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550:. However, his masterpieces displeased the commissioner, the reason for the displeasure is still argued by art historians. A 19th century reading claimed that the "lovers" in the series bore too close a resemblance to du Barry and the King. A later theory was that the paintings were in the Rococo style and du Barry's pavilion was decidedly Neo Classical, thus clashing terribly. After du Barry refused the paintings, Fragonard stored them at his studio in the Louvre. In 1790 Fragonard, his wife and son found themselves living with a cousin, Alexandre Maubert, in
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389:(1860–1914) to displace it several meters. This radical solution saved the building from erosion of the slope, which would have entirely destroyed it within the next few years. The move was accompanied by profound transformations: the mansard roof was converted into an attic sheltering five bedrooms, while vast dependences were created in the basement to arrange a perfume laboratory, an electric generator, kitchens and a swimming pool.
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impossibly advanced features retrospectively." In either version the elevation reflects "Ledoux's efforts to accentuate the cuboidal structure of a building and to handle the
Classical motifs with such precision and economy that the large, reticent wall-surfaces against which they are seen are rendered doubly significant and effective".
554:. As part of their room and board, Fragonard sold his cousin the four panels and painted two more large panels (Reverie and The Triumph of Love), four over-door images of cupids and two long hollyhock panels. The works stayed in the family until the mid-1880s when they were sold to the industrialist
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In 1773, Mme du Barry, obviously satisfied with the pavilion, ordered from Ledoux the plans for a large château which was to incorporate the small building. The death of Louis XV in 1774 put an end to this project before it was begun. The pavilion thus remained in its original state until the second
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was active in the tunnels of the old stone quarries under the building. These quarries had provided some of the stone used to build Paris. The school wanted to expand by putting up new buildings but the underlying tunnels made the ground unstable. A project was initiated to pump cement into the
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Ledoux's commemorative engraving of 1804 carries the severe façade right across, unbroken; Ledoux's drawings, executed long afterwards, cannot be trusted to represent the original appearance, according to Svend
Eriksen, because the architect was in the habit of furnishing his drawings "with
350:, Mme du Barry decided to retain Ledoux as the architect for the project. He was then at the beginning of his career. The design was completed in 1770 and construction was carried out in 1771. The inauguration took place on 2 September 1771 in the presence of the King. A play by
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The château was disadvantaged by its lack of a view of the Seine. Moreover, Madame du Barry considered the reception areas to be inadequate. She thus decided to build, surveying the valley of the Seine, a small separate building that would include reception rooms, the famous
507:, in the neoclassical style we know as "Louis Seize". There are some surviving chairs of the suite, which was already in production in 1769 and must at first have been intended for the château, though they were used in the pavilion and are seen in Moreau le Jeune's drawing (
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The coffered domes would have been an astonishing feature to
Parisians, Svend Eriksen has observed. It leads to a room which has the form of a square with apsidal ends, intended as a dining room, where the inaugural dinner took place. Behind this room is an
227:-born French-American husband, illegally using the name of her family's company Nippon Sangyo, as a commercial asset. The couple sold all the furniture and left the building abandoned. They were sued by the company later. Occupied by
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In 1852, the property was expanded to the banks of the Seine, but was divided into two lots. The first, including the château, was acquired by the banker
Solomon Goldschmidt, whose heirs had it built upon by the architect
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Early Neo-classicism in France. The creation of the Louis Seize style in architectural decoration, furniture and ormolu, gold and silver, and Sèvres porcelain in the mid - eighteenth century. Translated from the
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lights suspended in front of the mirrors between the pilasters were semi-circular, so that with their reflection in the mirrors they appeared to be circular chandeliers hanging in space, a useful
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212:, to enlarge and redecorate the building. Gabriel added the adjoining eastern wing, as well as the decoration of carved woodwork. Louis XV often visited the château that had become known as the
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The interiors were finished and furnished with exceptional elegance. They had gilt-bronze wall-lights and other ornaments, designed by Ledoux in an advanced neoclassical taste and executed by
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Early Neo-classicism in France. The creation of the Louis Seize style in architectural decoration, furniture and ormolu, gold and silver, and Sèvres porcelain in the mid - eighteenth century.
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Early Neo-classicism in France. The creation of the Louis Seize style in architectural decoration, furniture and ormolu, gold and silver, and Sèvres porcelain in the mid - eighteenth century.
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Early Neo-classicism in France. The creation of the Louis Seize style in architectural decoration, furniture and ormolu, gold and silver, and Sèvres porcelain in the mid - eighteenth century.
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flanked by salons that are each of a different plan, opening onto the view of the Seine below. Various services and the kitchen were established in the rusticated half-basement.
385:, the house was found to be subject to a grave disorder because of the sinking slope on which it was built. François Coty called upon the architect Charles Édouard Mewès, son of
358:, and dinner was served with music (the musicians complained about the exiguity of the platforms of the dining room, now shut off by mirrors) followed by a display of fireworks.
868:; it is Eriksen's plate 79. Chambers also made a careful pen-and-ink drawing of Ledoux's contemporaneous house for Mlle Guimard (Eriksen's plate 77). Eriksen, Svend 1974:
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396:, which then settled there. In cleaning the building some Nazi materials were found. The story was that while the Germans occupied the building in World War II, the
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made fun of "the ironic interior of
Louveciennes, where Mme du Barry lived and where lives today Mme de Lancey and where the banker Camondo replaces Louis XV."
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and a chimneypiece was thwarted by the police. The owner then put the property up for sale, and it was bought by a French investor who carefully restored it.
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département of France, is a château constructed at the end of the 17th century. It was then expanded and redecorated in the middle of the 18th century by
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representing the dinner offered to Louis XV by Mme du Barry for the inauguration of the house, which can be compared with an engraving by Ledoux.
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In 2022 the
Pavilion was listed by Sotheby's at a asking price of 60 million euros, sadly not mentioning any of its history and provenance.
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The second lot included the pavilion by Ledoux, equipped with two entries built by the architect
Pasquier (one, located n° 28
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a suite of four large paintings for
Louveciennes. The painter, who attached much importance to this commission, represented
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half-dome ceiling simply closed by a screen of Ionic columns, has a disposition already used by Ledoux in the house of
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to enlarge the somewhat cramped space, which was essentially an enlarged vestibule between the entrance and the
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The château is an approximately cubic construction, of average size and modest appearance, which borders the
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they offered an allegory of sensuous and of chaste love. Both are now conserved in the Musée de Louvre.
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The pavilion at
Louveciennes is one of the most successful achievements of Ledoux and a prototype for
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panels above the severely plain window openings; in the flanking single bays the windows have plain
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686:). In 1776 Mme du Barry commissioned from Allegrain a pendant bather, completed in 1778; as
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68:(1770–71). The pavilion sits in the middle of a park that was designed in the 19th century.
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half of the 19th century. On an unspecified date, it was disfigured by the addition of a
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In the 1980s, the château was acquired by a
Japanese heiress, Nakahara Kiiko, and her
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The side towards the Seine is known from a drawing made by the British neoclassicist
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216:. It is there that, on 22 September 1793, Madame du Barry was arrested during the
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tunnels but this was abandoned, and the American School moved to another site in
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who had conceived the hydraulic installation. The building was later given to
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346:. In spite of the negative opinions given by several of her circle, notably
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replacement paintings on the same subject, now on exhibit at the
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from "Dogs and Demons: Tales From the Dark Side of Modern Japan"
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420:. The entry, in the form of an open semi-circular apse, with a
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At Louise's death in 1743, the château passed to her daughter,
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In 1772, to decorate the park, Louis XV gave Mme du Barry the
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to court. At some point, the building reverted to the crown.
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for the Château de Mme du Barry (at the official site of the
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ordered the construction of a château in the proximity of an
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Pavillon de Musique de la Comtesse du Barry Official Website
841:"Louveciennes, Ile-De-France, France – Luxury Home For Sale"
193:. He died at the château in 1768 of a venereal disease.
177:. Lamballe was heir to the vast wealth of the House of
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with gilt-bronze capitals supplied by Gouthière. The
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Ground floor plan showing the rich variety of shapes
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796:Jeunes Grecques parant de fleurs l'Amour endormi
64:, a music and reception pavilion constructed by
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979:(London: Faber). Translated by Peter Thornton.
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889:The engravings were published by Ledoux in
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328:Pavillon de Musique de la Comtesse du Barry
60:. The estate's most famous building is the
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939:(Eriksen 1974: 188). Eriksen, Svend 1974:
717:and the other in Quay Rennequin-Sualem in
200:offered the château to his new favourite,
137:. The King gave the building, then called
706:, flanked by two houses, located at n° 6
610:'s rejected canvases "Confession of Love"
157:Françoise-Athénaïs, marquise de Montespan
36:– elevation of entry side (garden façade)
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626:'s rejected canvases "The Lover Crowned"
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915:. Faber & Faber. pp. 62, 66.
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449:View on the side of the Seine River.
1275:Neoclassical architecture in France
489:Cross-section of the entry and the
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935:To the astonishing sum of 100,000
594:'s rejected canvases "The Meeting"
578:'s rejected canvases "The Pursuit"
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1002:A look back at Louveciennes
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204:. She probably called upon
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173:It was then used by the
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1192:Château de Monte-Cristo
910:Eriksen, Svend (1974).
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826:"The hunting-party of
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995:28 June 2008 at the
959:Edmond de Goncourt,
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548:The Progress of Love
455:Sir William Chambers
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943:Faber & Faber.
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459:illustration, right
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1186:
1097:Noisy-le-Roi
1092:Marly-le-Roi
1082:Louveciennes
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936:
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739:
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669:
656:La Baigneuse
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537:Salon du Roi
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532:trompe-l'œil
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491:salon du roi
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471:entablatures
458:
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412:Architecture
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364:Mansard roof
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864:Now in the
792:(in French)
781:(in French)
757:Doric order
746:Ionic order
700:Henri Goury
403:Saint Cloud
225:Marseillais
72:The Château
1259:Categories
804:References
467:bas-relief
1229:48°52′7″N
723:Baltimore
624:Fragonard
608:Fragonard
592:Fragonard
576:Fragonard
527:girandole
523:scagliola
502:menuisier
253:Louis XIV
229:squatters
196:In 1769,
119:Louis XIV
117:In 1684,
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1232:2°7′23″E
1052:Bougival
1045:Communes
993:Archived
850:21 March
828:Henri IV
764:See also
719:Bougival
674:, which
647:The Park
639:and the
435:enfilade
422:coffered
198:Louis XV
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1086:Voisins
1072:Le Pecq
970:Sources
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622:One of
606:One of
590:One of
574:One of
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334:History
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552:Grasse
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688:Vénus
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