Enfilade

Exhibition | Blondel, Architecte des Lumières

Posted in exhibitions by Editor on April 2, 2018

Opening next month in Metz:

Blondel, Architecte des Lumières
Galerie de l’Arsenal, Metz, 12 April — 13 July 2018

Architecte parisien, académicien, professeur royal, Jacques-François Blondel (1705–1774) vint à Metz en 1761. Il est chargé par le Maréchal d’Estrées d’aménager les places autour de la Cathédrale Saint-Étienne. Son projet, réalisé quelques années plus tard, constitue l’un des meilleurs ensembles urbains du xviiie siècle. En effet, avant tout théoricien, ses constructions sont rares et précieuses. Son chef-d’oeuvre est incontestablement l’aménagement de la Place d’Armes à Metz qui se situe dans la lignée de ses prestigieuses consoeurs parisiennes, que sont Vendôme ou Concorde. Cette exposition inédite, accompagnant la candidature de « Metz royale et impériale » sur la liste du patrimoine mondial, propose de faire découvrir à travers le projet messin les talents multiples de Jacques-François Blondel, collaborateur de l’Encyclopédie de Diderot et d’Alembert, auteur prolifique, créateur de décors éphémères, concepteurs de nombreux projets et surtout professeur qui forma toute une génération d’architectes européens et dont la méthode d’enseignement servira de fondement au système actuel d’apprentissage de l’architecture.

Une production de la Ville de Metz en partenariat avec la Cité de l’Architecture et du Patrimoine de Paris, l’École Nationale Supérieure d’Architecture de Nancy et la Cité musicale-Metz.

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More information about Metz’s UNESCO application is available here:

The National Committee of French World Heritage Properties, meeting on January 9, 2009, issued a favorable opinion about the inclusion of Metz on the French tentative list. This is only a first step, but it is essential. The city is eligible for inclusion on the UNESCO World Heritage List. Metz has accumulated an incredible architectural and urban heritage over time. Under the label “Royal and imperial Metz,” the application aims at recognizing the unusual urban adventure that took place in the Messin city from the second half of the 19th century to the beginning of the 20th century, before, during and after the German annexation [in 1871].

Exhibition | Architecture et Pouvoir

Posted in exhibitions by Editor on April 2, 2018

In 1903 Paul Tornow’s neo-Gothic portal for the Cathedral of Metz replaced the classical portal designed by Jacques-François Blondel, which dated to 1764.

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From Cité de l’architecture et du patrimoine:

Architecture et Pouvoir: Un Portail pour la Cathédrale de Metz
Cité de l’architecture et du patrimoine, Paris, 28 March — September 2018

Curated by Aurélien Davrius

En parallèle de l’exposition Blondel, architecte des Lumières présentée à Metz, du 12 avril au 13 juillet 2018, le musée des Monuments français, en partenariat avec la Ville de Metz et l’École nationale supérieure d’architecture de Nancy, propose une exposition-dossier consacrée à la singulière fortune du portail de la cathédrale de Metz.

Le portail élevé en 1764 par Jacques-François Blondel est remplacé par le portail néo-gothique que nous connaissons aujourd’hui, inauguré en 1903. Les photographies et documents rassemblés dans l’exposition retracent l’histoire de cette transformation ; ils soulignent aussi la manière dont les deux portails ont chacun servi de support à la manifestation et à l’expression du pouvoir politique. Le roi Louis XV tout d’abord, à qui l’œuvre de Jacques-François Blondel rendait hommage ; Guillaume II ensuite, kaiser du Second Reich immortalisé sous le traits du prophète Daniel sur le portail néo-gothique conçu par son architecte, Paul Tornow (1848–1921).

La massivité et la dissonance du vocabulaire classique du portique élevé par Jacques-François Blondel avec le style gothique de la cathédrale, maintes fois décriées dès le début du XIXe siècle, ont certainement contribué à cette métamorphose. Cependant, dans le contexte de l’annexion de l’Alsace-Moselle par la Prusse, son démantèlement au profit du portail néo-gothique de Paul Tornow invite aussi à interroger la portée politique du geste architectural : entre francisation et germanisation d’un territoire, le nouveau pouvoir n’a-t-il pas tenté de faire disparaître les traces d’un certain passé pour inscrire sa propre histoire ?

Stephanie Wiles Named Director of the Yale Art Gallery

Posted in museums by Editor on April 2, 2018

Press release (28 March 2018) from Yale:

Stephanie Wiles (Photo by Jon Reis Photography).

Stephanie Wiles, currently the Richard J. Schwartz Director of the Herbert F. Johnson Museum of Art at Cornell University, will serve as the next Henry J. Heinz II Director of the Yale University Art Gallery, announced President Peter Salovey. Her appointment will begin July 1.

“I am thrilled to announce the appointment of Stephanie Wiles,” Salovey said. “She is an inspiring leader who is excited by the power of art to help us make connections and spark new ideas. I know she will steward the gallery—one of Yale’s finest treasures—while, together with other arts leaders on campus, envisioning new possibilities for the arts at our university.”

Wiles comes to Yale with over 20 years of experience leading college and university art museums. In her prior roles, Wiles has led efforts to connect the visual arts to other areas of university life by developing interdisciplinary courses, reimagining gallery spaces to be more inviting to visitors from campus and beyond, and spearheading exhibitions and publications to showcase research. She served on several committees at Cornell Tech, a science and technology graduate school in New York City, tasked with bringing art to the campus and into the curriculum. Wiles has successfully created educational and research opportunities across disciplines that take advantage of museum collections. She secured funding from the Andrew W. Mellon Foundation to develop eight semester-long courses that bridged the arts, humanities, science, and engineering.

At Cornell, Ms. Wiles oversaw the negotiation and completion of Cosmos, a site-specific light sculpture by Leo Villareal ’90 comprising 12,000 LED lights. The work, named in honor of scientist Carl Sagan and visible across campus and from many parts of Ithaca, is a beacon attracting visitors to the museum.

“Stephanie shares my commitment to connecting the arts to everything we do at Yale,” Salovey said. “The arts can bring us together, inspiring us to see ourselves and the world with new eyes. As we continue to foster an even more unified Yale, we are imagining new ways to connect the gallery’s magnificent resources to education, research, preservation, and practice. I am confident Stephanie will guide these efforts with enormous wisdom, creativity, and vision.”

Wiles began her career in the department of drawings and prints at the Morgan Library & Museum in New York City; she later assumed leadership positions at Wesleyan University, Oberlin College, and, most recently, Cornell. Wiles received her bachelor’s degree from Hobart and William Smith Colleges, a master’s degree in art history from Hunter College of the City University of New York, and a Ph.D. in art history from the Graduate Center of the City University of New York. Her dissertation surveys the careers of British-born artists Thomas Charles Farrer, a Ruskin admirer and leader of the American Pre-Raphaelites, and his brother Henry Farrer.

In making the announcement, Salovey expressed his deep appreciation to members of the search committee: Mary Miller (committee chair), Sterling Professor of History of Art and senior director of the Institute for the Preservation of Cultural Heritage; Emily Bakemeier, deputy provost and dean of faculty affairs of the Faculty of Arts and Sciences; Tim Barringer, the Paul Mellon Professor in the History of Art and chair of the Department of the History of Art; Deborah Berke, dean of the Yale School of Architecture; Susan Gibbons, the Stephen F. Gates ’68 University Librarian and deputy provost for collections and scholarly communication; Daniel Harrison, the Allen Forte Professor of Music Theory; Roger Horchow ’50, a member of the Yale University Art Gallery Advisory Board; Ian McClure, the Susan Morse Hilles Chief Conservator of the Yale University Art Gallery; and John Walsh ’61, a member of the Yale University Art Gallery Advisory Board and director emeritus of the J. Paul Getty Museum.

Salovey praised the tenure of Jock Reynolds, who will step down as director on June 30, noting that he had led the Yale University Art Gallery “with distinction, energy, and originality for 20 years.”