Bourellec Brothers at Chateau Versailles

versailles-chateau4 (FILEminimizer)From where I was taking this picture, I had an impression of looking at a giant stethoscope; and since in matters of design it is the figure-background principle that decides everything, I thought a medical center should have bought it; then for a hospital, it would be too dim; for I hesitate to say if this light fixture really illuminates the stairs: Inchoatness — the point right before dawn, or twilight; I guess we don’t look better better lit.


About versaillesgossip, before and after Francis Ponge

The author of the blogs Versailles Gossip and Before and After Francis Ponge, Vadim Bystritski lives and teaches in Brest France. The the three main themes of his literary endeavours are humor, the French Prose Poetry, the French XVII and XVIII Century Art and History. His writings and occasionally art has been published in a number of ezines (Eratio, Out of Nothing, Scars TV, etc). He also contributes to Pinterest where he comments on the artifiacts from the Louvre and other collections. Some of his shorter texts are in Spanish, Russian and French.
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4 Responses to Bourellec Brothers at Chateau Versailles

  1. Regina says:

    I suppose as the 1st permanent contemporary installation at Versailles in its entire history…one should break out their Diamonds of the 1st Water…sparking rivulets of crystals shimmering aglow at L’ Heure Bleue! Marie Antoinette would actually LOVE this…as she loved all that was NEW!

    • You might be right, why cannot I see it as a necklace? As for Marie-Antoinette’s taste, there is just not enough gilded bronze: it’s not that she in any way directed the fashions that way: to me there was rococo, and then came Du Barry; Marie-Antoinette’s style is slightly different, but not any more radical, because rococo and classicism co-existed since the XVII century; Du Barry threw her weight in favor of the latter and it was an avalanche from there on. The gilded bronze came in with painted porcelain under Pompadour, and I’d say that Du Barry respected that; whereas for Marie-Antoinette porcelain had to go. I think, Louis XVI still leaned toward Du Barry stile — he still had some porcelain painting done for him, but mixing it with furniture quickly became a no-no, who knows, perhaps he was too heavy for that.

  2. Regina says:

    I agree about La Dubarry…Pavilion de Louveciennes says it ALL…especially after she cast out Fragonard for Vien and Gouthiere…shades of Gabriel and the Petit Trianon!

    • Rumor has it that Fragonard misinterpreted the function of the pavilion, and his pastoral erotica didn’t fit in; they also say that his shepherd and shepherdess looked too much like Du Barry and Louis XV.

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