Gipsmodellen voor versieringen op het Palais du Louvre c. 1855 - 1857

Editor: This is Edouard Baldus’s drawing from circa 1855-1857, "Gipsmodellen voor versieringen op het Palais du Louvre," or "Plaster models for decorations on the Palais du Louvre." It's done in pencil, and shows two quite elaborate decorative panels. What do you see in this piece in terms of its historical importance? Curator: Beyond the artistry itself, what's fascinating here is how this drawing intersects with the political ambitions of the Second Empire in France. Napoleon III was undertaking a massive transformation of Paris, and the Louvre was central to that vision. Editor: So, this wasn't just about aesthetics? Curator: Precisely. These ornamental details, meticulously documented, speak to a broader project of solidifying imperial power through visual grandeur. Think about the message these elaborate decorations send – a message of opulence, permanence, and control. Were drawings such as these accessible to the general public? Editor: I assume such drawings were more about record-keeping and design studies, more for internal use by the architects and artisans involved in the Louvre’s renovation, as opposed to public consumption. Curator: Exactly. And this makes the drawing even more interesting to us as viewers. It is through these preparatory sketches that we witness how public image of power is so carefully constructed. Also note how drawing can serve the aims of architecture and ornamentation in nation-building. What does studying this image leave you with? Editor: It’s really opened my eyes to how much more there is to architecture than just bricks and mortar – it’s about power, image, and control, too! Curator: Yes, and Baldus’s drawing gives us a privileged glimpse behind the scenes of that process. It certainly transforms the way I see the Louvre.