born the Enveloppe, literally the “envelope” of new construction that enclosed Louis XIII’s hunting lodge.
The work of Francesco Guardi, the last of the great Venetian view painters, is well represented in Lisbon’s Fundaçao Calouste Gulbenkian.
The foundation actually has 2 museums on its campus, as well as extensive gardens. One of the museums is dedicated to modern art. It’s in the other one, the larger and older of the two, that you’ll find Guardi’s works. In fact, there’s a whole room dedicated to them, with a number of paintings hung on each of the 4 walls.
One wall in the Guardi room at the Gulbenkian.
Another wall in the Guardi room at the Gulbenkian.
A third wall in the Guardi room at the Gulbenkian.
The final wall of the Guardi room in the Gulbenkian.
Tiepolo was the last great Venetian master, apart from the view painters Canaletto, Bellotto, and Guardi. I was delighted to find 3 of Tiepolo’s smaller works in the collection of the Museu Nacional de Arte Antiga (MNAA) in Lisbon when I visited there last April (2016).
Born in 1696, Giambattista Tiepolo trained in the studio of Lazzarini before being accepted into the Venetian painters guild in 1717. He was also influenced by his study of the great Venetian masters of the past, such as Veronese and Tintoretto. His success seems to have been almost immediate. Eventually, his renown spread across Europe and he accepted commissions in Germany, notably in the Residenz at Würzburg, and later in Spain. He died in Madrid in 1770.
Here is a view of the Tiepolo wall at the MNAA.
A trio of small Tiepolo works in the MNAA.
The King’s State Bedroom was the ceremonial heart of the Château, but the Cabinet du conseil (Council Chamber) next door was its political heart.
The King’s Council Chamber at Versailles.
All three kings who lived at Versailles spent many hours in this room. It was the venue for meetings of the Conseil d’Etat, the Council of State, which was effectively the cabinet. The King also chaired the meetings of the Conseil des Dépêches (Foreign Affairs) and the Conseil des Finances (Finance) here. Furthermore, foreign ambassadors presented their credentials in this room. Last but not least, all those who wished to join the court had to be presented to the King here by a sponsor. In 1745, Madame de Pompadour was presented, for instance.
Louis XVI’s library at Versailles is the only room in the Private Apartments (Petits appartements) that the unfortunate monarch substantially altered after he came to the throne. Otherwise, he left his grandfather Louis XV’s rooms more or less as he found them.
Consequently, this library is also the only room in the Private Apartments that is decorated in the neo-classical style to which Louis XVI has given his name. Note the rectilinear paneling in the picture below.
Looking into Louis XVI’s library from the west door.
Louis XV had of course also had a library. In fact, he had several. A series of small libraries in the attic-level Petits cabinets was constructed for him in the 1730s, including a map room. He lost interest in the Petits cabinets after the creation of the Private Apartments and eventually made them over to his daughter-in-law, the Dauphine, in 1766. After her death, they passed to Mme du Barry, for whom an exquisite little library was arranged. It can be visited today.
