A visit to the Musée des Arts Décoratifs, Paris

a breathtaking monumental "papier peint panoramique" by Desfossé, 1855

One of my favorite places to visit in Paris is the spectacular Musée des Arts Décoratifs, a comprehensive collection of the best of French design:  objects, architectural and applied arts from the middle ages to the present day. Generally uncrowded and serene, the museum is housed in the western wing of the Louvre, the beautiful Pavillon de Marsan, designed by architect Gaston Redon in 1905.

The lovely interior court of the Musée des Arts Decoratifs (image via MAD)

Like the Victorian and Albert in London,  the MAK (Museum fur Angewandte Kunst) in Vienna,  and the Legion of Honor in San Francisco, les Arts Décoratifs celebrates the finest work in applied arts,  but this museum is decidedly French, and notable for the depth and breadth of its collection.

Seemingly every possible decorative technique, material, or type of object can be found in the vast Arts Décoratifs inventories: tapestry, escritoire, eglomisé, shagreen, scenic wallpaper, jewelry, stained glass, wood, lacquer, plastic, and gold… but far from mind-boggling the collections are carefully edited and displayed chronologically, to encourage understanding of both the techniques used and the application of them. Meanwhile there are thousands of beautiful inspiring moments in each room.
Here are some highlights from my visit in October 2011.

"Cabinet des Fables" from the hôtel Dangé, Paris 1755 (repainted 1855)

Two adjoining rooms of boiserie taken from the hôtel Dangé on the Place Vendome, are displayed as one room here (you can see the gilt room in the mirror)- these really were meant to be small, intimate painted spaces.

a display of chinoiserie furnishings dating from the 17th century

A small gilt "cabinet" room from l’hôtel de Rochegude à Avignon, 1720. Oui.

Photography in the museum is allowed without a flash, but many of the rooms are kept very dim to protect the fabrics and delicate surfaces.  Despair not,  the MAD has an excellent database of images of its collection on its website.   Not only that, but the MAD bookshop at 107 Rue de Rivoli  is outrageous.  It is filled with fabulous books on your favorite subjects, all of them loaded with great pictures. Hard as you might try, you won’t be able to carry all the books out with you. Make note of the ISBN# so you can search for the books when you get home. 

wood doors decorated with gilt grotesque ornament, from the 15th century

Salon de l’hôtel Talairac, circa 1790

One of the many period roomsets on display at the MAD, the Salon de l’hôtel Talairac, circa 1790, is an early example of Egyptian theme interior design, which eventually became an all-out fad in the early 19th century.

detail from a Renaissance-Revival bedchamber, circa 1840

The boiserie decoration from the Renaissance-Revival bedchamber of Baron Hope is not typical for the Louis-Phillipe-era France. To me it seems more English Victorian. Have a look at the rest of the room here.

detail of a verre églomisé mirror frame.  Gasp!

 

Detail of an entire wall of embossed leather, silver-gilt and amber-varnished to look like gold. circa 1600

detail of a splendid marquetry cabinet, made in 1670. I could stare at this all day.

One of the most fabulous room sets in this museum is the private apartment of Jeanne Lanvin. Designed by Armand Albert Rateau and built in 1925, it’s the ultimate feminine Art Deco interior.

The famous gilt and lacquered screen from Jeanne Lanvin's dining room is nearly 11 feet high, and was designed by Armand Albert Rateau, circa 1921 

Bedroom of Jeanne Lanvin, designed by Armand-Albert Rateau  (image via MAD)

The fabric in the private apartments of Jeanne Lanvin, a custom blue silk embroidered with cotton and copper thread,  is newly recreated and was all done by hand.

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When you go:
Be sure to visit the Art Nouveau and Art Deco rooms, as well as the very interesting mid and late 20th century design rooms in the attic spaces of the pavillion.
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Other tips:
The Mode et Textile Museum is just next door.
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The Rue du Rivoli can be crowded and dirty.  It’s so much more stylish to arrive via the Carrousel entrance.  And be sure to dress fabulously, so you can have a bite at the Saut de Loup, the chic cafe on the terrace facing the Carrousel Gardens.
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all images in this post by Lynne Rutter unless otherwise noted. Click on images to view larger.

Paris en Grisaille

"Les Monuments de Paris" mural by Lynne Rutter, photo by David Papas

Recently I got the opportunity to return to a client's home to photograph the mural I painted for them. How exciting to see this room finished!   The magnificent Saarinen table is surrounded with chairs upholstered in the most fantastic blue velvet,  and crowned with a vintage Italian chandelier in crystal and rose brass. The floors have a black cerused oak finish.
The interior design of this gorgeous room is the work of Gary Spain.  The shot was styled by Damian Alvarado and photographed by David Papas.  Of course I assisted in the shoot, mainly by looking through the camera now and then and saying "wow, you guys!"

The mural is painted en grisaille using dozens of shades of warm gray, and is patterned after  Les Monuments de Paris by Josef Dufour. It is painstakingly hand-painted in the style of the early 19th century block-printed scenic wallpapers, or papiers peints panoramiques. Unlike the original paper this mural is painted on canvas, and is quite durable, a necessity in a home with young children. I also added a few Paris monuments not found in the original paper and freely (re)arranged the design to best suit the room.

  
More about the creation of this mural here.
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Lynne Rutter Studio

Studio Visit: Atelier Peinture sur Bois, Paris

Work in progress at the studio of Jean-Pierre Besenval

Entrance to the Atelier

One rainy day in Paris, after a fabulous day exploring the Musée Carnavalet, my friend Ziska and I set off through the Marais thinking about a good place for dinner, when we were distracted by the sight of a doorway and signs for the Atelier Peinture Sur Bois, the studio of Jean-Pierre Besenval.
I'm a long-time fan of M. Besenval's painted furniture and have two excellent books on his work.
So of course we ventured inside the courtyard to the shop,  where we were warmly greeted by artist Luigi Madéo, Besenval's longtime collaborator and co-author.
The shop contains a gallery filled with beautifully painted furniture pieces and art panels, all done with traditional media and techniques, and inspired by Italian Renaissance ornament, as well as 15th century Flemish painting and other historic European decorative art.

Luigi Madéo in the atelier

We got to talk about  traditional painting methods and the hopeful revival of these techniques and materials, like gesso, caseins, egg tempera, decorative gilding.

Painted furniture and art panels in the studio/gallery of Jean-Pierre Besenval

work in progress in the studio

The studio itself is a showpiece, with all of its beams and posts painted with colorful traditional designs.

This is I think a great way to raise the height of the ceiling and create a simple architectural opportunity for some splendid ornament.
 

Borders are repeated in different colors and with added elements, and while each beam is unique, the color palette and structure of the ornament is consistent and overall look is cohesive and utterly charming!

The huge support posts in the center of the shop are also decorated, and the designs are painted plumb, even when the  posts themselves are not.

I love this armoire door inset which is spectacularly painted, and seems to pay homage to Renaissance botanical artist  Jacques Le Moyne De Morgues.

If you are in Paris, be sure to visit the Atelier Peinture sur Bois at 32 rue de Sévigné in the Marais; or visit the website at www.meublespeints.com 



All photos in the post by Lynne Rutter, October 2011
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Lynne Rutter Murals + Decorative Painting

Studio Visit: Atelier de la petite écurie, Château de Versailles

Cherub from the chamber of the queen, carved by Fanchelli and gilt à la grecque by Daniel Sievert.  photo: Lynne Rutter 

A fascinating and integral part of my work is the restoration of historic buildings, surfaces, furniture, and antiques.  It's not my primary business these days, but it inspires and informs my work and the techniques I employ every day.  When I travel I am excited to see the work of other restoration artisans, so I am especially thrilled to share with you my visit to the Château de Versailles, more specifically,  this glimpse inside the atelier of the gilder-restorers. 

Laurent Hissier and Daniel Sievert. photo by Jerôme Hissier

I met gilder and decorative painter Laurent Hissier via the internet, and in 2007 made a visit to Versailles to meet him and see his work at the palace. My friends and I were given a warm welcome by Laurent and his mentors, master gilder Daniel Sievert and renowned decorative painter Pierre Lefumat, and treated to a stunning backstage tour of some of the non-public parts of the palace.  I felt an immediate and strong affinity for these kindred spirits; their commitment to their work is so inspiring.  They are but a few of the nearly one thousand people working in relative anonymity to care for this spectacular palace.
Standing in a small bedroom, in what might be called the attic, crammed with broken gilt chairs and other odd bits of furniture that are more or less priceless, Laurent remarked that this a life’s work that is never finished. This is why it is so important to pass on the knowledge. 

restoration in progress of a gilt wood bench. photo: Lynne Rutter

Laurent and I kept up a correspondence via email, while I anxiously anticipated the book he and Daniel were writing -  the book - detailing everything they know about gilding. 

In October I visited Versailles again and called on my friends in the gilding atelier, where I was presented with a beautifully inscribed copy of  Art et Techniques de la Dorure à Versailles - Gilding at Versailles!

buy this book!

The gilding and restoration workshop is an airy, beautiful studio housed in the petite écurie, the former stables of the King.  Restoration is a ceaseless effort here; restorers have access to the best materials, the support of the state, and a seemingly endless stream of thrilling projects working on priceless items of national importance.  The sense of purpose and responsibility one feels there is truly awesome.  

The gilder-restorers’ work is traditional in nature, with techniques passed down from teacher to student, from master to apprentice, forming an unbroken link from the creation of a piece to its renewal, and then on to the next generation of restorers to come.   Gilding at Versailles  documents this work and continues this tradition. The book represents generations of accumulated knowledge from work done in the palace over the years.

excerpt from Gilding at Versailles - step by step restoration of a gilt console

excerpt from Gilding at Versailles; phot0: Adrien Brotons: Laurent water gilding a frame.  The gilders tip (brush) is being held with a hampe, or gilder's pole.  The book includes instructions for how to carve your own. 

Ziska, Daniel, and Lynne in the studio

limestone stairway to the atelier

My colleague Ziska Childs and I had a nice visit with Daniel.  Ziska is an accomplished scenic artist and designer, and having lived in Paris, she fortunately speaks French rather well. Artisans from other areas of the atelier came in to meet the visiting artists from America.  We told them all how famous Daniel is. 
Laurent was unfortunately away that  day. Where?  Oh, he was in Italy restoring something in the Vatican Palace. Yes I know how that sounds.  It is exactly how it sounds... what a life! 

a vivid assortment of pigments photo: Lynne Rutter

a carved and gilt sample in the atelier  photo: Lynne Rutter

Master gilder and wood carver Daniel Sievert came to Versailles at the age of 14 as apprentice to Maître Grandvoinet, a master craftsman well known across France, the titular gilder of the castle.  After many years working alongside his mentor, Daniel joined the CTFDU Compagnons du Tour de France des Devoirs Unis, a French guild of craftsmen with the highest standards of training, and earned the honorable title Ile de France au cœur d’or, a true master gilder.  He returned to the Versailles atelier as sculptor and restorer of bois doré  (gilded wood), and in 1977 succeeded M. Granvoinet as head gilder.      

a collection of moulds of classical ornament for decorating frames  photo: Lynne Rutter

Laurent Hissier started working at the Château de Versailles as a night watchman, and spent many long hours studying the decorative work in the palace interior while checking for security issues.  He took it upon himself to learn and practice the techniques used in the  décor of the palace.  He was taught casting and molding by Yvon Bailleul in the sculpture workshop, and in 2003 was accepted into the gilder-restorer workshop, to train with Maître Sievert.  Laurent also studied with  Pierre Lefumat, a world-famous master of faux finishes,  who taught him the techniques of faux marbre and painted finishes while working in the  palace. 

faux limestone finish painted by Laurent Hissier

Maître Lefumat passed in 2010, a loss felt keenly by everyone at Versailles, and indeed the entire decorative painting community.
Daniel Sievert retired at the end of 2011 after 52 years of dedicated service and splendid work.
The torch has been passed to Laurent, restaurateur en bois doré et peintre en décors.

Laurent also teaches traditional gilding at the Ecole d'Art Murals de Versailles, and he has a blog where he posts inspiring pictures of the work he is doing:   dorure-versailles.blogspot.com 

apprentices working in the studio   photo: Lynne Rutter

Laurent's beautifully rendered faux bois doors and faux marbre supports

After our studio visit Ziska and I toured the Palace to see some of the work of Daniel and Laurent, and  Maîtres Lefumat and Grandvoinet,  and all those that came before them. 

 

Detail of one of 24 carved limewood and gilt frames, circa  1687 (recently restored)  in the Cotelle Gallery of the Grand Trianon, Versailles.  

further reading:

Art et Techniques de la Dorure à Versailles - Gilding at Versailles 
by Laurent Hissier and Daniel Sievert  

L'Art du Faux Marbre
by Pierre Lefumat
published by Editions Vial with both French and English text
available from Pierre Finkelstein at fauxbrushes.com



Excerpts from Gilding at Versailles use with permission. 
photos by Lynne Rutter unless otherwise noted

Lynne Rutter Studio

The Doors of Saint-Germain-des-Prés

 a beautiful entry with faux bois doors

Last month I spent two fabulous weeks in Paris, staying in a very cool apartment in the chic Saint-Germain district.   One day I wandered around just looking at the wonderful doors.  You do that, too, right?
    

Bleu

Paris is a city of limestone, and the entry doors to these limestone facades are the only opportunity for color, so they often get special attention. Even a plain door is given a glossy, gorgeous treatment. Nearly half the doors are oak, although usually if you see an oak door, it's actually a faux finish imitating oak. Some of the painted oak is so realistic I had to look for  signs of wear or peeling paint to be able to tell the difference.

This charcoal grey is really popular right now.

Blues, greens, and greys predominate in this neighborhood. Red appears to have fallen out of favor, perhaps because it fades so quickly.  It seems every color you can think of looks great with limestone. Although there was one safety orange painted door of an art gallery that I really didn't like. I did not take a picture of it.  

bright blue on the Quai Voltaire

limestone, black, and gold - a classic Beaux-Arts tradition

a beautiful verdigris look

With rare exception the doors are never polychromed.  All woodwork in an entry or the paneling surrounding it is treated the same.   I am not sure if this is by convention or law.

The gorgeous celadon paneling of the Ladurée shop. Madame was posing for my camera in front of the shop and at the last moment she turned to her good side and struck this casual pose. Brava.

an unusual burl treatment

detail of faux burl door, a bit worn

More of this collection are posted in my flickr set "Doors of Paris".

 




all images in this post by Lynne Rutter, October 2011. 
Click on any image to view larger

Lynne Rutter Murals + Decorative Painting

Postcard from Paris

Interior of the Sainte-Chapelle, Paris

Just back from two wonderful weeks in Paris and environs, and having to hit the ground running.
Will be back with more soon!




Sainte-Chapelle brilliant with some recently restored windows in late afternoon sun.
photo by Lynne Rutter October 2011
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Lynne Rutter Murals + Decorative Painting