Musée d'Orsay: 48/14, La revue du musée d'Orsay, issue #27, Autumn 2008

48/14, La revue du musée d'Orsay, issue #27, Autumn 2008

48/14, La revue du musée d'Orsay (1995-2011)
Collectif, Guy Cogeval, direction
Musée d'Orsay / Réunion des musées nationaux - 2009
soft cover - 96 p. -
ISBN: 978-2-7118-5530-8
€ 15 - available




France meets Japan – 19th century French tableware
by Philippe Thiébaut
Taking advantage of the craze for all Japanese things then sweeping across Europe, the art dealer and publisher Eugène Rousseau engaged the services of porcelain manufacturers Creil & Montereau to launch, in 1867, two table services in the colours of the Orient. Whereas the second of these, produced with the porcelain painter Henri Lambert, responded to a desire for tasteful exoticism, the first service was much more innovative, based on the etchings of the painter and engraver, Félix Bracquemond, with his very creative use of Japanese prints.

The Galleries on the Boulevard des Italiens - Antechamber of Modernity
by Jérôme Poggi
It is dangerous, if not absurd, to try to pin down the birth of modern art to a particular year. The year 1863 held this doubtful privilege for a long time because of the Salon des Refusés and the scandalous appearance of Manet's Lunch on the Grass. Today’s art historians are more interested in the neglected, or even forgotten, people and places involved in this aesthetic shift. Certainly, Martinet and his galleries, on the boulevard des Italiens, created an alternative exhibition space, with far-reaching effect.

An Education in Sculpture in the second half of the 19th century: François Jouffroy’s Studio
by Ophélie Ferlier
"There must be about a hundred and fifty sculptors like us around the world, all taught by Jouffroy", wrote Paul Bion to Augustus Saint-Gaudens just before the death of their teacher, the sculptor François Jouffroy. He is still far from being fully appreciated: at least three hundred and seven students attended to his studio, an astonishing number, explained in part by his exceptionally long working life – about thirty-five years. Undervalued, with a reputation as the bastion of hackneyed classicism, Jouffroy’s teaching studio was nonetheless a rich melting pot. A closer look offers us a better understanding of the challenges and realities of a sculptor’s training in the second half of the 19th century.

Probable and Improbable Paris: Architectural Design and Representation in 19th century Paris
by Alice Thomine-Berrada
he urban transformation in Paris in the 19th century gave rise to a plethora of architectural projects. The twenty-nine drawings currently on display at the Musée d’Orsay recreate this effervescence, and give a better understanding of the dynamic - sometimes fruitful, sometimes reductive - between the imaginative concept and the reality of its construction.


New acquisitions

  • Georges Hugo, Dora vue de dos
  • Henri Blondel, Plans, coupes, élévations de La Belle Jardinière
  • Cristallerie de Baccarat, Cafetière "liserons"
  • Eugène Collinot, Bouteille
  • Emile Gallé, Vase
  • Arthur Craco, Vase
  • Maison Christofle et Cie, Bonbonnière
  • Camille Dolard, Portrait d'Ingres à la fenêtre
  • Anonyme, Bergère endormie
  • Maximilien Luce, Correspondances autour de l'artiste

Bibliography of reviews

The Société des Amis du Musée d'Orsay

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