{"id":11218,"date":"2019-08-29T15:46:14","date_gmt":"2019-08-29T14:46:14","guid":{"rendered":"http:\/\/www.proantic.com\/magazine\/?p=11218"},"modified":"2019-09-01T10:57:19","modified_gmt":"2019-09-01T09:57:19","slug":"paris-romantique-1815-1848","status":"publish","type":"post","link":"https:\/\/www.proantic.com\/magazine\/paris-romantique-1815-1848\/","title":{"rendered":"Paris Romantique, 1815-1848"},"content":{"rendered":"<p>Apr\u00e8s \u00ab Paris 1900, la Ville spectacle \u00bb, le Petit Palais pr\u00e9sente \u00ab Paris romantique \u00bb et poursuit ainsi son \u00e9vocation des grandes p\u00e9riodes fondatrices de l\u2019identit\u00e9 de Paris. Cette exposition-\u00e9v\u00e9nement offre un vaste panorama de la capitale durant les ann\u00e9es romantiques, de la chute de Napol\u00e9on \u00e0 la r\u00e9volution de 1848.<\/p>\n<figure id=\"attachment_11237\" aria-describedby=\"caption-attachment-11237\" style=\"width: 408px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/amlo.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11237\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/paris-romantique-1815-1848\/amlo\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/amlo.jpg?fit=408%2C391&amp;ssl=1\" data-orig-size=\"408,391\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1566906267&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Paris Romantique, 1815-1848\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Alexandre Louis Bellang\u00e9, Charles-Auguste Questel,&lt;br \/&gt;\nMeuble d\u2019appui pour la salle \u00e0 manger du duc d\u2019Orl\u00e9ans,&lt;br \/&gt;\n1840, Mus\u00e9e du Louvre, d\u00e9partement des Objets d\u2019Art&lt;br \/&gt;\nPhoto RMN\u2013Grand Palais\/Jean-Gille Berizzi&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/amlo.jpg?fit=300%2C288&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/amlo.jpg?fit=408%2C391&amp;ssl=1\" class=\"size-full wp-image-11237\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/amlo.jpg?resize=408%2C391\" alt=\"\" width=\"408\" height=\"391\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/amlo.jpg?w=408&amp;ssl=1 408w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/amlo.jpg?resize=300%2C288&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/amlo.jpg?resize=180%2C173&amp;ssl=1 180w\" sizes=\"auto, (max-width: 408px) 100vw, 408px\" \/><\/a><figcaption id=\"caption-attachment-11237\" class=\"wp-caption-text\">Alexandre Louis Bellang\u00e9, Charles-Auguste Questel,<br \/>Meuble d\u2019appui pour la salle \u00e0 manger du duc d\u2019Orl\u00e9ans,<br \/>1840, Mus\u00e9e du Louvre, d\u00e9partement des Objets d\u2019Art<br \/>Photo RMN\u2013Grand Palais\/Jean-Gille Berizzi<\/figcaption><\/figure>\n<p>Plus de 600 \u0153uvres -peintures, sculptures, costumes, objets d\u2019art et mobilier- plongent le visiteur dans le bouillonnement artistique, culturel et politique de cette \u00e9poque. Gr\u00e2ce \u00e0 une sc\u00e9nographie immersive, le parcours invite \u00e0 une promenade dans la capitale \u00e0 la d\u00e9couverte des quartiers embl\u00e9matiques de la p\u00e9riode : les Tuileries, le Palais-Royal, la Nouvelle-Ath\u00e8nes, la cath\u00e9drale Notre-Dame de Paris de Victor Hugo, ou les Grands Boulevards des th\u00e9\u00e2tres. Dans le m\u00eame temps, un volet d\u00e9di\u00e9 aux salons litt\u00e9raires et mondains est pr\u00e9sent\u00e9 au mus\u00e9e de la Vie romantique et compl\u00e8te l\u2019exposition.<\/p>\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/_g6dC4UHOEM?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=fr-FR&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span>\n<p><span style=\"color: #ff0000\">PARCOURS DE L\u2019EXPOSITION<\/span><\/p>\n<p>Napol\u00e9on avait r\u00eav\u00e9 de faire de Paris une m\u00e9galopole qui serait la capitale politique de l\u2019Europe. La chute de l\u2019Empire l\u2019emp\u00eacha d\u2019accomplir ce dessein, mais les Parisiens de la Restauration et de la monarchie de Juillet avaient tout de m\u00eame la conviction de vivre dans la premi\u00e8re ville du monde, capitale artistique, musicale et scientifique, mais \u00e9galement capitale des plaisirs et de la mode.<\/p>\n<figure id=\"attachment_11238\" aria-describedby=\"caption-attachment-11238\" style=\"width: 671px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/dsmp.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11238\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/paris-romantique-1815-1848\/dsmp\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/dsmp.jpg?fit=671%2C387&amp;ssl=1\" data-orig-size=\"671,387\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1566906285&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Paris Romantique, 1815-1848\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Etienne Bouhot, Le jardin et le palais des Tuileries vus du Quai d\u2019Orsay,&lt;br \/&gt;\n1813, huile sur toile, Salon de 1814, Paris, Mus\u00e9e Carnavalet&lt;br \/&gt;\nPhoto Mus\u00e9e Carnavalet \/ Roger-Viollet&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/dsmp.jpg?fit=300%2C173&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/dsmp.jpg?fit=665%2C384&amp;ssl=1\" class=\"size-full wp-image-11238\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/dsmp.jpg?resize=665%2C384\" alt=\"\" width=\"665\" height=\"384\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/dsmp.jpg?w=671&amp;ssl=1 671w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/dsmp.jpg?resize=300%2C173&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/dsmp.jpg?resize=180%2C104&amp;ssl=1 180w\" sizes=\"auto, (max-width: 665px) 100vw, 665px\" \/><\/a><figcaption id=\"caption-attachment-11238\" class=\"wp-caption-text\">Etienne Bouhot, Le jardin et le palais des Tuileries vus du Quai d\u2019Orsay,<br \/>1813, huile sur toile, Salon de 1814, Paris, Mus\u00e9e Carnavalet<br \/>Photo Mus\u00e9e Carnavalet \/ Roger-Viollet<\/figcaption><\/figure>\n<p>Beaucoup d\u2019\u00e9trangers partageaient ce sentiment et pensaient que seule l\u2019approbation parisienne pouvait leur assurer une reconnaissance internationale.\u00a0 De ce fait, la ville fourmillait d\u2019exil\u00e9s volontaires, musiciens comme Rossini, Liszt ou Meyerbeer, scientifiques, comme Alexandre de Humboldt, \u00e9crivains, comme Henri Heine, mais aussi de r\u00e9fugi\u00e9s fuyant des situations politiques difficiles, comme Adam Mickiewicz, Fr\u00e9d\u00e9ric Chopin ou la princesse Belgiojoso. Le brassage de toutes ces influences ext\u00e9rieures, dans un contexte relativement lib\u00e9ral, favorisa l\u2019\u00e9closion d\u2019une effervescence intellectuelle unique dans une Europe o\u00f9 beaucoup de nations vivaient encore sous un r\u00e9gime oppressif.<\/p>\n<figure id=\"attachment_11239\" aria-describedby=\"caption-attachment-11239\" style=\"width: 380px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/nhgt.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11239\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/paris-romantique-1815-1848\/nhgt\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/nhgt.jpg?fit=380%2C486&amp;ssl=1\" data-orig-size=\"380,486\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1566906306&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Paris Romantique, 1815-1848\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;\u00c9douard Dubufe, Jeune fille au portrait, vers 1840, Mus\u00e9e&lt;br \/&gt;\ndes Arts d\u00e9coratifs&lt;br \/&gt;\nPhoto MAD&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/nhgt.jpg?fit=235%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/nhgt.jpg?fit=380%2C486&amp;ssl=1\" class=\"size-full wp-image-11239\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/nhgt.jpg?resize=380%2C486\" alt=\"\" width=\"380\" height=\"486\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/nhgt.jpg?w=380&amp;ssl=1 380w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/nhgt.jpg?resize=235%2C300&amp;ssl=1 235w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/nhgt.jpg?resize=141%2C180&amp;ssl=1 141w\" sizes=\"auto, (max-width: 380px) 100vw, 380px\" \/><\/a><figcaption id=\"caption-attachment-11239\" class=\"wp-caption-text\">\u00c9douard Dubufe, Jeune fille au portrait, vers 1840, Mus\u00e9e<br \/>des Arts d\u00e9coratifs<br \/>Photo MAD<\/figcaption><\/figure>\n<p><strong>I. Le palais des Tuileries<\/strong><\/p>\n<p>\u00c9clips\u00e9 par le ch\u00e2teau de Versailles depuis que Louis XIV y avait fix\u00e9 la cour, le palais des Tuileries devint, du Consulat au Second Empire, la r\u00e9sidence parisienne permanente du chef de l\u2019\u00c9tat. Symbole m\u00eame du pouvoir du souverain, il disparut dans les incendies de la Commune de Paris en 1871 et la jeune IIIe R\u00e9publique renon\u00e7a \u00e0 le reconstruire. Pendant la p\u00e9riode concern\u00e9e, le palais fut occup\u00e9 successivement par la branche a\u00een\u00e9e des Bourbons, Louis XVIII et Charles X, de 1814 \u00e0 1830, puis par la maison d\u2019Orl\u00e9ans, avec Louis-Philippe Ier, de 1830 \u00e0 la r\u00e9volution de 1848.<\/p>\n<figure id=\"attachment_11241\" aria-describedby=\"caption-attachment-11241\" style=\"width: 383px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/A.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11241\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/paris-romantique-1815-1848\/a-13\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/A.jpg?fit=383%2C307&amp;ssl=1\" data-orig-size=\"383,307\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1567095786&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Paris Romantique, 1815-1848\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Peigne \u00e0 dix dents, \u00e9caille, turquoises, vers 1840, Mus\u00e9e&lt;br \/&gt;\ndes Arts d\u00e9coratifs&lt;br \/&gt;\nPhoto MAD&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/A.jpg?fit=300%2C240&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/A.jpg?fit=383%2C307&amp;ssl=1\" class=\"size-full wp-image-11241\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/A.jpg?resize=383%2C307\" alt=\"\" width=\"383\" height=\"307\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/A.jpg?w=383&amp;ssl=1 383w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/A.jpg?resize=300%2C240&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/A.jpg?resize=180%2C144&amp;ssl=1 180w\" sizes=\"auto, (max-width: 383px) 100vw, 383px\" \/><\/a><figcaption id=\"caption-attachment-11241\" class=\"wp-caption-text\">Peigne \u00e0 dix dents, \u00e9caille, turquoises, vers 1840, Mus\u00e9e<br \/>des Arts d\u00e9coratifs<br \/>Photo MAD<\/figcaption><\/figure>\n<p>Sous la Restauration, le seul personnage vraiment populaire de la famille royale fut la duchesse de Berry, image de \u00abbont\u00e9, douceur, esprit, gaiet\u00e9\u00bb. Soucieuse d\u2019\u00eatre \u00e0 la mode, elle meubla son appartement du pavillon de Marsan dans le go\u00fbt le plus nouveau, et sut animer le vieux palais en organisant des f\u00eates, dont certaines sont rest\u00e9es c\u00e9l\u00e8bres, comme celle du 2 mars 1829, bal costum\u00e9 durant lequel fut dans\u00e9 le quadrille de Marie Stuart.<\/p>\n<figure id=\"attachment_11242\" aria-describedby=\"caption-attachment-11242\" style=\"width: 355px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqz-1.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11242\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/paris-romantique-1815-1848\/aqz-4\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqz-1.jpg?fit=355%2C473&amp;ssl=1\" data-orig-size=\"355,473\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1566906506&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Paris Romantique, 1815-1848\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Robe d\u2019\u00e9t\u00e9, en une seule pi\u00e8ce ras du cou, manches pagodes&lt;br \/&gt;\nlongues, jupe \u00e0 fronces avec une ceinture, vers 1845, Palais&lt;br \/&gt;\nGalliera, mus\u00e9e de la Mode de la Ville de Paris&lt;br \/&gt;\nPhoto Palais Galliera \/ Roger-Viollet.&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqz-1.jpg?fit=225%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqz-1.jpg?fit=355%2C473&amp;ssl=1\" class=\"size-full wp-image-11242\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqz-1.jpg?resize=355%2C473\" alt=\"\" width=\"355\" height=\"473\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqz-1.jpg?w=355&amp;ssl=1 355w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqz-1.jpg?resize=225%2C300&amp;ssl=1 225w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqz-1.jpg?resize=135%2C180&amp;ssl=1 135w\" sizes=\"auto, (max-width: 355px) 100vw, 355px\" \/><\/a><figcaption id=\"caption-attachment-11242\" class=\"wp-caption-text\">Robe d\u2019\u00e9t\u00e9, en une seule pi\u00e8ce ras du cou, manches pagodes longues, jupe \u00e0 fronces avec une ceinture, vers 1845, Palais Galliera, mus\u00e9e de la Mode de la Ville de Paris<br \/>Photo Palais Galliera \/ Roger-Viollet.<\/figcaption><\/figure>\n<p>Sous Louis-Philippe, plusieurs membres de la famille royale furent appr\u00e9ci\u00e9s des Parisiens, \u00e0 commencer par Ferdinand Philippe, le prince h\u00e9ritier ; succ\u00e9dant \u00e0 la duchesse de Berry comme occupant du pavillon de Marsan, il favorisa le retour aux styles du XVIIIe et aux meubles en marqueterie Boulle, tout en collectionnant la peinture moderne. Sa mort brutale en 1842, d\u2019un accident de voiture, sema la consternation. Une de ses s\u0153urs, l\u2019attachante princesse Marie d\u2019Orl\u00e9ans, artiste de talent, \u00e9tait plut\u00f4t f\u00e9rue de Moyen-\u00c2ge; elle fit am\u00e9nager dans son appartement un surprenant salon-atelier n\u00e9ogothique.<\/p>\n<figure id=\"attachment_11243\" aria-describedby=\"caption-attachment-11243\" style=\"width: 339px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/jer.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11243\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/paris-romantique-1815-1848\/jer\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/jer.jpg?fit=339%2C460&amp;ssl=1\" data-orig-size=\"339,460\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1566906530&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Paris Romantique, 1815-1848\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Th\u00e9odore Chass\u00e9riau, Sapho, 1849, Salon de 1850, huile sur&lt;br \/&gt;\nbois, Mus\u00e9e d\u2019Orsay, d\u00e9p\u00f4t du mus\u00e9e du Louvre&lt;br \/&gt;\nPhoto RMN-Grand Palais\/Adrien Didierjean&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/jer.jpg?fit=221%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/jer.jpg?fit=339%2C460&amp;ssl=1\" class=\"size-full wp-image-11243\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/jer.jpg?resize=339%2C460\" alt=\"\" width=\"339\" height=\"460\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/jer.jpg?w=339&amp;ssl=1 339w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/jer.jpg?resize=221%2C300&amp;ssl=1 221w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/jer.jpg?resize=133%2C180&amp;ssl=1 133w\" sizes=\"auto, (max-width: 339px) 100vw, 339px\" \/><\/a><figcaption id=\"caption-attachment-11243\" class=\"wp-caption-text\">Th\u00e9odore Chass\u00e9riau, Sapho, 1849, Salon de 1850, huile sur<br \/>bois, Mus\u00e9e d\u2019Orsay, d\u00e9p\u00f4t du mus\u00e9e du Louvre<br \/>Photo RMN-Grand Palais\/Adrien Didierjean<\/figcaption><\/figure>\n<p><strong>II. Le Palais-Royal<\/strong><\/p>\n<p>Les guides de Paris du d\u00e9but du XIXe si\u00e8cle sont unanimes : le Palais-Royal constitue l\u2019\u00e9picentre incontest\u00e9 de la vie parisienne. Construit en 1628 pour le cardinal de Richelieu, le Palais Royal devint plus tard la r\u00e9sidence de la famille d\u2019Orl\u00e9ans. Enti\u00e8rement r\u00e9am\u00e9nag\u00e9 \u00e0 la fin du XVIIIe si\u00e8cle, il acquit alors une grande popularit\u00e9, due aux nombreux commerces et lieux de divertissement install\u00e9s dans ses galeries.<\/p>\n<p>Confisqu\u00e9 sous la R\u00e9volution, il fut, en 1814, restitu\u00e9 au duc d\u2019Orl\u00e9ans, futur Louis Philippe, qui y r\u00e9sida jusqu\u2019\u00e0 son accession au tr\u00f4ne en 1830 et en confia la r\u00e9novation \u00e0 l\u2019architecte Pierre Fontaine. Fontaine agen\u00e7a notamment la magnifique galerie d\u2019Orl\u00e9ans, l\u2019un des plus c\u00e9l\u00e8bres passages couverts de la capitale, qui abritait des dizaines de boutiques et permettait aux fl\u00e2neurs de se livrer aux plaisirs du shopping sans craindre les intemp\u00e9ries.<\/p>\n<figure id=\"attachment_11244\" aria-describedby=\"caption-attachment-11244\" style=\"width: 569px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/qmo.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11244\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/paris-romantique-1815-1848\/qmo\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/qmo.jpg?fit=569%2C463&amp;ssl=1\" data-orig-size=\"569,463\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1566906550&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Paris Romantique, 1815-1848\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Eug\u00e8ne Delacroix, Le Christ au jardin des Oliviers, 1826,&lt;br \/&gt;\nSalon de 1827, huile sur toile, Paris, \u00e9glise Saint-Paul-SaintLouis&lt;br \/&gt;\nPhoto COARC \/ Roger-Viollet.&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/qmo.jpg?fit=300%2C244&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/qmo.jpg?fit=569%2C463&amp;ssl=1\" class=\"size-full wp-image-11244\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/qmo.jpg?resize=569%2C463\" alt=\"\" width=\"569\" height=\"463\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/qmo.jpg?w=569&amp;ssl=1 569w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/qmo.jpg?resize=300%2C244&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/qmo.jpg?resize=180%2C146&amp;ssl=1 180w\" sizes=\"auto, (max-width: 569px) 100vw, 569px\" \/><\/a><figcaption id=\"caption-attachment-11244\" class=\"wp-caption-text\">Eug\u00e8ne Delacroix, Le Christ au jardin des Oliviers, 1826,<br \/>Salon de 1827, huile sur toile, Paris, \u00e9glise Saint-Paul-SaintLouis<br \/>Photo COARC \/ Roger-Viollet.<\/figcaption><\/figure>\n<p>Le Palais-Royal \u00e9tait en effet extr\u00eamement reconnu pour ses commerces o\u00f9 l\u2019on trouvait les articles de luxe les plus divers : \u00e9toffes, pendules, petits bronzes, bijoux, porcelaines et colifichets en tout genre qui faisaient la r\u00e9putation de la capitale. D\u2019autres distractions attiraient cependant : le lieu \u00e9tait renomm\u00e9 pour ses caf\u00e9s et ses restaurants, comme V\u00e9ry, V\u00e9four ou les Fr\u00e8res Proven\u00e7aux qui offraient ce qu\u2019il y avait alors de meilleur en mati\u00e8re de gastronomie.<\/p>\n<p>Mais le Palais-Royal abritait \u00e9galement des plaisirs moins avouables : il \u00e9tait devenu le repaire des joueurs et des prostitu\u00e9es qui recevaient dans les \u00e9tages. La popularit\u00e9 du Palais-Royal, extr\u00eame jusqu\u2019au d\u00e9but des ann\u00e9es 1830, se tarit progressivement au b\u00e9n\u00e9fice des Grands Boulevards, lorsque le racolage et les jeux de hasard furent interdits.<\/p>\n<figure id=\"attachment_11245\" aria-describedby=\"caption-attachment-11245\" style=\"width: 578px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqlpo.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11245\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/paris-romantique-1815-1848\/aqlpo-2\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqlpo.jpg?fit=578%2C434&amp;ssl=1\" data-orig-size=\"578,434\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1566906570&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Paris Romantique, 1815-1848\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Charles-\u00c9douard Leprince (baron de Crespy), Promenade&lt;br \/&gt;\nde Julie et Saint-Preux sur le lac de Gen\u00e8ve, 1824, huile sur&lt;br \/&gt;\ntoile, Montmorency, mus\u00e9e Jean-Jacques Rousseau&lt;br \/&gt;\nPhoto Didier Fontan&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqlpo.jpg?fit=300%2C225&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqlpo.jpg?fit=578%2C434&amp;ssl=1\" class=\"size-full wp-image-11245\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqlpo.jpg?resize=578%2C434\" alt=\"\" width=\"578\" height=\"434\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqlpo.jpg?w=578&amp;ssl=1 578w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqlpo.jpg?resize=300%2C225&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqlpo.jpg?resize=180%2C135&amp;ssl=1 180w\" sizes=\"auto, (max-width: 578px) 100vw, 578px\" \/><\/a><figcaption id=\"caption-attachment-11245\" class=\"wp-caption-text\">Charles-\u00c9douard Leprince (baron de Crespy), Promenade<br \/>de Julie et Saint-Preux sur le lac de Gen\u00e8ve, 1824, huile sur<br \/>toile, Montmorency, mus\u00e9e Jean-Jacques Rousseau<br \/>Photo Didier Fontan<\/figcaption><\/figure>\n<p><strong>III. Au Louvre : le Salon<\/strong><\/p>\n<p>Institu\u00e9e \u00e0 la fin du XVIIe si\u00e8cle, cette grande exposition avait lieu traditionnellement dans le Salon carr\u00e9 du Louvre, d\u2019o\u00f9 son nom. Le Salon reste au d\u00e9but du XIXe si\u00e8cle l\u2019\u00e9v\u00e9nement majeur de la vie artistique parisienne. Abondamment comment\u00e9 dans la presse, il constituait la principale exposition d\u2019art contemporain: tous les jeunes artistes aspiraient \u00e0 s\u2019y faire admettre par le jury, bien conscients que de leur succ\u00e8s au Salon d\u00e9pendait la r\u00e9ussite de leur carri\u00e8re.<\/p>\n<p>Devant le succ\u00e8s de la manifestation, qui rassemblait au fil des ann\u00e9es un nombre croissant de peintures et de sculptures, il fallut bient\u00f4t annexer plusieurs enfilades de salles du mus\u00e9e et la rendre annuelle \u00e0 partir de 1833. Tous les genres et tous les styles y \u00e9taient repr\u00e9sent\u00e9s et les tableaux \u00e9taient accroch\u00e9s les uns contre les autres, tandis que les sculptures \u00e9taient rel\u00e9gu\u00e9es au rez-de-chauss\u00e9e.<\/p>\n<figure id=\"attachment_11246\" aria-describedby=\"caption-attachment-11246\" style=\"width: 588px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/hnhy.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11246\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/paris-romantique-1815-1848\/hnhy-3\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/hnhy.jpg?fit=588%2C434&amp;ssl=1\" data-orig-size=\"588,434\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1566906588&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Paris Romantique, 1815-1848\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Eug\u00e8ne Delacroix, Les convulsionnaires de Tanger, 1837-&lt;br \/&gt;\n1838, huile sur toile, Minneapolis, Institute of Art&lt;br \/&gt;\nPhoto Bridgeman Images&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/hnhy.jpg?fit=300%2C221&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/hnhy.jpg?fit=588%2C434&amp;ssl=1\" class=\"size-full wp-image-11246\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/hnhy.jpg?resize=588%2C434\" alt=\"\" width=\"588\" height=\"434\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/hnhy.jpg?w=588&amp;ssl=1 588w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/hnhy.jpg?resize=300%2C221&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/hnhy.jpg?resize=180%2C133&amp;ssl=1 180w\" sizes=\"auto, (max-width: 588px) 100vw, 588px\" \/><\/a><figcaption id=\"caption-attachment-11246\" class=\"wp-caption-text\">Eug\u00e8ne Delacroix, Les convulsionnaires de Tanger, 1837-<br \/>1838, huile sur toile, Minneapolis, Institute of Art<br \/>Photo Bridgeman Images<\/figcaption><\/figure>\n<p>Les salons des ann\u00e9es 1820 virent l\u2019\u00e9mergence du romantisme en peinture, avec la pr\u00e9sentation des \u0153uvres ma\u00eetresses de G\u00e9ricault (Le Radeau de la M\u00e9duse, Salon de 1819) et de Delacroix (La Barque de Dante, Salon de 1822, Les Massacres de Scio, en 1824, Le Christ au jardin des Oliviers, en 1827).<\/p>\n<p>Dans les ann\u00e9es 1830, ce fut au tour des sculpteurs de la nouvelle \u00e9cole de se faire remarquer: au Salon de 1831 expos\u00e8rent ainsi Barye et Duseigneur, dont le Roland furieux est aujourd\u2019hui encore consid\u00e9r\u00e9 comme l\u2019un des manifestes du romantisme en sculpture. Dans les ann\u00e9es 1830, le jury fit preuve d\u2019une plus grande s\u00e9v\u00e9rit\u00e9 \u00e0 l\u2019\u00e9gard des romantiques: certains comme Barye ou Pr\u00e9ault furent r\u00e9guli\u00e8rement exclus et d\u00e9velopp\u00e8rent de nouvelles strat\u00e9gies de vente et d\u2019exposition.<\/p>\n<p>L\u2019h\u00e9g\u00e9monie du Salon, jusque-l\u00e0 incontest\u00e9e, commen\u00e7ait alors \u00e0 \u00eatre mise en cause. Ne sont pr\u00e9sent\u00e9es dans cette salle, sauf exception, que des \u0153uvres ayant figur\u00e9 \u00e0 ces salons.<\/p>\n<figure id=\"attachment_11247\" aria-describedby=\"caption-attachment-11247\" style=\"width: 581px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/vze.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11247\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/paris-romantique-1815-1848\/vze\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/vze.jpg?fit=581%2C435&amp;ssl=1\" data-orig-size=\"581,435\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1566906607&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Paris Romantique, 1815-1848\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Pierre-Jean David, dit David d\u2019Angers, La jeune grecque au&lt;br \/&gt;\ntombeau de Marco Botzaris, pl\u00e2tre, Angers, Galerie David&lt;br \/&gt;\nd\u2019Angers&lt;br \/&gt;\nPhoto Mus\u00e9es d\u2019Angers&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/vze.jpg?fit=300%2C225&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/vze.jpg?fit=581%2C435&amp;ssl=1\" class=\"size-full wp-image-11247\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/vze.jpg?resize=581%2C435\" alt=\"\" width=\"581\" height=\"435\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/vze.jpg?w=581&amp;ssl=1 581w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/vze.jpg?resize=300%2C225&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/vze.jpg?resize=180%2C135&amp;ssl=1 180w\" sizes=\"auto, (max-width: 581px) 100vw, 581px\" \/><\/a><figcaption id=\"caption-attachment-11247\" class=\"wp-caption-text\">Pierre-Jean David, dit David d\u2019Angers, La jeune grecque au<br \/>tombeau de Marco Botzaris, pl\u00e2tre, Angers, Galerie David<br \/>d\u2019Angers<br \/>Photo Mus\u00e9es d\u2019Angers<\/figcaption><\/figure>\n<p><strong>IV. Notre-Dame de Paris<\/strong><\/p>\n<p>En 1831, parut Notre-Dame de Paris, de Victor Hugo : le succ\u00e8s du roman, qui, autant qu\u2019une dramatique histoire d\u2019amour, \u00e9tait une \u00e9vocation haute en couleur du Paris de la fin du XVe si\u00e8cle, ne se d\u00e9mentit pas. Magnifique exemple de la passion que suscita le Moyen-\u00c2ge \u00e0 l\u2019\u00e9poque romantique, le livre inspira de nombreux peintres et dessinateurs, d\u2019Auguste Couder \u00e0 Charles Steuben et Louis Boulanger. Preuve de son succ\u00e8s, le roman fut m\u00eame adapt\u00e9 pour l\u2019op\u00e9ra par Louise Bertin, et ses personnages \u2013 Esmeralda, Phoebus, Quasimodo \u2013 servirent de motifs de pendules et de petits bronzes.<\/p>\n<figure id=\"attachment_11248\" aria-describedby=\"caption-attachment-11248\" style=\"width: 599px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/nder.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11248\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/paris-romantique-1815-1848\/nder\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/nder.jpg?fit=599%2C418&amp;ssl=1\" data-orig-size=\"599,418\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1566906624&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Paris Romantique, 1815-1848\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Horace Vernet, Mazeppa aux loups, 1826, huile sur toile,&lt;br \/&gt;\nAvignon, mus\u00e9e Calvet&lt;br \/&gt;\nPhoto Jean-Luc Maby&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/nder.jpg?fit=300%2C209&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/nder.jpg?fit=599%2C418&amp;ssl=1\" class=\"size-full wp-image-11248\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/nder.jpg?resize=599%2C418\" alt=\"\" width=\"599\" height=\"418\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/nder.jpg?w=599&amp;ssl=1 599w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/nder.jpg?resize=300%2C209&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/nder.jpg?resize=180%2C126&amp;ssl=1 180w\" sizes=\"auto, (max-width: 599px) 100vw, 599px\" \/><\/a><figcaption id=\"caption-attachment-11248\" class=\"wp-caption-text\">Horace Vernet, Mazeppa aux loups, 1826, huile sur toile,<br \/>Avignon, mus\u00e9e Calvet<br \/>Photo Jean-Luc Maby<\/figcaption><\/figure>\n<p>Le roman contribua \u00e0 la red\u00e9couverte du vieux Paris, resserr\u00e9 autour de la cath\u00e9drale, dont se multipli\u00e8rent alors les vues pittoresques notamment d\u2019aquarellistes anglais tel Thomas Shotter Boys. Cet engouement pour le vieux Paris s\u2019inscrivait dans un mouvement plus vaste de red\u00e9couverte du patrimoine architectural du Moyen-\u00c2ge qui aboutit en 1830 \u00e0 la cr\u00e9ation du poste d\u2019inspecteur g\u00e9n\u00e9ral des monuments historiques, bient\u00f4t occup\u00e9 par Prosper M\u00e9rim\u00e9e, l\u2019auteur de Carmen.<\/p>\n<p>La passion de la g\u00e9n\u00e9ration romantique pour le Moyen-\u00c2ge s\u2019\u00e9tendait aussi aux objets d\u2019art, comme en atteste la collection rassembl\u00e9e \u00e0 l\u2019h\u00f4tel de Cluny par Alexandre du Sommerard. Pendules, papiers peints, coffrets, reliures, costumes : les ornements gothiques pouvaient se d\u00e9cliner \u00e0 l\u2019infini sur tous les types de support. Des int\u00e9rieurs gothiques firent m\u00eame leur apparition, tel le c\u00e9l\u00e8bre cabinet am\u00e9nag\u00e9 par la comtesse d\u2019Osmond dans son h\u00f4tel parisien \u2013 l\u2019un des plus pr\u00e9coces t\u00e9moignages du \u00ab go\u00fbt gothique\u00bb \u00e0 Paris.<\/p>\n<figure id=\"attachment_11249\" aria-describedby=\"caption-attachment-11249\" style=\"width: 370px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/csde.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11249\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/paris-romantique-1815-1848\/csde\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/csde.jpg?fit=370%2C496&amp;ssl=1\" data-orig-size=\"370,496\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1566906646&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Paris Romantique, 1815-1848\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Charles de Steuben, La Esm\u00e9ralda, Salon de 1839, huile&lt;br \/&gt;\nsur toile, Nantes, Mus\u00e9e d\u2019Arts&lt;br \/&gt;\nPhoto RMN-Grand Palais\/G\u00e9rard Blot&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/csde.jpg?fit=224%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/csde.jpg?fit=370%2C496&amp;ssl=1\" class=\"size-full wp-image-11249\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/csde.jpg?resize=370%2C496\" alt=\"\" width=\"370\" height=\"496\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/csde.jpg?w=370&amp;ssl=1 370w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/csde.jpg?resize=224%2C300&amp;ssl=1 224w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/csde.jpg?resize=134%2C180&amp;ssl=1 134w\" sizes=\"auto, (max-width: 370px) 100vw, 370px\" \/><\/a><figcaption id=\"caption-attachment-11249\" class=\"wp-caption-text\">Charles de Steuben, La Esm\u00e9ralda, Salon de 1839, huile<br \/>sur toile, Nantes, Mus\u00e9e d\u2019Arts<br \/>Photo RMN-Grand Palais\/G\u00e9rard Blot<\/figcaption><\/figure>\n<p><strong>V. 1830, le Paris des r\u00e9volutions<\/strong><\/p>\n<p>Le 25 juillet 1830, depuis sa r\u00e9sidence de Saint-Cloud, Charles X signa six ordonnances qui remettaient en cause les libert\u00e9s fondamentales, notamment la libert\u00e9 de la presse. Lorsque les Parisiens l\u2019apprirent, le lendemain, les premi\u00e8res \u00e9meutes \u00e9clat\u00e8rent autour du Palais-Royal et de la Bourse tandis que des barricades s\u2019\u00e9levaient dans les quartiers populaires du vieux Paris.<\/p>\n<p>Contre toute attente, les combats se sold\u00e8rent par une victoire du peuple face aux troupes royales : l\u2019H\u00f4tel de Ville, Notre-Dame, puis le Louvre et les Tuileries tomb\u00e8rent aux mains des insurg\u00e9s, et Charles X fut contraint de s\u2019enfuir. Les d\u00e9put\u00e9s lib\u00e9raux, par souci d\u2019ordre, firent appel \u00e0 Louis Philippe d\u2019Orl\u00e9ans qui fut proclam\u00e9 \u00ab roi des Fran\u00e7ais \u00bb. Il suffit donc de trois jours, du 27 au 29 juillet 1830, pour renverser la dynastie des Bourbons. Le r\u00e8gne de Louis-Philippe, certes plus lib\u00e9ral \u00e0 ses d\u00e9buts, n\u2019en surveilla pas moins \u00e9troitement la presse, o\u00f9 les caricatures allaient bon train, faisant la r\u00e9putation de dessinateurs aussi talentueux que Daumier ou Grandville.<\/p>\n<figure id=\"attachment_11250\" aria-describedby=\"caption-attachment-11250\" style=\"width: 362px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/hnj.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11250\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/paris-romantique-1815-1848\/hnj-2\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/hnj.jpg?fit=362%2C495&amp;ssl=1\" data-orig-size=\"362,495\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1566906664&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Paris Romantique, 1815-1848\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Pendule de Notre-Dame, 1835-1845, bois incrust\u00e9 de&lt;br \/&gt;\nfilets de laiton, bronze cisel\u00e9 et dor\u00e9, Paris, mus\u00e9e&lt;br \/&gt;\nCarnavalet&lt;br \/&gt;\nPhoto Mus\u00e9e Carnavalet \/ Roger-Viollet&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/hnj.jpg?fit=219%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/hnj.jpg?fit=362%2C495&amp;ssl=1\" class=\"size-full wp-image-11250\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/hnj.jpg?resize=362%2C495\" alt=\"\" width=\"362\" height=\"495\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/hnj.jpg?w=362&amp;ssl=1 362w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/hnj.jpg?resize=219%2C300&amp;ssl=1 219w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/hnj.jpg?resize=132%2C180&amp;ssl=1 132w\" sizes=\"auto, (max-width: 362px) 100vw, 362px\" \/><\/a><figcaption id=\"caption-attachment-11250\" class=\"wp-caption-text\">Pendule de Notre-Dame, 1835-1845, bois incrust\u00e9 de<br \/>filets de laiton, bronze cisel\u00e9 et dor\u00e9, Paris, mus\u00e9e<br \/>Carnavalet<br \/>Photo Mus\u00e9e Carnavalet \/ Roger-Viollet<\/figcaption><\/figure>\n<p>\u00c0 la r\u00e9volution politique qui s\u2019op\u00e9rait alors fit \u00e9cho une vraie r\u00e9volution dans les arts. Deux \u0153uvres, toutes deux cr\u00e9\u00e9es en 1830, incarnent ici le renouveau romantique : Hernani, de Victor Hugo, drame jou\u00e9 le 25 f\u00e9vrier 1830 au Th\u00e9\u00e2tre-Fran\u00e7ais, et la Symphonie fantastique, d\u2019Hector Berlioz, donn\u00e9e pour la premi\u00e8re fois le 5 d\u00e9cembre 1830 dans la Salle du Conservatoire.<\/p>\n<p>Les monuments, construits sous la Restauration et la monarchie de Juillet, furent \u00e9galement tr\u00e8s affect\u00e9s par les retournements politiques de la p\u00e9riode. Si Louis XVIII, en \u00e9difiant la Chapelle expiatoire, cherchait \u00e0 faire table rase du pass\u00e9 r\u00e9cent, LouisPhilippe au contraire tint \u00e0 r\u00e9concilier les Fran\u00e7ais avec l\u2019h\u00e9ritage r\u00e9volutionnaire et imp\u00e9rial. Roi b\u00e2tisseur, Louis-Philippe parvint ainsi \u00e0 clore les nombreux chantiers simplement amorc\u00e9s par ses pr\u00e9d\u00e9cesseurs, tels l\u2019\u00e9glise de la Madeleine et l\u2019Arc de Triomphe, ou \u00e0 en \u00e9lever de nouveaux, comme la colonne de la Bastille ou le tombeau de Napol\u00e9on aux Invalides.<\/p>\n<figure id=\"attachment_11251\" aria-describedby=\"caption-attachment-11251\" style=\"width: 536px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/bzer.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11251\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/paris-romantique-1815-1848\/bzer\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/bzer.jpg?fit=536%2C422&amp;ssl=1\" data-orig-size=\"536,422\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1566906682&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Paris Romantique, 1815-1848\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Louis Boulanger, Sc\u00e8ne de Notre-Dame de Paris, La Esmeralda&lt;br \/&gt;\nchez Madame de Gondelaurier, 1831, aquarelle sur papier fin,&lt;br \/&gt;\nParis, Maisons de Victor Hugo&lt;br \/&gt;\nPhoto Maisons de Victor Hugo \/ Roger-Viollet&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/bzer.jpg?fit=300%2C236&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/bzer.jpg?fit=536%2C422&amp;ssl=1\" class=\"size-full wp-image-11251\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/bzer.jpg?resize=536%2C422\" alt=\"\" width=\"536\" height=\"422\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/bzer.jpg?w=536&amp;ssl=1 536w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/bzer.jpg?resize=300%2C236&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/bzer.jpg?resize=180%2C142&amp;ssl=1 180w\" sizes=\"auto, (max-width: 536px) 100vw, 536px\" \/><\/a><figcaption id=\"caption-attachment-11251\" class=\"wp-caption-text\">Louis Boulanger, Sc\u00e8ne de Notre-Dame de Paris, La Esmeralda<br \/>chez Madame de Gondelaurier, 1831, aquarelle sur papier fin,<br \/>Paris, Maisons de Victor Hugo<br \/>Photo Maisons de Victor Hugo \/ Roger-Viollet<\/figcaption><\/figure>\n<p><strong>VI. Le Quartier latin<\/strong><\/p>\n<p>\u00abDe tous les produits parisiens, le produit le plus parisien, sans contredit, c\u2019est la grisette. Nulle part ailleurs, vous ne rencontrerez ce quelque chose de si jeune, si gai, si frais, si fluet, si fin, si leste, si content de peu qu\u2019on appelle la grisette. \u00bb C\u2019est ainsi que Jules Janin exalte ce personnage mythique qui hante toute la litt\u00e9rature parisienne de la premi\u00e8re moiti\u00e9 du XIXe si\u00e8cle et que Littr\u00e9 d\u00e9finissait dans son dictionnaire comme une \u00ab jeune-fille qui a un \u00e9tat, couturi\u00e8re, brodeuse, etc., et qui se laisse facilement courtiser par les jeunes gens \u00bb. Henry Murger, dans les Sc\u00e8nes de la vie de boh\u00e8me, en a dress\u00e9, sous les traits de Mimi, un portrait inoubliable.<\/p>\n<figure id=\"attachment_11252\" aria-describedby=\"caption-attachment-11252\" style=\"width: 573px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/bner.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11252\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/paris-romantique-1815-1848\/bner\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/bner.jpg?fit=573%2C421&amp;ssl=1\" data-orig-size=\"573,421\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1566906698&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Paris Romantique, 1815-1848\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Thomas Shotter Boys, Le carrefour des rue Bailleul et Jean Tison,&lt;br \/&gt;\nactuel 1er arrondissement de Paris, 1831, aquarelle avec rehauts de&lt;br \/&gt;\ngouache, Paris, mus\u00e9e Carnavalet&lt;br \/&gt;\nPhoto Mus\u00e9e Carnavalet\/Roger-Viollet&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/bner.jpg?fit=300%2C220&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/bner.jpg?fit=573%2C421&amp;ssl=1\" class=\"size-full wp-image-11252\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/bner.jpg?resize=573%2C421\" alt=\"\" width=\"573\" height=\"421\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/bner.jpg?w=573&amp;ssl=1 573w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/bner.jpg?resize=300%2C220&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/bner.jpg?resize=180%2C132&amp;ssl=1 180w\" sizes=\"auto, (max-width: 573px) 100vw, 573px\" \/><\/a><figcaption id=\"caption-attachment-11252\" class=\"wp-caption-text\">Thomas Shotter Boys, Le carrefour des rue Bailleul et Jean Tison,<br \/>actuel 1er arrondissement de Paris, 1831, aquarelle avec rehauts de<br \/>gouache, Paris, mus\u00e9e Carnavalet<br \/>Photo Mus\u00e9e Carnavalet\/Roger-Viollet<\/figcaption><\/figure>\n<p>Si la grisette n\u2019\u00e9tait pas exclusivement attach\u00e9e \u00e0 la rive gauche \u2013 son travail dans une boutique ou un atelier l\u2019entra\u00eenait fr\u00e9quemment dans divers quartiers de la rive droite \u2013, son fief attitr\u00e9, qu\u2019elle partageait avec son compagnon, \u00e9tudiant en droit ou \u00e9l\u00e8ve aux Beaux-Arts, restait malgr\u00e9 tout le Quartier latin. C\u2019est l\u00e0 que ces couples, souvent \u00e9ph\u00e9m\u00e8res, menaient une vie toute de gaiet\u00e9 et d\u2019insouciance, immortalis\u00e9e par les lithographies de Gavarni.\u00a0 La distraction favorite de la grisette et de son \u00abArthur \u00bb \u00e9tait d\u2019aller \u00abpincer \u00bb une polka ou un cancan, danse os\u00e9e proscrite des salons, dans un des nombreux bals publics fr\u00e9quent\u00e9s par les \u00e9tudiants, comme la Grande Chaumi\u00e8re, la Closerie des Lilas ou le Prado. Les personnages de grisettes apparaissent r\u00e9guli\u00e8rement dans les romans, tr\u00e8s populaires alors, de Paul de Kock et dans les chansons du \u00abpo\u00e8te national \u00bb, Pierre-Jean de B\u00e9ranger.<\/p>\n<figure id=\"attachment_11253\" aria-describedby=\"caption-attachment-11253\" style=\"width: 558px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/ndfe.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11253\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/paris-romantique-1815-1848\/ndfe\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/ndfe.jpg?fit=558%2C440&amp;ssl=1\" data-orig-size=\"558,440\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1566906717&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Paris Romantique, 1815-1848\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;L\u00e9on Cogniet, Les Drapeaux, 1830, huile sur toile, Orl\u00e9ans,&lt;br \/&gt;\nmus\u00e9e des Beaux-Arts&lt;br \/&gt;\nPhoto mus\u00e9e des Beaux-Arts\/Ville d\u2019Orl\u00e9ans&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/ndfe.jpg?fit=300%2C237&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/ndfe.jpg?fit=558%2C440&amp;ssl=1\" class=\"size-full wp-image-11253\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/ndfe.jpg?resize=558%2C440\" alt=\"\" width=\"558\" height=\"440\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/ndfe.jpg?w=558&amp;ssl=1 558w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/ndfe.jpg?resize=300%2C237&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/ndfe.jpg?resize=180%2C142&amp;ssl=1 180w\" sizes=\"auto, (max-width: 558px) 100vw, 558px\" \/><\/a><figcaption id=\"caption-attachment-11253\" class=\"wp-caption-text\">L\u00e9on Cogniet, Les Drapeaux, 1830, huile sur toile, Orl\u00e9ans,<br \/>mus\u00e9e des Beaux-Arts<br \/>Photo mus\u00e9e des Beaux-Arts\/Ville d\u2019Orl\u00e9ans<\/figcaption><\/figure>\n<p><strong>VII. La Chauss\u00e9e d\u2019Antin et la Nouvelle Ath\u00e8nes<\/strong><\/p>\n<p>Les quartiers de la Chauss\u00e9e d\u2019Antin et de la Nouvelle Ath\u00e8nes, bien que mitoyens, pr\u00e9sentaient des physionomies tr\u00e8s diff\u00e9rentes. Le premier, compris entre la rue Caumartin et la rue Grange-Bateli\u00e8re et longeant le Boulevard, avait \u00e9t\u00e9 loti dans la deuxi\u00e8me partie du XVIIIe si\u00e8cle; depuis le Consulat, il \u00e9tait devenu le quartier de la haute banque et des nouveaux riches.<\/p>\n<p>On y trouvait les demeures de nombreux banquiers \u2013 James de Rothschild et Jacques Laffitte, tous deux rue d\u2019Artois (aujourd\u2019hui rue Laffitte), Fran\u00e7ois-Alexandre Seilli\u00e8re, rue Le Peletier, ou Alexandre Aguado, rue Grange-Bateli\u00e8re \u2013, mais aussi celles de grands collectionneurs, comme le comte Demidoff ou le marquis d\u2019Hertford.<\/p>\n<figure id=\"attachment_11254\" aria-describedby=\"caption-attachment-11254\" style=\"width: 647px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqze.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11254\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/paris-romantique-1815-1848\/aqze-4\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqze.jpg?fit=647%2C446&amp;ssl=1\" data-orig-size=\"647,446\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1566906736&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Paris Romantique, 1815-1848\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;John James Chalon, Bal public, 1818, huile sur toile, Paris, mus\u00e9e&lt;br \/&gt;\nCarnavalet&lt;br \/&gt;\nPhoto Mus\u00e9e Carnavalet\/Roger-Viollet&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqze.jpg?fit=300%2C207&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqze.jpg?fit=647%2C446&amp;ssl=1\" class=\"size-full wp-image-11254\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqze.jpg?resize=647%2C446\" alt=\"\" width=\"647\" height=\"446\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqze.jpg?w=647&amp;ssl=1 647w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqze.jpg?resize=300%2C207&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqze.jpg?resize=180%2C124&amp;ssl=1 180w\" sizes=\"auto, (max-width: 647px) 100vw, 647px\" \/><\/a><figcaption id=\"caption-attachment-11254\" class=\"wp-caption-text\">John James Chalon, Bal public, 1818, huile sur toile, Paris, mus\u00e9e<br \/>Carnavalet<br \/>Photo Mus\u00e9e Carnavalet\/Roger-Viollet<\/figcaption><\/figure>\n<p>La Nouvelle Ath\u00e8nes, quartier de cr\u00e9ation plus r\u00e9cente, et plus abordable, d\u00e9limit\u00e9 par les rues Blanche, Saint-Lazare et des Martyrs, attira une client\u00e8le diff\u00e9rente ; quantit\u00e9 d\u2019artistes vinrent s\u2019y installer \u2013 Th\u00e9odore G\u00e9ricault, Horace Vernet, Eug\u00e8ne Isabey, Paul Delaroche, Ary Scheffer, etc. \u2013, mais aussi des acteurs c\u00e9l\u00e8bres, comme Talma ou Mlle Mars, des musiciens ou des \u00e9crivains.<\/p>\n<p>Au c\u0153ur de ce p\u00e9rim\u00e8tre, le square d\u2019Orl\u00e9ans, b\u00e2ti en 1830, devint un v\u00e9ritable phalanst\u00e8re artistique, r\u00e9unissant autour de George Sand et Fr\u00e9d\u00e9ric Chopin, Alexandre Dumas, le pianiste PierreJoseph Zimmermann, la chanteuse Pauline Viardot, les peintres Claude-Marie et \u00c9douard Dubufe, sans oublier le sculpteur JeanPierre Dantan qui y avait \u00e9tabli son \u00abmus\u00e9e\u00bb o\u00f9 \u00e9taient pr\u00e9sent\u00e9s les bustes et les caricatures de toute la soci\u00e9t\u00e9 parisienne.<\/p>\n<figure id=\"attachment_11255\" aria-describedby=\"caption-attachment-11255\" style=\"width: 555px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/amlos.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11255\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/paris-romantique-1815-1848\/amlos\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/amlos.jpg?fit=555%2C439&amp;ssl=1\" data-orig-size=\"555,439\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1566906752&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Paris Romantique, 1815-1848\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Eug\u00e8ne Lami, Sc\u00e8ne de carnaval, place de la Concorde, 1834,&lt;br \/&gt;\nhuile sur toile. Paris, mus\u00e9e Carnavalet&lt;br \/&gt;\nPhoto Mus\u00e9e Carnavalet \/ Roger-Viollet&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/amlos.jpg?fit=300%2C237&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/amlos.jpg?fit=555%2C439&amp;ssl=1\" class=\"size-full wp-image-11255\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/amlos.jpg?resize=555%2C439\" alt=\"\" width=\"555\" height=\"439\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/amlos.jpg?w=555&amp;ssl=1 555w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/amlos.jpg?resize=300%2C237&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/amlos.jpg?resize=180%2C142&amp;ssl=1 180w\" sizes=\"auto, (max-width: 555px) 100vw, 555px\" \/><\/a><figcaption id=\"caption-attachment-11255\" class=\"wp-caption-text\">Eug\u00e8ne Lami, Sc\u00e8ne de carnaval, place de la Concorde, 1834,<br \/>huile sur toile. Paris, mus\u00e9e Carnavalet<br \/>Photo Mus\u00e9e Carnavalet \/ Roger-Viollet<\/figcaption><\/figure>\n<p><strong>VIII. Les Grands Boulevards<\/strong><\/p>\n<p>Cette longue art\u00e8re qui va de la Madeleine \u00e0 la Bastille \u00e9tait loin de pr\u00e9senter une physionomie homog\u00e8ne. De la Madeleine aux alentours de la Chauss\u00e9e d\u2019Antin, le boulevard traversait un quartier cossu, mais sans mouvement. La Chauss\u00e9e d\u2019Antin marquait le d\u00e9but du \u00abBoulevard\u00bb par excellence, c\u0153ur palpitant du Paris de la mode, form\u00e9 des boulevards des Italiens et Montmartre. Les riches magasins d\u2019orf\u00e8vrerie ou de porcelaine y alternaient avec les caf\u00e9s, restaurants et glaciers les plus r\u00e9put\u00e9s \u2013 Caf\u00e9 de Paris, Maison Dor\u00e9e, Caf\u00e9 Riche, Caf\u00e9 Anglais, Tortoni, Caf\u00e9 Hardy, etc. \u2013, attirant les dandys et les \u00e9l\u00e9gantes. C\u2019est dans cette zone qu\u2019\u00e9taient implant\u00e9s les grands th\u00e9\u00e2tres subventionn\u00e9s, l\u2019Op\u00e9ra, le Th\u00e9\u00e2tre-Italien, l\u2019Op\u00e9ra-Comique et, un peu excentr\u00e9, le Th\u00e9\u00e2tre-Fran\u00e7ais.<\/p>\n<figure id=\"attachment_11257\" aria-describedby=\"caption-attachment-11257\" style=\"width: 377px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/Z.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11257\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/paris-romantique-1815-1848\/z\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/Z.jpg?fit=377%2C363&amp;ssl=1\" data-orig-size=\"377,363\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1567096900&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Paris Romantique, 1815-1848\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Ignace Joseph Pleyel, Pianino en marquetterie Boulle, provenance Rothschild, bronze, bois, \u00e9caille de tortue, 1835, Collection Tobogan AntiquesPhoto Jean-Louis Losi&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/Z.jpg?fit=300%2C289&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/Z.jpg?fit=377%2C363&amp;ssl=1\" class=\"size-full wp-image-11257\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/Z.jpg?resize=377%2C363\" alt=\"\" width=\"377\" height=\"363\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/Z.jpg?w=377&amp;ssl=1 377w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/Z.jpg?resize=300%2C289&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/Z.jpg?resize=180%2C173&amp;ssl=1 180w\" sizes=\"auto, (max-width: 377px) 100vw, 377px\" \/><\/a><figcaption id=\"caption-attachment-11257\" class=\"wp-caption-text\">Ignace Joseph Pleyel, Pianino en marquetterie Boulle, provenance Rothschild, bronze, bois, \u00e9caille de tortue, 1835, Collection Tobogan AntiquesPhoto Jean-Louis Losi<\/figcaption><\/figure>\n<p>Une fronti\u00e8re invisible, \u00e9tablie au niveau de la rue Montmartre, s\u00e9parait ce boulevard flamboyant d\u2019un axe plus calme et plus bourgeois. Sur les boulevards Bonne-Nouvelle et Poissonni\u00e8re, les boutiques et les caf\u00e9s \u00e9taient toujours nombreux, mais sans pr\u00e9tention; on pouvait s\u2019y pr\u00e9senter sans \u00eatre habill\u00e9 comme une gravure de mode.<\/p>\n<p>C\u2019est au boulevard Saint-Martin que commen\u00e7ait la zone des th\u00e9\u00e2tres populaires, qui se d\u00e9ployait au boulevard du Temple. Morne et sans activit\u00e9 le matin, il devenait le soir \u00ab effrayant d\u2019animation\u00bb, avec ses huit th\u00e9\u00e2tres et ses cinquante marchands en plein vent attirant une foule venue du Marais et des faubourgs populaires de l\u2019est de Paris. Ce fameux \u00abboulevard du Crime\u00bb, tant le sang des m\u00e9lodrames s\u2019y d\u00e9versait sur sc\u00e8ne, disparut dans les travaux d\u2019urbanisme haussmanniens du d\u00e9but des ann\u00e9es 1860.<\/p>\n<figure id=\"attachment_11258\" aria-describedby=\"caption-attachment-11258\" style=\"width: 555px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/kjd.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11258\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/paris-romantique-1815-1848\/kjd\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/kjd.jpg?fit=555%2C464&amp;ssl=1\" data-orig-size=\"555,464\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1566906826&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Paris Romantique, 1815-1848\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Arie Johannes Lamme, Atelier de l\u2019artiste Ary Scheffer, rue&lt;br \/&gt;\nChaptal, 1851, huile sur bois, Paris, Mus\u00e9e de la Vie romantique&lt;br \/&gt;\nPhoto Mus\u00e9e de la Vie Romantique\/Roger-Viollet&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/kjd.jpg?fit=300%2C251&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/kjd.jpg?fit=555%2C464&amp;ssl=1\" class=\"size-full wp-image-11258\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/kjd.jpg?resize=555%2C464\" alt=\"\" width=\"555\" height=\"464\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/kjd.jpg?w=555&amp;ssl=1 555w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/kjd.jpg?resize=300%2C251&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/kjd.jpg?resize=180%2C150&amp;ssl=1 180w\" sizes=\"auto, (max-width: 555px) 100vw, 555px\" \/><\/a><figcaption id=\"caption-attachment-11258\" class=\"wp-caption-text\">Arie Johannes Lamme, Atelier de l\u2019artiste Ary Scheffer, rue<br \/>Chaptal, 1851, huile sur bois, Paris, Mus\u00e9e de la Vie romantique<br \/>Photo Mus\u00e9e de la Vie Romantique\/Roger-Viollet<\/figcaption><\/figure>\n<p><span style=\"color: #ff0000\">\u00c9PILOGUE<\/span><\/p>\n<p><strong>La r\u00e9volution de 1848<\/strong><\/p>\n<p>La r\u00e9volution de f\u00e9vrier 1848 mit un terme abrupt \u00e0 la monarchie de Juillet. Incapable d\u2019enrayer le soul\u00e8vement populaire n\u00e9 de l\u2019interdiction d\u2019un grand banquet r\u00e9publicain \u00e0 Paris, Louis Philippe d\u00e9cida d\u2019abdiquer au profit de son petit-fils, le comte de Paris, le 24 f\u00e9vrier 1848. L\u2019opposition, plus forte et mieux organis\u00e9e qu\u2019en 1830, refusa n\u00e9anmoins de reconna\u00eetre l\u2019enfant et proclama la R\u00e9publique, tandis qu\u2019un gouvernement provisoire fut institu\u00e9, dans l\u2019attente de prochaines \u00e9lections.<\/p>\n<figure id=\"attachment_11259\" aria-describedby=\"caption-attachment-11259\" style=\"width: 607px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/ampo-1.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11259\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/paris-romantique-1815-1848\/ampo-2\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/ampo-1.jpg?fit=607%2C473&amp;ssl=1\" data-orig-size=\"607,473\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1566906881&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Paris Romantique, 1815-1848\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Louis-L\u00e9opold Boilly, L\u2019Effet du m\u00e9lodrame, vers 1830, huile&lt;br \/&gt;\nsur toile, Versailles, mus\u00e9e Lambinet&lt;br \/&gt;\nPhoto RMN-Grand Palais\/Philipp Bernard&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/ampo-1.jpg?fit=300%2C234&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/ampo-1.jpg?fit=607%2C473&amp;ssl=1\" class=\"size-full wp-image-11259\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/ampo-1.jpg?resize=607%2C473\" alt=\"\" width=\"607\" height=\"473\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/ampo-1.jpg?w=607&amp;ssl=1 607w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/ampo-1.jpg?resize=300%2C234&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/ampo-1.jpg?resize=180%2C140&amp;ssl=1 180w\" sizes=\"auto, (max-width: 607px) 100vw, 607px\" \/><\/a><figcaption id=\"caption-attachment-11259\" class=\"wp-caption-text\">Louis-L\u00e9opold Boilly, L\u2019Effet du m\u00e9lodrame, vers 1830, huile<br \/>sur toile, Versailles, mus\u00e9e Lambinet<br \/>Photo RMN-Grand Palais\/Philipp Bernard<\/figcaption><\/figure>\n<p>Parmi ses membres se trouvaient des r\u00e9publicains convaincus tels Alphonse de Lamartine et Fran\u00e7ois Arago qui ne parvinrent cependant pas \u00e0 exercer durablement leur mission. Les nouveaux mouvements r\u00e9volutionnaires de juin 1848 et leur violente r\u00e9pression accrurent une confusion politique qui suscita l\u2019\u00e9lection comme pr\u00e9sident de la R\u00e9publique, au mois de d\u00e9cembre, de Louis-Napol\u00e9on Bonaparte, futur Napol\u00e9on III.<\/p>\n<figure id=\"attachment_11260\" aria-describedby=\"caption-attachment-11260\" style=\"width: 615px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqp.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"11260\" data-permalink=\"https:\/\/www.proantic.com\/magazine\/paris-romantique-1815-1848\/aqp\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqp.jpg?fit=615%2C474&amp;ssl=1\" data-orig-size=\"615,474\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;celine&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1566906864&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Paris Romantique, 1815-1848\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Domenico Ferri, Boulevard des Italiens de nuit, vers 1835,&lt;br \/&gt;\nhuile sur toile, Paris, mus\u00e9e Carnavalet&lt;br \/&gt;\nPhoto Mus\u00e9e Carnavalet \/ Roger-Viollet.&lt;\/p&gt;\n\" data-medium-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqp.jpg?fit=300%2C231&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqp.jpg?fit=615%2C474&amp;ssl=1\" class=\"size-full wp-image-11260\" src=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqp.jpg?resize=615%2C474\" alt=\"\" width=\"615\" height=\"474\" srcset=\"https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqp.jpg?w=615&amp;ssl=1 615w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqp.jpg?resize=300%2C231&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.proantic.com\/magazine\/wp-content\/uploads\/2019\/08\/aqp.jpg?resize=180%2C139&amp;ssl=1 180w\" sizes=\"auto, (max-width: 615px) 100vw, 615px\" \/><\/a><figcaption id=\"caption-attachment-11260\" class=\"wp-caption-text\">Domenico Ferri, Boulevard des Italiens de nuit, vers 1835,<br \/>huile sur toile, Paris, mus\u00e9e Carnavalet<br \/>Photo Mus\u00e9e Carnavalet \/ Roger-Viollet.<\/figcaption><\/figure>\n<p>Les journ\u00e9es de f\u00e9vrier, dont l\u2019\u00e9vocation cl\u00f4t symboliquement cette promenade dans le Paris romantique du XIXe si\u00e8cle, ont profond\u00e9ment marqu\u00e9 les contemporains. L\u2019\u00e9pisode du pillage des Tuileries le soir du 24 f\u00e9vrier a \u00e9t\u00e9 racont\u00e9 par plusieurs t\u00e9moins. Daumier, quelques jours apr\u00e8s les \u00e9v\u00e8nements, r\u00e9alisa une \u00e9loquente lithographie montrant un gamin des rues \u2013 un \u00ab gavroche\u00bb \u2013 s\u2019asseyant avec satisfaction sur le tr\u00f4ne de Louis Philippe qui allait bient\u00f4t \u00eatre br\u00fbl\u00e9 place de la Bastille, au pied de la colonne de Juillet. Vingt ans plus tard, Gustave Flaubert devait \u00e9galement \u00e9voquer l&rsquo;\u00e9v\u00e8nement dans son roman L\u2019\u00c9ducation sentimentale, marquant ainsi du sceau de la d\u00e9sillusion l\u2019enthousiasme romantique pour les foules r\u00e9volutionnaires.<\/p>\n<p><strong>En savoir plus:<\/strong><\/p>\n<p>PARIS ROMANTIQUE (1815-1848)<br \/>\nJusqu&rsquo;au 15 septembre 2019<\/p>\n<p>Site:\u00a0 http:\/\/www.petitpalais.paris.fr<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Apr\u00e8s \u00ab Paris 1900, la Ville spectacle \u00bb, le Petit Palais pr\u00e9sente \u00ab Paris romantique \u00bb et poursuit ainsi son \u00e9vocation des grandes p\u00e9riodes fondatrices de l\u2019identit\u00e9 de Paris. Cette exposition-\u00e9v\u00e9nement offre un vaste panorama de la capitale durant les ann\u00e9es romantiques, de la chute de Napol\u00e9on \u00e0 la r\u00e9volution de 1848. Plus de 600 [&hellip;]<\/p>\n","protected":false},"author":6,"featured_media":11225,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[12],"tags":[],"class_list":["post-11218","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-expositions"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.9 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ 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