Academic literature on the topic 'Musée d'Orsay'

James D. Herbert, Paris 1937: Worlds on Exhibition (Ithaca: Cornell University Press, 1998), 207 pp., £31.50, ISBN 0-801-43494-7. Andrea Kupfer Schneider, Creating the Musée d'Orsay. The Politics of Culture in France (University Park, PA: Pennsylvania State University Press, 1998), 150 pp., $25.00, ISBN 0-271-01752-X. Juan Pedro Lorente, Cathedral of Urban Modernity. The First Museums of Contemporary Art, 1800–1930 (Aldershot: Ashgate, 1998), £47.50, ISBN 1-859-28383-7. Ministère de la Culture et de la Communication, Direction des Musées de France, Centre national de la Recherche Scientifique, Centre de Sociologie des Organisations, Musée National du Moyen Age, Publics et projets culturels. Un enjeu des musées en Europe. Actes des Journées d'étude 26 et 27 octobre 1998, Paris, Musée national du Moyen Age (Paris: L'Harmattan, 2000), price not given, ISBN 2-738-48645-2. Paul Rasse, Les Musées à la lumière de l'espace public. Histoire, évolution, enjeux (Paris: L'Harmattan, Logiques Sociales, 1999), 238 pp., price not given, ISBN 2-738-47769-0. Selma Reuben Holo, Beyond the Prado. Museums and Identity in Democratic Spain (Liverpool University Press, 1999), 222 pp., price not given, ISBN 0-853-23535-X. Brandon Taylor, Art for the Nation. Exhibitions and the London Public 1747–2001 (Manchester University Press, 1990), 314 pp., price not given, ISBN 0-719-05452-4.

The main focus of this thesis is to analyze three architecture models, displayed at three major art museums. Using Roland Barthes concept of the mythology as a meta layer to the language of the exhibition, the study of the models is also a way of studying their visual and institutional environment – thus inquiring into how the display of architectural models, in the context of the modern art exhibition, activates and displaces the discourse of the exhibition. Taking into consideration the different kinds of objects on display (and those that are not), as well as their relation to the artist and the artworks, the discussion is largely affected by the notion of the representation, as well as the ideology of the modernistic narrative. Upon analyzing these aspects, it becomes clear that the models all convey narratives of their own, that in turn are activated and transformed in their dialogue with the rest of the exhibition. The models become part of the larger narrative that visualizes different ideas about modernism and modernity. But the analysis of the interplay between model and display also show how underlying narratives of nationalism and the relationship between art and architecture are a dominant pretext in the exhibitions.

Invention révolutionnaire, le musée d'art ouvert au public est une institution qui offre un espace contradictoire, cela à plusieurs niveaux : dans les origines conflictuelles du musée, dans la validation de ses relations avec un pouvoir institutionnalisé, dans la conceptualisation de sa dimension publique. Une approche croisée de l'histoire de l'institution et de l'évolution de la question politique nous fera relever précisément ces contradictions et mettra en évidence une tension entre deux pôles antagonistes, en dialogue constant, le principe républicain et la question démocratique. Cette tension s'avère pertinente pour évoquer les musées nationaux et les politiques culturelles de la Cinquième République. On voit alors en quoi le musée national est une institution républicaine et dans quelle mesure la « démocratisation culturelle » s'articule avec la question démocratique. C'est à partir de ces réflexions que l'on peut questionner l'évolution des musées nationaux à partir des années 2000 et leur vaste mouvement de réforme. La réforme des musées nationaux se présente comme la modernisation de leur mode de gestion. Nous en analysons les effets dans deux cas significatifs que sont les musées du Louvre et d'Orsay, à partir de la dimension législative de ces mutations, de déclarations publiques des directions des établissements et d'entretiens réalisés avec des personnels de ces musées. Après avoir contextualisé/caractérisé ce mouvement de réforme, celui-ci est interrogé à partir de la tension définie plus haut entre principe républicain et question démocratique. On verra comment cette tension se reconfigure et se déplace dans un nouveau type de musée, le musée-entreprise<br>As a revolutionary invention, art museum opened to the public in France is an institution that offers a contradictory space, in different levels: in the conflicts of the origins of the museum, in the validation of its relation of an institutionalized power, in the conceptualization of its public dimension. Mixing the particular history of this institution with an evolution of political issue, is a way to name these contradictions. This highlights a tension between two antagonistic poles, but in a constant dialogue, republican principle and democratic question. This conflictual dialogue has to be understood as an identification process and its crisis. This tension appears relevant to analyze national museums and cultural Policy during the french Fifth Republic. Therefore, national museum seems to be a republican institution and how “cultural democratization” enunciate itself with democratic question. From these reflexions, evolution of national museums and cultural Policy since 2000, and, the large amendments they know, are analyzable. Amendment of national museums presents itself as a modernization of their management and administration, by alleviating their ministerial tutelage. We analyze these amendments effects from two examples, Louvre and Orsay museums, by studying legislative dispositions, public statements of their directorate and interviews with employees in the museums. After this amendment movement has been contextualized and defined, it is analyzed from the tension between republican principle and democratic question. It is reconfigured and shifted in a new kind of museum appearing: company-museum

碩士<br>輔仁大學<br>博物館學研究所碩士班<br>106<br>Museums fundamentally began as human society’s equivalent of cultural memory banks. Traditionally, the main functions of museums have revolved around collecting, preserving, researching and displaying objects for the purpose of education. Due to globalization, however, a greater emphasis has been placed on exhibitions, interpretations and visitors. Museums have turned from object-oriented into visitor-oriented. Meanwhile, since the concept of New Museology (in the 1980’s), museums offer tangible or intangible services for their existence and development. Significant efforts have been made to rethink interpretation to enrich visitors’ experiences. Later decades of the 20th century, mass media corporations have become involved with temporary exhibitions. In Taiwan, museums collaborating with mass media corporations to organize exhibitions became a pervasive trend starting in the 1990’s. With this trend, the purpose of this study is to evaluate the educational effect of the interpretation and to analyze the visiting experience from the viewpoints of visitors with varying pre-existing understandings of art history. This is a case study of narratives of touring exhibit at museums “Musée d'Orsay: The Aesthetic worlds of the 19th century” at NPM, Taipei, 2017. After I conducted in-depth interview and analysis, the conclusions had been found: The interpretation of exhibit and visitor's pre-understanding are disconnected because the exhibition is unilateral narrative. In terms of Museum’s function, the educational effect is a sort of lost and disorganized in this exhibition.