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Un point de vue stéréographique de Palais du Louvre à Paris, France.
A stereographic view of the Louvre Palace, Paris, France.
Musée du Louvre | Cour Napoléon 10/04/2014 20h01
Amour, les deux côtés...
ParisPeople (more candid street shots made in Paris)
Urban/Civic Sites
2001
MUSEE DU LOUVRE
Cour Napoleon, Pyramide du Louvre
Looking east towards entrance
1E - Louvre
75001
Paris, France
4"x5" Wide Field Calumet CC402
65mm Scheider Super Angulon Lens
4”x5” Kodak Plus-X Film
Re-Scanned & Re-Mastered, April 2022
©Whisperpress France, Paris, le 23 avril 2009. 1er arrondissement. Musee du Louvre, Cour Napoleon.
France, Paris, April 23, 2009. 1st district. Louvre Musuem, Cour Napoleon
*** Reproduction interdite sans autorisation, tous droits reserves. No reproduction without authorization, all rights reserved,
Cour Napoléon 17/04/2013 19h18
Regarde...sans mains!...
ParisPeople (more candid street shots made in Paris)
The Louvre Pyramid (Pyramide du Louvre) is a large glass and metal pyramid, surrounded by three smaller pyramids, in the main courtyard (Cour Napoléon) of the Louvre Palace (Palais du Louvre) in Paris.
The large pyramid serves as the main entrance to the Louvre Museum. Completed in 1989, it has become a landmark of the city of Paris. The construction of the pyramid triggered considerable controversy because many people felt that the futuristic edifice looked quite out of place in front of the Louvre Museum with its classical architecture.
During the design phase, there was a proposal that the design include a spire on the pyramid to simplify window washing. This proposal was eliminated because of objections from I. M. Pei. Source: en.wikipedia.org
"Of all the Grands Projets in Paris, none created such a stir as the Pei Pyramids in the courtyard of the famous Louvre Museum. Spectacular in concept and form, they provide a startling reminder of the audacious ability of modern architects to invigorate and re-circulate traditional architectural forms...The main Pyramid is basically a complex inter-linked steel structure sheathed in reflective glass. In fact it is an entrance doorway providing a long-overdue entrance portico to the main galleries of the Louvre. As one descends into the interior entrance foyer, the dramatic nature of the intervention becomes apparent. The main Pyramid, which certainly disturbs the balance of the old Louvre courtyard, is countered by two smaller pyramids, which provide further light and ventilation to the subterranean spaces."
— Dennis Sharp. Twentieth Century Architecture: a Visual History. p407.
"Probably the pièce de résistance of Pei's extraordinary legacy to modernism, his sense of quiet good taste, consummate attention to detail, and clarity of concept is his intervention into the Cour Napoleon at the Louvre. Beneath the new, elegantly 'hard' and restrained surface of the Cour is accommodated a vast new program of 650,000 square feet of much-needed support spaces for the Louvre. Poised as perfect complement and counterpoint, and rising only a modest 71 feet above the ground, is the symbol of the project, the central entrance pyramid. Despite an almost ephemeral presence that derives from an ingeniously conceived triangular web of supports, clad in a wonderful warm ochre, lightly tinted glass especially drawn by St. Gobain to be compatible with the honey-colored stone of the Second Empire facades of the old Louvre, it was controversial from its announcement in 1985 as one of President Mitterand's most ambitious 'grand projets.' Obviously any insertion would have been anathema to those who hold sacred and untouchable the integrity of the Louvre's classical presence. Time has somewhat blunted the critics against this example of modernism at its most elegant, although it remains less than successful as a sheltered entrance against the elements and the three much smaller flanking pyramids seem aesthetically gratuitous. However, at times the almost fluid, dematerialized presence of the pyramid establishes without bombast, a compelling brave concept whose intent is to be neither aggressive nor subservient but to complement through restraint. Through simplicity the new stands with the old, each acknowledging the other."
— from Paul Heyer. American Architecture: Ideas and Ideologies in the Late Twentieth Century. p275-278
www.flickr.com/photos/claudia1967/tags/impei/
My Paris: flickr.com/photos/claudia1967/sets/72157602341745484/
A l'extérieur, car à l'intérieur de tous les monuments historiques ..ils sont interdits ! Par peur d'endommager les œuvres.....
Le sarcophage est peint de formules magiques destinées à protéger le défunt de tout mal dans son long voyage vers l'au-delà.
Voici une véritable momie égyptienne au Musée du Louvre ! Suite à des fouilles menées en Égypte, de nombreux trésors ont pu être exhumés dans la tombe, jusqu'alors inviolée, du chancelier Nakhti. La momie est accompagnée de nombreux objets rituels, offrant aux visiteurs une collection exceptionnelle qui fait toujours rêver les égyptologues du monde entier. Elle est aujourd'hui exposée dans le département égyptien du Louvre.
Célèbre tableau du XVIe siècle de Johannes Vermeer, la dentellière a inspiré un roman à succès et un film avec Isabelle Huppert dans le rôle principal.
Ce tableau de 1594-1595 est un portrait supposé de Julienne et Gabrielle d’Estrées, la première pinçant le mamelon de sa sœur.
Il attire l’attention par son caractère érotique, mais certains supposent qu’il annonce également la grossesse de Gabrielle d’Estrées. Le geste de sa sœur indiquerait son futur statut de mère.
Gabrielle d’Estrées.
The Louvre Pyramid (Pyramide du Louvre) is a large glass and metal pyramid, surrounded by three smaller pyramids, in the main courtyard (Cour Napoléon) of the Louvre Palace (Palais du Louvre) in Paris. The large pyramid serves as the main entrance to the Louvre Museum. Completed in 1989, it has become a landmark of the city of Paris.
Collaboration.......a sharing of ideas, techniques, and vision.....all focused on a common goal. In this case, the goal is part of an artistic journey I have been on for a while. Creating what I like to refer to as art, or at the very least, my creative view of the world around me, has been a fun ride to be on over the last couple of years. HDR processing is often called a modern day form of Impressionism. Without getting into a long and drawn out history of the Impressionistic movement in Nineteen Century France , its very interesting to note the similarities between todays acceptance of modern day HDR processing techniques and the critiques view of early masters of this similar French painting technique. Artists such as Monet, Manet, Renoir, and Degas fought this and pursued their passion and dedication, while sharing their art with each other....in collaboration.
Having said all that, its is no wonder that I am looking forward to heading out to Austin this weekend to spend a little time with Trey Ratcliff from Stuck in Customs. He has been quite a pioneer in this modern day art and has been quite an open teacher to to anyone interested in this form of expression. His workshop, the first he has every held, has purposely been kept at a very intimate size as to create a kind of synergy. When he first announced it, his servers actually crashed for about 30 minutes! I must say, I am quite honored to be part of this groundbreaking event. As did the early French artists, I look forward to collaborating with a few other modern day rebels as we pursue our craft!
Of course, his site is www.stuckincustoms.com
More to come...
Il y a 32 ans...
Une jeune famille passe un lampadaire dont la vitre est ouverte et qui fonctionne également comme arrêt RATP.
Thirty years ago a young couple with kids is passing an old lamppost/busstop.
Drie decennia geleden passeert een jong stel met kinderen een oude bushaltepaal annex lantaarn. Het vogeltje is gevlogen, want het ruitje van de lantaarn staat open.
Paris, Louvre - Avril 1983 / April 1983
© 1983 Amsterdam RAIL - All Rights Reserved
Do you know the best place to photograph the Louvre? I can show you the best angles in my blog -www.aperturetours.com/blog/2017/1/14/where-to-photograph-the-louvre
The Louvre Pyramid is a large glass and metal pyramid, surrounded by three smaller pyramids, in the main courtyard of the Louvre Palace in Paris. The large pyramid serves as the main entrance to the Louvre Museum. Completed in 1989, it has become a landmark of the city of Paris.
Musée du Louvre | Cour Napoléon 10/04/2014 19h44
すべてがチェックするのもいいですね...(checking everything)
ParisPeople (more candid street shots made in Paris)
**Le musée du Louvre est un musée d'art et d'antiquités**, situé au centre de Paris dans le palais du Louvre. C'est l'un des plus grands musées du monde, et le plus grand de Paris, par sa surface d'exposition de 60600 m2, et ses collections qui comprennent près de 460000 œuvres. Celles-ci présentent l'art occidental du Moyen Âge à 1848, ceux des civilisations antiques qui l'ont précédé et influencé (orientales, égyptienne, grecque, étrusque et romaine), et les arts des premiers chrétiens et de l'Islam.
The Pavillon de l’Horloge (Clock Pavilion) is a prominent element of the Palais du Louvre in Paris. It was built between 1624 and 1654 under King Louis XIV. The famous structure, with its distinctive domed roof, was designed by architect Jacques Lemercier (1585–1654). Its older name comes from a clock later incorporated into its elevation. More recently, it has also become known as Pavillon Sully (after Maximilien de Béthune, duc de Sully).
Pyramide du Louvre
Paris (75001). FRANCE.
Dédicace à mes cousins, Florent et Marion, pour la journée "touristes à Panam" !!!
2009
CANON EOS 450D / Rebel XSi
CANON 18-55mm EF-S F3.5-5.6 IS
La pyramide du Louvre (The Louvre Pyramid) rises from Cour Napoléon in central courtyard of Musée du Louvre. Commissioned by the French president François Mitterrand and designed by I. M. Pei., it was inaugurated on March 30, 1989 and serves as the main entrance to the museum. The Pyramide and alterations to the open spaces around the museum are part of the "Grand Louvre" project which covers all underground area beneath the Cour Napoléon and Cour du Carrousel. This main pyramid is the largest of several glass pyramids constructed around the courtyard, including the downward-pointing La Pyramide Inversée that functions as a skylight in an underground mall in front of the museum.
The structure reaches a height of 21.3 meters (70 feet), with three 30 meter sides rising from a 30.5 meter (100 feet) square base. According to the museum, the pyramid consists of 793 glass diamonds, assembled on an aluminum framework supported by a 93 1/2-ton structure of girders and stainless steel joists. The French Company Saint-Gobain developed an entirely new kind of glass for the pyramid, which is both lightweight and strong, transparent but with minimal reflectivity. Iron oxide ws removed to make it perfectly clear. The connecting joints were cast by Eiffel Constructions, using the lost wax casting technique, rarely employe on an industrial scale.
The design plans were met with considerable controversy as many felt that the futuristic edifice looked out of place in front of the classical architecture of the palace building. Urban legend says that the glass panes in the Pyramid number exactly xactly 666, "the number of the beast", often associated with Satan. This story originated in the 1980's based on original numbers sited in official brochures. It was lent further credence by Dan Brown's Da Vinci Code. Various attempts to count the actual panes have produced discrepant results, but almost all total more than 666.
Cour Napoléon 17/04/2013 19h20
Marcher dans l'immense masse...
ParisPeople (more candid street shots made in Paris)
La cour Napoléon du musée du Louvre et la Pyramide de Pei
"Depuis 1989, date de son inauguration, la Pyramide domine la cour Napoléon. Elle fut conçue par l'architecte américain d'origine chinoise, Ieoh Ming Pei, comme principale entrée du musée. Le verre, résistant et léger est transparent et permet d'admirer de l'intérieur les façades du palais"
© Elisabeth de Ru | 2015
PYRAMIDE DU LOUVRE
"Of all the Grands Projets in Paris, none created such a stir as the Pei Pyramids in the courtyard of the famous Louvre Museum. Spectacular in concept and form, they provide a startling reminder of the audacious ability of modern architects to invigorate and re-circulate traditional architectural forms...
The main Pyramid is basically a complex inter-linked steel structure sheathed in reflective glass. In fact it is an entrance doorway providing a long-overdue entrance portico to the main galleries of the Louvre. As one descends into the interior entrance foyer, the dramatic nature of the intervention becomes apparent. The main Pyramid, which certainly disturbs the balance of the old Louvre courtyard, is countered by two smaller pyramids, which provide further light and ventilation to the subterranean spaces."
— Dennis Sharp. Twentieth Century Architecture: a Visual History. p407.
"Probably the pièce de résistance of Pei's extraordinary legacy to modernism, his sense of quiet good taste, consummate attention to detail, and clarity of concept is his intervention into the Cour Napoleon at the Louvre. Beneath the new, elegantly 'hard' and restrained surface of the Cour is accommodated a vast new program of 650,000 square feet of much-needed support spaces for the Louvre. Poised as perfect complement and counterpoint, and rising only a modest 71 feet above the ground, is the symbol of the project, the central entrance pyramid. Despite an almost ephemeral presence that derives from an ingeniously conceived triangular web of supports, clad in a wonderful warm ochre, lightly tinted glass especially drawn by St. Gobain to be compatible with the honey-colored stone of the Second Empire facades of the old Louvre, it was controversial from its announcement in 1985 as one of President Mitterand's most ambitious 'grand projets.'
Obviously any insertion would have been anathema to those who hold sacred and untouchable the integrity of the Louvre's classical presence. Time has somewhat blunted the critics against this example of modernism at its most elegant, although it remains less than successful as a sheltered entrance against the elements and the three much smaller flanking pyramids seem aesthetically gratuitous. However, at times the almost fluid, dematerialized presence of the pyramid establishes without bombast, a compelling brave concept whose intent is to be neither aggressive nor subservient but to complement through restraint. Through simplicity the new stands with the old, each acknowledging the other."
— from Paul Heyer. American Architecture: Ideas and Ideologies in the Late Twentieth Century. p275-278
ADDRESS
Cour Napoleon, 75001 Paris, France.
Telephone: 40.20.50.50
La pyramide du Louvre (The Louvre Pyramid) rises from Cour Napoléon in central courtyard of Musée du Louvre. Commissioned by the French president François Mitterrand and designed by I. M. Pei., it was inaugurated on March 30, 1989 and serves as the main entrance to the museum. The Pyramide and alterations to the open spaces around the museum are part of the "Grand Louvre" project which covers all underground area beneath the Cour Napoléon and Cour du Carrousel. This main pyramid is the largest of several glass pyramids constructed around the courtyard, including the downward-pointing La Pyramide Inversée that functions as a skylight in an underground mall in front of the museum.
The structure reaches a height of 21.3 meters (70 feet), with three 30 meter sides rising from a 30.5 meter (100 feet) square base. According to the museum, the pyramid consists of 793 glass diamonds, assembled on an aluminum framework supported by a 93 1/2-ton structure of girders and stainless steel joists. The French Company Saint-Gobain developed an entirely new kind of glass for the pyramid, which is both lightweight and strong, transparent but with minimal reflectivity. Iron oxide ws removed to make it perfectly clear. The connecting joints were cast by Eiffel Constructions, using the lost wax casting technique, rarely employe on an industrial scale.
The design plans were met with considerable controversy as many felt that the futuristic edifice looked out of place in front of the classical architecture of the palace building. Urban legend says that the glass panes in the Pyramid number exactly xactly 666, "the number of the beast", often associated with Satan. This story originated in the 1980's based on original numbers sited in official brochures. It was lent further credence by Dan Brown's Da Vinci Code. Various attempts to count the actual panes have produced discrepant results, but almost all total more than 666.
Cour Napoléon is the main courtyard of the Louvre Palace in Paris. The large pyramid serves as the main entrance to the Louvre Museum. The pyramid was built between 1985 and 1989 and has become a landmark of the city of Paris.
La cour abrite la grande sculpture exécutée pour le parc du château de Marly. La majeure partie des œuvres a été commandée par Louis XIV à la fin de son règne. Mais l'architecture est dominée par les Chevaux de Marly, réalisés sous Louis XV. Informations pratiques.
Le musée du Louvre est un musée situé dans le 1er arrondissement de Paris, en France.
Une préfiguration en est imaginée en 1775-1776 par le comte d'Angiviller, directeur général des Bâtiments du roi, comme lieu de présentation des chefs-d'œuvre de la collection de la Couronne. Ce musée n'a été inauguré qu'en 1793 sous l'appellation de Muséum central des arts de la République dans le palais du Louvre, ancienne résidence royale située au centre de Paris, et il est aujourd'hui le plus grand musée d'art et d'antiquités au monde. Sa surface d'exposition est de 72 735 m2.
La pyramide du Louvre (The Louvre Pyramid) rises from Cour Napoléon in central courtyard of Musée du Louvre. Commissioned by the French president François Mitterrand and designed by I. M. Pei., it was inaugurated on March 30, 1989 and serves as the main entrance to the museum. The Pyramide and alterations to the open spaces around the museum are part of the "Grand Louvre" project which covers all underground area beneath the Cour Napoléon and Cour du Carrousel. This main pyramid is the largest of several glass pyramids constructed around the courtyard, including the downward-pointing La Pyramide Inversée that functions as a skylight in an underground mall in front of the museum.
The structure reaches a height of 21.3 meters (70 feet), with three 30 meter sides rising from a 30.5 meter (100 feet) square base. According to the museum, the pyramid consists of 793 glass diamonds, assembled on an aluminum framework supported by a 93 1/2-ton structure of girders and stainless steel joists. The French Company Saint-Gobain developed an entirely new kind of glass for the pyramid, which is both lightweight and strong, transparent but with minimal reflectivity. Iron oxide ws removed to make it perfectly clear. The connecting joints were cast by Eiffel Constructions, using the lost wax casting technique, rarely employe on an industrial scale.
The design plans were met with considerable controversy as many felt that the futuristic edifice looked out of place in front of the classical architecture of the palace building. Urban legend says that the glass panes in the Pyramid number exactly xactly 666, "the number of the beast", often associated with Satan. This story originated in the 1980's based on original numbers sited in official brochures. It was lent further credence by Dan Brown's Da Vinci Code. Various attempts to count the actual panes have produced discrepant results, but almost all total more than 666.
Coucher de soleil sur la pyramide du Louvre dans la Cour Napoléon à Paris. En arrière plan, on peut apercevoir l'Arc de triomphe du Carrousel.
La pyramide du Louvre (The Louvre Pyramid) rises from Cour Napoléon in central courtyard of Musée du Louvre. Commissioned by the French president François Mitterrand and designed by I. M. Pei., it was inaugurated on March 30, 1989 and serves as the main entrance to the museum. The Pyramide and alterations to the open spaces around the museum are part of the "Grand Louvre" project which covers all underground area beneath the Cour Napoléon and Cour du Carrousel. This main pyramid is the largest of several glass pyramids constructed around the courtyard, including the downward-pointing La Pyramide Inversée that functions as a skylight in an underground mall in front of the museum.
The structure reaches a height of 21.3 meters (70 feet), with three 30 meter sides rising from a 30.5 meter (100 feet) square base. According to the museum, the pyramid consists of 793 glass diamonds, assembled on an aluminum framework supported by a 93 1/2-ton structure of girders and stainless steel joists. The French Company Saint-Gobain developed an entirely new kind of glass for the pyramid, which is both lightweight and strong, transparent but with minimal reflectivity. Iron oxide ws removed to make it perfectly clear. The connecting joints were cast by Eiffel Constructions, using the lost wax casting technique, rarely employe on an industrial scale.
The design plans were met with considerable controversy as many felt that the futuristic edifice looked out of place in front of the classical architecture of the palace building. Urban legend says that the glass panes in the Pyramid number exactly xactly 666, "the number of the beast", often associated with Satan. This story originated in the 1980's based on original numbers sited in official brochures. It was lent further credence by Dan Brown's Da Vinci Code. Various attempts to count the actual panes have produced discrepant results, but almost all total more than 666.
The Musée du Louvre — in English, the Louvre Museum or simply the Louvre— is one of the world's largest museums, the most visited art museum in the world and a historic monument. A central landmark of Paris, France, it is located on the Right Bank of the Seine in the 1st arrondissement (district). Nearly 35,000 objects from prehistory to the 19th century are exhibited over an area of 60,600 square metres (652,300 square feet).
The museum is housed in the Louvre Palace (Palais du Louvre) which began as a fortress built in the late 12th century under Philip II. Remnants of the fortress are visible in the basement of the museum. The building was extended many times to form the present Louvre Palace. In 1682, Louis XIV chose the Palace of Versailles for his household, leaving the Louvre primarily as a place to display the royal collection, including, from 1692, a collection of antique sculpture.[5] In 1692, the building was occupied by the Académie des Inscriptions et Belles Lettres and the Académie Royale de Peinture et de Sculpture, which in 1699 held the first of a series of salons. The Académie remained at the Louvre for 100 years. During the French Revolution, the National Assembly decreed that the Louvre should be used as a museum, to display the nation's masterpieces.
The museum opened on 10 August 1793 with an exhibition of 537 paintings, the majority of the works being royal and confiscated church property. Because of structural problems with the building, the museum was closed in 1796 until 1801. The size of the collection increased under Napoleon and the museum was renamed the Musée Napoléon. After the defeat of Napoleon at Waterloo, many works seized by his armies were returned to their original owners. The collection was further increased during the reigns of Louis XVIII and Charles X, and during the Second French Empire the museum gained 20,000 pieces. Holdings have grown steadily through donations and gifts since the Third Republic. As of 2008, the collection is divided among eight curatorial departments: Egyptian Antiquities; Near Eastern Antiquities; Greek, Etruscan, and Roman Antiquities; Islamic Art; Sculpture; Decorative Arts; Paintings; Prints and Drawings.
Sarcophage du roi Ramsès III. Nouvel Empire (vers 1550 - vers 1069 av. J.-C.). Cuve en granite, 18 tonnes. H. : 1,80 m. ; l. : 3,05 m. ; L. : 1,50 m. provient de sa tombe de la Vallée des Rois.
Cette cuve de granite rose en forme de cartouche abritait les cercueils emboîtés du pharaon Ramsès III. Le couvercle est aujourd'hui conservé au Fitzwilliam Museum de Cambridge. Le décor externe de la cuve présente les septième et huitième chapitres du "Livre des demeures secrètes", l'intérieur le premier chapitre du "Livre des Portes". Certaines parties de ces textes furent gravées de manière particulièrement négligente.