Le visage de l’histoire : le portrait au musée historique

Portraits make up for more than two-thirds of the collections displayed in the historical museum founded by Louis-Philippe at Versailles in the early 1830s. They reveal both how much Louis-Philippe was inspired by the portrait galleries he visited as a young man (at the Palais-Royal, in Eu, at the T...

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Autor principal:	Marion Lavaux
Formato:	article
Lenguaje:	EN FR
Publicado:	Centre de Recherche du Château de Versailles 2021
Materias:	Versailles collections history portrait gallery Louis-Philippe Musée d’Histoire de France casts Fine Arts N History of the arts NX440-632 History of France DC1-947
Acceso en línea:	https://doaj.org/article/050a5447deb74f5fa1b18670d40918cb
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id	oai:doaj.org-article:050a5447deb74f5fa1b18670d40918cb
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spelling	oai:doaj.org-article:050a5447deb74f5fa1b18670d40918cb2021-12-02T10:50:20ZLe visage de l’histoire : le portrait au musée historique1958-927110.4000/crcv.21904https://doaj.org/article/050a5447deb74f5fa1b18670d40918cb2021-10-01T00:00:00Zhttp://journals.openedition.org/crcv/21904https://doaj.org/toc/1958-9271Portraits make up for more than two-thirds of the collections displayed in the historical museum founded by Louis-Philippe at Versailles in the early 1830s. They reveal both how much Louis-Philippe was inspired by the portrait galleries he visited as a young man (at the Palais-Royal, in Eu, at the Tuileries and so on) and what his aspirations and ambitions – whether they succeeded or not – at Versailles were. Far from constituting a coherent whole, the portrait collection included older and contemporary works, which were either removed from their original location or commissioned for Versailles from both renowned masters and second-rank artists. A subset of the collection is especially significant in terms of how the collections were assembled: copies and casts. Since they represent two-thirds of the portrait collection, they must be treated as an integral component of the historical galleries. Those casts were mainly executed by a dedicated workshop at the Louvre, whose head scoured France (and other parts of Western Europe) to gather copies from well-known funerary monuments, at a time when numerous initiatives led to the exploration and inventorying of remarkable French monuments. Public opinion of the historical museum of Versailles was divided, torn between harsh criticisms of the artificial grouping of disparate artworks and an emotional acknowledgment of the very personal connection between visitors and portraits of ancestors or historical figures encountered during revolutionary or Napoleonic battles.Marion LavauxCentre de Recherche du Château de VersaillesarticleVersaillescollections historyportrait galleryLouis-PhilippeMusée d’Histoire de FrancecastsFine ArtsNHistory of the artsNX440-632History of FranceDC1-947ENFRBulletin du Centre de Recherche du Château de Versailles (2021)
institution	DOAJ
collection	DOAJ
language	EN FR
topic	Versailles collections history portrait gallery Louis-Philippe Musée d’Histoire de France casts Fine Arts N History of the arts NX440-632 History of France DC1-947
spellingShingle	Versailles collections history portrait gallery Louis-Philippe Musée d’Histoire de France casts Fine Arts N History of the arts NX440-632 History of France DC1-947 Marion Lavaux Le visage de l’histoire : le portrait au musée historique
description	Portraits make up for more than two-thirds of the collections displayed in the historical museum founded by Louis-Philippe at Versailles in the early 1830s. They reveal both how much Louis-Philippe was inspired by the portrait galleries he visited as a young man (at the Palais-Royal, in Eu, at the Tuileries and so on) and what his aspirations and ambitions – whether they succeeded or not – at Versailles were. Far from constituting a coherent whole, the portrait collection included older and contemporary works, which were either removed from their original location or commissioned for Versailles from both renowned masters and second-rank artists. A subset of the collection is especially significant in terms of how the collections were assembled: copies and casts. Since they represent two-thirds of the portrait collection, they must be treated as an integral component of the historical galleries. Those casts were mainly executed by a dedicated workshop at the Louvre, whose head scoured France (and other parts of Western Europe) to gather copies from well-known funerary monuments, at a time when numerous initiatives led to the exploration and inventorying of remarkable French monuments. Public opinion of the historical museum of Versailles was divided, torn between harsh criticisms of the artificial grouping of disparate artworks and an emotional acknowledgment of the very personal connection between visitors and portraits of ancestors or historical figures encountered during revolutionary or Napoleonic battles.
format	article
author	Marion Lavaux
author_facet	Marion Lavaux
author_sort	Marion Lavaux
title	Le visage de l’histoire : le portrait au musée historique
title_short	Le visage de l’histoire : le portrait au musée historique
title_full	Le visage de l’histoire : le portrait au musée historique
title_fullStr	Le visage de l’histoire : le portrait au musée historique
title_full_unstemmed	Le visage de l’histoire : le portrait au musée historique
title_sort	le visage de l’histoire : le portrait au musée historique
publisher	Centre de Recherche du Château de Versailles
publishDate	2021
url	https://doaj.org/article/050a5447deb74f5fa1b18670d40918cb
work_keys_str_mv	AT marionlavaux levisagedelhistoireleportraitaumuseehistorique
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Le visage de l’histoire : le portrait au musée historique

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