Pompadour, marquise de
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Built in the second half of the 17th century, the château de Saint-Ouen, (near Paris, in the Seine-Saint-Denis department), having belonged to the prestigious dukes of Gesvres until its destruction in 1821, to built the actual château for... more
Built in the second half of the 17th century, the château de Saint-Ouen, (near Paris, in the Seine-Saint-Denis department), having belonged to the prestigious dukes of Gesvres until its destruction in 1821, to built the actual château for the comtesse du Cayla.
After the sale of her château de Crécy, unexpectedly, the marquise de Pompadour did not purchased Saint-Ouen but benefited from the usufruct of this residence from 1959 until her death in 1764.
The plan of the château, originally designed pay Antoine Le Pautre, was a classical U-shape and consisted of a long façade with two wings prolonging the main body, facing the river Seine on the garden side.
Saint-Ouen's dazzling originality resided in its distribution: the main body consisted of a succession of three "salons à l'italienne" (meaning occupying the entire hight of the building), whose decoration was entirely modified by the Slodtz family in the 1750s.
Indeed, as soon as Mme de Pompadour acquired the estate, a vast project of reorganisation of the entire buildings (including stables and dependences) was planned, costing more than the fabulous amount of 500.000 livres!
In the absence of the original plans, a restitution of the ground floor has been proposed, enabling us to appreciate Mme de Pompadour's architectural project. It seems that the architect who supervised this reorganisation was none other than Ange-Jacques Gabriel, who, at that time, directed all the renovation and building works of the different residences of Mme de Pompadour.
Using the central spectacular "salon à l'italienne" as a pivot, an appartement was created for the King as a counterpart to that of the henceforth Duchesse de Pompadour, making the prestigious château de Saint-Ouen into a reflection of her own status - a symbol of her social and political victory.
After the sale of her château de Crécy, unexpectedly, the marquise de Pompadour did not purchased Saint-Ouen but benefited from the usufruct of this residence from 1959 until her death in 1764.
The plan of the château, originally designed pay Antoine Le Pautre, was a classical U-shape and consisted of a long façade with two wings prolonging the main body, facing the river Seine on the garden side.
Saint-Ouen's dazzling originality resided in its distribution: the main body consisted of a succession of three "salons à l'italienne" (meaning occupying the entire hight of the building), whose decoration was entirely modified by the Slodtz family in the 1750s.
Indeed, as soon as Mme de Pompadour acquired the estate, a vast project of reorganisation of the entire buildings (including stables and dependences) was planned, costing more than the fabulous amount of 500.000 livres!
In the absence of the original plans, a restitution of the ground floor has been proposed, enabling us to appreciate Mme de Pompadour's architectural project. It seems that the architect who supervised this reorganisation was none other than Ange-Jacques Gabriel, who, at that time, directed all the renovation and building works of the different residences of Mme de Pompadour.
Using the central spectacular "salon à l'italienne" as a pivot, an appartement was created for the King as a counterpart to that of the henceforth Duchesse de Pompadour, making the prestigious château de Saint-Ouen into a reflection of her own status - a symbol of her social and political victory.
Статья об атрибуции произведения Жана-Батиста Удри. Челябинская картина входила в состав серии из четырех картин, написанных художником по заказу фаворитки французского короля Людовика XV маркизы де Помпадур для ее резиденции Бельвю.... more
Статья об атрибуции произведения Жана-Батиста Удри. Челябинская картина входила в состав серии из четырех картин, написанных художником по заказу фаворитки французского короля Людовика XV маркизы де Помпадур для ее резиденции Бельвю.
Jean-Baptiste Oudry entered the history of painting as an animal painter by virtue of his abundant pictorial heritage portraying hunting scenes. The Chelyabinsk State Museum of Fine Arts holds a painting presenting one of the author’s hunting scenes, “Dogs with a Dead Hare”. Further information was later received which, with the utmost certainty, confirmed Oudry’s authorship of the painting and shed light on the history of its creation. Chelyabinsk canvas was part of a series of four paintings produced by the artist on commission of the favorite of French King Louis XV Marquise de Pompadour for her residence in Bellevue. The entire series of paintings was exhibited at The Salon of the Louvre in 1750 and the exhibition catalog clearly states that in the background “Bellevue Castle is visible at a distance.” Thus, it is possible to date the Chelyabinsk piece of art at no later than 1750.
Jean-Baptiste Oudry entered the history of painting as an animal painter by virtue of his abundant pictorial heritage portraying hunting scenes. The Chelyabinsk State Museum of Fine Arts holds a painting presenting one of the author’s hunting scenes, “Dogs with a Dead Hare”. Further information was later received which, with the utmost certainty, confirmed Oudry’s authorship of the painting and shed light on the history of its creation. Chelyabinsk canvas was part of a series of four paintings produced by the artist on commission of the favorite of French King Louis XV Marquise de Pompadour for her residence in Bellevue. The entire series of paintings was exhibited at The Salon of the Louvre in 1750 and the exhibition catalog clearly states that in the background “Bellevue Castle is visible at a distance.” Thus, it is possible to date the Chelyabinsk piece of art at no later than 1750.