Musée d'Orsay: 48/14 La revue du musée d'Orsay issue #31, Spring/Summer 2011

48/14 La revue du musée d'Orsay issue #31, Spring/Summer 2011

48/14, La revue du musée d'Orsay (1995-2011)
Collectif, Guy Cogeval, direction
Musée d'Orsay / Réunion des musées nationaux - 2011
Soft cover - 96 p. -
ISBN : 978-2-7118-5885-9
€15 - available


Farewell to Opera
by Guy Cogeval
Puccini indulged himself with the creation of a sumptuous opera, dreamlike and fantastic, a Symbolist ballad and one of the most subtle and bitter reflexions on the very essence of the genre.

Portraits of Architects in the 19th century: matching image with status?by Laurent Baridon
The portrait of the architect in the 19th century, influenced by the evolution of portraiture as well as by a profound change in the architect's status in society, broke the rules that had been laid down in the Renaissance.

Félix Potin's "Petit Bottin": portraits of artists in the advertising leaflets distributed by the Félix Potin shops at the beginning of the last century.
by Joëlle Bolloch
When photography, which had become "the vital intermediary between the great figures of history and the following generations who would want to know what they looked like as well what they were called", was brought together with the mass distribution network of large stores, it enabled photographs of the artists themselves to be disseminated. Which of them were brought to the attention of chocolate lovers in this way?

"Those Big-Wigs": the image of the official artist in the 19th century
by Alain Bonnet
The official artist was in a professional category whose fame was only rivalled by stars of the stage. These wonderful experts, who exhibited at the Salons, were fêted by the press, and the public was keen to know what they looked like.

The corner of the studio or the missing portrait
by Cédric Lesec
The studio in still life paintings offered an easy place for experimentation, as the contents were readily available.

It was the summer of 74. Manet versus Monet
by Laurence Madeline
"Monet", ”, in Latin, is the third person singular of the verb moneo meaning "to make think", "to warn" or "to provide inspiration".
"Manet", in Latin, is the third person singular of the verb maneo meaning "to stay", "to persist in one's opinion" or "to be accepted".

In front of the cinematograph screen: a vision of a spectacle, the spectacle of vision
by José Moure
"A photographic projection appears on the screen. Suddenly the image starts to move and comes to life. It is life itself; it is movement captured as it happens."

The embodiment of a manifesto: Claude Lantier's shop window in Le Ventre de Paris
by Johanne Lamoureux
"It was something barbaric and superb, suggesting a paunch amid a halo of glory… It's my masterpiece. The finest thing I ever produced." Emile Zola, Le Ventre de Paris, 1873


New acquisitions

  • Le Jeune Noir à l'épée by Pierre Puvis de Chavannes, by Aimée Brown-Price


  • International exhibitions, by Laurence Madeline
  • Gauguin, artiste nouveau, by Laurence Madeline

Bibliography of reviews
Subscription form
The Société des Amis du Musée d'Orsay
Authors' biographies

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