The Dreamers

Musée du Louvre

The Winged Victory of Samothrace C. 190 BC Provenance: Island of Samothrace (northern Aegean)
Grey Lartos marble (boat); Parian marble (statue)
H. 3.28 mThe ancient Greeks had the delightful idea of representing Victory as a young woman with wings, an image given particularly awe-inspring form in the “Winged Victory of Samothrace”. 

Aphrodite, known as the "Venus de Milo"This graceful statue of a goddess has intrigued and fascinated since its discovery on the island of Melos in 1820. Is it Aphrodite, who was often portrayed half-naked, or the sea goddess Amphitrite, who was venerated on Milo? The statue reflects sculptural research during the late Hellenistic Period: classical in essence, with innovatory features such as the spiral composition, the positioning in space, and the fall of the drapery over the hips.

Aphrodite, known as the "Venus de Milo"This graceful statue of a goddess has intrigued and fascinated since its discovery on the island of Melos in 1820. Is it Aphrodite, who was often portrayed half-naked, or the sea goddess Amphitrite, who was venerated on Milo? The statue reflects sculptural research during the late Hellenistic Period: classical in essence, with innovatory features such as the spiral composition, the positioning in space, and the fall of the drapery over the hips.

Hermaphroditos Asleep
The ambivalence and voluptuous curves of this figure of Hermaphroditos, who lies asleep on a mattress sculpted by Bernini, are still a source of fascination today. His body merged with that of the nymph Salmacis, whose advances he had rejected, Hermaphroditos, son of Hermes and Aphrodite, is represented as a bisexed figure. The original that inspired this figure would have dated from the second century BC, reflecting the late Hellenistic taste for the theatrical.

Bacchus
Roman, Imperial.  2nd Century AD

Portrait d'Antinoüs en Osiris
130 ap. .J.-C.

Potrait of man from the time of Emperor Claude
40-44 ap. J.-C.

Sorry,  just a few more of the Louvre and I'll continue with posts from Mexico City, although I have more than 60 days not to touch a camera for lack of time. And thanks a lot for your kind visits.Vienna, Eisenstadt, Venice, Firenze and Rome series try to continue in Sketches of Cities.  (At least one or two a week) Gracias por su visita. / Thanks for visiting, please be sure that I read each and every one of your kind comments and I appreciate them all.

Hermes

Hermès tying his sandal. Roman II Century BC

Musée du LouvreThe work of the bronze sculptor Lysippus, a contemporary of Praxiteles and official portraitist to Alexander the Great, focused above all on the male body. A very large number of works are attributed to his workshop.
The image of Hermes tying his sandal while listening to the orders of his father, Zeus, is characteristic of Lysippus's artistic endeavors. It should be remembered, however, that the head, which comes from another copy of the same work, is too small here, and that the incongruous supporting tree trunk under the thigh was added by the Roman copyist when he transposed the bronze original into marble.
Lysippus reworked Polyclitus's canon by lengthening it. The proportions are freer, the head now an eighth of the total height of the body and the muscle structure more slender - except, of course, in the statue of Heracles to your right. The artist sought in addition to situate the figure in a space that was also that of the observer, with a play of light and shade.















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Bacchante

Bacchante shadow
(a priestess or female votary of Bacchus)

Musée du LouvreBacchante ou Ariane Rome 2nd Century BC













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Curiosites Desirables

1969
curiosites desirables
- shop window sign:
Le Rabbit un ami qui vous veut du bien.
(The Rabbit a friend who loves you well)

Out of the blue
- refreshing in one of the Louvre pools-

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The Surrounds of Louvre

The Cellist

L'Arc du Carrousel

The Arc de Triomphe du Carrousel is at the eastern end of the so-called Axe historique ("grand historic axis") of Paris, a nine-kilometre-long linear route which dominates much of the northwestern quadrant of the city. It is, in effect, the backbone of the Right Bank.

Looking west, the arch is perfectly aligned with the obelisk in the Place de la Concorde, the centerline of the grand boulevard Champs-Élysées, the Arc de Triomphe at the Place de l'Étoile, and, although it is not directly visible from the Place du Carrousel, the Grande Arche de la Défense. Thus, the axis begins and ends with an arch. When the Arc du Carrousel was built, however, an observer in the Place du Carrousel was impeded from any view westward. The central block of the Palais des Tuileries intervened to block the line of sight to the west. When the Tuileries was burned down during the Paris Commune (1871) and its ruins were swept away, the great axis, as it presently exists, was opened all the way to the Place du Carrousel and the Louvre.

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Pont des Arts

The Pont des Arts or Passerelle des Arts is a pedestrian bridge in Paris which crosses the Seine River. It links the Institut de France and the central square (cour carrée) of the palais du Louvre, (which had been termed the "Palais des Arts" under the First Empire).

Between 1802 and 1804, a nine-arch metallic bridge for pedestrians was constructed at the location of the present day Pont des Arts: this was the first metal bridge in Paris. This innovation was due to Napoléon I, following a design of English manufacture. The engineers Louis-Alexandre de Cessart and Jacques Dillon initially conceived of a bridge which would resemble a suspended garden, with trees, banks of flowers, and benches.

In 1976, the Inspector of Bridges and Causeways (Ponts et Chaussées) reported several deficiencies on the bridge. More specifically, he noted the damage that had been caused by two aerial bombardments sustained during World War I and World War II and the harm done from the multiple collisions caused by boats. The bridge would be closed to circulation in 1977 and, in 1979, suffered a 60 meter collapse after a barge rammed into it.

The present bridge was built between 1981 and 1984 "identically" according to the plans of Louis Arretche, who had decided to reduce the number of arches from nine to seven, allowing the look of the old bridge to be preserved while realigning the new structure with the Pont Neuf. On 27 June 1984, the newly reconstructed bridge was inaugurated by Jacques Chirac – then the mayor of Paris.

The bridge has sometimes served as a place for art exhibitions, and is today a studio en plein air for painters, artists and photographers who are drawn to its unique point of view. The Pont des Arts is also frequently a spot for picnics during the summer.

The argentinian writer, Julio Cortázar, talks about this bridge in his book "Rayuela". When Horacio Oliveira goes with the pythia and this tells him that the bridge for La Maga is the "Ponts des Arts". This is a great allusion of Cortázar for one of his greatest novels, even one of the best novels ever written.

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August Theme Day: Bright Colours

Night Motion
Piazza del Popolo. Rome
(People's Square)

Click here to view thumbnails for all participants
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Monochrome

Rhinocerus by Henri Alfred Jacquemart 1878 (Musée d'Orsay)

Everything has been figured out, except how to live.

Jean-Paul Sartre

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Parisian Walkways

Street  Performers

Avenue de l'Opéra

Place Saint Michel

Place du Pont Neuf

 

Rivière by Aristide Maillol  1943

Jardin des Tuileries

Jardin des Tuileries, Concorde

In the West. Place du Carrousel Jardin des Tuileries stretches over a length of 920 m and a width of 325 m to the Place de la Concorde, between rue de Rivoli and the Quai des Tuileries. Its area is 25.5 hectares.

The eastern and Carrousel gardens, between the two galleries of the Louvre, was founded in 1889 on the site of the former garden of Le Notre, buried under the rubble of the Tuileries Palace. We are created in 1964-1965 a "outdoor museum" containing 19 * bronze statues of the sculptor Aristide Maillol Roussillon (18611944) in N. Lawn, Action chained, River, Night, the Mediterranean, Homage to Cezanne, Venus, Pomona, the dregs of France, draped Bather; in S. Lawn, nymphs, the Monument in Port-Vendres, Air, Summer, Flora, the Bather with arms raised , Pain, Mountain (donation Dina Viemy).

The old part of the Tuileries, between the Avenue du General Lemonnier and the Concorde, is surrounded by gates.
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The Centre Pompidou

Centre Pompidou, Le Forum (2040m2) 

Entrance

L'Adieu by Henri Laurens (Terrasse)

Woman sculpture on Terrasse

 

Composition With Two Parrots by Fernand Leger 1935-39.

Guerrilla Girls

Identité by Piotr Kowalski

Background

The Centre national d'art et de culture Georges Pompidou was the brainchild of President Georges Pompidou who wanted to create an original cultural institution in the heart of Paris completely focused on modern and contemporary creation, where the visual arts would rub shoulders with theatre, music, cinema, literature and the spoken word. Housed in the centre of Paris in a building designed by Renzo Piano and Richard Rogers, whose architecture symbolises the spirit of the 20th century, the Centre Pompidou first opened its doors to the public in 1977. After renovation work from 1997 to December 1999, it opened to the public again on 1 January 2000, with expanded museum space and enhanced reception areas. Since then it has once again become one of the most visited attractions in France. Some 6 million people pass through the Centre Pompidou's doors each year, a total of over 190 million visitors in its 30 years of existence.

The Building

Under the rules of the competition, the architectural project had to meet the criteria of interdisciplinarity, freedom of movement and flow, and an open approach to exhibition areas. The competition was won by two young architects: the Italian Renzo Piano and British designer Richard Rogers who proposed a constraint-free architecture in the spirit of the 1960s. The supporting structure and movement and flow systems, such as the escalators, were relegated to the outside of the building, thereby freeing up interior space for museum and activity areas. Colour-coded ducts are attached to the building's west façade, as a kind of wrapping for the structure: blue for air, green for fluids, yellow for electricity cables and red for movement and flow. The transparency of the west main façade allows people to see what is going on inside the centre from the piazza, a vast esplanade that the architects conceived of as an area of continuity, linking the city and the centre. The centre quickly fell victim to the unexpected scale of its success. With some seven million visitors per year, the building aged prematurely and had to close in October 1997 for 27 months. During this time 70,000 m² were renovated and 8,000 m² added, mainly to display collections. This was possible by relocating the offices outside the centre. When it reopened on 1 January 2000, the centre was an immediate, overwhelming public success again, testifying to the public's inseparable attachment to the site and its spirit. [Centre Pompidou]

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The Seine II

Astronomy Domine
Le Seigneur des étoiles
Jean-Charles de Castelbajac 2010
Installation
(Lord of  The Stars)

Le Seigneur des étoiles

Astronomy Domine

Lime and limpid green

a second scene,

A fight between the blue

you once knew.

Floating down the sound resounds

Around the icy waters underground

Jupiter and Saturn

Oberon Miranda and Titania

Neptune Titan

Stars can frighten...you

Blinding signs flap flicker flicker flicker

Blam pow pow

Stairway scare Dan Dare,who's there?

Lime and limpid green

The sound surrounds the icy waters under

Lime and limpid green

The sound surrounds the icy waters

Underground

Syd Barrett (Pink Floyd)

Notre Dame

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The Seine I

Faraway, So Close!
In the background,  the Pont des Arts or Passerelle des Arts is a pedestrian bridge wich crosses the Seine River.
It links the Institut de France and the central square (cour carrée) of the Palais du Louvre.

“Under a blazing mid-afternoon summer sky, we see the Seine flooded with sunshine . . .
 people are strolling, others are sitting or stretched out lazily on the bluish grass.”   

Georges Seurat.

The waters of the River Seine have always been the heart and soul of Paris, dating back to the days when the Parisii tribe first established a fishing village on the island now known as Île de la Cité — between 250 and 200 B.C. Prized for its position as a major inland port, Paris has been invaded, occupied, and conquered by its share of foreigners over the course of two millennia, many of whom arrived by this waterway. The last major invasion by water occurred between 885 and 886 A.D., when 30,000 Norman pirates in 700 ships sailed up the Seine, only to find it valiantly defended by Comte Eudes.

Ever since the days of the Roman Empire, when Paris prospered through extensive river trading and expanded to the Left Bank, the Seine has been a great commercial artery, linked by canals to the Loire, Rhine, and Rhône rivers. Officially established as the capital city by Clovis, king of the Franks (who defeated the Roman governor of Gaul and established the Merovingian dynasty), Paris evolved into a cultural center and a showcase of glorious architecture.

It is appropriate that the center of Paris — particularly that section gracing the Seine around Île de la Cité and Île Saint-Louis — features some of the city's oldest and most majestic historic monuments. (discoverfrance.net)

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