The Louvre in the context of "Académie des Inscriptions et Belles-Lettres"

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⭐ Core Definition: The Louvre

The Louvre, or the Louvre Museum (French: Musée du Louvre [myze dy luvʁ] ), is a national art museum in Paris, France, and the most visited museum in the world. It is located on the Right Bank of the Seine in the city's 1st arrondissement (district) and home to some of the most canonical works of Western art, including the Mona Lisa, Venus de Milo, and Winged Victory. The museum is housed in the Louvre Palace, originally built in the late 12th to 13th century under Philip II. Remnants of the Medieval Louvre fortress are visible in the basement of the museum. Due to urban expansion, the fortress eventually lost its defensive function, and in 1546 Francis I converted it into the primary residence of the French kings.

The building was redesigned and extended many times to form the present Louvre Palace. In 1682, Louis XIV chose the Palace of Versailles for his household, leaving the Louvre primarily as a place to display the royal collection, including, from 1692, a collection of ancient Greek and Roman sculpture. In 1692, the building was occupied by the Académie des Inscriptions et Belles-Lettres and the Académie Royale de Peinture et de Sculpture, which in 1699 held the first of a series of salons. The Académie remained at the Louvre for 100 years. During the French Revolution, the National Assembly decreed that the Louvre should be used as a museum to display the nation's masterpieces. The palace and exhibition space was expanded in the 19th century and again in the 20th.

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The Louvre in the context of Aegisthus

Aegisthus (/ɪˈɪsθəs/; Ancient Greek: Αἴγισθος; also transliterated as Aigisthos, [ǎi̯ɡistʰos]) was a figure in Greek mythology. Aegisthus is known from two primary sources: the first is Homer's Odyssey, believed to have been first written down by Homer at the end of the 8th century BC, and the second from Aeschylus's Oresteia, written in the 5th century BC. Aegisthus also features heavily in the action of Euripides's Electra (c. 420 BC), although his character remains offstage.

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The Louvre in the context of Nicolas Tournier

Nicolas Tournier (baptised 12 July 1590 – d. before February 1639) was a French Baroque painter.

Born in Montbéliard, he followed the profession of his father, André Tournier, "a Protestant painter from Besançon". Little is known of his life before his arrival in Rome, where he worked between 1619 and 1626, and where he was influenced by the work of Caravaggio. According to one early source, he was a pupil of Valentin de Boulogne. Tournier's Roman paintings are stylistically close to the works of Bartolomeo Manfredi. He painted both secular and religious subjects; an example of the latter is The Crucifixion with St. Vincent de Paul (Paris, The Louvre). After 1626 Tournier was active in southern France. He died in Toulouse.

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The Louvre in the context of Élise Bruyère

Élise Bruyère (1776–1847) was a French painter who specialized in portraits and floral still lifes.

Bruyère was the daughter of Jean-Jacques-François Le Barbier (1738–1836), a noted French writer, illustrator, and painter of French historical scenes. Her sister Henriette was also a painter. Bruyère was of the Realist school of French painting, she had studied with Jean-Baptiste Jacques Augustin and Jan Frans van Dael and her still lifes, particularly her paintings of flowers, are remarkably detailed. A typical work, Vase de fleurs, is in the Musée du Louvre in Paris.

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The Louvre in the context of Louis Béroud

Louis Béroud (17 January 1852, Lyon – 9 October 1930, Paris) was a French painter of the late 19th and early 20th century. Some of his paintings are visible at the Musée Carnavalet and The Louvre in Paris. On 22 August 1911, Béroud came to The Louvre to sketch his painting Mona Lisa au Louvre but where the famous La Joconde, by Leonardo da Vinci, should have stood, he found four iron pegs. Béroud contacted the section head of the guards, who thought the painting was being photographed for marketing purposes. A few hours later, Béroud checked back with the section head of the museum, and it was confirmed that the Mona Lisa was not with the photographers. The Louvre was closed for an entire week to aid in investigation of the theft.

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