July 14, 2014

  • An Eastern Homage, Day 9: Le Musee du Louvre, Part III- The Masterpieces of the Renaissance

    June 4, 2014- The Section Denon, which contains many of the Renaissance paintings in the Louvre’s treasury, is entered via the Hall of Queen Anna.  An informational sign tells the origins of the Louvre as a public museum.

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    Next, note the ceiling.  The ceilings throughout this lead-in to Cour Corree (Square Salon) are done up like those in a palace, or grand cathedral.

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    The hall has a series of ceiling panels, all in high ornate gold.

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    We will see the Coronation of Napoleon, as well as the treasures of Chambre de La Joconde (The Mona Lisa Room).  First, though, I wish to share some of the items in the Great Hall of Louis XIV.  Many fine crystal and lapis lazuli pieces have been brought here from Versailles.

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    The Two Crowns, those of Louis XIV and of Louis XV, are shown in this case.

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    In the subsequent galleries, the aforementioned Chambre La Joconde and Salon de Coronissement, are found several of the paintings for which people visit the museum.

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    I will start with Veronese’s  “The Wedding at Cana”.

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    This, and “The Coronation of the Virgin in Paradise”, by Tintoretto, are actually far more  prominent in the gallery itself.

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    Giotto’s “Madonna and Child ” complements Veronese’s masterpiece.

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    Leonardo da Vinci’s “Madonna and Child with Ste.Anne” follows his predecessor’s depiction.

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    On the opposite wall is the Other Lady.  I was actually fortunate to get this close.

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    We left this sanctified room after fifteen minutes, and spent time with France’s two most active militarist rulers.  First is Francois I, a contemporary of Henry VIII.

     

     

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    Then there is the Emperor, at his coronation.  Jacques-Louis David’s masterpiece is the center of Salon de Coronissement.

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    After the guided tour ended, I found Salon de Verres, and these Biblical gems.  First is “The Fainting of Esther”, by Veronese, showing the Jewish Queen swooning at the prospect of her marriage to Xerxes.

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    The ceiling fresco, “The Banishment of Lucifer” graces Salon de Verres as well.

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    With this brief visit to Salon de Verres, I thought I was ready for the east segment of the Left Bank.  The Universe had other plans, and as the rain was getting heavier after lunch, I visited L’Eglise St. Germain d’Auxerres and then went back to my hotel for a bit.  This was nonetheless a fantastic introduction to one of the world’s true treasure houses.

    NEXT:  A Visit to Trocadero, and ‘Abdu’l-Baha’s Apartment

     

Comments (8)

  • Wow. That is really - opulent! That is the problem with famous art, it is difficult to get close enough to get good views. Still I'm guessing the atmosphere was worth the time. No doubt the less popular painting might have afforded better examination.

  • I actually spent the bulk of the fifteen-minute wait for a Chinese tour group to get their fill of Mona Lisa, by examining and contemplating "Wedding at Cana", a very full-bodied work, to say the least. I will have lots more to say about the work, in a future post.

  • It's kind of funny how small the Mona Lisa actually is.

    I love that ceiling fresco!

  • Yet, so many people just stood there, gaping at her. I was much more taken with the liveliness of "Wedding at Cana" and the other "action" paintings.

  • I am surprised that you were allowed to take pictures of the paintings. Especially of Mona Lisa. The flashbulbs are supposed to cause problems with the paints and the picture. I couldn't take my eyes off of Mona Lisa. I was totally mesmerized by the beautiful painting.

  • That is more of a concern in the U.S. and Britain. The French have installed a special glass frame on Mona Lisa and the oils seem not to be disturbed by the photos. The flash was off on my camera, because I am used to turning it off in a museum.

  • When we were visiting the Louvre, not too long ago, there were signs above and below the painting of Mona Lisa, asking us NOT to photograph the painting. But, I do not remember the wooden barricade that you show here. Perhaps because there were some (may be many) tourists who ignored those signs, that the museum put these wooden semicircular barricades there.

  • Alas,I would certainly have honoured such signs, but there were none on that day, probably because of the ropes and the fence.

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