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Journal articles on the topic 'Louvre'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 March 2023

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1

Astrauskas, Tomas, Pranas Baltrėnas, Tomas Januševičius, and Raimondas Grubliauskas. "Louvred Noise Barrier for Traffic Noise Reduction." Baltic Journal of Road and Bridge Engineering 16, no. 1 (March 29, 2021): 140–54. http://dx.doi.org/10.7250/bjrbe.2021-16.519.

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Environmental issues near roads become more and more important in our society daily life. One of the most critical environmental issues is traffic noise. The present paper study louvred noise barrier designed by authors. The louvred noise barrier provides sound attenuation while allowing airflow and sunlight through it. Since the airflow resistance of the barrier is low, it requires a shallow foundation compared to conventional noise barriers. The sound attenuation performance of the louvred noise barrier was tested experimentally in a sound transmission chamber. Airflow resistance simulated using a computational fluid dynamics model. The simulation and experimental study were done with different louvred noise barrier setup: change of louvre blade angle and sound-absorbing material thickness. The results showed potential for future development for the field testing. Sound attenuation was highest in 2500 Hz and 3150 Hz octave frequency bands. Depending on the louvred barrier setup, sound attenuation was up to 28 dB(A) in mentioned frequency bands. The equivalent sound pressure level reduced up to 17 dB(A). The results showed that an increase in the louvre blade angle increases sound attenuation and increases airflow resistance.

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2

Molinié‑Andlauer, Marie‑Alix. "Du musée du louvre au territoire Louvre ?" Géographie et cultures, no. 111 (September 1, 2019): 143–64. http://dx.doi.org/10.4000/gc.12772.

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3

Khidmat, Rendy Perdana, Hiroatsu Fukuda, Beta Paramita, M. Donny Koerniawan, and Kustiani Kustiani. "The optimization of louvers shading devices and room orientation under three different sky conditions." Journal of Daylighting 9, no. 2 (August 17, 2022): 137–49. http://dx.doi.org/10.15627/jd.2022.11.

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This paper presents parametric and multi-objective optimization (MOO) approach in optimizing daylight and energy consumption by incorporating louvres shading devices depicting three different sky conditions: Birmingham, UK, Jakarta, Indonesia, and Sydney, Australia. The study aims to observe the best louvre design configuration for each given context. The proposed optimization system iterates the logic of the louvre shading device as the dynamic design parameters such as overhang, blade size, spacing, and blade rotation, together with the room orientation to achieve maximum useful daylight illuminance (UDI) and the shading aperture while simultaneously reduces energy consumption. A total of 8509 simulations for three cities have been run and distributed for the purpose of this research. The results of MOO stated an improvement in UDI for Birmingham, Jakarta, and Sydney of 80%, 146.26%, and 79.48%, and cooling energy consumption of 28%, 3.26%, and 2.99% respectively.

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4

Leri, Jean-Marc. "Les Registres de copistes et de Salons des Archives des Musées Nationaux: une source biographique des Artistes du XIXe Siecle Ainformatiser." Art Libraries Journal 15, no. 2 (1990): 30–32. http://dx.doi.org/10.1017/s030747220000674x.

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The Archives des Musées Nationaux in the Palais du Louvre comprise the archives of the Louvre itself, and of the Direction des Musées de France including the Réunion des Musées Nationaux. The archives of the Louvre include both ‘les registres de copistes’, a record of artists who sought entry to the Louvre, to visit and to make copies, during 1821-1850, and ‘les registres des salons’, covering the years 1824-1853 when the salons were still held in the Louvre. Together these comprise an invaluable source of information on artists in the first half of the 19th century, including as they do details of particular works, and artists’ addresses. A detailed analysis of this documentation was scheduled to begin at the start of 1990.

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5

Dudley, Lauren. "Hubert Robert’s Louvre in ruins: an exploratory note on imagined destruction and the national museum." Sculpture Journal: Volume 31, Issue 3 31, no. 3 (September 1, 2022): 319–30. http://dx.doi.org/10.3828/sj.2022.31.3.03.

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This short study considers the artist Hubert Robert’s Imaginary View of the Grande Galerie in the Louvre in Ruins and Design for the Grande Galerie in the Louvre, a pair of pendants that were exhibited at the 1796 Salon du Louvre and are now part of the national museum’s permanent collection. Robert’s thought-provoking display explored the formation of the national collection at the Louvre as part of the broad spectrum of revolutionary iconoclasm. This article examines Robert’s contribution to emerging debates about patrimoine and his professional role working as keeper for the Louvre in relation to the production and exhibition of the views representing the museum. It proposes that while various interpretations were plausible, Robert presented his views of the Louvre’s transformation from a royal palace into a republican museum as a process characterized by creation and destruction.

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6

Опарин, И. "Musee du Louvre." Смена, no. 1 (2008): 146–53.

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7

Clerget, Yves, Régis Labourdette, and Rémi Rouyer. "Promenade au Louvre." Les cahiers de médiologie 10, no. 2 (2000): 266. http://dx.doi.org/10.3917/cdm.010.0266.

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8

Chastel, André. "L'histoire du Louvre." Revue de l'Art 78, no. 1 (1987): 4. http://dx.doi.org/10.3406/rvart.1987.347663.

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9

EVERTS, SARAH. "THE LOUVRE LABORATORY." Chemical & Engineering News 86, no. 22 (June 2, 2008): 46–47. http://dx.doi.org/10.1021/cen-v086n022.p046.

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10

Audert, Marcel. "L‘École du Louvre." Museum International (Edition Francaise) 1, no. 1-2 (April 24, 2009): 37–39. http://dx.doi.org/10.1111/j.1755-5825.1948.tb00253.x.

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11

Molinié-Andlauer, Marie-Alix. "Political Issues of the Louvre's Internationalisation." Locus: Revista de História 26, no. 2 (September 10, 2020): 150–68. http://dx.doi.org/10.34019/2594-8296.2020.v26.30963.

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This article focuses on the internationalisation of the Louvre since the 2000s. A flagship of French culture, it is, along with the British Museum in London, the universal museum of reference. The French state, through successive governments, has mobilised the Louvre, that is, the institution, as an intermediary in international agreements. This museum and cultural institution then become a real stakeholder in international relations. Thus, the whole point of our remarks is to analyse the issues and controversies surrounding the close relationship between the Louvre and the French State. The Louvre, a renowned French museum and heritage site, is now multi-spatial. This model responds in part to a request from the French government to perfect the interplay of international influence. The internationalisation of the Louvre is thus understood not as the Louvre's reputation on an international level, but as the use of this heritage in international political strategies. By approaching this case in French international relations, we can first of all question the stakes of the transition from heritage to National Branding. In other words, to understand how in contemporary literature, heritage is transformed not only as a tool to retrace the past of a society, but also how it becomes an emblem that can be mobilised by States to claim a form of legitimacy from other States. The method, which is essentially based on interviews conducted within the framework of these, aims to answer two questions. What does the deterritorialisation of a national heritage such as the Louvre produce regarding international relations between the Louvre, the city of Abu Dhabi and in relations between France and the United Arab Emirates, then the impact that the Louvre Abu Dhabi can have at the local and regional level.

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12

Knack, Eduardo Roberto Jordão. "Ruínas, monumentos e patrimônio: relações entre Giovanni Battista Piranesi e Hubert Robert no século XVIII." Mouseion, no. 40 (December 27, 2021): 01. http://dx.doi.org/10.18316/mouseion.v0i40.9249.

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O presente trabalho procura analisar possíveis relações entre as obras do gravurista italiano Giovanni Battista Piranesi (1720-1778) e do pintor francês Hubert Robert (1733-1808) em um contexto de emergência do “culto das ruínas” na Europa. A relação entre os dois artistas e sua produção auxilia na compreensão sobre como as noções de monumento e patrimônio se relacionaram com o fascínio pelas ruínas do passado, além de exemplificar interpretações eruditas sobre tensões e crises de historicidade que despontaram ao longo do século XVIII. Para exploras essas tensões, são observadas algumas obras como as Antichitá Romane (Antiguidades Romanas) e os Grotteschi (Grotescos), de Piranesi; e Project for the Grande Galerie of the Louvre (Projeto para a Grande Galeria do Louvre) e Imaginary View of the Grande Galerie of the Louvre (Vista imaginária para a Grande Galeria do Louvre) de Robert.

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13

Heel, Koenraad Donker van. "P. Louvre E 7856 C: A Possible Memorandum about Tax Payment from the Eisenlohr Lot." Zeitschrift für Ägyptische Sprache und Altertumskunde 146, no. 1 (May 20, 2019): 30–35. http://dx.doi.org/10.1515/zaes-2019-0003.

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Summary First publication of P. Louvre E 7856 C, a documentary fragment from the archive of Djekhy & Son (abnormal hieratic and early demotic P. Louvre E 7832-7861, bought together with Ptolemaic demotic P. Louvre E 7862), which shows both abnormal hieratic and early demotic traits. It was most probably written in the reign of Amasis, and may have been a receipt for the payment of the tax of the overseer of the necropolis (HD mr-X#s.t) or – perhaps more likely – a memo about the payment of this (or another) tax.

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14

Lübecker, Nikolaj. "On fire." Alphaville: Journal of Film and Screen Media, no. 23 (July 15, 2022): 73–92. http://dx.doi.org/10.33178/alpha.23.04.

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This article considers Jean-Marie Straub and Danièle Huillet’s essay film about Paul Cézanne: A Visit to the Louvre (Une visite au Louvre, 2003). Remarkably, this film features no artworks by Cézanne, nor any photographs of the painter—instead, it combines three elements: a female voiceover reads Cézanne’s reflections on fifteen famous artworks in the Louvre; as we listen, Straub and Huillet show the artworks in static shots; finally, the directors add three further shots: first we see the Louvre from the outside; halfway through the film, we see the Seine from the Louvre; the film then ends with a circular shot of a forest clearing, lifted from the directors’ previous film Workers, Peasants (Operai, contadini, 2000). The article argues that Straub and Huillet teach us to see the world with the eyes of Cézanne. We understand that he searches for a fire-force beneath the level of figuration, and that he relies on colour to render this force. Next, the article examines how the directors communicate Cézanne’s fire-force through the singular diction of the voiceover and with their mainly static images. Finally, the article suggests that Straub and Huillet also aim to retrieve the fire-force for political purposes, boldly positioning Workers, Peasants as a continuation of Cézanne’s art.

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15

Murtinho, Vitor. "Louvre: a museum with history [Part 1]." Metálica, no. 8 (July 31, 2018): 18–24. http://dx.doi.org/10.30779/cmm_metalica_mi08_03.

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16

Percheron, Daniel. "Le Louvre à Lens." Le journal de l'école de Paris du management 78, no. 4 (2009): 27. http://dx.doi.org/10.3917/jepam.078.0027.

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17

DONKER VAN HEEL, K. "Papyrus Louvre E 7852." Revue d'Égyptologie 48 (January 1, 1997): 81–93. http://dx.doi.org/10.2143/re.48.0.2003685.

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18

PERRAUD, M. "Un raccord au Louvre." Revue d'Égyptologie 49 (January 1, 1998): 161–73. http://dx.doi.org/10.2143/re.49.0.2003669.

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19

de Gasquet, Pierre. "Le Louvre en Arabie." Commentaire Numéro 117, no. 1 (2007): 238. http://dx.doi.org/10.3917/comm.117.0238.

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20

Donzelot, Jacques. "Lens, annexe du Louvre." Tous urbains 11, no. 3 (2015): 6. http://dx.doi.org/10.3917/tu.011.0006.

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21

Sollers, Philippe, and Armine Kotin Mortimer. "The Masked Baron’s Louvre." Massachusetts Review 63, no. 2 (June 2022): 373–92. http://dx.doi.org/10.1353/mar.2022.0054.

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22

Zutter, Jörg. "Der Louvre von London." Zeitschrift für Kunstgeschichte 84, no. 4 (November 29, 2021): 560–66. http://dx.doi.org/10.1515/zkg-2021-4005.

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23

Pauwels, Yves. "L’architecture sculptée au Louvre." Bulletin Monumental 170, no. 3 (2012): 262–65. http://dx.doi.org/10.3406/bulmo.2012.9117.

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24

Hewett, Ivan, and Glenn Watkins. "Pyramids at the Louvre." Musical Times 136, no. 1823 (January 1995): 36. http://dx.doi.org/10.2307/1003282.

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25

Nouvel, Jean. "Le Louvre Abu Dhabi." Le Genre humain N°60, no. 1 (2019): 163. http://dx.doi.org/10.3917/lgh.060.0163.

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26

Lee, Kevin, Michael Le, Jerome Harri, and Mario Gerla. "Taking the LOUVRE approach." IEEE Vehicular Technology Magazine 4, no. 1 (March 2009): 86–92. http://dx.doi.org/10.1109/mvt.2009.931918.

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27

Monsaingeon, Guillaume. "Le Louvre vu d'Italie." Le Débat 81, no. 4 (1994): 51. http://dx.doi.org/10.3917/deba.081.0051.

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28

Sainte‐marie, Jean‐pierre. "The Louvre Museum School." Museum International 39, no. 4 (December 1987): 265–67. http://dx.doi.org/10.1111/j.1468-0033.1987.tb00708.x.

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29

White, Michele. "Where is the Louvre?" Space and Culture 2, no. 4-5 (August 1999): 47–70. http://dx.doi.org/10.1177/120633120000100404.

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30

DUNCAN, C. "Beginning with the Louvre." Oxford Art Journal 19, no. 1 (January 1, 1996): 107–8. http://dx.doi.org/10.1093/oxartj/19.1.107.

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31

Alford, John A. "Whistling in the Louvre." Missouri Review 31, no. 1 (2008): 66–75. http://dx.doi.org/10.1353/mis.2008.0035.

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32

Wilson, Laurie. "ALBERTO GIACOMETTI'S COPIES OF EGYPTIAN ART: THE LOUVRE OR NOT THE LOUVRE?" Source: Notes in the History of Art 13, no. 1 (October 1993): 26–30. http://dx.doi.org/10.1086/sou.13.1.23203037.

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33

Van den Berg, Karen. "Zur Epistemologie gegenwärtiger Zeigeregime." Zeitschrift für Medien- und Kulturforschung 8, no. 1 (2017): 41–60. http://dx.doi.org/10.28937/1000107621.

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"Wie kommt es, dass sich der Flagship-Store eines Technikkonzerns präsentiert wie eine öffentliche Kunsthalle, während die Dependance des Louvre in Nord-Pas-de-Calais wirkt, als würde man eine iPad-Benutzeroberfläche betreten? Der Beitrag liefert eine Analyse des Louvre Lens und beleuchtet das Projekt in Hinblick auf seine verblüffenden ästhetischen Familienähnlichkeiten in Materialsprache, Struktur und Atmosphäre zu neueren Apple Stores. Dabei wird versucht, die kulturellen und mentalitätsgeschichtlichen Codes zu entziffern und zu plausibilisieren, dass sich hier eine Epistemologie entfaltet, die die Welt als simultan präsentes Symbolsystem begreift. How is it that the flagship store of a technology company presents itself as a public arthall, while the branch of the Louvre in Nord-Pas-de-Calais looks like the user interface of an iPad? The paper provides an analysis of the Louvre Lens and illuminates the project in terms of its stunning aesthetic similarities in material language, structure and atmosphere to recent Apple Stores. Furthermore, it attempts to decipher the cultural and mental-historical codes and argues that an epistemology is developing here which comprehends the world as a simultaneous symbolic system. "

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34

Galard, Jean. "Le vidéodisque au Louvre: nouveaux moyens, nouvelles pratiques." Art Libraries Journal 15, no. 2 (1990): 24–26. http://dx.doi.org/10.1017/s0307472200006726.

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The potential of the videodisc has been recognised at the Louvre and space has been set aside in the Richelieu wing, recently made available to the Museum, to accommodate videodisc installations. Three videodiscs have been or are being produced in the first instance. One provides a general approach to the collections in the Louvre; a second assists the visitor to explore aspects of Ancient Greece by means of a choice of itineraries; and the third illustrates the themes of the guided tours of the Louvre and will be used by the guides to provide a brief introduction at the beginning of their tours. Of these only the first is available for sale, the other two having been designed explicitly for use within the Museum.

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35

Garcia-Ventura, Agnès. "Tres relieves de Khorsabad, Nimrud y Nínive o de donaciones y desideratas: una aproximación a las relaciones entre el Louvre y el Museo de Reproducciones Artísticas de Madrid (1896-1900)." Complutum 31, no. 2 (November 12, 2020): 361–78. http://dx.doi.org/10.5209/cmpl.72489.

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El extinto Museo de Reproducciones Artísticas de Madrid, cuya colección alberga el Museo Nacional de Escultura de Valladolid desde 2011, contó con copias de 14 piezas mesopotámicas. Buena parte de las mismas se encargó a dos museos de referencia europeos: el Museo Británico (Londres) y el Museo del Louvre (París). En este artículo nos fijaremos en tres relieves de Khorsabad, de Nimrud y de Nínive cuyos originales se encuentran en el Louvre. Gracias al trabajo con documentación de archivo del Museo de Reproducciones ha sido posible, en primer lugar, descubrir el vaciado del relieve de Khorsabad como una desiderata que se trató de gestionar en 1896 pero que nunca llegó a materializarse. En segundo lugar se ha identificado al arqueólogo Pierre Paris (1859-1930) como el intermediario que posibilitó que el Louvre donara al museo madrileño los vaciados de dos relieves de Nimrud y de Nínive en el año 1900. Por todo ello, este caso de estudio articulado a partir de tres ejemplos permite reconstruir algunos aspectos de las relaciones entre el Louvre y el Museo de Reproducciones entre 1896 y 1900, reflejo a su vez de los vínculos culturales y diplomáticos entre los dos países implicados.

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36

Richard, Bryan, and Josephine Roosandriantini. "PENERAPAN ARSITEKTUR FUTURISTIK DAN FUNGSIONALIS PADA BANGUNAN MUSEUM LE GRANDE LOUVRE." Jurnal Arsitektur Kolaborasi 2, no. 2 (November 1, 2022): 44–53. http://dx.doi.org/10.54325/kolaborasi.v2i2.33.

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Arsitektur modern merupaka arsitektur yang muncul di Inggris saat revolusi industri pada abad ke-19 dan arsitektur modern muncul karena adanya kebosanan terhadap bentuk arsitektur klasik yang dinilai terlalu berlebihan dengan banyaknya ornamen yang menghiasi bangunan dan karena arsitektur klasik dinilai kurang efektif dalam penggunaan ruang di dalam bangunan sehingga banyak ruang yang terbuang hanya untuk ornamen.Arsitektur modern sendiri memiliki ciri khas dimana bentuk bangunan tersusun atas bentuk geometris,tidak ada atau minim ornamen,mengutamakan penataan ruang dan disesuaikan dengan kebutuhan pengguna. Bangunan yang akan dijadikan objek penelitian adalah museum Le Grande Louvre,Paris , Prancis dikarenakan museum ini memiliki material dan bentuk yang menonjol dibandingkan dengan bangunan sekitarnya yang berupa benteng. Tujuan penelitian ini untuk mengidentifikasi unsur-unsur arsitektur modern dan aliran arsitektur modern yang digunakan pada bangunan museum Le Grande Louvre. Penelitian ini akan berfokus pada bentuk bangunan, material bangunan,denah dan sirkulasi ruang pada bangunan museum dengan menggunakan metode literatur. Berdasarkan studi literatur yang telah dilakukan terhadap bangunan museum Louvre ditemukan unsur-unsur arsitektur modern pada bangunan seperti penggunaan material pabrikasi berupa besi, kaca, beton, penggunaan bentuk geometri pada bangunan sehingga dapat diambil kesimpulan bahwa museum Louvre ini menggunakan arsitektur modern pada bangunannya.

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37

Van Heel, Koen Donker. "P. Louvre E 3228: some late cursive (abnormal) hieratic gems from the Louvre." Journal of Egyptian Archaeology 101, no. 1 (January 2015): 320–24. http://dx.doi.org/10.1177/030751331510100117.

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38

DENIEL, Jean-Marc. "Computing spatial distribution of tube and louvre luminaires efficiency from their description." International Journal of Sustainable Lighting 22, no. 1 (June 15, 2020): 12–27. http://dx.doi.org/10.26607/ijsl.v22i1.94.

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Lighting computation requires photometry data that are not always available. Lacking photometry data limits lighting study to in situ measurement, luminaire measurement or use of similar luminaire photometry. This is not satisfactory, neither for convenience nor cost and accuracy reasons. Fitting the spatial distribution of luminaire efficiency to their description would allow lighting computations in this kind of situation. An efficiency spatial distribution model is proposed for grid and louvre tube luminaires, taking optic width, louvre between-axis and gloss as parameters. It is constructed over 12 measured efficiency spatial distributions and the corresponding luminaire descriptors. Even if optic and louvre gloss cannot be differentiated, this model fits to measurements and allows for computed irradiance close to experiments within −5% to +19%. In addition, luminaire descriptors can freely vary inside their experimental range and even be extrapolated.

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39

Secchi, Simone, Patrizio Fausti, Gianfranco Cellai, Martina Parente, Andrea Santoni, and Nicolò Zuccherini Martello. "The acoustic and daylighting effects of external façade sun shading systems." Journal of Facade Design and Engineering 10, no. 1 (December 31, 2022): 155–72. http://dx.doi.org/10.47982/jfde.2022.1.07.

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External sun shading devices are increasingly used in sustainable buildings to reduce the greenhouse effect in the summer and the glare effect due to direct solar irradiation through transparent surfaces. The acoustic effects of these devices have been investigated in recent studies that suggest the possibility of optimising these elements to improve acoustic comfort in indoor environments, even with open windows. Nevertheless, there are few studies that analyse the combined effect of these devices on acoustic attenuation and improved daylighting. In this paper, the results of acoustics and daylighting simulations are reported, considering different dimensions, distances of the louvres and orientations of the façade. The main results of previous works concerning the effect of lining the bottom side of each louvre with sound-absorbing material are also briefly summarised. The acoustic effects of different configurations of the louvres are evaluated in terms of Insertion Loss in the façade plane. For the lighting simulations (daylight factor, daylighting uniformity and daylight glare probability), the variation of the shielding effect is studied considering the spacing between the louvres and the orientation of the façade for different times and seasons for latitude in the South of Europe.

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40

Caubet, Annie. "Ugarit at the Louvre Museum." Near Eastern Archaeology 63, no. 4 (December 2000): 216–19. http://dx.doi.org/10.2307/3210790.

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41

KOENIG, Y. "Les Patèques inscrits du Louvre." Revue d'Égyptologie 43 (January 1, 1992): 123–32. http://dx.doi.org/10.2143/re.43.0.2011274.

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42

HERBIN, Fr R. "P. Louvre N 3176 H." Revue d'Égyptologie 50 (January 1, 1999): 283–85. http://dx.doi.org/10.2143/re.50.0.2003658.

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43

Cismaru, Alfred. "THE LOUVRE: REBUILDING TO SURVIVE." Contemporary French Civilization 11, no. 2 (July 1987): 231–39. http://dx.doi.org/10.3828/cfc.1987.11.2.008.

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44

Carraud, Christophe. "Petite promenade au Grand Louvre." Commentaire Numéro65, no. 1 (1994): 163. http://dx.doi.org/10.3917/comm.065.0163.

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45

Grimod, Dominique. "Le Louvre à Abou Dhabi ?" Commentaire Numéro118, no. 2 (2007): 481. http://dx.doi.org/10.3917/comm.118.0481.

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46

Cohen, Évelyne, and Pascale Goetschel. "Visite(s) au Louvre-Lens." Sociétés & Représentations 36, no. 2 (2013): 167. http://dx.doi.org/10.3917/sr.036.0167.

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47

Nicoud, Guillaume. "Le Louvre, quartier des arts." Dix-huitième siècle 50, no. 1 (2018): 159. http://dx.doi.org/10.3917/dhs.050.0159.

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48

Ponnau, Dominique. "Le Louvre et son école." Le Débat 66, no. 4 (1991): 170. http://dx.doi.org/10.3917/deba.066.0170.

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49

Schnapper, Antoine. "De Félibien au Grand Louvre." Le Débat 81, no. 4 (1994): 19. http://dx.doi.org/10.3917/deba.081.0019.

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Schwartz, Gary. "À propos du Grand Louvre." Le Débat 87, no. 5 (1995): 167. http://dx.doi.org/10.3917/deba.087.0167.

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