![]() Many people declared that the simple idea of the new ceiling was a “sacrilege” against the architect of the Opera House, Charles Garnier, and the artist Lenepveau others stigmatised the “artificial modernity” of the new ceiling others blamed the idea of modernisation itself, in all its aspects. During the intermission Malraux asked to his long-time friend Chagall to do it and the artist eventually accepted the job. Apparently during the premiere, the minister looked at the mythological representation in the ceiling and realised that the extremely academic image of The Muses and the Hours of the day and night could and should be replaced by something more modern and in line with his ideas of modernisation. ![]() The inspiration for this redecoration was given to Malraux by the set and the costumes created by Chagall for Ravel’s ballet Daphny and Chloe, performed at the Opera House in 1960. If you know what happened with the Louvre’s pyramid and the Eiffel Tower you know how Parisians can be difficult to handle when it comes to Art&Architecture drama! The scandal was so big that it is still quite vivid nowadays. To say that this new ceiling “aroused polemics” is underestimating the situation. On the 23 rd of September 1964 André Malraux, French minister of cultural affairs, inaugurated the new Palais Garnier Opera House’s ceiling painted by Marc Chagall in the auditorium.Ĭovering 240 m2 this modern ceiling made by 12 panels was – and still is – covering completely the original decoration made in the 19 th century by the painter Jules-Eugene Lenepveau.
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