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Journal articles on the topic 'Château de Versailles (Versailles, France) in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Leme, Mariana. "Versailles Revival (1867‐1937) : Curated by Laurent Salomé and Claire Bonnotte, Château de Versailles, Versailles, France, 19 November 2019‐15 March 2020." Journal of Curatorial Studies 10, no. 2 (2021): 271–75. http://dx.doi.org/10.1386/jcs_00047_7.

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2

Laurent, Dominique. "Supporting and Enhancing Research on Cultural Heritage in France: the PATRIMA Project." Digital Presentation and Preservation of Cultural and Scientific Heritage 4 (September 30, 2014): 41–48. http://dx.doi.org/10.55630/dipp.2014.4.5.

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In this paper, we first overview the French project on heritage called PATRIMA, launched in 2011 as one of the Projets d'investissement pour l'avenir , a French funding program meant to last for the next ten years. The overall purpose of the PATRIMA project is to promote and fund research on various aspects of heritage presentation and preservation. Such research being interdisciplinary, research groups in history, physics, chemistry, biology and computer science are involved in this project. The PATRIMA consortium involves research groups from universities and from the main museums or cultura

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3

Zavyalova, Anna E. "Alexandre Dumas’s Works in the Art of Alexandre Benois." Observatory of Culture 16, no. 2 (2019): 184–95. http://dx.doi.org/10.25281/2072-3156-2019-16-2-184-195.

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The article studies the problem of interpretation of literary source in visual creative work of A.N. Benois. There are identified and analyzed new sources of his works — historical novels by A. Dumas, père. The question about the role of the novels by Alexandre Dumas devoted to the history of France of the 17th and 18th centuries in creative work of Alexandre Benois has never become the object of research. The relevance of this article is determined by this fact. The scientific novelty of this article lies in revealing new literary sources of creative work of A. Benois — Dumas’s novels “Jose

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4

Calatayud, Agnès. "« Un beau viveur et un délicat vivant ». Le baron de Besenval, courtisan et collectionneur, à travers son iconographie." Dalhousie French Studies, no. 117 (March 29, 2021): 43–64. http://dx.doi.org/10.7202/1076091ar.

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At the zenith of his life, the baron Pierre-Joseph-Victor de Besenval de Brünstatt (1721-1791), after having distinguished himself in battle under the reign of Louis XV as a colonel in the regiment of Swiss guards, had become the most seasoned courtier of Versailles. Assiduous member of Marie-Antoinette’s entourage, witty and attractive, he excelled in the two arts which were the mainstays of the Queen’s coterie at the Trianon château: the art of conversation and that of gallantry. Besenval had a prevailing passion; he was one of the finest art collectors of his time. In the aftermath of the

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5

Tuluș, Arthur. "Demands and intentions to join the European Commission of the Danube during the Interwar Period." Analele Universităţii "Dunărea de Jos" din Galaţi Fascicula XIX Istorie 8 (November 27, 2009): 89–102. http://dx.doi.org/10.35219/history.2009.03.

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During the interwar period, the new structure of the European Commission of the Danube, considered more and more as a selfish means to favour France, Great Britain and Italy, displeased both the democratic countries, supporting the Versailles system, and the revisionist ones. Referring to the provisional character of the number of members (art. 4 of the Definitive Statute of the Danube), several countries claimed repeatedly, during the period, to join it, on the basis of veritable or fictional reasons regarding the existence of important commercial and maritime interests at the mouths of the D

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6

Cyr, Mary. "‘The Most Galant and Superb Celebrations’: Musical Performances at Chantilly for the Coronation of Louis XV." Fontes Artis Musicae 72, no. 1 (2025): 38–63. https://doi.org/10.1353/fam.2025.a957870.

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English Abstract: The coronation of Louis XV on 25 October 1722 in Reims Cathedral inspired viewers with joy and hope for the future. Press coverage was extensive, and word of the event spread far beyond the borders of France. The sacred ceremony and its music have been studied extensively by historians and musicologists, but the secular musical events that took place during the royal trip from Reims to Versailles have received little attention. The principal reason for this neglect probably arises from the lack of musical sources, especially for performances mounted at the Regent’s chateau at

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7

Machniak, Arkadiusz. "Dyplomata. Żołnierz. Literat. Hrabia Franciszek Xawery Pusłowski w świetle dokumentów komunistycznego aparatu represji." UR Journal of Humanities and Social Sciences 20, no. 3 (2021): 78–92. http://dx.doi.org/10.15584/johass.2021.3.5.

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Count Franciszek Xawery Pusłowski was born in France on June 16, 1875. He studied law, philosophy and art history. He was fluent in six languages. During World War I, he was arrested in Russia. As a result of efforts made by influential friends in 1918, he was released from captivity after the personal decision of Feliks Dzerzhinsky, the head of the Cheka. After the end of World War I, he participated in the Versailles peace conference. Until 1923, he served in the diplomatic corps. He was an opponent of Józef Piłsudski and his political camp. After being released from military and diplomatic

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8

Narai, Eusebiu. "Relatiile romano-franceze in luna mai 1932, reflectate in paginile cotidianului banatean Vestul." Banatica 1, no. 33 (2023): 451–68. http://dx.doi.org/10.56177/banatica.33.1.2023.art.24.

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War reparations deeply affected international relations, and attempts were made by American economic, financial and political circles to solve this thorny problem by launch‑ ing two plans (the Dawes Plan – 1929 and the Young Plan – 1930) and by establishing a general moratorium on the payment of war reparations and debts (the Hoover Moratorium - 1931). Unfortunately, the end of the First World War did not bring the much‑desired peace to Europe, as the Versailles system soon proved ineffective and short‑sighted. On the ruins of the former Central and Eastern European empires (the German Second

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9

Frédéric, Duhart. "« Manger à la mode dans le Sud-Ouest de la France au XVIIIe siècle. Les formes et les conditions d'un choix culturel. », Papilles, 28, 2006, pp. 33-50." Papilles 28 (December 31, 2006): 33–50. https://doi.org/10.5281/zenodo.2542595.

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Entre Paris et Versailles, diverses modes alimentaires, qui touchent tant à l’art culinaire qu’à la reconnaissance particulière de divers produits, éclosent et prospèrent dans le courant du XVIIIe siècle ; l’adoption de celles-ci dans les provinces du royaume éloignées de ce centre confine à l’exercice d’un arbitraire culturel (De Garine, 1979). La diffusion de ces modes participe du bon goût alimentaire, aussi l’irrationalité qu’elle peut engendrer ne se traduit-elle gu&egrave

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10

Doe, Julia. "The Politics of the Bagatelle: Opera and Smallpox Inoculation in Enlightenment France." Cambridge Opera Journal, November 2, 2022, 1–22. http://dx.doi.org/10.1017/s0954586722000210.

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Abstract This article examines the production and reception history of C. S. Favart's La fête du château, commissioned by a French noblewoman, the Marquise of Monconseil, to mark her granddaughter's inoculation against smallpox in 1766. The first half of the article situates the vaudeville comedy at the Bagatelle (Monconseil's private theatre), underscoring the gendered tropes that had accrued to the disease in the late eighteenth century and the function of elite sociability in promoting its prevention. The second half of the article reconstructs the public trajectory of the work, which was p

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11

Machou, Anabelle. "L’organisation des dîners au château de Versailles comme motif littéraire dans le roman historique contemporain." Revue de géographie historique 26 (2024). http://dx.doi.org/10.4000/12q4y.

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Cet article propose une analyse du motif des dîners au château de Versailles sous l’Ancien Régime dans deux romans de fiction contemporaine. Les œuvres choisies placent leur intrigue au cœur du Versailles de Louis XIV ou évoquent l’héritage de cette période marquée par une vie de cour codifiée et le faste des repas. En fixant à Versailles l’art de la table, les dîners au château participent à la mise en scène du pouvoir politique et culturel de la France. Bien plus que la description du moment du dîner, les deux textes portent une attention particulière à la question plus générale de son organ

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12

Oppermann, Fabien. "Quand la République dîne chez le Roi-soleil : Versailles, lieu du pouvoir diplomatique contemporain." Revue de géographie historique 26 (2024). http://dx.doi.org/10.4000/12q4w.

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La République française a investi le château de Versailles comme lieu de pouvoir politique et diplomatique. Depuis 1870 jusqu’à la réception du roi d’Angleterre en 2023, les chefs d’État et de gouvernement en visite en France y sont reçus à dîner, dans une continuité symbolique de la nation française tout au long de son histoire. Les ressorts de ces réceptions souvent fastueuses, loin d’être anecdotiques, relèvent de la vision symbolique d’un dîner dans l’ancienne demeure des rois de France, avec la nécessaire adaptation du lieu patrimonial à son usage contemporain, dans une stratégie géopolit

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13

Gutierrez, Michel. "Ernest Hamy et l’invention d’un « panthéon boulonnais » (1898-1901)." Siècles 57 (2024). https://doi.org/10.4000/13w2v.

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Avec l’inauguration de la « galerie historique » de l’hôtel de ville en 1899, l’anthropologue boulonnais Ernest Hamy structure un « panthéon » d’illustres personnalités locales à Boulogne-sur-Mer. Liées au territoire par leur naissance, elles rayonnent au-delà par leurs actions. L’initiative s’inscrit dans un contexte favorable et se rapproche particulièrement de certains exemples contemporains, des « galeries historiques » du château de Versailles aux « salles des illustres » du sud-ouest de la France. Malgré la disparition de cette galerie, le « panthéon boulonnais » s’est durablement ancré

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14

Bulgakova, Ekaterina. "« Resurgi des cendres et de la poussière ». Versailles à travers les écrits des voyageurs russes au xixe siècle." Bulletin du Centre de recherche du château de Versailles, 2024. https://doi.org/10.4000/13om0.

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La présente recherche s’est fixé pour objectif d’analyser comment les récits des voyageurs russes qui ont visité Versailles entre 1813 et 1862 contribuent à faire découvrir à leurs compatriotes le patrimoine historique, artistique et paysager de la célèbre résidence royale. Parmi une dizaine de sources étudiées figurent les textes rédigés par l’érudit et bibliophile Nikolaï Vsevolozhski, l’historien Mikhail Pogodine et l’écrivain Nikolaï Gretsch, qui ont vu Versailles soit durant les travaux destinés à transformer le château en musée de l’Histoire de France, soit peu après l’ouverture de ce de

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15

Fressin, Thomas. "Avant-propos." Bulletin du Centre de recherche du château de Versailles 25 (2025). https://doi.org/10.4000/13fat.

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La protection du roi, de sa famille et de ses résidences dépasse le cadre seul des missions de sécurité. Les dispositifs mis en œuvre jouent un rôle fondamental dans la construction du faste curial, de l’autorité monarchique et dans le maintien de l’ordre social sous l’Ancien Régime. Servant d’actes à la journée d’études « Protéger le roi, France, xviie-xviiie siècle » organisée le 2 décembre 2023 à Versailles, tout en étant augmentées de communications complémentaires, les contributions de ce collectif offrent une description de la protection royale prise comme objet d’étude. Elles livrent un

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16

Samuel-Hervé, Aliénor. "Rondes ou carrées ? Les caisses à orangers en France du XVIIe au XXe siècle." e-Phaïstos XIII-1 (2025). https://doi.org/10.4000/13vls.

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La culture des orangers se développe en France à partir du XVIe siècle, d'abord dans les orangeries royales que les rois de France souhaitent remplir de variétés exotiques, puis à plus grande échelle au cours du XVIIIe siècle. Cultivés en pleine terre dans le bassin méditerranéen, on les retrouve en caisses, vases ou pots dans les régions moins chaudes, placés dans les orangeries pour les protéger du gel en hiver, puis sortis à l'arrivée des beaux jours. Aujourd'hui encore, les orangers du château de Versailles sont plantés dans des caisses carrées vertes semblables à celles du XVIIe siècle. P

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17

Wei, Yiyang Mary. "Self-Expression in Rococo Art: Analyzing the Social and Political Roles of Women through Fashion and Artistic Representation." Interdisciplinary Humanities and Communication Studies 1, no. 10 (2024). https://doi.org/10.61173/5c780643.

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Feminism and gender equality are the topics that are often discussed in modern societies. On social media, there are also clothes designed for women to protest the inequality impost on them. As these problems are frequently discussed, it leads to a feminine aesthetic fashion—Rococo. This paper’s research background is based on 1700-1785 in France, known as the Rococo period. Rococo style began in the 1730s, focusing on its intricate and delicate decorations. This paper first used the comparison to analyze the difference between Rococo and Baroque styles by listing the famous architecture–Palac

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18

McCoy, Katharine. "The Political and Revolutionary Implications of the Mysterious History of Parquet Flooring." Inquiry@Queen's Undergraduate Research Conference Proceedings, May 24, 2018. http://dx.doi.org/10.24908/iqurcp.11660.

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This presentation seeks to ask about the potential political implications of the history of parquet flooring. This is to prove that while politics indeed shape art, art also has a hand in shaping politics; and it is more symbiotic than generally assumed. Using empirical quantitative and qualitative research, I traced the origins of parquet flooring to the Palace at Versailles. This is where wood and the techniques of marquetry were first used to replace a marble floor in the King’s bedroom. The marble was too cold, and as the King’s Bedroom had a number of issues with drafts, it added to the h

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19

Frédéric, Duhart. ""Les goûts alimentaires des élites urbaines du Sud-Ouest de la France au XVIIIe siècle : convergences, divergences et influences.", in C. Vassas (dir.) Les suds. Construction et déconstruction, Toulouse, 2001, París, Ed. du CTHS, 2005, pp. 193-205." December 31, 2005. https://doi.org/10.5281/zenodo.2543369.

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 Les tables des élites urbaines du Sud-Ouest de la France, celles où le goût prend le pas sur la nécessité, sont un élément incontournable d’une histoire alimentaire du Sud. En tirant tout le parti possible des comptabilités urbaines qui autorisent une approche de l’art culinaire en vogue localement et en utilisant des apports plus classiques, il est possible de réfléchir sur la dynamique des goûts. Alors qu’il convient de remarquer que certains produits sont l’objet de relations gourmandes

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20

McGillivray, Glen. "Nature Transformed: English Landscape Gardens and Theatrum Mundi." M/C Journal 19, no. 4 (2016). http://dx.doi.org/10.5204/mcj.1146.

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IntroductionThe European will to modify the natural world emerged through English landscape design during the eighteenth century. Released from the neo-classical aesthetic dichotomy of the beautiful and the ugly, new categories of the picturesque and the sublime gestured towards an affective relationship to nature. Europeans began to see the world as a picture, the elements of which were composed as though part of a theatrical scene. Quite literally, as I shall discuss below, gardens were “composed with ‘pantomimic’ elements – ruins of castles and towers, rough hewn bridges, Chinese pagodas an

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21

Goodall, Jane. "Looking Glass Worlds: The Queen and the Mirror." M/C Journal 19, no. 4 (2016). http://dx.doi.org/10.5204/mcj.1141.

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As Lewis Carroll’s Alice comes to the end of her journey through the looking glass world, she has also come to the end of her patience with its strange power games and arbitrations. At every stage of the adventure, she has encountered someone who wants to dictate rules and protocols, and a lesson on table manners from the Red Queen finally triggers rebellion. “I can’t stand this any more,” Alice cries, as she seizes the tablecloth and hurls the entire setting into chaos (279). Then, catching hold of the Red Queen, she gives her a good shaking, until the rigid contours of the imperious figure b

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