Showing posts with label versailles. Show all posts
Showing posts with label versailles. Show all posts

Saturday, February 13, 2021

Watercolors of Versailles Commissioned to Inspired Ludwig II, the "Fairytale King"

 

Photo of Herrenchiemsee Palace by Bbb; CC BY-SA 1.0, no changes.

 

Ludwig II of Bavaria is often known as The Fairy Tale King (Märchenkönig) due to his intense and often all-consuming passion for commissioning architectural projects and creative endeavors, such as the picturessque Neuschwanstein castle or his frequent patronage to composer Richard Wagner. One of these projects was the creation of a new palace, known as New Herrenchiemsee Palace, which was erected on an island purchased by Ludwig II for the intent of turning it into a new royal residence. New Herrenchiemsee Palace would be the last of Ludwig II's creative endeavors; Ludwig II only stayed at the palace for a few days towards the end of its construction, and the palace itself was incomplete at the time of his death.

New Herrenchiemsee Palace is unique not only due to its location and its infamous cost (its incomplete construction cost was higher than the cost for building Linderhof and Neuschwanstein Castle combined) but for its theme: Herrenchiemsee was designed as an homage to Versailles, with a strong emphasis on Ludwig II's interest in Louis XIV. The homage extends to the exteriors, interiors, and even the gardens of this secluded, enchanting royal space. 

As part of the preperation for his Louis XIV-homage, Ludwig II hired artist Jobst Riegel to visit Versailles and paint a series of watercolors that would be used to help plan the new castle.Riegel painted a total of 22 watercolors of Versailles and its stunning gardens.

Here is a small selection of the Riegel watercolors which inspired Ludwig II in his mission to create a secluded homage to the Sun King.


A view of Versailles from the gardens by Jobst Riegel, 1875-1876. [credit: Photo (C) Château de Versailles, Dist. RMN-Grand Palais / Christophe Fouin]   
 
  


 
A view of the Latona Basin fountain at Versailles by Jobst Riegel, 1875-1876. [credit: Photo (C) Château de Versailles, Dist. RMN-Grand Palais / Christophe Fouin]  


The bedchamber of Louis XIV by Jobst Riegel, 1875-1876. [credit: Photo (C) Château de Versailles, Dist. RMN-Grand Palais / Christophe Fouin]

The full 22-set of watercolors can be viewed here.


Thursday, April 9, 2020

Let's Visit! The Laiterie de Préparation at the Hameau de La Reine

Introducing Let's Visit! A new travel-based series that will take us on trips around Versailles, the Petit Trianon and other interesting places from the safety and comfort of our homes. In some cases, we'll visit entire estates and in other cases, we might set ourselves down in a single room for the afternoon.

So let's visit! Don't forget your passport!

Let's Visit! The Laiterie de Préparation at the Hameau de La Reine 


image: a wall of stones marking the former location of the Laiterie de Préparation
[credit: Photo by Starus. Licensed CC BY-SA 3.0, no changes.] 

The hameau de la reine was a country-inspired estate that was both typical and novel of other aristocratic hamlets from the same time period. Like other aristocratic hamlet-inspired estates, the hameau de la reine had a series of rural-inspired buildings that were designed to emulate a quiet, private country life that was in direct contrast to the constraining and etiquette-laden public life of the city and court.

Floral and vegetable gardens, a carefully planned artificial lake, farm animals, and a canopy of trees which provided the illusion of privacy within a vast public palace estate; all of these trappings allowed Marie Antoinette to set aside the weight of her crown and the political social life that many men and women were indulging in towards the end of the 18th century in favor of a private, yet still upper class existence where enjoyment, not etiquette, ruled.

One of the most emblematic elements of Marie Antoinette's famous hameau de la reine is the dairy; and while the image of a muslin-clad Marie Antoinette skipping along to milk beribboned cows is the stuff of exaggerated fiction, Marie Antoinette did blur the lines between royalty and private individual a different way with the dairy at the hamlet.

While it is well known that Marie Antoinette had a dairy at her hamlet, it is often forgotten that there were actually two dairies on the estate, each with their own unique purpose. There was the laiterie de propreté, or Refreshments Dairy which still stands today; and the laiterie de préparation, or Preparation Dairy which was torn down during the reign of Napoleon. We will be exploring the now-gone Preparation Dairy in today's visit.


 image: Detail from a view of the hameau de la Reine in 1786 by Claude-Louis Châtelet. The Preparation Dairy can be seen on the left side, in the background.

Laiterie de Préparation: The Dairy Not Meant for a Queen 

What, exactly, was the laiterie de préparation? The Preparation Dairy was where the dairy products created at the Queen's hamlet were actually prepared by the staff. At the Preparation Dairy, milk fresh from the hamlet's cows would be skimmed and pasteurized; butter would be churned; creams, cheeses and even ice creams would be created. The resulting products would then be stored until they were transferred to various places around the Trianon estate, whether it was to the Queen's House for a private supper or to the nearby Refreshments Dairy where the queen and her entourage could taste the dairy products.

While the Refreshments Dairy was designed to be frequented by the queen and her guests, the Preparation Dairy was accessed exclusively by the staff working at the Queen's hamlet. Marie Antoinette likely never set foot inside the dairy, except perhaps to give her approval of the finished interior in 1785.

The Preparation Dairy was not originally a dairy at all. The hamlet was still a work in progress by the mid-1780s, and in 1783 an undefined farmhouse stood in its place. The original building included two rooms and a small cabinet, along with a stone oven; the building may have been used to make cheese. However, in 1785, the decision was made to transform the existing building into a functional dairy so that Marie Antoinette's hamlet had its own exclusive milk products. The building's cabinet was transformed into an ice box, where fresh dairy products could be stored in coolers; and the interior was completely redone.

Prior to 1785, the milk products enjoyed at the hamlet were brought over from a separate dairy, one which had been originally built for Madame Pompadour. With the construction of the new Preparation Dairy, Marie Antoinette was once again making the decision to cultivate a space that was distinctly her domain, not the domain of 'La Pompadour' or even the domain of previous queens. The products created at the Preparation Dairy would all be designated "à la reine," an extension of Marie Antoinette and her influence on her private domain. The new dairy would allow Marie Antoinette to solidify her status as the reigning mistress of her own countryside estate.The production of clean and fresh dairy products was emblematic of her role as a queen, a mother, and a woman.


image: A portrait of Madame Adélaïde Auguié, lady-in-waiting to Marie Antoinette, in the hamlet's Refreshments Dairy by Adolf Ulrik Wertmüller
[credit: National Museum of Sweden]
 Preparation to Refreshment: Elite Enjoyment

The two dairies at the hamlet served completely different purposes: one was a functioning dairy intended for staff to produce milk and dairy products and the other was an aristocratic space, intended for a reserved group and class of people to engage in a luxury activity.

Despite this crucial difference, the two dairies were not aesthetically all that distinct. The exterior of both buildings matched the same faux-weathered stone, thatched cottage style that permeated the hamlet. And while there are no existing images that show how the interior of the once-bustling preparation dairy truly looked, we can reasonably guess that it was originally not all that different from the initial concept for the Refreshments Dairy. Thanks to existing documentation of later additions that would transform the original Refreshments Dairy into the elegant neoclassical dairy visitors see today, we can see just how much was changed in the dairy intended for aristocratic consumption.
 
When the Refreshments Dairy was built, its original design included relatively simple elements such as a bare ceiling, plain white walls, and no interior fountains. In 1786 or 1787, the royal designers of Versailles repainted the walls so that they imitated fine white marble and installed a luxurious trompe l'oeil ceiling. The reason for this makeover is unknown, but the end result was bringing the Refreshments Dairy a step closer towards the elite space that it was--and a step farther away from the more simplistic Preparation Dairy that it emulated.

Yet it was not until the reign of Napoleon and the hamlet's subsequent First Empire renovation that the distinctive gilded fountain heads and marble basins, along with the highly ornate central table, were installed in the Refreshments Dairy. Without these ornamental additions, almost all of which were not included in the original plans approved by Marie Antoinette, the inside of the two dairies were probably remarkably similar. Perhaps, as Meredith Martin suggests in 'Dairy Queens: The Politics of Pastoral Architecture,' the similarity was too close and the reason for the 1786-1787 additions was to put a firmer line between Marie Antoinette's majesty and the functional dairy.

The above portrait shows Madame Adélaïde Auguié, a lady-in-waiting to Marie Antoinette and sister to Madame Campan, pouring milk from a fine porcelain pitcher into a basin. This portrait showcases an earlier design of the Refreshments Dairy and in doing so, gives viewers a glimpse of what the Preparation Dairy may have looked like.

The portrait also encompasses the intriguing duality represented through Marie Antoinette's two dairies at her hamlet. The Refreshments Dairy was designed to embody the simplicity of the nearby practical Preparation Dairy while maintaining separate distinctions in line with the social class of its esteemed guests. In the Preparation Dairy, the staff at the hamlet processed the fresh milk and prepared it to be stored or transported; but it was in the Refreshments Dairy, poured and tasted in high-quality porcelain saucers and basins by the queen and her guests, that the milk became à la reine,.


 image: detail from an architectural plan for the hameau de la reine; the Preparation Dairy is circled in blue.

 Mapping the Laiterie de Préparation: Physical Closeness and Social Distance

The separation between the practical labor behind the dairy products and the elite enjoyment of those products was not the invention of Marie Antoinette's whimsy; it was standard practice, found at earlier and later hamlet-style estates throughout France and the whole of Europe.

However, Marie Antoinette did forgo tradition with the Preparation Dairy in a subtle way that spoke volumes about her vision for this private yet highly personal domain. This diversion from the traditional design for hameau-style estates also helps to break down one of the biggest misconceptions about Marie Antoinette's dairy: that it was designed to be a faux folly farm where Marie Antoinette would twirl about in her muslin skirts, assuming that pasteurized milks and creams came out of thin air or that some half-hearted churning inside a porcelain vase was really creating pounds of butter.

How did Marie Antoinette break tradition in an estate that was, by and large, a product of existing aristocratic trends? Rather than tuck the Preparation Dairy into a separate space outside of the hamlet estate, hidden away from sight and mind, the Preparation Dairy was kept next door to the Refreshments Dairy and was designed to be a seamless part of the hamlet as a whole.

Access to both dairies was controlled by Valy Bussard, the head farmer employed by Marie Antoinette to run the estate; it would be Valy Bussard who corresponded and talked with the queen about necessary arrangements and changes on the grounds, such as an incident where he complained about the resident male goat who had proved himself unable to procreate. The queen, in her reply, agreed to pay for a replacement--but noted that he should look for a goat with a better temperament and of course, a nicely colored coat.

All of this, the placement of the functional diary and the day-to-day management that existed between Marie Antoinette and Valy Bussard, tells us that the Preparation Dairy was not some secret space for labor that must be kept hidden away, lest it give away the appearance of fancied-labor on part of the queen and her entourage. It was a practical, functional and completely recognized part of the hamlet's well-planned world. Marie Antoinette was conscious of the the role that the working dairy played in the hamlet's world, and rather than keep it hidden from view, she sought to incorporate it into the day-to-day life at the hamlet.

While she did not play milkmaid or hold the mistaken belief that peasants were milking perfumed cows, Marie Antoinette did blur the line between royalty and private citizen at her dairy in a different way with her choice to seamlessly include the labor-based Preparations Dairy as part of the hamlet's world.

A carefully cultivated world, where the gardens overseen by farmers would produce fresh fruits and vegetables for her household; where she could take her children to learn about animals and plants from skilled staff; where she could enjoy the company of friends and family without suffocating etiquette; where she could carve out a role as the private elite mistress of a working countryside estate; a world, above all, in which Marie Antoinette the elite and free individual, rather than Marie Antoinette the constrained queen, was the center.

 image: aerial view of the hameau de la reine, 2013.
[credit: ToucanWings, CC BY-SA 3.0; no changes]


1793 and Onward

In 1789, the royal family was forced to abandon Versailles and take up residence at the Tuileries Palace in Paris. Although she was never to properly return to her hamlet, or ever again enjoy the novel tastings once held at the Refreshments Dairy, Marie Antoinette continued to receive milk and dairy products from her beloved dairy through 1792. For a time, when the royal family was still able to travel to Saint-Cloud, she even had some of the 'hameau' cows transferred to a rented dairy near the country palace. After the family was imprisoned in the fall of 1792, the hameau--and its two dairies--fell quiet.

In 1794, some of the furniture and objects still inside the Preparation Dairy were taken apart and sold during the famous "Petit Trianon" auction. The stone tables inside the Preparation Dairy, once used in the painstaking process of making fresh milks destined for custom-made porcelain basins, were sold for 101 livres. An inventory of the building in 1799 indicated that the Preparation Dairy had been left to deteriorate; the iron pipes which once kept products cool in the cabinet were removed the year before and by 1806, when Napoleon requested an estimate for a restoration of the building, the total amount was almost 1/3 of the entire restoration budget that he had allotted for the entire hameau de la Reine. Due to the expense, and likely due to the fact that it was no longer a functioning dairy, the decision was made to have the building torn down in March of 1810.

During the extensive restoration work funded by Rockefeller in 1933, a small stone wall was erected along the former location of the Preparation Dairy. Over time, the Preparation Dairy has faded into the background; often ignored or given a mention at most, despite its once-crucial role in the day-to-day operations of the world that existed solely inside the hamlet. This stone wall, now almost 100 years old, is all that remains of the dairy that was once employed to create creams, cheeses and milks "à la reine."

*** 

Further Reading
  • Martin, Meredith. Dairy Queens: the Politics of Pastoral Architecture from Catherine De Medici to Marie-Antoinette. Harvard University Press, 2011. 
  • Duvernois, Christian, and Halard François. Marie-Antoinette and the Last Garden at Versailles. Rizzoli, 2008. 
  • Nolhac, Pierre. The Trianon of Marie-Antoinette. T. Fisher Unwin, 1925.

Monday, April 15, 2019

Music Monday: Versailles by Nadia Bouluanger

Music Monday: a day for contemporary music, soundtracks and other tunes related to Marie Antoinette.


For this Music Monday, I'd like to share a piece from Nadia Boulanger, a notable composer, conductor and teacher who taught some of the most prominent composers of the 20th century. Her students included Louise Talma, Elaine Bearer, Virgil Thomson, Roy Harris, Philip Glass--just to name a few.

'Versailles' was composed by Boulanger in 1906. She set her composition the text 'O Versailles,' a poem by Albert Samain. The performer in this particular recording is Nicole Cabell, with Lucy Mauro on the piano.

The original French text for Albert Samain's O Versailles can be read here.

Saturday, April 13, 2019

What They Said Saturday: "Fatigued by the splendors of art, I turn to nature..."

'What They Said' Saturday: a day for quotations of all kinds, including excerpts from letters written by Marie Antoinette and her contemporaries, memoirs, non-fiction, novels and everything in between.

image: the hameau de la reine in August 1967/credit: Daniel Villafruela/CC BY-SA 3.0, no modifications

The recent restoration work done on the hameau de la Reine has sparked new focus on the charming, picturesque hamlet that Marie Antoinette cultivated during her final years at Versailles. But it is not only modern visitors who are charmed by its roaming trails and carefully planned foliage.

Nikolay Karamzin, a visitor who was able to tour the hameau de la reine during those last waning years of the French monarchy, wrote touchingly of the estate:

"I advance and I see hills, fields, meadows, herds, a grotto. Fatigued by the splendors of art, I turn to nature; I find myself, my heart, my imagination; I breathe, inhaling the perfumed air of the evening, gazing at the setting sun … I would like to stop it in its course, in order to remain longer at Trianon."

Monday, April 8, 2019

Music Monday: Electro Music at Versailles (Coming to a Hall of Mirrors Near You!)

Introducing Music Monday: a day for contemporary music, soundtracks and other tunes related to Marie Antoinette.


If you haven't already heard: the Chateau de Versailles is hosting an electro music party!  Yes, a legitimate, bonfide, techno-filled electro rave in collaboration with Ed Banger Records. (Click here to find out more, if you're so inclined.) 

The event, being officially called Versailles Electro, will feature performances from popular electro artists and DJs such as Breakbot, Irfane, Myd and Busy P.  I won't pretend that I have any experience with the electro scene, but there's no time better than the present to dive in! So I've compiled a few videos from two of the announced artists so that we can all get a sneak peek at what's coming to Versailles this summer.

Breakbot feat. Irfane (Devotion)



Myd (Superdiscoteca)


Monday, March 18, 2019

L'Après-Midi au Petit Trianon by Emile Charles Dameron (1848-1908)

Just a lovely painting to share today--but be sure to keep an eye out for an analysis on the depiction of the Queen's hamlet in 19th century art in a week or so!

Image: L'Après-Midi au Petit Trianon (Also known as 'Le Hameau de Trianon') by Emile Charles Dameron (1848-1908).

Wednesday, February 6, 2019

Bassin de Bacchus à Versailles (1912-1913) by Marcel Jefferys

 Marcel Jefferys (1872-1924) was a Belgian painter whose work covered a breadth of subjects; including, of course, the palace of Versailles. Several lovely paintings of the famed palace and its grounds were recently auctioned by Brussels Art Auctions, including this particular piece of the Bassin de Bacchus. Enjoy!

Bassin de Bacchus à Versailles (1912-1913) by Marcel Jefferys (1872-1924). [credit: Brussels Art Auctions, via Invaluable]

Friday, February 16, 2018

Book Review: Versailles: A Private Invitation by Guillame Picon (2018 Edition)

[Note: This review is for a new, updated version of a book I've previously reviewed on this blog.]


"A private invitation to Versailles? ... How, in short, could you take the time to discover a chateau and grounds where you can never, ordinarily, be alone? This handsome book extends such an invitation." --Catherine Pégard

The palace of Versailles is visited by more than 10 million people each year and is one of the most popular destinations in the world. Few palaces are more beloved, more visited--and more photographed. Yet almost none of the millions who visit Versailles each year will ever get to see the "private" Versailles: the Versailles devoid of packs of tourists crammed into the Hall of Mirrors; the Versailles beyond the roped off rooms and forbidden staircases; the Versailles that kings, queens, duchesses and servants once called home. And that view of a private, intimate Versailles is exactly what Versailles: A Private Invitation offers to readers who open its pages.

The original edition of Versailles: A Private Invitation by Guillame Picon, with photographs by Francis Hammond, was (and still is) one of my favorite Versailles photo books, namely due to the refreshing way that the book approaches the palace and its grounds. Versailles: A Private Invitation easily avoids becoming "just another" photo book by honing in on a unique focus for the book's theme; namely, re-framing Versailles through an intimate lens that takes readers on their own private tour of the palace estate.

 Spiral staircase seen from the northern tribune (or gallery) of the second floor of the chapel. © Francis Hammond; Versailles: A Private Invitation (Flammarion)

Hammond's photography stands out in style and focus. For instance, Hammond does not just present an image of the King's entire state room, he instead invites readers to focus on the ornate details on The King's Desk, so close and crisp that you might feel you could run your hands over the wood. In addition to many close details that visitors would ordinarily only see through a zoomed lens, Hammond includes many photographs of areas normally off-limits to the public, such as private staircases and boudoirs. Picon's introductory texts to each section of the estate provide important contextual information about the contemporary use for the room; and his choices for various quotes and passages included throughout the book provide meaningful context to the photographs. For instance, an image Marie Antoinette's private bookshelf is accompanied by a quote she wrote to her mother about her reading habits.

 Marie-Antoinette’s Cabinet Doré—or Gold Room. © Francis Hammond; Versailles: A Private Invitation (Flammarion)

So: what's new in this "new" edition? The new edition includes never before seen Hammond photographs of the recently restored Cabinet de la Meridienne, Marie Antoinette's boudoir, the Salon d'Aurore, and as well as photos of more rare objects that are not on display to the public. The addition of these new photographs helps round-out the book and provides a welcome up-to-date look at the newly included spaces.

I highly recommend Versailles: A Private Invitation by Guillame Picon for anyone interested in a beautifully done coffee table book about Versailles that provides a unique perspective on the palace and its estate. Hammond's photographs are in top form here, and are reproduced in high quality for this sturdily bound publication, which should delight photography lovers as well.

 [A review copy of this book was provided to me by the publisher]

Wednesday, February 14, 2018

Book Review: Fashion and Versailles by Laurence Benaïm


Jac Jagaciak photographed by Patrick Demarchelier in the Salon de la Guerre at the Palace of Versailles. She wears a dress from the Christian Dior haute couture Spring/Summer 2011 collection.
© Patrick Demarchelier/Art+Commerce

"[Versailles] is where fashion finds new beginnings, always, etched as it is in the footsteps of the lovely ghosts that kindle the dreams of couturiers." --Catherine Pégard

Fashion and Versailles by Laurence Benaïm, with a foreword by Catherine Pégard, is an exploration of the undeniable and long-lasting impact of Versailles on the world of fashion; an impact which began when Versailles was still a royal residence and has continued to this very day. The halls and rooms and gardens where Louis XIV and Marie Antoinette once stepped out in the latest styles are now halls which are now the inspiration for filmmakers, photographers, fashion designers, and the countless others around the world who take inspiration from the eternally iconic world of Versailles.

Fashion played a significant role in life at Versailles since the inception of the palace as the center of the French monarchy. Louis XIV and his prominent mistresses never failed to introduce new and exciting fashions, and contemporary publications kept track of the latest styles so that eager courtiers could ensure they never showed themselves at court in anything but the most current styles.

Yet it was during the reign of Louis XVI that fashion at Versailles became a much more stark example of capriciousness and whirlwind frivolity. In the last few decades of the absolute French monarchy, within the gilded walls of Versailles, fashion trends rose and fall in quick succession; so quick that some lamented that by the time they were able to acquire fashions suiting the latest trends, they were already out of date. Under the 'fashion reign' of Marie Antoinette, especially during the tumultuous years when she filled her life with endless amusements to distract herself from more serious troubles, there was a never-ending search for new ways to describe color, to raise and decorate towering coiffures, and to find a sense of satisfaction and expression in the drape and make of a gown. As Madame Campan wrote: "The queen sought to surround herself with illusions that might delight her feelings."

In many ways, the rapidly changing winds of fashion inside the palace reflected the winds which battered the trees just outside the palace walls. Quick, relentless, and world-changing. As Benaïm writes in the book: "... fashion at Versailles never failed to go to extremes. After soaring skywards, it promptly plummeted earthwards to skim the manicured lawns of the Queen's Hamlet at the Petit Trianon, its dovecote, kitchen garden, and artificial lake, seamlessly and without pausing for breath."

© Chris Moore/Catwalking/Getty Images. Doutzen Kroes modeling a dress in the Christian Dior haute couture Fall/Winter 2007–8 collection by John Galliano, presented at Versailles.

Yet Versailles place as an inspiration for fashion did not end with the death of Marie Antoinette, or even the final passing of the Bourbon Monarchy in the July Revolution. During the Second Empire, the empress Eugenie--well-known for her passion for Marie Antoinette--sought to take refuge in the vestiges of the past. One of her most famous portraits by Franz Xaver Wilterhalter depicts her wearing an 18th-century inspired costume, and Eugenie even appeared dressed as Marie Antoinette at a masked ball she hosted in 1866.

While Eugenie's interest in incorporating Versailles-like elements into fashion was based on a personal fascination with Marie Antoinette, in the following decades a growing interest in France's ancien regime among high society saw a rise in costume balls with high-profile guests bedecked in late 19th and early 20th century adaptations of courtly wear, emulating the former world of Versailles through their modern lens. Glamorous Hollywood films, such as MGM's 1938 epic starring Norma Shearer, kept an interest in both Versailles fashion and Marie Antoinette alive. In the post-war years, Versailles was revolutionized by a modern interest in the people and stories which once graced its halls. Perfume bottles designed after the Hall of Mirrors, Louis XV-inspired heels, and silk gowns with billowing hips graced the necks, feet and bodies of , First Ladies, and fashion models. Films set in the cutthroat salons of the 18th century (1988's Dangerous Liasons) or set at Versailles itself (Sofia Coppola's Marie Antoinette) sparked style trends such as sumptuous damask fabrics and pastel macaron shades from the runway down to department stores.

Today, Versailles status as a center of fashion has not abated--if anything, the digital age has made Versailles more accessible to those who want to transform the palace, its former inhabitants, and its very halls into scents and styles.

© Gleb Derujinsky. A delicate confection of pale gray lace and pale pink roses cascading from waist to floor, by Pierre Balmain, 1953.

Laurence Benaïm does an excellent job throughout the book exploring the many facets of Versailles and its influence on fashion; first, Versailles as the birthplace of fashion and later Versailles, the endless source of fashion inspiration. Contemporary quotes are included throughout the book, both in the actual text and in large-text accompanying various photographs and illustrations. The book is mostly linear, beginning with the early place of fashion at Versailles the royal center and ending with Versailles' influence in the modern age; although sometimes the later sections refer to different aspects of 17th and 18th Versailles fashions in the context of how they were later re-interpreted by modern designers or otherwise found new life in the 20th and 21st centuries.

The sections of the book discussing the influence of the various men and, more often or at least more visibly after the reign of Louis XIV, women of Versailles who influenced the styles worn by the people who lived there are engaging and refreshing, as Benaïm examines them through a critical fashion-oriented lens. I particularly enjoyed the later sections of the book which focused on the influence of Versailles from the 1940s onward, as the "Versailles" fashions sparked by the work of 20th and 21st century designers are not usually looked at academically. Benaïm has great insight in the sometimes subtle ways that Versailles has graced runways, film lenses and exhibitions throughout the last 70-odd years.

The book is lavishly illustrated and frequently juxtaposes 17th and 18th century paintings, room and existent fashions against modern counterparts. I can only assume this was done intentionally as it frequently gave me a distinct impression of how the fashion past and fashion future of Versailles have intermingled. The photographs and paintings are all clearly reproduced; the larger size of the book allows you to examine details, which is especially helpful when comparing some of the past inspirations on modern pieces.

Fashion and Versailles, overall, is a unique book that stands out for its unique perspective and interesting focus. I highly recommend Fashion and Versailles by Laurence Benaïm to anyone with an interest in Marie Antoinette, 18th-century fashion, and fashion history. Readers who want to know more about the social influence of Versailles and its former inhabitants on current aspects of society will also enjoy this book.

 [A review copy of this book was provided to me by the publisher]

Friday, September 22, 2017

Chateau de Versailles announces "My Versailles" photography winners

 
 Belvédère Haunted [credit: ©EPV Jean-Luc Perez]

This year, the Chateau de Versailles hosted a special photography contest exclusively for its staff--from gardeners to administrative workers--to capture photographs of Versailles, "My Versailles," as only people working in the palace can know it. The results are captivating, intimate looks at a Versailles as seen through the people who make it their livelihood. Ten winners were chosen and are currently presented at Les Carnets de Versailles website.

Tuesday, September 19, 2017

Monday, July 24, 2017

Wednesday, April 26, 2017

Gilded Sculpture in the Queen's Theater

A view of the sculpture work in the theater of Marie Antoinette at the Petit Trianon.

[credit: © EPV / Thomas Garnier, via Chateau de Versailles]

Wednesday, April 12, 2017

Hyacinths at the Trianon

Two views of the currently blooming hyacinths in the gardens of the Trianon.

[credit: © EPV / Didier Saulnier, via Chateau de Versailles]

[credit: © EPV / Didier Saulnier, via Chateau de Versailles]

Monday, November 21, 2016

Tuesday, May 31, 2016

The Belvedere Pavilion by Wilfred Gabriel de Glehn (1930)



The Belvedere Pavilion by Wilfred Gabriel de Glehn (1930). This charming painting will be auctioned through Bonhams next month and has an estimated $730 - 1,000 sale price.

Wednesday, May 25, 2016

Quick Picks


Recent news, old bits and bobs, and other quick picks for your Marie Antoinette fix!

Friday, August 21, 2015

More Autochromes of Life at Versailles by Jules Gervais-Courtellemont

I am in love with the soft, dreamy quality of Jules Gervais-Courtellemont's autochromes of costumed actors at Versailles. I was fortunate enough to find some vintage prints of these autochromes, so I am sharing a few more that weren't in my previous posts, or were only there with watermarks from other websites.

 credit: Jules Gervais-Courtellemont, scanned from my collection 

 credit: Jules Gervais-Courtellemont, scanned from my collection 

 credit: Jules Gervais-Courtellemont, scanned from my collection 

credit: Jules Gervais-Courtellemont, scanned from my collection