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33-588: It was originally built to designs of the architect Charles Garnier for the display of a panorama , which opened in 1883. The panorama was converted to the Théâtre Marigny in 1894 by the architect Édouard Niermans and became a home to operetta and other musical theatre . An earlier theatre on the site, the Salle Lacaze, became known in 1855, as the home of Jacques Offenbach 's Théâtre des Bouffes-Parisiens , where he first built his reputation as

66-582: A Turkish bath. Garnier's works represent a Neo-Baroque-inspired style, popular during the Beaux-Arts period in France. He was influenced by the Italianate styles of Renaissance artisans such as Palladio , Sansovino , and Michelangelo , perhaps the result of his many visits to Greece and Rome during his lifetime. He was also a pioneer of architectural beauty as well as function; his opera was built on

99-516: A first stroke at 4 o'clock in the morning on 2 August 1898 while at home in Paris, and a second stroke the following evening, dying at 8 o'clock in the evening. He was interred in the Montparnasse cemetery . After his death a public monument (completed in 1902 to designs by Jean-Louis Pascal and crowned with a copy of the bust of Garnier, which had been created by Jean-Baptiste Carpeaux in 1869)

132-594: A framework of metal girders, unprecedented at the time. Aside from being fireproof, steel and iron was much stronger than wood, allowing it to successfully withstand the countless heavy tons of marble and other materials heaped upon it without breaking. In 1872 and 1873 Garnier built a vacation home on the Italian Riviera , the Villa Garnier in Bordighera . He was one of the first to build there after

165-479: A horse-drawn carriage rental business. He married Felicia Colle, daughter of a captain in the French Army. Later in life Garnier would all but ignore the fact that he was born of humble origins, preferring to claim Sarthe as his birthplace. Garnier became an apprentice of Louis-Hippolyte Lebas , and after that a full-time student of the École royale des Beaux-Arts de Paris , beginning during 1842. He obtained

198-514: A theatre composer. In 1864 this became the Théâtre des Folies-Marigny , which was demolished in 1881, giving way to a panorama built by Charles Garnier . In 1885, dioramas on Paris through the ages by Theodor Josef Hubert Hoffbauer (1839–1922), and on Jerusalem on the day of the death of Christ, by Olivier Pichat, were displayed. In 1894, Édouard Niermans converted the venue into a theatre-in-the-round for summer musical spectacles. The hall

231-607: A troupe from the Comédie-Française to form the Renaud - Barrault company, and in 1954, Barrault opened a smaller "Petit Marigny". The Grenier-Hussenot troupe followed and later the hall became a cinema. In 1965 the direction passed to Elvira Popescu ; in 1978 she was succeeded by John Bodson. In 2000 the theatre was acquired by the Artemis Group, owned by François Pinault , who asked Robert Hossein to take over

264-666: The Académie royale de peinture et de sculpture (a division of the Académie des beaux-arts ), held its first semi-public art exhibit at the Salon Carré . The Salon's original focus was the display of the work of recent graduates of the École des Beaux-Arts , which was created by Cardinal Mazarin , chief minister of France, in 1648. Exhibition at the Salon de Paris was essential for any artist to achieve success in France for at least

297-999: The Cercle de la Librairie, 117 boulevard Saint-Germain in Paris (1878–80); the Hôtel Hachette, 195 boulevard Saint-Germain in Paris (1878–1881); the Panorama Marigny in Paris (1880–82); now the Marigny Theatre ); and his last work, the Magasin (storehouse) de Décors de l'Opéra on the rue Berthier in Paris (1894–95; now the Ateliers Berthier of the Odéon-Théâtre de l'Europe ). Garnier retired from his private architectural practice in 1896, but continued to serve on juries for architectural competitions and to appear at official functions. He suffered

330-685: The Paris Salon in 1853. He visited Greece with Edmond About and Constantinople with Théophile Gautier . He worked on the Temple of Aphaea in Aegina where he insisted on polychromy. He was named in 1874 member of the Institut de France in the architecture section of the Académie des Beaux-Arts . On 30 December 1860 the Second Empire of Emperor Napoleon III announced a competition for

363-480: The Premier Grand Prix de Rome in 1848 at age twenty-three. The subject of his final examination was titled: "Un conservatoire des arts et métiers, avec galerie d'expositions pour les produits de l'industrie". He became a pensioner of the Académie de France à Rome from 17 January 1849 to 31 December 1853. He traveled through Greece providing him the subject of his fourth year submission, presented at

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396-679: The French army by the Prussians at the Battle of Sedan in 1870 resulted in the end of the Second Empire. During the Siege of Paris and the Paris Commune in 1871, the unfinished Opera was used as a warehouse for goods, as well as a military prison. The opera house was finally inaugurated on 5 January 1875. Many of the most prestigious monarchs of Europe attended the opening ceremony, including

429-533: The President of France's new Republic, Marshal MacMahon , the Lord Mayor of London, and King Alfonso XII of Spain . The people who entered the massive building, spanning nearly 119,000 square feet (11,100 m ), were generally awed by its immense size and extensive ornamentation. Claude Debussy described it as resembling a railway station on the outside, and that the interior could easily be mistaken for

462-631: The Salon jury turned away an unusually high number of the submitted paintings. An uproar resulted, particularly from regular exhibitors who had been rejected. In order to prove that the Salons were democratic, Napoleon III instituted the Salon des Refusés , containing a selection of the works that the Salon had rejected that year. It opened on 17 May 1863, marking the birth of the avant-garde . The Impressionists held their own independent exhibitions in 1874, 1876, 1877, 1879, 1880, 1881, 1882 and 1886. In 1881

495-498: The Salons are primary documents for art historians. Critical descriptions of the exhibitions published in the gazettes mark the beginning of the modern occupation of art critic . The French salon, a product of the Enlightenment in the early 18th century, was a key institution in which women played a central role. Salons provided a place for women and men to congregate for intellectual discourse. The French Revolution opened

528-595: The Salons. After the French Revolution of 1848 liberalized the Salon, far fewer works were refused. Medals were introduced in 1849. The increasingly conservative and academic juries were not receptive to the Impressionist painters, whose works were usually rejected, or poorly placed if accepted. The Salon opposed the Impressionists' shift away from traditional painting styles. In 1863

561-624: The architect of the Palais Garnier and the Opéra de Monte-Carlo . Charles Garnier was born Jean-Louis Charles Garnier on 6 November 1825 in Paris, on the Rue Mouffetard , in the present-day 5th arrondissement. His father, Jean André Garnier, 1796–1865, who was originally from Sarthe , a department of the French region of Pays de la Loire, had worked as a blacksmith, wheelwright, and coachbuilder before settling down in Paris to work in

594-813: The arrival of the railroad in 1871 and later contributed various private and public buildings to the town until his death in 1898. Other architectural contributions include the Grand Concert Hall of the Monte Carlo Casino (1876/79–1879, since remodeled as the Opéra de Monte-Carlo ) and the Salle de Jeu Trente-et-Quarante (1880–81), both on the Place du Casino in Monte-Carlo; the Nice Astronomical Observatory (1879–88);

627-497: The design of a new, state-funded opera house. The old opera house, located on the rue Le Peletier and known as the Salle Le Peletier , had been constructed as a temporary theatre in 1821. Street access to that theatre was greatly constricted; and after an attempted assassination of Napoleon III at the theatre's entrance on 14 January 1858, it was decided to build a new opera house with a separate, more secure entrance for

660-490: The director of the Opéra, Alphonse Royer , which the contestants received on 18 April. The new submissions were sent to the jury in the middle of May, and on 29 May Garnier's project was selected for its "rare and superior qualities in the beautiful distribution of the plans, the monumental and characteristic aspect of the facades and sections". Garnier's wife Louise later wrote that the French architect Alphonse de Gisors , who

693-484: The exhibition to foreign artists. In the 19th century the idea of a public Salon extended to an annual government-sponsored juried exhibition of new painting and sculpture, held in large commercial halls, to which the ticket-bearing public was invited. The vernissage (varnishing) of opening night was a grand social occasion, and a crush that gave subject matter to newspaper caricaturists like Honoré Daumier . Charles Baudelaire , Denis Diderot and others wrote reviews of

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726-494: The feast day of St. Louis (25 August) and run for some weeks. Once made regular and public, the Salon's status was "never seriously in doubt". In 1748 a jury of awarded artists was introduced. From this time forward, the influence of the Salon was undisputed. The Salon exhibited paintings floor-to-ceiling and on every available inch of space. The jostling of artwork became the subject of many other paintings, including Pietro Antonio Martini 's Salon of 1785 . Printed catalogues of

759-490: The government withdrew official sponsorship from the annual Salon, and a group of artists organized the Société des Artistes Français to take responsibility for the show. In December 1890, the leader of the Société des Artistes Français , William-Adolphe Bouguereau , proposed that the Salon should be an exhibition of young, not-yet-awarded, artists. Ernest Meissonier , Puvis de Chavannes , Auguste Rodin and others rejected

792-409: The head of state. Applicants were given a month to submit entries. There were two phases to the competition, and Garnier was one of about 170 entrants in the first phase. He was awarded the fifth-place prize and was one of seven finalists selected for the second phase. The second phase required the contestants to revise their original projects and was more rigorous, with a 58-page program, written by

825-627: The next 200 years. Exhibition in the Salon marked a sign of royal favor. In 1725, the Salon was held in the Palace of the Louvre , when it became known as Salon or Salon de Paris . In 1737, the exhibitions, held from 18 August 1737 to 5 September 1737 at the Grand Salon of the Louvre , became public. They were held, at first, annually, and then biennially, in odd-numbered years. They would start on

858-610: The proposal and broke way to create the Société Nationale des Beaux-Arts , with its own exhibition, immediately referred to in the press as the Salon du Champ de Mars or the Salon de la Société Nationale des Beaux–Arts . Soon, it was also widely known as the Nationale . In 1903, in response to what many artists at the time felt was a bureaucratic and conservative organization, a group of painters and sculptors, led by Pierre-Auguste Renoir and Auguste Rodin , organized

891-565: The summer of 1861, though setbacks would delay it for another fourteen years. During the first week of excavation, an underground stream was discovered, rendering the ground too unstable for a foundation. It required eight months for the water to be pumped out, though enough was left in the area which eventually became the fifth cellar for operating the hydraulic stage machinery above. Garnier's double-walled and bitumen-sealed cement and concrete foundation proved strong enough to withstand any possible leakages, and construction continued. The defeat of

924-513: The theatre's direction. In 2008 Hossein retired and was replaced by Pierre Lescure . On 28 September 2006 Pinault and his wife put the entire facility at the disposal of the Brigitte Bardot Foundation for its 20th anniversary celebration. Charles Garnier (architect) Jean-Louis Charles Garnier ( pronounced [ʃaʁl ɡaʁnje] ; 6 November 1825 – 3 August 1898) was a French architect , perhaps best known as

957-472: The thirty-five-year-old and relatively unknown Garnier began work on the building, which eventually would be named for him, the Palais Garnier . Many people had difficulty in deciding exactly what style he was trying to portray. When asked by Empress Eugénie in what style the building was to be done, he is said to have replied: "Why Ma'am, in Napoleon Trois, and you complain!" Construction began in

990-462: Was enlarged and modernized in 1925 by Volterra, and in that form opened with a revival of Monsieur Beaucaire by André Messager . This success led the management to devote the venue mainly to operetta and other musical theatre until the 1930s. Thereafter the Marigny mounted boulevard shows and revivals (such as Jacques Offenbach 's La Créole by in 1936). In 1946 the Théâtre Marigny welcomed

1023-786: Was erected west of the Rotonde de l'Empereur of the Palais Garnier. The huge ornate granite pedestal was created in Aberdeen by Alexander McDonald & Co . The information concerning Garnier's work on the Italian Riviera is taken from the inventory of Bouvier. Spain Palacio Recreo de las cadenas, Fundación Real Escuela Andaluza de Arte Ecuestre. Jerez de la Frontera (Cádiz) Paris Salon The Salon ( French : Salon ), or rarely Paris Salon (French: Salon de Paris [salɔ̃ də paʁi] ), beginning in 1667

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1056-413: Was on the jury, had commented to them that Garnier's project was "remarkable in its simplicity, clarity, logic, grandeur, and because of the exterior dispositions which distinguish the plan in three distinct parts—the public spaces, auditorium, and stage ... 'you have greatly improved your project since the first competition; whereas Ginain [the first-place winner in the first phase] has ruined his.'" Soon

1089-473: Was the official art exhibition of the Académie des Beaux-Arts in Paris. Between 1748 and 1890 it was arguably the greatest annual or biennial art event in the Western world. At the 1761 Salon, thirty-three painters, nine sculptors, and eleven engravers contributed. From 1881 onward, it was managed by the Société des Artistes Français . In 1667, the royally sanctioned French institution of art patronage,

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