179:
22:
190:
298:
68:
93:, with whom he would form a life-long and very successful partnership. Starting in 1794, Fontaine and Percier worked so closely together that it is often difficult to separate their contributions. A 19th century observer noted the following about their intertwined careers: "It is surprising what a complete mastery these young men in a few years contrived to exercise over the tastes of their day."
51:, originally his friend from student days. For work undertaken from 1794 onward, trying to ascribe conceptions or details to one or other of them is fruitless; it is impossible to disentangle their cooperative efforts in this fashion. Together, Percier and Fontaine were inventors and major proponents of the rich, grand, consciously-archaeological versions of neoclassicism we recognise as
309:
Percier and
Fontaine lived together for years as well as being colleagues and partners. Their different personalities and interests meant that they played different roles within the partnership. Fontaine assumed the public role and was the active manager of their projects and relations with clients,
155:
periods, including the creation of the Rue de Rivoli and the development of the Louvre Palace. He appointed them as his personal architects and never wavered in his decision; they worked on imperial projects throughout
Napoleon's time in power. The relationship only dissolved when Napoleon abdicated
135:
Their initial successes in interior decoration came while serving wealthy, private clients: "The first clients of
Percier and Fontaine were the financiers Ouvrard, Chauvelin and Gaudin, who had their recently acquired hotels in the Chaussée d'Antin district fitted out and decorated." It was through
84:
From the age of 12 onward, Percier attended a free school for teaching drawing, an establishment whose mission was to provide access into the art world for poor students. Percier's talent was quickly recognised. After passing a short time in the studio of a painter named Lagrenée, a place was found
228:. Far from adhering to the classical model of nude statues, the designers of the Arc innovated by positioning, at the top of each of the Arc's eight marble columns, statues representing the eight corps of the Napoleonic army. Their uniforms are faithfully depicted in detail in these statues.
75:
Percier was born into a poor
Parisian family in 1764. His mother was a laundry woman for Marie-Antoinette and his father was a porter at one of the gates of the Palace of Tuileries, who was later promoted into a post in the interior of the palace. This afforded the young Charles Portier an
171:, which had been rendered uninhabitable through destruction and looting. They also pierced the first, western part of the rue de Rivoli, and built its distinctive arcades, and, in the process, built the northern, 'Rivoli' wing of the Louvre, thereby competing the
100:
in 1783, and, in 1784, at the age of twenty years, he won the grand prix de Rome (with a pension). This paid for his stay in Rome. Fontaine had won the second prix de Rome a year earlier and was already in Rome. Percier returned to Paris from Rome in 1791.
167:. The old Louvre palace had not been a royal residence for generations, so it was free of any taint associated with the detested Bourbons. It stood in the heart of Paris, so that the Emperor could be seen coming and going, unlike
255:. In working on these projects, they designed every detail of the interior decors: state beds, sculptural side tables, and other furniture, wall lights and candlesticks, chandeliers, door hardware, textiles, and wallpaper.
281:("Collection of interior designs: Everything that relates to furniture") with its engravings in a spare outline technique. These engravings spread their style beyond the Empire, helping to put a French stamp on the English
108:("A palace, houses and other modern buildings designed in Rome"), which attracted the attention of prospective clients when they returned to Paris. At the end of 1792, near the end of the first phase of the
1104:
1069:
1119:
817:
1114:
117:
1019:
310:
while
Percier led a more reclusive existence in his apartments in the Louvre, while still participating conceptually in their joint projects and teaching at
1064:
1009:
656:
405:
76:
opportunity to observe first hand the lifestyles of the wealthy nobility in a palace that he would, years later, play a major role in rejuvenating.
1124:
116:, a post at the center of innovative design. Fontaine returned from the security of London and they continued at the Opéra together until 1796.
424:
113:
1314:
803:
338:. Fontaine died much later on 10 October 1853. His body was interred in the tomb he designed for Percier, in accordance with his wishes.
1319:
599:"à La Recherche D'une Iconographie « Incroyable » Et « Merveilleuse »: Les Panneaux Décoratifs Sous Le Directoire"
1294:
1289:
1284:
178:
1309:
347:
At the end of 1814, Charles
Percier officially retired and devoted himself to teaching. The following are some of his students:
1304:
807:
1084:
90:
48:
734:
763:
1299:
968:
21:
1228:
698:
147:
Bonaparte thought highly of their work and gave them responsibility for some of the most prestigious projects of the
844:
189:
464:
136:
these private projects, which impressed the influential artist, David, that they first came to the attention of
1279:
923:
429:
217:
194:
183:
286:
225:
334:
Percier died on 5 September 1838. Fontaine designed a tomb for him in their characteristic style in the
137:
1168:
221:
1223:
244:
302:
248:
86:
1059:
943:
714:
122:
236:
993:
297:
252:
322:, Percier did not leave memoirs, but, instead, he bequeathed his collections of drawings to the
266:, director of SĂšvres, a grand classicising vase 137 cm tall, that came to be known as the "
232:
1184:
418:
369:
335:
160:, a teaching studio or workshop, and Fontaine became the more public face of the partnership.
1044:
717:, is discussed by Lynn Springer Roberts, "The Londonderry Vase: A Royal Gift to Curry Favor",
393:
387:
1274:
1269:
1054:
948:
837:
791:
168:
47:
French architect, interior decorator and designer, who worked in a close partnership with
8:
1244:
1074:
1029:
988:
410:
311:
263:
152:
259:
1163:
958:
375:
323:
271:
209:
52:
859:
399:
357:
1158:
1034:
933:
694:
633:
606:
557:
527:
274:. Percier also designed the religious objects used in the baptism of Napoleonâs son.
240:
109:
1024:
812:
156:
and was exiled to Elba in 1814. From that time forward, Percier conducted a student
67:
27:
1208:
1143:
963:
879:
381:
363:
351:
315:
267:
201:
148:
1049:
918:
830:
39:
279:
Recueil de décoration intérieure concernant tout ce qui rapporte à l'ameublement
243:, and made alterations and decorations for former Bourbon palaces or castles at
1094:
983:
928:
437:
1089:
953:
938:
172:
1263:
1099:
1014:
973:
908:
893:
637:
610:
561:
531:
319:
282:
205:
44:
1194:
1189:
1109:
1039:
978:
822:
97:
56:
270:" when Louis XVIII gave it to the Marquess of Londonderry just before the
913:
874:
579:
494:
314:. Unlike Pierre Fontaine, whose diary relates his career path from the
289:. Indeed, their Empire style proved to be influential throughout Europe.
625:
598:
545:
515:
1129:
213:
141:
85:
for him in the highly respected studio of the renowned architect,
262:
manufactory: in 1814 Percier's published designs were adapted by
258:
On special occasions, Percier was called upon to design for the
164:
216:. In that prominent square, Percier and Fontaine designed the
220:(1807â1808), commemorating the Napoleonic victories of the
106:
Palais, maisons et autres édifices modernes dessinés à Rome
285:
and influencing the Dutch-British connoisseur-designer,
112:, Percier was appointed to supervise the scenery at the
193:
Detail of Peace riding in a triumphal chariot from the
305:
cemetery in Paris (28th division, 12th line, R, 31)
301:Tomb of Pierre Fontaine and Charles Percier in the
231:Percier and Fontaine also refurbished Josephine's
130:
1261:
292:
603:Annales historiques de la Révolution française
577:
492:
867:
838:
163:They worked for ten years (1802â1812) on the
104:One early product of their collaboration was
79:
852:
657:"Les architectes : Percier et Fontaine"
277:In 1812, Percier and Fontaine published the
793:Palais, maisons et autres Ă©difices modernes
43:; 22 August 1764 â 5 September 1838) was a
845:
831:
735:"Charles Percier - Architecture et Design"
764:"Fonds Pierre Fontaine (1764-1865, 1917)"
296:
204:that, prior to be burnt down during the
188:
177:
66:
20:
719:Art Institute of Chicago Museum Studies
688:
1262:
758:
756:
623:
596:
200:They refurbished and restructured the
826:
378:(1796â1866), second prix de Rome 1823
38:
684:
682:
680:
678:
651:
649:
647:
573:
571:
510:
508:
488:
486:
465:"Vie de Charles Percier (1764-1838)"
459:
457:
455:
127:was a third member of their team.
753:
13:
538:
71:View of a Roman House (watercolor)
14:
1331:
1320:People associated with the Louvre
1315:Burials at PĂšre Lachaise Cemetery
1229:Galerie nationale du Jeu de Paume
785:
675:
644:
630:Revue des Deux Mondes (1829-1971)
617:
580:"Percier. Sa vie et ses ouvrages"
568:
505:
495:"Percier. Sa vie et ses ouvrages"
483:
452:
1085:Pierre-François-Léonard Fontaine
800:Recueil de décoration intérieure
49:Pierre François Léonard Fontaine
969:Napoleon III's Louvre expansion
818:Percier and Fontaine Collection
727:
707:
1295:19th-century French architects
1290:18th-century French architects
1285:French neoclassical architects
1105:Edmond Jean Baptiste Guillaume
1095:Louis-Tullius-Joachim Visconti
1070:Auguste Cheval de Saint-Hubert
1030:Jacques Androuet II Du Cerceau
590:
438:Louis Tullius Joachim Visconti
372:(1790â1855), prix de Rome 1819
366:(1802â1879), prix de Rome 1825
208:, faced the Louvre across the
131:Architect, designer and artist
1:
1305:Prix de Rome for architecture
445:
293:The partnership with Fontaine
924:Petite Galerie of the Louvre
218:Arc de Triomphe du Carrousel
195:Arc de Triomphe du Carrousel
184:Arc de Triomphe du Carrousel
62:
25:Charles Percier. Portrait by
16:French architect (1764â1838)
7:
1310:Ăcole des Beaux-Arts alumni
546:"The Style of "The Empire""
516:"The Style of "The Empire""
341:
89:. It was there that he met
10:
1336:
182:The eastern façade of the
80:Schooling and early career
1300:French currency designers
1237:
1216:
1207:
1177:
1151:
1142:
1090:FĂ©lix Louis Jacques Duban
1002:
901:
892:
858:
689:Poisson, Georges (2002).
1060:Jacques-Germain Soufflot
853:The Louvre and Tuileries
739:ChĂąteau de Fontainebleau
715:Art Institute of Chicago
329:
138:Joséphine de Beauharnais
1115:Victor-Auguste Blavette
994:Louvre Inverted Pyramid
578:Raoul-Rochette (1840).
493:Raoul-Rochette (1840).
388:Jean-Jacques-Marie Huvé
96:Percier won the second
693:. Paris: Taillandier.
626:"Napoléon Et Les Arts"
419:Auguste de Montferrand
370:Martin-Pierre Gauthier
336:Pere Lachaise Cemetery
306:
197:
186:
87:Antoine-François Peyre
72:
31:
1280:Architects from Paris
1169:Théùtre des Tuileries
944:Pavillon de l'Horloge
713:The vase, now at the
691:Napoleon 1er et Paris
624:Huyghe, Rene (1968).
597:Lafont, Anne (2005).
394:Louis-Hippolyte Lebas
318:until the end of the
300:
237:ChĂąteau de Montgobert
192:
181:
118:Charles-Louis Bernier
70:
24:
1224:Musée de l'Orangerie
1209:Jardin des Tuileries
1144:Palais des Tuileries
1100:Hector-Martin Lefuel
1055:Ange-Jacques Gabriel
880:The Louvre Abu Dhabi
233:ChĂąteau de Malmaison
40:[ÊaÊlpÉÊsje]
1185:Philibert de l'Orme
1075:Jean-Arnaud Raymond
1020:Pierre II Chambiges
989:Carrousel du Louvre
264:Alexandre Brogniart
1217:Sections in detail
1164:Pavillon de Marsan
1152:Sections in detail
1065:Maximilien Brebion
959:Pavillon de Marsan
902:Sections in detail
724:.1 (1989:68â81+88)
556:(1): 11â11. 1881.
526:(1): 11â11. 1881.
469:Institut de France
376:Alphonse de Gisors
324:Institut de France
307:
272:Congress of Vienna
210:Place du Carrousel
198:
187:
142:Napoleon Bonaparte
73:
32:
1257:
1256:
1253:
1252:
1203:
1202:
1159:Pavillon de Flore
1138:
1137:
1035:Jacques Lemercier
1010:Raymond du Temple
949:Galerie d'Apollon
934:Pavillon de Flore
888:
887:
241:Pauline Bonaparte
235:, as well as the
226:Fourth Coalitions
110:French Revolution
1327:
1214:
1213:
1149:
1148:
1045:François d'Orbay
964:Louvre Colonnade
899:
898:
894:Palais du Louvre
865:
864:
847:
840:
833:
824:
823:
779:
778:
776:
774:
760:
751:
750:
748:
746:
731:
725:
711:
705:
704:
686:
673:
672:
670:
668:
653:
642:
641:
621:
615:
614:
594:
588:
587:
584:période initiale
575:
566:
565:
542:
536:
535:
512:
503:
502:
499:période initiale
490:
481:
480:
478:
476:
461:
433:
414:
406:Paul Letarouilly
382:Jacques Hittorff
364:Joseph-Louis Duc
352:Auguste Caristie
268:Londonderry Vase
260:SĂšvres porcelain
202:Tuileries Palace
126:
53:Directoire style
42:
1335:
1334:
1330:
1329:
1328:
1326:
1325:
1324:
1260:
1259:
1258:
1249:
1233:
1199:
1173:
1134:
1120:Camille LefĂšvre
1080:Charles Percier
1050:Claude Perrault
998:
919:Pavillon du Roi
884:
875:The Louvre-Lens
860:Musée du Louvre
854:
851:
788:
783:
782:
772:
770:
762:
761:
754:
744:
742:
733:
732:
728:
712:
708:
701:
687:
676:
666:
664:
655:
654:
645:
622:
618:
595:
591:
576:
569:
550:The Art Amateur
544:
543:
539:
520:The Art Amateur
514:
513:
506:
491:
484:
474:
472:
463:
462:
453:
448:
443:
427:
408:
400:Achille LeclĂšre
358:François Debret
344:
332:
295:
133:
120:
91:Pierre Fontaine
82:
65:
35:Charles Percier
26:
17:
12:
11:
5:
1333:
1323:
1322:
1317:
1312:
1307:
1302:
1297:
1292:
1287:
1282:
1277:
1272:
1255:
1254:
1251:
1250:
1248:
1247:
1245:André Le NÎtre
1241:
1239:
1235:
1234:
1232:
1231:
1226:
1220:
1218:
1211:
1205:
1204:
1201:
1200:
1198:
1197:
1192:
1187:
1181:
1179:
1175:
1174:
1172:
1171:
1166:
1161:
1155:
1153:
1146:
1140:
1139:
1136:
1135:
1133:
1132:
1127:
1122:
1117:
1112:
1107:
1102:
1097:
1092:
1087:
1082:
1077:
1072:
1067:
1062:
1057:
1052:
1047:
1042:
1037:
1032:
1027:
1025:Louis MĂ©tezeau
1022:
1017:
1012:
1006:
1004:
1000:
999:
997:
996:
991:
986:
984:Louvre Pyramid
981:
976:
971:
966:
961:
956:
951:
946:
941:
936:
931:
929:Grande Galerie
926:
921:
916:
911:
905:
903:
896:
890:
889:
886:
885:
883:
882:
877:
871:
869:
868:Branch museums
862:
856:
855:
850:
849:
842:
835:
827:
821:
820:
815:
810:
797:
787:
786:External links
784:
781:
780:
768:FranceArchives
752:
726:
706:
699:
674:
643:
616:
589:
567:
537:
504:
482:
450:
449:
447:
444:
442:
441:
435:
422:
416:
403:
397:
391:
385:
379:
373:
367:
361:
355:
345:
343:
340:
331:
328:
294:
291:
132:
129:
81:
78:
64:
61:
28:Robert LefĂšvre
15:
9:
6:
4:
3:
2:
1332:
1321:
1318:
1316:
1313:
1311:
1308:
1306:
1303:
1301:
1298:
1296:
1293:
1291:
1288:
1286:
1283:
1281:
1278:
1276:
1273:
1271:
1268:
1267:
1265:
1246:
1243:
1242:
1240:
1236:
1230:
1227:
1225:
1222:
1221:
1219:
1215:
1212:
1210:
1206:
1196:
1193:
1191:
1188:
1186:
1183:
1182:
1180:
1176:
1170:
1167:
1165:
1162:
1160:
1157:
1156:
1154:
1150:
1147:
1145:
1141:
1131:
1128:
1126:
1125:Albert Ferran
1123:
1121:
1118:
1116:
1113:
1111:
1108:
1106:
1103:
1101:
1098:
1096:
1093:
1091:
1088:
1086:
1083:
1081:
1078:
1076:
1073:
1071:
1068:
1066:
1063:
1061:
1058:
1056:
1053:
1051:
1048:
1046:
1043:
1041:
1038:
1036:
1033:
1031:
1028:
1026:
1023:
1021:
1018:
1016:
1015:Pierre Lescot
1013:
1011:
1008:
1007:
1005:
1001:
995:
992:
990:
987:
985:
982:
980:
977:
975:
974:Escalier Daru
972:
970:
967:
965:
962:
960:
957:
955:
952:
950:
947:
945:
942:
940:
937:
935:
932:
930:
927:
925:
922:
920:
917:
915:
912:
910:
909:Louvre Castle
907:
906:
904:
900:
897:
895:
891:
881:
878:
876:
873:
872:
870:
866:
863:
861:
857:
848:
843:
841:
836:
834:
829:
828:
825:
819:
816:
814:
811:
809:
805:
801:
798:
796:
794:
790:
789:
769:
765:
759:
757:
740:
736:
730:
723:
720:
716:
710:
702:
700:2-84734-011-4
696:
692:
685:
683:
681:
679:
662:
658:
652:
650:
648:
639:
635:
631:
627:
620:
612:
608:
605:(340): 5â21.
604:
600:
593:
585:
581:
574:
572:
563:
559:
555:
551:
547:
541:
533:
529:
525:
521:
517:
511:
509:
500:
496:
489:
487:
470:
466:
460:
458:
456:
451:
439:
436:
431:
426:
423:
420:
417:
412:
407:
404:
401:
398:
395:
392:
389:
386:
383:
380:
377:
374:
371:
368:
365:
362:
359:
356:
353:
350:
349:
348:
339:
337:
327:
325:
321:
320:July Monarchy
317:
313:
304:
303:PĂšre Lachaise
299:
290:
288:
284:
283:Regency style
280:
275:
273:
269:
265:
261:
256:
254:
253:Fontainebleau
250:
246:
242:
238:
234:
229:
227:
223:
219:
215:
211:
207:
206:Paris Commune
203:
196:
191:
185:
180:
176:
174:
170:
166:
161:
159:
154:
150:
145:
143:
139:
128:
124:
119:
115:
111:
107:
102:
99:
94:
92:
88:
77:
69:
60:
58:
54:
50:
46:
41:
36:
29:
23:
19:
1195:Louis Le Vau
1190:Jean Bullant
1110:Gaston Redon
1079:
1040:Louis Le Vau
979:Grand Louvre
813:Empire Style
799:
792:
771:. Retrieved
767:
743:. Retrieved
738:
729:
721:
718:
709:
690:
665:. Retrieved
660:
629:
619:
602:
592:
583:
553:
549:
540:
523:
519:
498:
473:. Retrieved
468:
425:Bruno Renard
346:
333:
308:
278:
276:
257:
230:
199:
162:
157:
146:
134:
105:
103:
98:prix de Rome
95:
83:
74:
57:Empire style
45:neoclassical
34:
33:
18:
1275:1838 deaths
1270:1764 births
954:Salon Carré
939:Cour Carrée
914:Lescot Wing
741:(in French)
663:(in French)
661:Passerelles
471:(in French)
440:(1791â1853)
434:(1781â1861)
428: [
421:(1786â1858)
415:(1795â1855)
409: [
402:(1785â1853)
396:(1782â1867)
390:(1783â1852)
384:(1792â1867)
360:(1777â1850)
354:(1783â1862)
287:Thomas Hope
249:Saint-Cloud
173:Cour Carrée
121: [
114:Paris Opéra
1264:Categories
1238:Architects
1178:Architects
1003:Architects
586:: 246â268.
501:: 246â268.
446:References
312:Beaux Arts
169:Versailles
1130:I. M. Pei
745:25 August
638:0035-1962
632:: 13â31.
611:0003-4436
562:2151-8246
532:2151-8246
316:Consulate
245:CompiĂšgne
214:parterres
149:Consulate
63:Biography
773:2 August
667:6 August
475:6 August
342:Students
212:and the
151:and the
158:atelier
795:(1798)
697:
636:
609:
560:
530:
251:, and
165:Louvre
153:Empire
30:(1807)
432:]
413:]
330:Death
222:Third
125:]
808:1812
804:1801
775:2024
747:2024
695:ISBN
669:2024
634:ISSN
607:ISSN
558:ISSN
528:ISSN
477:2024
239:for
224:and
140:and
55:and
1266::
806:;
802::
766:.
755:^
737:.
722:15
677:^
659:.
646:^
628:.
601:.
582:.
570:^
552:.
548:.
522:.
518:.
507:^
497:.
485:^
467:.
454:^
430:fr
411:fr
326:.
247:,
175:.
144:.
123:fr
59:.
846:e
839:t
832:v
777:.
749:.
703:.
671:.
640:.
613:.
564:.
554:5
534:.
524:5
479:.
37:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
-1792.jpg)
