Du peintre à l’architecte. La mise en exposition des Nymphéas de Monet à l’Orangerie des Tuileries
Claude Monet’s Nymphéas (waterlilies) are famous both in Paris and internationally, an original form of artistic creation. Painted in the secret of his studio at Giverny, the paintings entered their public life after the artist donated them to the nation. Monet’s friend Clemenceau played an importan...
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| Format: | Article |
| Language: | fra |
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Ministère de la Culture et de la Communication
2017-07-01
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| Series: | In Situ |
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| Online Access: | https://journals.openedition.org/insitu/14862 |
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| _version_ | 1850261532304211968 |
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| author | Félicie Faizand de Maupeou |
| author_facet | Félicie Faizand de Maupeou |
| author_sort | Félicie Faizand de Maupeou |
| collection | DOAJ |
| description | Claude Monet’s Nymphéas (waterlilies) are famous both in Paris and internationally, an original form of artistic creation. Painted in the secret of his studio at Giverny, the paintings entered their public life after the artist donated them to the nation. Monet’s friend Clemenceau played an important part in this donation which took place at end of the First World War. A long period of negotiation then began between Monet, who intended to enforce his will concerning the paintings, and various other actors associated with the donation. The question of how the works could be displayed was at the heart of these discussions, which lasted more than ten years. Indeed, the display is part of the art work and part of Monet’s artistic gesture. The painter became the scenographer of his own paintings. The issue of this present article is to understand how far Monet’s new function influenced his relationship with the various actors in the project. We will draw attention to the role of the two architects, Louis Bonnier and Camille Lefèvre, who proposed a series of plans for the ways to exhibit the works. We also consider the influence of this new role on the singularity of this art installation which establishes news relations between space, the public and the paintings. |
| format | Article |
| id | doaj-art-05916b1879ac489dbd5994df119c4415 |
| institution | OA Journals |
| issn | 1630-7305 |
| language | fra |
| publishDate | 2017-07-01 |
| publisher | Ministère de la Culture et de la Communication |
| record_format | Article |
| series | In Situ |
| spelling | doaj-art-05916b1879ac489dbd5994df119c44152025-08-20T01:55:22ZfraMinistère de la Culture et de la CommunicationIn Situ1630-73052017-07-013210.4000/insitu.14862Du peintre à l’architecte. La mise en exposition des Nymphéas de Monet à l’Orangerie des TuileriesFélicie Faizand de MaupeouClaude Monet’s Nymphéas (waterlilies) are famous both in Paris and internationally, an original form of artistic creation. Painted in the secret of his studio at Giverny, the paintings entered their public life after the artist donated them to the nation. Monet’s friend Clemenceau played an important part in this donation which took place at end of the First World War. A long period of negotiation then began between Monet, who intended to enforce his will concerning the paintings, and various other actors associated with the donation. The question of how the works could be displayed was at the heart of these discussions, which lasted more than ten years. Indeed, the display is part of the art work and part of Monet’s artistic gesture. The painter became the scenographer of his own paintings. The issue of this present article is to understand how far Monet’s new function influenced his relationship with the various actors in the project. We will draw attention to the role of the two architects, Louis Bonnier and Camille Lefèvre, who proposed a series of plans for the ways to exhibit the works. We also consider the influence of this new role on the singularity of this art installation which establishes news relations between space, the public and the paintings.https://journals.openedition.org/insitu/14862decorscenographyLouis BonnierClaude MonetGeorges ClemenceauPaul Leon |
| spellingShingle | Félicie Faizand de Maupeou Du peintre à l’architecte. La mise en exposition des Nymphéas de Monet à l’Orangerie des Tuileries In Situ decor scenography Louis Bonnier Claude Monet Georges Clemenceau Paul Leon |
| title | Du peintre à l’architecte. La mise en exposition des Nymphéas de Monet à l’Orangerie des Tuileries |
| title_full | Du peintre à l’architecte. La mise en exposition des Nymphéas de Monet à l’Orangerie des Tuileries |
| title_fullStr | Du peintre à l’architecte. La mise en exposition des Nymphéas de Monet à l’Orangerie des Tuileries |
| title_full_unstemmed | Du peintre à l’architecte. La mise en exposition des Nymphéas de Monet à l’Orangerie des Tuileries |
| title_short | Du peintre à l’architecte. La mise en exposition des Nymphéas de Monet à l’Orangerie des Tuileries |
| title_sort | du peintre a l architecte la mise en exposition des nympheas de monet a l orangerie des tuileries |
| topic | decor scenography Louis Bonnier Claude Monet Georges Clemenceau Paul Leon |
| url | https://journals.openedition.org/insitu/14862 |
| work_keys_str_mv | AT feliciefaizanddemaupeou dupeintrealarchitectelamiseenexpositiondesnympheasdemonetalorangeriedestuileries |