Chamarande ( French pronunciation: [ʃamaʁɑ̃d] ) is a commune of Essonne department in the southern suburbs of Paris .
31-636: Inhabitants of Chamarande are known as Chamarandais . Initially, this village was named Bonnes . In 1685, d'Ornaison family, the owner of the village and its château , gained permission from the French king to change the name to Chamarande . A later owner, the Duc de Persigny , was Minister of the Interior under Napoléon III and a financial backer of the building of the Paris-Orléans rail station in
62-563: A contemporary art centre was set up at Chamarande at the instigation of Dominique Marchès , founder of the Vassivière art centre. He was its first director, followed by Judith Quentel (2005 to present). It has a permanent collection (entitled L'esprit des lieux ), bought with a fund of the Essonne department and including works by Lilian Bourgeat , Erik Samakh ("flûtes solaires", in the park), Miguel Egana ( Feuilles scies , 2001, in
93-537: A fortified wall round the estate, completed the transformation of the park into the "à l'anglaise" style and planted exotic trees. New service buildings were added : a farm, stables, a bergerie , a birdhouse , a kennel , a new icehouse and a winter garden . Near the new gate was placed an obelisk inspired by the Songe de Poliphile , which probably referred to the love-affairs of Henry II with Diane de Poitiers . In 1862 (ten years before his death), Persigny held
124-413: A fête at Chamarande for the birthday of empress Eugénie . In 1876, the château was acquired by Aristide Boucicaut , founder of Bon Marché , who added a Renaissance-style dining room but died only a year after purchasing the château. His widow took it with her when she remarried in 1881, to the doctor Marie-Joseph-Laurent Amodru, mayor of Chamarande until 1922 and député for Seine-et-Oise. After 1913,
155-535: A little salon gros near the vestibule and the grand salon d'angle. In the 1780s, a water feature was added, with an island bordered by bald cypresses from Louisiana at its centre - it is traditionally attributed to the painter and garden designer Hubert Robert . After the French Revolution , Louis-Justin, marquis de Talaru, bought the estate under the Consulate and carried out repairs, redesigning
186-647: A remarkable length of time; after the young artist's official residence at the French Academy in Rome ran out, he supported himself by works he produced for visiting connoisseurs like the abbé de Saint-Non , who took Robert to Naples in April 1760 to visit the ruins of Pompeii . The marquis de Marigny , director of the Bâtiments du Roi kept abreast of his development in correspondence with Natoire , director of
217-694: Is invariably invoked in connection with Marie Antoinette 's 'premier architecte' Richard Mique through several phases of the creation of an informal landscape garden at the Petit Trianon , and the setting of the petit hameau . Robert's contribution to garden design was not in making practical ground plans for improvements but in providing atmospheric inspiration for the proposed effect. At Ermenonville and at Méréville "Hubert Robert's paintings both recorded and inspired", according to W.H. Adams: Robert's four large ruin fantasies, painted in 1787 for Méréville may be searched in vain for direct connections with
248-486: Is now attributed to Nicolas de l'Espine . A rectangular building surrounded by a moat forms the living quarters, flanked on either side by the service wings The entrance to the main courtyard is flanked by two pavilions, with the left one containing the chapel. The estate was at the same time "ornamented with canals, lakes and fountains". André Le Nôtre helped design the park, though the dating and nature of his help are not known for certain. In debt, Pierre Mérault sold
279-586: Is one that is thought to be lost or destroyed in a fire. Robert had designed the decorations for a little theatre in the new wing at the location of the current staircase Gabriel in the Palace of Versailles . Designed to seat about 500, this theatre was built from the summer of 1785 and opened in early 1786. It was intended to serve as an ordinary court theatre, replacing the Theatre of the Princes Court which
310-554: The Jesuits at the Collège de Navarre in 1751 and entered the atelier of the sculptor Michel-Ange Slodtz who taught him design and perspective but encouraged him to turn to painting. In 1754 he left for Rome in the train of Étienne-François de Choiseul , son of his father's employer, who had been named French ambassador and would become a Secretary of State for Foreign Affairs to Louis XV in 1758. He spent fully eleven years in Rome,
341-602: The French Academy, who urged the pensionnaires to sketch out-of-doors, from nature: Robert needed no urging; drawings from his sketchbooks document his travels: Villa d'Este , Caprarola . The contrast between the ruins of ancient Rome and the life of his time excited his keenest interest. He worked for a time in the studio of Giovanni Paolo Panini , whose influence can be seen in the Vue imaginaire de la galerie du Louvre en ruine ( illustration ). Robert spent his time in
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#1732798419306372-437: The architect Jean-Marie Morel for the marquis de Girardin, who was the author of Compositions des paysages (1777) and had distinct views of his own. In 1786 he began his better documented collaboration at Méréville , with his most significant patron, the financier Jean-Joseph de Laborde, who found François-Joseph Bélanger 's plans too expensive and perhaps too formal. Though documents are again lacking, Hubert Robert's name
403-423: The château for de Talaru, building new service quarters beyond the secondary route near the village, and to the estate added an orangery , a belvédère , an oval bosquet for " Jeu de l'oie " with a temple of love at its centre and a cascatelle. He demolished the wall of the courtyard along the moat and put an ironwork gate with two lampholders in front of the bridge. He also modernised the interior decor, creating
434-524: The château passed to his son Jean, who expanded the estate. However, the château suffered in the Fronde and was in a poor state by the time it was sold in 1654 to Pierre Mérault, the former fermier des gabelles who had been promoted to a noble by buying a écuyership , who was also secretary to king Louis XIV . It was Mérault who built the present castle. Its design was formerly attributed to François Mansart without corroborating documentary evidence, but
465-506: The company of young artists in the circle of Piranesi , whose capricci of romantically overgrown ruins influenced him so greatly that he gained the nickname Robert des ruines . The albums of sketches and drawings he assembled in Rome supplied him with motifs that he worked into paintings throughout his career. He is reported to have carved his name into the walls of the Colosseum in 1767. His success on his return to Paris in 1765
496-685: The decorations of his theatre at Ferney. His work was much engraved by the abbé de Saint-Non , with whom he had visited Naples in the company of Fragonard during his early days; in Italy his work has also been frequently reproduced by Chatelain, Linard, Le Veau , and others. He is noted for the liveliness and point with which he treated the subjects he painted. Equally at ease painting small easel pictures or huge decorations, he worked quickly using an alla prima technique. Along with this incessant activity as an artist, his daring character and many adventures attracted general admiration and sympathy. In
527-417: The estate in 1684 to Clair Gilbert d'Ornaison known as Chamarande, top "valet de chambre" to Louis XIV. The year after the sale, Louis promoted Bonnes into the "county of Charamande" by letters patent. At d'Ornaison's death in 1737, the château passed to his first cousin and heir, Louis de Talaru, marquis de Chalmazel, maître d'hôtel of queen Marie Leszczyńska . The architect Pierre Contant d'Ivry worked on
558-406: The fourth canto of his L'Imagination Jacques Delille celebrated Robert's miraculous escape when lost in the catacombs. Enterprising and prolific, Robert also acted in a role similar to that of a modern-day art director, conceptualizing fashionably dilapidated gardens for several aristocratic clients, summarized by his possible intervention at Ermenonville ; there he would have been working with
589-543: The garden. Hubert's paintings of the Moulin Joly of his friend Claude-Henri Watelet render the fully-grown atmosphere of a garden that had been under way since 1754. His set of six Italianate landscape panels painted for Bagatelle were not the inspiration for the formal turfed parterre set in the thinned woodlands, designed by Bélanger; the later picturesque extensions of Bagatelle were carried out by its Scottish gardener, William Blaikie. Robert's commissioned painting of
620-599: The last private owner was Auguste Mione, president of "La Construction moderne française", before the estate was bought in 1978, by the General Council of the Essonne . The parc de Chamarande covers 98 hectares. The commanderie (i.e. les communs) has since 1999 been the main store for the Essonne department's archives. An eight-floor underground silo below the château's courtyard allows up to 32 km of shelving, of which 11 km are presently in use. In 2001,
651-522: The park ' à l'anglaise '. Mayor of Chamarande, he lived at the Château until his death in 1850. In 1852, the estate was sold to Pierre and René Robineau, and in 1857 it became the property of Victor Fialin , comte then duc de Persigny, interior minister to Napoléon III and French ambassador to the United Kingdom . He created a luxuriously-furnished gallery on the château's ground floor, built
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#1732798419306682-458: The park), Bert Theis (giant white crosses, in the park) and Philippe Ramette . The permanent sculpture park in the estate, plays off the existing features - the icehouse houses a sound installation by Céleste Boursier-Mougenot , and the orangery presents monograph exhibitions dedicated to young artists : In season, from May to October, the centre hosts story-telling, music, dance and film festivals as well as gardening and heritage events in
713-495: The park. The park (now one of the "Jardins remarquables" ) also hosts an important garden show in Île-de-France , as do the châteaux at Courson and Saint-Jean-de-Beauregard . [REDACTED] Media related to Château de Chamarande at Wikimedia Commons 48°30′46″N 2°13′15″E / 48.51278°N 2.22083°E / 48.51278; 2.22083 Hubert Robert Hubert Robert ( French pronunciation: [ybɛʁ ʁɔbɛʁ] ; 22 May 1733 – 15 April 1808)
744-432: The site have shown that the place was not fortified. A fortified château was built in the 16th century, probably for François Hurault ( prévôt des marchands de Paris and personal friend of king Henry IV ), who in 1563 acquired the two seigneuries which make up the present estate and took up residence here. This castle corresponds to the present buildings of the commanderie . After the death of François Hurault in 1613,
775-578: The village, today an RER C station . The Juine forms the commune's eastern border. This Essonne geographical article is a stub . You can help Misplaced Pages by expanding it . Ch%C3%A2teau de Chamarande The Château de Chamarande is a 17th-century French château in Chamarande , in the Essonne department . The first "castle" of this name was established at Bonnes around 811 by Arteld, missus dominicus and brother of Einhard , Charlemagne 's biographer. However, excavations on
806-659: The waterfall had copies of the river statues from the parc de Versailles added. From 1923 to 1951, the château was central to the creation of Scouting in France (the foundation of the regional heads of the Scouts et Guides de France is always called the Cham in reference to Chamarande). In 1950, the first À cœur joie festival took place at Chamarande, before becoming the Festival des Choralies at Vaison-la-Romaine . In 1957,
837-466: Was a French painter in the school of Romanticism , noted especially for his landscape paintings and capricci , or semi-fictitious picturesque depictions of ruins in Italy and of France. Hubert Robert was born in Paris in 1733. His father, Nicolas Robert, was in the service of François-Joseph de Choiseul, marquis de Stainville a leading diplomat from Lorraine . Young Robert finished his studies with
868-467: Was freed one week after the fall of Robespierre . Robert narrowly escaped the guillotine when through error another prisoner with a similar name was guillotined in his place. Subsequently, he was placed on the committee of five in charge of the new national museum at the Palais du Louvre . The Revolution also resulted in the destruction of some of Robert's work; his painting Péché Cardinal (ca.1799)
899-581: Was rapid: the following year he was received by the Académie royale de peinture et de sculpture , with a Roman capriccio, The Port of Rome, ornamented with different Monuments of Architecture, Ancient and Modern. Robert's first exhibition at the Salon of 1767 , consisting of thirteen paintings and a number of drawings, prompted Denis Diderot to write: "The ideas which the ruins awake in me are grand." Robert subsequently showed work at every Salon until 1802. He
930-624: Was successively appointed "Designer of the King's Gardens", "Keeper of the King's Pictures" and "Keeper of the Museum and Councilor to the Academy". Robert was arrested in October 1793, during the French Revolution . During the ten months of his detention at Sainte-Pélagie and Saint-Lazare he made many drawings, painted at least 53 canvases, and painted numerous vignettes of prison life on plates. He
961-631: Was too old and too small, but was destroyed during the time of Louis Philippe . A watercolour of Robert's design is in the National Archives in Paris. Robert died of a stroke on 15 April 1808. The quantity of his work is immense, comprising perhaps one thousand paintings and ten thousand drawings. The Louvre alone contains nine paintings by his hand and specimens are frequently to be met with in provincial museums and private collections. Robert's work has more or less of that scenic character which justified his selection by Voltaire to paint