The exhibition, “Le Siècle de François 1er” (The Century of Francis I) is currently located at the Musée Condé in the Domaine de Chantilly from September 7 until December 7, 2015. It is a celebration of the 500th year anniversary of François 1er’s (1494-1547) ascension to the throne, and his victory at the Battle of Marignano in 1515. The exhibition, which is appropriately housed in the Salle du Jeu de paume of the Musée Condé, is an assemblage of 175 pieces and reflects the monarch’s profound interest in literature and the arts as seen in the multitude of paintings, architectural drawings, illuminated manuscripts, and decorative art objects. The exhibition expertly displays the interrelationship between socio-political and cultural aspects of French society with its choice of historical artifacts in an intimate environment. Courtly and family life are presented through the skillful artistic production of paintings and drawings by Jean and François Clouet, as well as an extraordinary collection of exquisitely bound books and illuminated manuscripts.
As a staunch patron of the arts, François 1er surrounded himself with scholars, humanists, scientists, scribes, and artists. Inspired by the innovation and intellectualism of the Italian Renaissance, the monarch often invited artists such as Francesco Primaticcio, Benvento Cellini, and Rosso Fiorentino, among others, to his court. The Domaine de Chantilly was inherited by Henri d’Orléans, Duke of Aumale, son of the last King of France, Louis-Philippe. It was bestowed upon him in 1830 by his godfather Louis-Henri-Joseph de Bourbon, the last Prince of Condé, and later bequeathed to the Institut de France in 1886. It is a vast estate and includes a Château with three expansive gardens spread over 115 hectares. The Château houses the second largest collection of antique paintings after the Louvre, and is the second largest library in France for illuminated manuscripts.
The neo-Renaissance style Château is comprised of the Petit Château, constructed in 1560, and the Grand Château. The latter had been destroyed during the French Revolution and subsequently reconstructed by architect Honoré Daumet between the years 1876 – 1885. An equestrian statue of the Constable Anne de Montmorency was erected in 1886 and is located on the terrace, facing the entrance. The entirety includes a chapel and urn containing the hearts of the Princes of Condé (17th century), an apartment complex for the Comte de Paris, designated museum rooms, and reception areas. The Domaine de Chantilly is also home to the elegant 18th century Grandes Écuries (Great Stables), designed by architect Jean Aubert. Its Musée du cheval (Museum of the Horse) boasts 200 works of art and decorative arts pieces, as well as equestrian events which are devoted to the art of haute-école horse training.
Palais-Royal: 8, rue Montpensier, 75001. Designed by architect Jacques Lemercier (1585-1684) in 1639
Originally known as Le Palais-Cardinal, Le Palais-Royal (or royal residence), acquired its name after the death of Cardinal Richelieu (1585-1642). Its stately façade is visible along rue Saint-Honoré, but claims an official address of 8, rue de Montpensier. Presently, it houses La Ministère de la Culture et de la Communication, Le Conseil d’état, and Le Conseil Constitutionnel. Designed by architect Jacques Lemercier (1585-1684) in 1639, the entire complex is reminiscent of neoclassical glory. Structural harmony and formal grandeur are produced with an emphasis on geometrical precision, symmetry, and monochromatic use of materials. The effect is reinforced with the repetition of solid columns, rounded arches, and refined pilasters topped with Corinthian entablatures. Structural levels and registers are vertically-horizontally delineated with the addition of delicate balustrades. Every element complements the other, thus creating visual balance.
Remnants of the La Galerie d’Orléans columns still exist, located between La Cour d’Honneur and Le Jardin du Palais-Royal. Fountains by Belgian sculpture Pol Bury (1922 – 2005) affectionately known as Sphérades due to their large, metallic spheres, and other temporary sculpture installations can also be found in the royal gardens. La Cour d’Honneur is an open, communal zone. It is home to the site-specific artwork by Daniel Buren, Les Deux Plateaux (1986) (or Les Colonnes de Buren) – striped black and white posts of varying dimensions. The interconnection between neoclassical and modern is prevalent here. There is a constant re-contextualization and reconfiguration of public space for contemporary society. Although Le Palais-Royal is historically steeped in exclusivity and elitism, all visitors are afforded the option of strolling through the tree-lined gardens, as well as the colonnaded arcades filled with electric lamps, contemporary galleries, fashion boutiques, and an assortment of restaurants including Le Grand Véfour. First opened in 1784 by Antoine Aubertot, it was later purchased by Jean Véfour in 1820.
Comédie-Française: 2, rue de Richelieu, Place André-Malraux, 75001. Salle Richelieu, designed by architect Victor Louis (1731-1800) in 1790.
La Comédie-Française is an elegant, three-century old institution located on 2, rue de Richelieu. Located adjacent to Le Palais-Royal, it exudes a formidable aura. Salle Richelieu, site of the present La Comédie-Française, was designed by architect Victor Louis (1731-1800) in 1790. Stately columns, delicate balustrades, elegant arches, and refined pilasters with ornate entablatures add to the structure’s formal composition. Its façade complements that of Le Palais-Royal with its visual symmetry and concise delineation of space, clearly visible with its vertical and horizontal registers. Founded by Louis XIV in 1680, La Comédie-Française was the result of the merging of two theatrical groups of the seventeenth century: Théâtre Guénégaud and Hôtel de Bourgogne. A total of twenty-seven were actors were chosen specifically by Le Roi-Soleil.
The establishment, part of Le Palais-Royal complex, is formerly known as Le Théâtre-Français and La Maison de Molière, after renowned playwright Molière (1622-1673), né Jean-Baptiste Poquelin. The company, which had a repertory of writers including Molière, Corneille, and Racine, held a monopoly over performances in Paris until 1790. The original association of actors included, among others: Jeanne Beauval, Hubert de Croisy, and Armande Béjart. The establishment has been located at its present site, Salle Richelieu, since 1799, and has undergone several enlargements and modifications over the years.
Pyramide du Louvre: Palais du Louvre, Cour Napoléon, 75001. Designed by architect I. M. Pei (1917 – ) in 1989.
Finally, the controversial La Pyramide du Louvre was designed by Chinese architect I. M. Pei (1917 – ) and is centrally located in La Cour Napoléon of the Le Palais du Louvre. Commissioned by French President François Mittérand in 1984, it was completed in 1989. The imposing metal and glass structure has a base of 35 meters and stands nearly 22 meters tall. It serves as a main entrance to Le Musée du Louvre, and is surrounded by a water feature in addition to three smaller pyramids. An inverted pyramid accompanies the entirety of the complex, and serves as a skylight for the Carrousel du Louvre shopping district located directly below.
Critics of the structure have argued that its hyper-modernity in use of materials exists in direct contrast to the classical, symmetrical, and visually-balanced Palais du Louvre. Harsh, severe angles created by the glass structure create a prominent juxtaposition against Le Palais du Louvre. However, opponents note that the complexity of architectural components reflect France’s dynamic, historical trajectory which encourages provocative discussion, inspires innovative techniques, and stimulates creativity among its population. The juxtaposition of neoclassical elements with modern elements creates a modern, fresh association that is constantly evolving. This is executed by promoting thoughtful expression, respect, and appreciation cross-culturally in an ever-expanding expanding globalized community. In the twenty-first century, most would agree that La Pyramide du Louvre is the embodiment of a transformative French nation par excellence; one that cherishes past endeavors, but fully embraces future possibilities.
Paris, France. Jewel Kismet Designs, 2014. All Rights Reserved.
I am pleased to announce the launch of the Spring 2015 Newsletter. Future editions will seek to inform you of current activities, events, and exhibitions in the art world. Provocative discussions will be initiated in order to encourage thoughtful expression, stimulate creativity, and provide invaluable learning opportunities. Compelling blogs will also serve as an autobiographical journal exploring relevant trends. Finally, emphasizing the socio-cultural, historical, and political significance of various artistic traditions will help to promote a deeper understanding of art, photography, architecture, design, and fashion.
Newsletters will be accompanied by photographic essays, brief informational texts, and critiques. This is essential, since active participation in extensive research and art analyses are both necessary components for effective curatorial procedure. Interviews with art world professionals including museum directors, curators, gallery owners, and independent artists will be conducted, when possible. In addition, customized gifts, calendars, and other products will be available in the near future. Lastly, I am excited to announce that the 2015 publication of my PARIS photo book is now available for purchase. Find it on the following sites: Blurb hardback and e-book editions, Amazon,and in the Apple iBookstore.
Jewel Kismet Designs continues to flourish, thanks to increased visibility through various social media outlets. Please join me on Facebook and Twitter for more frequent updates. Thoroughly embracing these innovative approaches allows art to be discovered from a fresh, modern perspective. It is my hope that active engagement with an international audience not only increases visual arts access to the general public, but also enriches the lives of the globalized community.
Russian artist Oleg Sheludyakov was born in 1971 in Novosibirsk, Siberia and attended Kaleidoscope Art School. At the age of 17, he began his studies in Architecture at the Novosibirsk Engineering Institute. In 1995 he graduated with a degree in Philosophy and Humanities from Novosibirsk State University. He later studied monumental painting at Novosibirsk Fine Arts and Architectural Academy and drawing at the Fine Arts Academy in Saint Petersburg, Russia. He has been a member of the International Federation of Artists and National Creative Union of Russia Artists since 2001.
Sheludyakov has been an active art professional for fifteen years, based primarily in Nice, France and never had any other career aspirations before becoming a painter. Although he was raised in a highly intellectual Siberian city known for its scientific achievements and advancements, the artist believes that any academic diplomas, degrees or certificates he previously obtained have not played a significant role. Instead, he insists that the practical skills he has acquired over the years have been the most important factor in his artistic process. For Sheludyakov, conceptualizing and preparing a specific work of art is a fluid, flexible process. His atelier, or studio, is located in his apartment.
However, he dreams of opening his own fine art gallery in the future, especially since the art world in Nice, France is quite rigid – everything is extremely structured. In order to gain success, he stated that artists must associate themselves with a particular group or society. Such rigidity in the system makes it difficult to work as an independent artist. Conversely, the process is more flexible in Novosibirsk where he is more well-known and respected. This is due to the strong family and community ties he continues to nurture even though he resides on the Côte d’Azur in southern France. In addition, he believes his style is perfectly suited to the local tastes of his native city. Unfortunately, the Siberian city lacks a solid art market – it is virtually non-existent. Perhaps this is due to its geopolitical isolation; its relative location being far removed from the world’s great art markets in New York, Beijing, and Berlin.
In order to attract interest for his work, Sheludyakov often prepares painting and drawing workshops in his atelier. Despite increased advances in public relations and social media marketing methods, the painter has limited interaction with other international art professionals and shuns current trends in the art world. He was influenced by other artists, writers, architects, and designers many years ago, but now relies on the immediacy of his environment for inspiration. The artist is reluctant to utilize Facebook and Twitter as a vehicle to promote his work. Instead he relies on alternate methods of artist-gallery channels of communication. This uncertainty about social media is proving to be difficult in an age of continual news feeds and instant status updates.
The lack of an official agent or manager also impedes his progress, somewhat. In addition, it is sometimes rather difficult retrieving your work after an exhibition, since some gallery owners lose both interest and motivation to return borrowed items afterward. However, there are many advantages of working as an independent artist. Sheludyakov is able to confront the “metaphysical side of reality” every day. He is an avid reader, amateur photographer, and enjoys the cinema and traveling. He appreciates feminine beauty and attempts to magically translate that love onto a canvas or linen, his preferred medium. When asked if his work as a particular message or theme, his response was quite simple: “Enjoy life.”
Shelduyakov has had exhibitions in more than 25 countries, including Russia, France, Italy, Germany, and England. His works are included in the art collections of Novosibirsk Art Museum, The House of Scientists, Siberian branch of the Russian Academy of Sciences, as well as in various public and private collections around the world. His most successful exhibitions have been in Crete, Hamburg, and Novosibirsk. The least successful was in Washington, D.C. five years ago. He explained that an artist must fit the tastes of the local environment, and should be able to deal with professional gallery owners and art curators. Recent exhibitions have been in Duisberg, Germany and Novosibirsk, Russia (2012), a group exhibition on the Côte d’Azur (April 2013), and a solo exhibition in Novosibirsk (2013).
Note: The artist currently resides in Blois, France.
Jewel K. Goode 