PARIS-MUSEE D'ORSAY (PART 3)
Jack
Over the last years, the museum followed a dynamic policy of
acquisitions. They bought among others, the "Creation du monde" by
Courbet, "Les Dechargeurs and "la Manneporte" by Monet, "Portrait de
Mme.Cezanne" by Cezanne, the extraordinary "Nuit etoilee" by Van Gogh,
le "Grand Nu" and "le Garcon au Chat" by Renoir, "Autoportrait au
Christ jaune" by Gauguin., "Un ilot en pleine mer" a moving landscape
painted by Degas at the end of his life. His sight becoming terribly
bad, he only retained fugitive impressions that he recreated in his
atelier. That's what gives the work his almost abstract character.
Then a few new acquisitions from Bonnard(Promenade des Nourrices,
Intimite) , l'Andelys by Signac, foreign Nabis etc....
Henri Loyrette, the museum curator, wishes the MO to open more and
more to foreign artists. The bought in that trend "Le Repos" from the
Danish painter Wilhelm Hammershoi, one of the greatest Scandinavian
artists of the last century. Other exploit of the museum: the entry of
a Whistler, "Variations in purple", also "Flodden Field" by
Burne-Jones. The curator dreams about other acquisitions of the
Northern schools: Munch, Mondrian, Klimt, Feuerbach......Alas!
They are financially unreachable !
The Sculpture.
-----------------------
The sculptures are remarkably emphasized in the great central alley,
where we notice the " Danse" by Carpeaux and " Ugolin" by the same (
on the balcony-terrace) .Original haut-relief in plaster of "La Porte
d'Enfer" by Rodin, dozens of bronzes from Degas, busts of Dalou, and
of course, sculptures of Bourdelle and Maillol.
At the end of the central alley, a miniature model of the quartier de
l'Opera.
In the ballroom on the floor, astounding decoration and exhibition of
some typical ornaments of the "IIIe Republique" academism.
The Paintings
----------------------
Classified by themes or by schools. The fact that the first paintings
you can see in the sideways of the central alley are of the so-called
school of "peintres pompiers", sort of official and academic painters
of the 19th century. They had their success in their times but are
practically forgotten today. The choice to display them at received
may critics and gave heavy polemics.
A lot complained this should not been given the big rooms on the Seine
side ( with that beautiful stable northern light the painters like so
much) and the furnishing, and relegate the Impressionists on the 5th
floor, in galleries certainly as narrow and scanty as in the Jeu de
Paume where they hung before( moreover with acute lighting problems
and enhancing) . Ok, besides that, let's not spoil our pleasure and
let's go anyway !
Basement:
Left of the central alley, the "salle Daumier" where, finally, the
extraordinary talent of the painter caricaturist found his well
deserved place. A remarkable " Gallerie de portraits de celebrites du
juste milieu" and his so expressive oils: "Scenes de comedie, "Les
Voleurs et l'ane", "Don Quichotte et la Mule morte"etc...
Near by Millet, Rousseau, Corot. From Millet, the famous " l'Angelus
du soir", "la Fileuse", " le Printemps" ( fantastic light).
In the rotunda room, the masterworks of Courbet, "un enterrement a
Ornans", "la Falaise d'Etretat apres l'orage", "l'Atelier du peintre",
"la Creation du Monde".
Continuing still on the left, very rich galleries uniting the
Impressionists before 1870. Collections Personnaz and Edouardo
Mollard: Monet (Etretat), Pissarro (Landscape at Eragny) and Sisley
(Ile de la Grande Jatte), Boudin ( Plage a Trouville). Follows salle
Manet ( Olympia, who caused a big scandal) and the not less known "Le
Balcon", " Zola" and "Le Fifre".
Also nearby, 2 small rooms reserved for pastels by Degas, Millet,
Fantin-Latour, Boudin, Manet and Mary Cassatt.
From Monet, fragments, imitated from "Le Dejeuner sur l'Herbe" by
Manet and a admirable winter landscape.
In the last part of this section, curious paintings of realism and
orientalism.
At the other side of the alley, just in front, the great classics to
whom the impressionists owe a lot: Delacroix, Ingres etc...
The other levels and floors will be studied in my next posting
Jack
James M. Cate
Jack wrote:
> Over the last years, the museum followed a dynamic policy of
> acquisitions. They bought among others, the "Creation du monde" by
> Courbet, "Les Dechargeurs and "la Manneporte" by Monet, "Portrait de
> Mme.Cezanne" by Cezanne, the extraordinary "Nuit etoilee" by Van Gogh,
> le "Grand Nu" and "le Garcon au Chat" by Renoir, "Autoportrait au
> Christ jaune" by Gauguin., "Un ilot en pleine mer" a moving landscape
> painted by Degas at the end of his life. His sight becoming terribly
> bad, he only retained fugitive impressions that he recreated in his
> atelier. That's what gives the work his almost abstract character.
> Then a few new acquisitions from Bonnard(Promenade des Nourrices,
> Intimite) , l'Andelys by Signac, foreign Nabis etc....
___________________________________
Jack,
I agree with you that the D'Orsay has an impressive collection and is
worth seeing. But for those primarily interested in Monet, who is sometime
considered the most popular and representative of the impressionists, the
Musee Marmotton has a far more impressive collection. Also, you failed to
tell everyone that there will probably be a long, slow line to wait in to
get into the D'Orsay during the tourist season. By contrast, they can
nearly always get into the Marmatton without waiting in line, and they
will probably have very small crowds, with few American tourists there.
I feel that you ought to tell your readers the good points as well as
the bad points of these various attractions.
Jim Cate
Jack
On Sun, 15 Feb 1998 16:55:17 -0600, "James M. Cate"
<jim...@ix.netcom> wrote:
>
>Jack,
> I agree with you that the D'Orsay has an impressive collection and is
>worth seeing. But for those primarily interested in Monet, who is sometime
>considered the most popular and representative of the impressionists, the
>Musee Marmotton has a far more impressive collection. Also, you failed to
>tell everyone that there will probably be a long, slow line to wait in to
>get into the D'Orsay during the tourist season. By contrast, they can
>nearly always get into the Marmatton without waiting in line, and they
>will probably have very small crowds, with few American tourists there.
> I feel that you ought to tell your readers the good points as well as
>the bad points of these various attractions.
>Jim Cate
If you have followed my various postings about Paris, started
beginning of November, you would have noticed i'm progressively
covering different areas of Paris. Step by step. That is a huge work
and needs a not of assembling of personal notes, history books and
anecdotes i look sometimes up in old guides. I cannot do everything on
the same time ! You would maybe also have noticed that i don't have
the pretention of replacing a traditional tour guide but i merely
express directly what i think and try to recreate an ambiance.
I did not come yet to the area Trocadero,Musee e l'Homme, Passy,
Palais Galliera and musee Marmottan. They are on my program for the
next days or weeks.
Besides i never mention in my post that the Orsay has the biggest
Monet collection in Paris.
About the lines, i don't see what this has to do with a museum
architecture , a museum history and the contents of a museum. .And in
one of my first posts ( in November, i think) i warn people about the
lines, sometimes inavoidable.
Marmottan may have no lines, but besides Monet it doesn't have to
offer the incredible collection and variety of the Orsay, so this
explains no line and the other explains why there are lines
michka
you can visit the house of Claude Monet at Giverny, I recommend this nice
place , open at the beginning of spring and closed about at the end of
October. this town is situated near Vernon, accessible by highway number :
A 13 Paris/Caen, take an half of day with a fine weather to visit garden's
of this house, it's fabulous with the japanese garden !
michel ,
france