A Visit to the Exhibition on Marie-Antoinette at the Grand Palais {Scented Paths & Fragrant Addresses}
A Visit to the Exhibition "Marie-Antoinette" in Paris by Guest Contributor Pauline
“Moving” is the word that best describes the overall feeling I retained after I visited the exhibition “Marie-Antoinette” currently on view (until 30 June 2008) at the Galeries nationales du Grand Palais in Paris.
Although much has been written about the life of the last queen of France (1755-1793) and her private quarters can be visited at the Château de Versailles, it was the first time that I have had the opportunity to experience so palpably actual everyday objects that were seen, used and worn by Marie-Antoinette. The fate of the young Austrian archduchess - who was born in 1755 - was sealed when she was only 9 years old when her mother, Empress Maria Theresa of Austria, decided to conclude a political marriage alliance with the heir of the throne of France. She was married in 1770 at age 15 to the Dauphin, the future Louis XVI, and became queen at the age of 20........
The Paris show features over 300 objects drawn from European collections, including numerous portraits and drawings, daily life objects such as delicate European porcelain and Japanese lacquerware that Marie-Antoinette was very fond of, as well as the replica of the infamous “collier de la Reine” (queen’s necklace), all objects which allow us to take a close glance at her intimate life and that of her family.
Japanese lacquerware - box in the shape of a fan
Much of the focus of the paintings on display is on the topic of Marie Antoinette’s dissatisfaction with her painted portraits which, she found, didn’t render her true self. She found her artistic match with the young woman painter Elisabeth Vigée-Le Brun who was the same age as hers, and who produced about thirty portraits of Marie-Antoinette over a period of 10 years. Vigée-Le Brun managed to make her feminine and sensitive sides come out more by softening the queen’s features, focusing on her large blue eyes and highlighting her delicate fair skin. Although statements vary regarding her beauty, many agreed about her grace, charm and poise, as well as her noble demeanor. Her radiance and complexion were universally praised. “Her skin was admirable, as well as her shoulders and her neck… I never saw again such beautiful arms and hands” records Alexandre de Tilly (1764-1816) in his Memoirs, who himself was a little more than reserved when evaluating her features.
I was slightly disappointed not to see much about her influence in the field of fashion and beauty (beside the dresses and hairdos represented in paintings). The show displayed only images of the extravagant XVIII century hairdos that were built upon a core made of gauze, and the white shirt Marie Antoinette wore while in prison. A painting represents Rose Bertin who was a famous milliner and hat-seller, and the queen’s personal dressmaker. With the queen’s royal hairdresser Léonard, Bertin designed “pouf” (raise) for hair up to three feet high shaped in various styles or decorated with various objects echoing current social or political events. The hairstyle “Belle Poule”, featuring a ship on top of the hairdo, refers to the French ship of the same name which was involved in the American War of Independence and which was selected to bring Benjamin Franklin back to America in 1778.
A more frugal, and by association of ideas gruesome sight, is that of an undergarment white tunic worn by Marie-Antoinette when she was in prison. It draws a sharp contrast with the splendors of court life and reminds visitors of her tragic end.
The exhibition scenography was designed by master of operatic enchantments Robert Carsen who as artistic director for the exhibition succeeded in recreating a cosy yet elegant atmosphere through the use of deep burgundy red and blue exhibition walls, and large painted panels representing beautiful classical landscapes. These panels appear to emulate the gardens of le Petit Trianon - a replica of a countryside cottage - where Marie-Antoinette liked to retreat to escape the strictures of court etiquette. One of the highlights of the show is a set of XVIII century painted theater panels used to decorate a stage that reminds us of the fondness of the queen for theatrical representations. At her request a small theater was built in the gardens of the Petit Trianon where Marie-Antoinette enjoyed taking part in plays (often playing the role of “ingénues” and “soubrettes” (maids) for the King and close acquaintances.
A so-called "nipple bowl" from the Rambouillet dairy - Marie-Antoinette also liked to play farmer
All pictures in this article are courtesy of the Galeries nationales du Grand Palais.
You can read Marie-Hélène's review of MA Sillage de la Reine, a reconstituted perfume by Francis Kurkdjian corresponding to the tastes of Marie-Antoinette as well as her book review of A Scented Palace, a biography of Marie-Antoinette's perfumer Jean-Louis Fargeon.
Previous Posts in Scented Paths & Fragrant Addresses:
Exhibition on Impossible & Extinct Smells
The Perfume of the Belle Epoque: A Spectacle Dedicated to Olfaction
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