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Fontaine de la Concorde à sec | by Zed The Dragon
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Fontaine de la Concorde à sec

Cet ensemble monumental est, au point de vue de l'aménagement urbain, la plus importante création du Siècle des Lumières dans la capitale. Il exprime un moment privilégié dans l'évolution du goût français : celui qui voit, vers le milieu du xviiie siècle, le déclin du style rocaille et la naissance d'un nouveau classicisme dont Ange-Jacques Gabriel, son architecte, et Edmé Bouchardon, le sculpteur de la statue équestre de Louis XV érigée au centre de la place et détruite à la Révolution sont parmi les pionniers.

Sa dénomination a changé de nombreuses fois, traduisant l'instabilité des régimes politiques de la France depuis 1789 et une série d'événements joyeux, tragiques ou glorieux, certains d'une grande portée historique, qui se sont déroulés sur son sol. Elle s'est appelée place Louis XV, puis place de la Révolution après le 10 août 1792, place de la Concorde sous le Directoire, le Consulat et l'Empire, à nouveau place Louis XV puis place Louis XVI sous la Restauration, place de la Charte en 1830, pour reprendre enfin sous la Monarchie de Juillet le nom de place de la Concorde. De même les monuments qui ont orné ou auraient dû orner son centre : statue équestre de Louis XV, statue de la Liberté, statue de Louis XVI, obélisque de Louqsor.

 

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The two fountains in the Place de la Concorde have been the most famous of the fountains built during the time of Louis-Philippe, and came to symbolize the fountains in Paris. They were designed by Jacques-Ignace Hittorff, a student of the Neoclassical designer Charles Percier at the École des Beaux-Arts. The German-born Hittorff had served as the official Architect of Festivals and Ceremonies for the deposed King, and had spent two years studying the architecture and fountains of Italy.

Hittorff's two fountains were on the theme of rivers and seas, in part because of their proximity to the Ministry of Navy, and to the Seine. Their arrangement, on a north-south axis aligned with the Obelisk of Luxor and the Rue Royale, and the form of the fountains themselves, were influenced by the fountains of Rome, particularly Piazza Navona and the Piazza San Pietro, both of which had obelisks aligned with fountains.

Both fountains had the same form: a stone basin; six figures of tritons or naiads holding fish spouting water; six seated allegorical figures, their feet on the prows of ships, supporting the pedestal, of the circular vasque; four statues of different forms of genius in arts or crafts supporting the upper inverted upper vasque; whose water shot up and then cascaded down to the lower vasque and then the basin.

The north fountain was devoted to the Rivers, with allegorical figures representing the Rhone and the Rhine, the arts of the harvesting of flowers and fruits, harvesting and grape growing; and the geniuses of river navigation, industry, and agriculture.

The south fountain, closer to the Seine, represented the seas, with figures representing the Atlantic and the Mediterranean; harvesting coral; harvesting fish; collecting shellfish; collecting pearls; and the geniuses of astronomy, navigation and commerce.

 

See it in large : www.flickr.com/photos/zedthedragon/6357757931/in/photostr...

 

Caméra Sony DSLR-A850

Exposition 37

Ouverture f/10.0

Longueur focale 20 mm

Vitesse ISO 100

Détection du degré d'exposition +0.3 EV

 

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Taken on October 2, 2011