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Antiquing

Le Musée des Arts Décoratifs Paris, Jacob Potter

August 8, 2020 By Allison

Musée des arts décoratifsNearly every tourist in Paris plans to visit the Louvre. The Louvre is seen as one of the quintessential French experiences, even though most of the art pieces it contains hail from other nations. Yet, when approaching the Louvre, tourists seem to be focused solely on the looming glass pyramid over the neatly cut treetops of the Jardin des Tuileries, completely missing the structure to their left. This imposing yet unassuming wing of the Louvre Palace houses le Musée des Arts Décoratifs, or MAD, one of the premier museums of Paris. The Musée des Arts Décoratifs is itself historical. Opening on May 29th, 1905, MAD has seen two World Wars, the end of the Cold War, and the establishment of the European Union by the time it was renovated between 1996 to 2006.

Physically attached to the Louvre, MAD houses an impressive collection of art, objects, and furniture that rival its conjoined neighbor. According to the Figaro, the Louvre holds pieces recognized as the absolute best examples of fine art in the world while MAD houses art people would have actually owned and used. That does not mean that MAD’s collections are any less artistic. Rather, they are tangibly linked to France’s history and the lives of French people. Take the Soupière made by Jean-Baptiste-Claude Odiot in Paris in 1819. It serves a functional purpose by holding soup before it is served, yet the beautifully crafted silver angels, swans, and ornaments turn the structural components of the Soupière into artistic design elements.

These collections are exhibited in five departments based on the time period of the objects. The first department features pieces from the Middle Ages and the Renaissance in France, where authentic bedrooms, friezes, and altarpieces are re-created using objects from the collection. This department is followed by a collection of 17th and 18th century pieces, during the Ancien Régime. Within the 17th and 18th century displays, you will notice the proliferation of porcelain and the increasing ornateness of everyday objects in themed salons. The Ancien Régime section ends with the Revolution, starting a department of 19th century pieces. Here, gold accents dazzle your eyes alongside powerful, opulent color schemes.chair

After entering the Republic era, the time ranges of the departments become more condensed. The first of these temporally condensed section features objects in the Art Nouveau and Art Deco styles of the early 20th century, where human-made objects seek to imitate natural forms. These styles were heavily influential in France, and many of the pieces in this exhibit hail directly from various world’s fairs in the 1920s and 1930s. The fifth and final department houses contemporary or modern pieces and seeks to explore the very limit of modern design and fabrication. Many of the pieces in these final displays seek to blend aesthetics with increased functionality. The Bibliothèque des Chaises is a great example of this. This library of chairs is a repository of our modern attempt to make the sitting experience more comfortable, yet visually pleasing.

Within these five departments, the collections are further subdivided. Textiles, jewelry, paintings, toys, furniture, graphic arts, glassware, and advertisements can be found throughout all five departments, creating very diverse and holistic exhibitions. With these diverse collections, MAD aims to be as alive as its contemporary and modern department. Through exploring the history of everyday art, MAD seeks to follow the continuous breath of French taste from the middle ages to today. By exploring MAD’s dynamic exhibitions, you might just feel a hint of this breath, pushing you to design the next object for MAD’s modern department.

References

« Departments. » Musée des Arts Décoratifs Paris : n. pag. Web. 2 March 2020. https://madparis.fr/francais/musees/musee-des-arts-decoratifs/collections/departements/

Fauteuil « Œuf 3317 » et repose-pied « 3127 ». By Arne Jacobsen – Photo by Jean Tholance, Musée des Arts Décoratifs de Paris. https://madparis.fr/francais/musees/musee-des-arts-decoratifs/collections/departements /#&gid=1&pid=70

« Les 5 musées de mode à voir à Paris » Vogue 20 Février 2020 : n. pag. Web. 2 March 2020. https://www.vogue.fr/culture/article/5-musees-de-mode-a-voir-a-paris

Prat, Véronique. « Réouverture : le musée des Arts décoratifs retrace l’histoire du goût. » Le Figaro 4 Septembre 2006 : n. pag. Web. 2 March 2020. https://www.lefigaro.fr/lefigaromagazine/2006/09/04/01006-20060904ARTWWW90415-reouverture_le_musee_des_arts_decoratifs_retrace_l_histoire_du_got.php

Soupière. By Jean-Baptiste-Claude Odiot – Photo by Jean Tholance, Musée des Arts Décoratifs de Paris. https://madparis.fr/francais/musees/musee-des-arts-decoratifs/collections/departements /#&gid=1&pid=39

 

Filed Under: Antiquing, Explore, Finds, France, Ideas, Inspiration, Travel, Travels, Uncategorized Tagged With: art object, furniture, MAD, Musée des Arts Décoratifs, Paris

Jean Michel Othoniel and La Rose du Louvre, Audrey Hey

August 6, 2020 By Allison

rose du louvreTucked between white marble works of centuries past in the Louvre’s Cour Puget resides Jean Michel Othoniel’s La Rose du Louvre, a painting series that only just recently made its way into the historic halls of the Louvre’s permanent collection, in October 2019. Othoniel’s work was commissioned to celebrate the 30th anniversary of the Chinese-American architect I.M. Pei’s Pyramid that stands at the entrance to the museum.

Wedding of Marie de’ Medici to Henri IV The old master Peter Paul Rubens served as Othoniel’s inspiration for the flower that he hoped would become a symbol of the heart of French artistic tradition. Rubens’ work Wedding of Marie de’ Medici to Henri IV provided the very floral motifs on which La Rose du Louvre is based. The abstract representation of a rose seen in each panel carries a dual symbolism for Othoniel. Floral imagery is often packed with symbolic potential, and Othoniel’s project taps into this meaning in an effort to illuminate the subtleties that flowers have to offer. The choice of the rose shows intentionality, as Othoniel associates “la reine des fleurs” with “le roi des musées.” Symbolic of the Louvre’s position of cultural power and explanatory of some of the stories held within the museum’s vast corners, La Rose du Louvre took very little time to transition between its first presentation on May 25, 2019 and its permanent induction some five months later. Visually, the work is also at home, as its black ink on gold leaf creates a pleasing aesthetic as the work is flanked by its sculptural neighbors. Othoniel expounded on the symbolism of flowers inherent in La Rose du Louvre with his accompanying text Herbier Merveilleux, or The Secret Language of Flowers. Owing to Othoniel’s artistic dedication to floral forms as well as the familiarity he gained with the Louvre while working as warden, the text is a guide to the intricate meanings found within the flowers of the Louvre.

Jean Michel Othoniel was born in 1964 in Saint Étienne. The Paris-based artist has worked extensively within a variety of mediums, from glass to drawing. Visible in the abstract flowers that comprise La Rose du Louvre is a distinctive style that has become the trademark of many of Othoniel’s works. Othoniel has found prior success in museum exhibitions as well as public spaces such as in his subway station transformation, Le Kiosque des Noctambules. His entry into the Louvre marks a further step in his artistic career, as well as a sign of the Louvre’s further, ongoing commitment to the contemporary art world and its inclusion within the museum.

References

Chan. “Jean-Michel Othoniel Decodes the Secret Language of Flowers in the Louvre’s Collections.” Wallpaper*, Wallpaper*, 21 June 2019, www.wallpaper.com/art/jean-michel-othoniel-louvre-museum-paris.

“La Rose Du Louvre, De Jean-Michel Othoniel Entre Dans Les Collections Du Musée Du Louvre.” Louvre, 3 Jan. 2020, presse.louvre.fr/emla-rose-du-louvre-embr-de-jean-michel-othonielbr-entre-dans-les-collections-du-musee-du-louvre/.

Uzik. “Biographie – Othoniel – Othoniel Studio.” Othoniel, 1 Jan. 2019, www.othoniel.fr/fr/othoniel/biographie.

Filed Under: Antiquing, Arts, Explore, Finds, France, Inspiration, Travel, Travels, Uncategorized Tagged With: Class blog, French class, Jean Michel Othoniel, Le Louvre, Musée du Louvre, Peter Paul Rubens, rose

Art Nouveau and Paris, Annalise Palmer

July 27, 2020 By Allison

Lalique CombAt the turn of the nineteenth century, a new art movement took the world by storm and situated itself within the prominent visual identity and culture of Europe and the United States. Although the movement originated in England, with artists like William Morris and Walter Crane, the most prominent and utilized title for the artistic era was the French phrase, l’Art Nouveau, literally translating to, “the new style.” Artists and craftsmen came together with the intentions of breaking away from the traditional and academic study of fine art in an attempt to redefine and redistribute art by imbuing everyday objects with beauty. Rather than referencing the classical and mythological subjects and styles of the past, artists looked to the forms found in nature as well as the various subjects and styles of Japanese woodblock prints. Works manifested as fine art with painting and sculpture, graphic art with drawings and prints, and in more uncommon mediums, such as jewelry, glasswork, and ceramics.

The eclectic nature of Art Nouveau is most exemplified in Paris, where the highly ornate style of the movement came to life in the home, as well as the public sphere. Artists like Henri de Toulouse-Lautrec and Eugène Grasset looked at the graphic nature of the new style and produced a number of ornate posters for store fronts, night clubs, and various products. Toulouse-Lautrec is the most famous of the two artists, as his prints for Le Moulin Rouge strikingly stand out in Parisian history for the bright colors, heavy yet sinuous line work, and the caricature-esque nature of figures. Another very popular medium in Parisian Art Nouveau was jewelry and accessories. René Lalique was one of the most sought-after designers, as his luxurious pieces were heavily ornamental and whimsical references to the natural world.

An example of the superfluous Lalique accessories is a Bodice ornament, from 1903 or ‘04. Although the piece is only 135 x 50 millimeters, Lalique utilized three different enamel techniques, engraved crystal, and gold accents to create an eternal hyacinth flower. Art Nouveau was specifically welcomed in interior design as well as architecture, as the playful yet opulent designs of la Belle Époque survive even today. Louis Majorelle was a highly demanded Parisian furniture designer; his designs seem phantasmagorical with curvilinear forms, intricate floral or natural patterns, and exquisite craftsmanship. His works, which were meant to adorn the homes of the upper classes, now grace the exhibition halls of museums around the world. One could still experience the grandeur nature of Art Nouveau in Paris, as a number of edifices preserve the palatial designs of artists like Majorelle, Lalique, Lautrec, and more.

In the eighth arrondissment, Maxim’s is one of many luxurious restaurants with a past that is deeply intertwined with the Art Nouveau movement. The interior of the building was designed by Louis Marnez in 1899, after being commissioned by two chefs who inherited the business. The ambiance of the interior is quite romantic; the walls are covered with mahogany panels, copper accents, and antiqued mirrors, which break up the intimate mural scenes of voluptuous nymphs. The light fixtures are modeled to look like plant life, with sconces, lamps, and chandeliers that resemble glowing flowers moreso than the traditional alternative. To couple with the sensuous interior, Marnez supposedly placed beautiful courtesans in the windows of each room to avoid emptiness and create public desire and attention.

Wandering throughout the streets of Paris, one does not have to look too far to experience the opulence and luxuriousness of the era. Maxim’s is one of the many picturesque emblems to survive from the height of Art Nouveau, as a number of cafés, boulangeries, and even subway entrances carry on the visual aesthetics and elements that were integral to the new style. To say that artists injected each object of daily living with simple beauty in an understatement, as each work of art seems to create its own physical world of grace and whimsy that is difficult to find in most other artistic movements of eras.

References

Camus, Dominique, Fred Aufray, and Thierry Prat. Paris décors Art Nouveau, Art déco … Paris:               C. Bonneton, 2011.

Citroen, K. A. “Lalique Et Baudelaire: Quelques Reflexions Sur Un Bijou Art       Nouveau.” Simiolus: Netherlands Quarterly for the History of Art 1, no. 3 (1966): 153.     https://doi.org/10.2307/3780411.

Lahor, Jean. Lart Nouveau: Son Histoire, L’art Nouveau étranger à Lexposition … Paris:             Lemerre,1901.https://books.google.com/books?hl=en&lr=&id=OSdBAAAAYAAJ&oi=f nd&pg= PT1&dq=art nouveau francais&ots=mVWwtXDZWe&sig=1GR6hwuED_mu             q6X_rmKDJCD5PDY#v=onepage&q=Gallé&f=false.

Lalique, René Jules. Bodice Ornament. 1903-04. Cast glass, enamelled gold, and fire opals.  Victoria and Albert Museum. Acquisition number: M.116A-1966

Rossella Froissart. “ L’Art nouveau, une remise en question des frontières esthétiques ”. La vie intellectuelle en France – XIXe-XXIe siècles, sous la direction de Christophe Charle et Laurent Jeanpierre, Editions du Seuil, pp.536-540, 2016. hal-02337146

 

 

 

Filed Under: Antiquing, Arts, Explore, France, Inspiration, Travels, Uncategorized Tagged With: Art Nouveau, Lalique, Majorelle, Maxim's, Toulouse-Lautrec, unlocking Paris

Buy Vintage, Save Money

April 12, 2019 By Allison

limoges stacked teacupsDuring a recent visit to a Central Kentucky flea market, I overheard a mother instructing her children:  “These are antiques, so they are three times as expensive.  Don’t touch anything.”  Her words have been rolling around in my mind for a few days, and I must admit that I find antique and vintage pieces to be very reasonably priced.  Why?  For most people, “old” things are not desirable.

I am dazzled by my recent haul of “old” stuff.  I brought home four vintage Limoges teacups—delicate, floral, and elegant.  There are no chips, and the saucers are intact.  I paid $9 each.  I haven’t tried to date them or research the pattern, but I’m guessing that my teacups are from the 70s or 80s.  I am tickled by the idea of sipping my morning tea from the delicate porcelain cups.painted limoges plate yellow

When I can get my act together to find a vintage or antique plate rack, maybe I’ll display them with the four hand-painted Limoges plates that I scored in the same booth ($6 each).  These floral plates are a delight, each featuring a different flower.  When I turned one over and saw that it was signed by “Maude”, that sealed the deal.  Knowing the name of the artist who painted my plates makes them all the more special for me.violet limoges dish

 

In another booth, I found a charming soap dish painted with violets, also made in Limoges ($7).  I’m guessing that this piece was painted in the 50s or 60s.  It somehow feels older than my cups, saucers, and plates, due to its patina.  I’ll place it in my guest bathroom with a pretty little soap.  I finished my great buying day by scooping up a set of eight embroidered napkins.  They must be several decades old.  I’ll bring them to the dry cleaner for a good cleaning and starching.  They’ll be so beautiful during tea time!

embroidered napkin

Did I need any more cups, saucers, plates, and linens?  Absolutely not.  Though had I not been wandering around the flea market with my friend Shelley on that Saturday afternoon, I probably would have been spending money in other ways.  All of the items I purchased would be more expensive new, and it’s unrealistic for me to expect to find the beautiful craftsmanship and handwork that are not valued as they once were.  Bringing vintage and antique items into my home gives new life to pieces that people have left behind.  Placed next to the newer items in my home, they create a unique style for a small price.

Inspirations

More flea market inspo

Hand-painted beauty

Decorating on a small budget, NYT

 

Filed Under: Antiquing, Arts, Explore, Finds, France, Improvise, Inspiration, Stories, Uncategorized, Vintage Tagged With: antique, antiquing, bargain, creative sanctuary, deals, design, embroidery, flea market, flea market finds, green, handwork, home deco, home design, inspo, Limoges, limoges china, live green, porcelain, save money, slow living, vintage

Tiny Tea Set, Lively Energy of Life

February 8, 2019 By Allison

children's tea setIn the realm of space, your life is nothing but the lively energy of life, interconnecting with everything.
–Dainin Katagiri

Every so often, I spread the pieces of my childhood tea set on my bed.  It’s in pitiful shape—broken, glued, re-broken, re-glued.  I love that I played so hard with these tiny, clumsy cups and plates.  I almost remember my gracious, chubby fingers pouring imaginary tea as I brushed wisps of long, brown hair out of my eyes.  I can almost see myself breaking piece after piece in my basement playroom.

No one in my family drank tea, so I must have created my own imaginary tea stories.  I don’t recall my solo tea parties, yet when I lay my hands on the shards, I access the lively energy of life that children incarnate.  This cherished energy still resides deep inside me.  Light, open, and expansive, this part of me responds to people who are patient and curious.  Sometimes I forget the connections that defy time and geography, but the energy of this homely wabi-sabi children’s tea set transcends place, space, and culture.  Through it, I recall that it was a gift from Grandma Rose Mary.  She couldn’t have known that tea would become my language and my passion.  In this sense, her gift of imaginary tea was prophetic.  Grandma’s gift allowed me to create my first tea rituals and to explore what it might mean to share tea with others. My tea rituals have evolved, but I embrace the awkwardness of human connection as it plays out over shared tea moments.

In the realm of space, my life is nothing but the lively energy of life, interconnecting with everything.

Filed Under: Antiquing, Arts, Explore, Finds, Improvise, Inspiration, Meditation, Stories, Tea and other beverages, Tea Culture, Uncategorized Tagged With: broken, cha, children's tea set, creative sanctuary, gifts, grandmothers, Katigiri, tea culture, tea life, tea set, tea ware, wabi sabi, way of tea, Zen Buddhism

Wearing Stories

June 17, 2018 By Allison

bangle bracelet collectionEvery day, I wear stories.  The stack of bracelets on my left arm reminds me of dear people, travels, and great deals scored in local antique shops.  Side-by-side, the bangles, beads, cuffs, metal, and leather hold meaningful moments that span decades—my visit to the Leather School in Florence, a sterling silver bangle that Dad brought back from Ireland, two sweet bracelets made of glass beads from Mali.

I mix color and texture, vintage and contemporary.  Bracelets offer too much possibility for a minimalist aesthetic, so I give into my maximalist tendencies.  More is more–shine, glimmer, clink and contrast!  We are ever-changing works of art, and our jewels reflect our evolution.  My arm decoration changes by day, marking moods, seasons, and the sweet passage of time.

Filed Under: Antiquing, Arts, Explore, Finds, Ideas, Improvise, Inspiration, Stories, Travel, Travels, Uncategorized, Vintage Tagged With: African beads, art, bangles, beads, bracelets, cuffs, diy, fashion, flea market finds, Florence, Ireland, jewels, Leather School, Mali, maximalism, trade beads, trend, vintage

Embroidery II

October 21, 2017 By Allison

Two threads of opaque light

At One with

Invisible needles,

Moving in and out of silent space

Embroidering,

Creating colors unseen

A work of art,

Felt in the Heart

 

This post was created in collaboration with the lovely Shelley Richardson.

 

Inspiration

Embroidery

Filed Under: Antiquing, Explore, Finds, Inspiration, Meditation, Stories, Uncategorized, Vintage Tagged With: antique, broderie, embroidery, fashion, flea market, floral, friendship, mindfulness, oneness, opacité, opaqueness, poetry, purse, sac, vintage

Embroidery

September 23, 2017 By Allison

Flea markets are therapeutic.  My eyes do the initial sifting as I make my way down the aisles and through the booths.  When I am drawn to an object—a hand-painted tray, a copper planter, a Limoges teacup—I approach for a closer look.  Where was it made?  What is its story?  Can I make space for this object in my little house?

The visual and tactile experience of an overflowing flea market allows me to move beyond my internal, distracting chatter.  Yesterday, in the company of a friend, this dainty needlepoint purse found me.  The handwork is intricate—much care and concentration went into this old-fashioned piece.  I wonder who made it and who carried it…

Embroidery has long been a form of feminine expression.  My self-taught needlework is precise but sporadic.  Usually, I choose to embroider through language.  Both written and spoken, words form my stitches.  Clean, fumbling, or elegant they lend texture to my creative work.  Pauses are perhaps more important than words.  Spaces of silence, they allow my chains of words to function as thoughts.  At the flea market, I sometimes find myself existing in the spaces between the stitches of everyday life.  The precious pause leads me to small treasures, sharpens my curiosity about their pasts, and inspires me to imagine new places and purposes for them.

Filed Under: Antiquing, Explore, Finds, Ideas, Improvise, Inspiration, Stories, Uncategorized, Vintage Tagged With: antique, antique purses, antiquing, creativity, embroidery, flea market, flea market finds, green living, handmade, handwork, needlepoint, purses, vintage, vintage purses, writing

Cloisonné

July 8, 2017 By Allison

I eyed the vintage chopsticks for months…  two sets lovingly displayed in narrow, silken boxes.  I figured the local antique shop wouldn’t sell them right away, so I hemmed and hawed.  They definitely weren’t ivory—maybe resin?  The floral cloisonné was dainty and delicate.  I liked the weight of them in my hands. I slid them back in their case.

One day, much to my delight, a friend bought them for me.  More than once, she had seen me gravitate to them.

I come home and waste no time in putting them to use—a Buddha bowl is called for—what can I rummage up in the kitchen?  Kale-soba noodles-apple-sesame seeds-Korean red pepper paste-scallions-soy sauce-garlic.  With NPR in the background, I set to preparing the dish that will baptize my “new” chopsticks—a concoction of flavorful noodles and vegetables.  My dinner is easy on the eyes and happy in the tummy—spicy, sweet, and green.

…

Read More

Filed Under: Antiquing, Asian, Comfort Foods, Cuisine, Everyday Meals, Finds, Ideas, Improvise, Lunch, Vegetarian Dishes, Vintage Tagged With: asian, chopsticks, dinner, soba, vegetarian, vintage

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Thank you for dropping by Creative Sanctuary! I am a French professor in Kentucky, grew up in Iowa, and I often travel internationally. This blog gathers, documents, and connects my passions--travel, cooking, stories, France, and tea culture. Bonne lecture! --Allison Connolly

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