#Bourse de commerce

[mightbeadaredevil]

[empirearchives]

The Dome of the Halle au Blé — Ironwork in Paris in the 19th Century

The Halle au Blé under demolition in 1887

The Halle au Blé was transformed into the Bourse de Commerce — Pinault Collection. Though most of the original building was changed, the iron dome designed in 1807 was kept in tact.

The iron dome of the Halle au Blé (which housed the grain exchange of Paris during the 18th and 19th century), was the largest iron structure in the world at the time of its construction between 1807 and 1813.

The original dome of the Halle au Blé was made of wood and burned down in a fire in 1802.

The replacement dome, upgraded to cast iron, was designed by François Bélanger. The design was sent to a committee headed by Becquay-Beaupré, and was approved by Napoleon in 1807.

Bélanger's elegant and audacious design was submitted to Crétet, who consulted with Napoleon. The emperor approved the project in a decree of September 4, 1807. Napoleon was interested enough in the project to visit the site during construction, and he personally dedicated the dome. Actual construction began in 1809 with cast iron produced at Le Creusot, but the dome was not ultimately completed until 1813, having cost 700,000 francs, seven times more than the original estimate.

Bélanger’s iron dome is important because it was the largest iron structure of its day, and it was several decades before another of such magnitude was constructed. The elegant and slender ribs of the dome seen from 40 meters below create an illusion of lightness far surpassing that which is possible with other traditional framing materials.

The novelty of the use of iron and the thinner dimensions made the Halle au Blé a notable attraction in Napoleon’s day and throughout the 19th century. Pierre Fontaine, whom Napoleon had named First Architect and who had argued with the emperor regarding the Vendôme Column, the Temple of Glory, the Pantheon, the Pont des Arts, the Pont des Invalides, and the Pont d'lena, found the dome to be much more satisfying in its use of iron than these other structures.

“This work,” he wrote, “is one of the most remarkable which has been erected under the present regime.” In fact, many of the Parisian guidebooks of the last century give ample treatment to its description, since the dome was considered to be one of the significant landmarks of the capital.

Conversion to the Bourse de Commerce:

The engineer Cosmo Canovetti was charged in 1887 with the reconstruction of the Halle au Blé and its conversion into the Bourse de Commerce. In order to determine whether to retain or reconstruct the dome, Canovetti examined it for any deterioration. He calculated the bending moments by means of funicular polygons, a process unknown to Bélanger, in order to determine whether the additional weight of a roof covering over part of the dome would create any structural problems. Canovetti found the structure adequate, and he observed that Bélanger had understood well the appropriate ratio of diminution to give the ribs from their spring points on the masonry wall to their apex at the compression ring which forms the lantern base.

Source:

Building with Iron: A Napoleonic Controversy, Frances H. Steiner, Technology and Culture, Volume 22, Number 4, October 1981, pp. 700-724 (Article), Published by Johns Hopkins University Press

[bizarreauhavre]

Paris, bourse de commerce, Pinault collection.

[jordi-gali]

Depuis quelques semaines, la Bourse de Commerce est en effervescence pour accueillir plus de 250 œuvres des treize principaux protagonistes de l'Arte Povera, déployées progressivement dans les espaces du musée avant l'ouverture complète de l'exposition le 9 octobre.

[jenniferbin]

Bourse de Commerce

Portra 400 shot on Contax G2

[madebytj]

Bourse de Commerce, Pinault Collection, Paris, France — Photo by Thibault Jorge

[eincline]

La Bourse de commerce de Paris

[aviel]

Kimsooja at Bourse de Commerce

[lenaretrash]

Arca je t’aime

[chez-mimich]

Parigi, agosto 2024. Natura/città, un rapporto paradigmatico da sempre di difficile interpretazione. Ci prova anche Giuseppe Penone con questa installazione davanti alla Bourse di Monsiueur Pinault. La natura modella forme e ha modellato l’uomo (e la donna s’intende), così come la natura anche l’uomo crea forme, quelle per rappresentare, quelle per abitare, quelle per vivere. Una installazione nel cuore di Parigi per ricordarlo/ricordarcelo.

[ajoutezdeuxlettresaparis]

The sky looks fake.

[antronaut]

Urs Fischer, Bourse de Commerce

[mcgiggers]

London, Paris - March 2024

Just back from a fantastic art viewing adventure in the old world which featured stops at the Tate Modern and Goldsmiths Centre for Contemporary Art in London, and the Musée d’Orsay, the Foundation Louis Vuitton and the Bourse de Commerce in Paris. The four-day trip was on the back end of a stay in the 13th century hilltop village of Petritoli, located in Le Marche, where local churches and those in the neighboring towns displayed marvelous medieval and renaissance style treasures. In the big cities, however, the focus was more on contemporary offerings. The whole made for a fascinating journey through an exciting part of art history.

London

An attempt to see the Yoko Ono exhibit at the Tate Modern was stymied by sold out crowds. The serendipity in poor planning however resulted in an opportunistic visit to the museum’s permanent collection, more specifically the magical second floor featuring modern masters and post war stalwarts. With entire rooms dedicated to the likes of Joan Mitchell and Gerhard Richter, among others, the walk-through played out like a greatest hits tour where around every corner an even more marvelous sensory treat was served up. Highlights of the visit included: Georges Braque’s early cubist masterpiece “Clarinet and Bottle of Rum on Mantlepiece”, 1911, oil on canvas (31.9 x 23.6 in.); Giorgio Griffa’s painterly “Tre linee con arabesco n.111”, 1991, acrylic on unstretched and unbleached canvas (114.4 x 76.4 in.); and Agnes Martin’s contemplative grid patterned renderings “On a Clear Day”, 1973, thirty screenprints on paper (each 12 x 12 in.), edition 32 of 50.

On the other side of town on the campus of one of the world’s most renowned art schools, a Matt Connors exhibit, Finding Aid, opened its doors at the Goldsmiths Centre for Contemporary Art. Featuring new and older works by the American abstract artist, the expansive grouping of paintings, sculptures and drawings cleverly paired Connors’ soft geometric abstraction and minimalist marking styles.  Showstoppers included: the large-scale bold vertical diptychs “Mural for a Gay Household I” and “Mural for a Gay Household II”, 2018-2020, acrylic on canvas; the vibrant “Red Top (deployed hatch)”, 2015, acrylic on canvas; and the sparse “Echo Implies Room (Orange/unprimed)”, 2012, acrylic and colored pencil on canvas.

Paris

Forty-eight hours later, the Eurostar abetted transition to Paris was speedy and eventless. Even under cloudy skies, the City of Light was totally sublime and uniquely picturesque. The art stops along the way were knockout shows in beautiful venues which in and of themselves were artistic and architectural marvels. At the Musée d’Orsay, the magnificently repurposed train station was the setting for the Paris 1874: Inventing Impressionism exhibit. The show celebrates the 150th anniversary of the inaugural exhibit of the then avant-garde movement and chronicles the transition from staid and traditional realism to hazier and freer interpretations of subject matter capturing a moment in time, an impression, so to speak. The cast of characters that led the way included MVPs in the annals of art history - Monet, Renoir, Degas and Cézanne, among others, all of whom figure prominently in the exhibit. The highlights included: Auguste Renoir’s “La Loge”, 1874, oil on canvas (31.5 x 24.8 in.); Claude Monet’s “Impression, soliel levant”, 1872, oil on canvas (19.63 x 25.63 in.); and Edgar Degas’ “Classe de danse”, circa 1870, oil on wood (7.75 x 10.63 in.).

The next visit on the journey was the futuristic Frank Gehry-designed Foundation Louis Vuitton and the Mark Rothko retrospective. The comprehensive exhibit brought together 115 or so works of the powerhouse American abstract artist and presented a chronology of the evolution of his early figurative renderings to mystical and surreal style paintings and finally, to his entrancing iconic floating forms. The highlights included: the early representational scene “Contemplation”, 1937-1938, oil on canvas; the surrealist masterpiece “Slow Swirl at the Edge of the Sea”,1944, oil on canvas; and dozens upon dozens of mesmerizing large format colour abstractions, including, “Orange and Red on Red”, 1957, oil on canvas (68.8 x 66 in.) and “No. 14”, 1960, oil on canvas (114 x 105 in.).

The last planned stop in Paris was the Pinault Collection at the impressively remodelled Bourse de Commerce. Spiralling up the majestic rotunda, works by contemporary art rockstars were prominently displayed. Among these were: Peter Doig’s haunting “Pelican (Stag)”, 2003-2004, oil on canvas; Maurizio Cattelan’s poignant “Him”, 2001, wax, human hair, suit, polyester resin and pigment; and a monumental installation by Sturtevant replicating the mythical room staged by Marcel Duchamp at the 1938 International Surrealist Exhibition in Paris.

Closing off the trip and reaching back in the art history timeline, a truly memorable work was discovered by happenstance during an unplanned visit to Eglise Saint-Séverin. Dating back to the 13th century, the gothic style place of worship housed numerous elaborate chapels which were all built around altars and adored by art of the time. A particular work stood out as it was presented alone hung high on a huge wall under a circular stained-glass window surrounded by nothing else but the serenity of the immediate environment. It totally radiated under the spotlight that illuminated a depicted religious figure sitting at a table who perhaps was Saint Séverin, a devout 6th century hermit and the church’s namesake.

Meanwhile, in the new world, there was a lot more commotion as Hogtown’s Jurassic Park was hit with an asteroid of epic proportions that essentially wiped out all remnants of a recent championship team.  The Dinos were dissected and dismantled. Gone are Crazy Eyes and OG-Won Kenobi, and team leader Scottie B and the much-maligned Austrian Big succumbed to season ending injuries. All the while, the newly minted Raptors including RJ the Prodigal Son Barrett and Immanuel La Squig Quickley struggled to stay healthy and make their mark. The result has been a team that is nowhere near relevant in the standings nor the hearts of fans. With the prospect of a lengthy and bumpy rebuilding process ahead, Dino fans can perhaps take some solace in rooting for the success of Raptor expats applying their trade elsewhere or maybe even Canadian hoopsters playing for true championship contenders. It’s all a lot rosier than the current state of affairs in Jurassic Park.

For more information on any of the venues, artists or works mentioned, or the sad sack Dinos, “Just Google It”.

There you have it sportsfans,

MC Giggers

(Https://mcgiggers.tumblr.com) Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

[bizarreauhavre]

Paris, bourse de commerce (Pinault collection), 15 juin 2024.

[k-ttyprincess]

Inside the mind of Tadao Ando

[atna2-34-75]

Tacida Dean @ Bourse de Commerce