638:
1066:
252:
117:
565:
49:
331:
1074:
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1082:
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424:
993:. Since 1773, he had started to engrave his constructions and his projects but, because of the evolution of his style, he did not cease retouching his drawings, and the engravers constantly had to redo their boards. Ledoux evolved towards an architecture always more detailed and colossal, with vast walls that were increasingly smooth, and with increasingly rare openings. The differences between a drawing of the Pavillon de Louveciennes as it first was, made by the British architect
951:
815:
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paying public. Above them was a raised terrace or balcony for state employers. Directly above was the first tier of boxes reserved for the aristocracy, and above this a tier of smaller boxes occupied by the middle-class the second. Thus Ledoux achieved his ambition that the theatre could at the same time be a place of social communion and shared entertainment while still maintaining a strict hierarchy of the classes.
630:. The alliance of the columns is an archetypal motif of neoclassicism. Inside, a cavernous hall gives the impression of entering an actual salt mine, decorated with concrete ornamentation representing the elementary forces of nature and the organizing genius of man, a reflection of the views of the relationship between civilization and nature endorsed by such eighteenth-century philosophers as
603:, the saltworks' boilers were built close to the wells, and the wood was brought from the adjacent forests. Contrary to what the French government wanted, Ledoux placed the saltworks near the woods as opposed to the source of the salt water. He logically reasoned that it would be easier to transport water than wood. Close to the first of these sites, the
147:(Architecture considered in relation to art, morals, and legislation). In this book he took the opportunity of revising his earlier designs, making them more rigorously neoclassical and up to date. This revision has distorted an accurate assessment of his role in the evolution of Neoclassical architecture. His most ambitious work was the uncompleted
389:, received widespread praise and attracted new patrons to the architect. The owner Franz-Joseph d'Hallwyll (a Swiss colonel) and his wife, Marie-Thérèse Demidorge, were anxious to ensure work was executed economically. Therefore, Ledoux had to reuse portions of the existing buildings, the former Hôtel de Bouligneux. He had envisaged two
707:
rank had stood. Ledoux, realizing this was not only inconvenient but elitist planned the theatre at Besançon on more egalitarian lines with seating for all but in some quarters such a plan was seen as radical if not revolutionary, the aristocracy had no wish to be seated alongside commoners. However Ledoux found an ally in the
1036:
with the first sketches of the town of Chaux, centered on the royal saltworks. The project, constantly perfected but never executed, was engraved beginning in 1780. The engravings, announced in 1784 and probably all designed by 1799, were finally published in 1804, as part of the first edition of his
958:
At the same time, work on the law courts of Aix-en-Provence was suspended, and Ledoux was accused of embroiling the
Treasury in ill-considered expenditure. When the Revolution broke out, his rich clientele emigrated or perished under the guillotine. He saw his career and his projects stopped while at
539:
Ledoux was interested in the work of the Royal
Administrations Department and at times considered working for them, even though the positions they offered were often on the borderline between architect and engineer. Through this interest in civic and municipal architecture and due, in no small part,
715:
The seating was not the only innovation at the theatre. With the aid of the machinist Dart de Bosco Ledoux expanded the wings and back stage scenery apparatus, giving it greater depth than was customary, and many other modern improvements. Besançon was the first theatre to screen the musicians in
879:
are the only ones that haven't been altered beyond recognition. In certain cases, the entry was framed with two identical buildings; in others, it consisted of a single building. The forms were archetypal: the rotunda (Heap, Reuilly); the rotunda surmounting a Greek cross (La
Villette, Rapée); the
706:
columns. However, if the neoclassical hints to the exterior was regarded as modern then the interior was a revolution – venues for public entertainment were rare in the French provinces, and where they did exist it was traditional that only the nobles had seating, while those of less exulted
1563:
Cornelius
Steckner: Die "Verschönerung" von Kassel unter Friedrich II. Andeutungen zur Stadtsanierung durch das Bau-Departement unter Johann Wilhelm von Gohr und Claude Nicolas LeDoux, in: Gunter Schweikhart (Hrsg.): Stadtplanung und Stadtentwicklung in Kassel im 18. Jahrhundert, Kassel 1983, p.
711:
of
Franche-Comté, Charles André de la Coré, an enlightened man, he consented to follow this reforming plan. Even so, it was decided that the social classes would still be segregated thus while the theatre of was the first to have a ground floor amphitheatre furnished with seats for the ordinary
342:
Church, Paris, Ledoux married Marie Bureau, the daughter of a court musician. A friend from
Champagne, Joseph Marin Masson de Courcelles, found him a position as the architect for the Water and Forestry Department. Here between 1764 and 1770 he worked on the renovation and designs of churches,
622:, is considered Ledoux's masterpiece. The initial building work was conceived as the first phase of a large and grandiose scheme for a new ideal city. The first (and, as things were to turn out, only) stage of building was constructed between 1775 and 1778. Entrance is through a massive
657:
The significance of this plan is twofold: the circle, a perfect figure, evokes the harmony of the ideal city and theoretically encloses a place of harmony for common work, but it recalls also contemporary theories of organization and of official surveillance, particularly the
874:
To cut short the protests of the
Parisian population, the operation was carried out rapidly: fifty barriers to access were built between 1785 and 1788. Most were destroyed in the nineteenth century and very few remain today, of which those of La Villette and
766:, at Bourneville near Ferté-Milon. One of his more notable town houses was for the widow of the Genevan banker Thélusson. This classical mansion, a venue for Parisian high society, was situated at the heart of a large landscaped garden accessed from the
669:
The saltworks entered a painful phase of industrial production and marginal profit, because of competition with the salt-water marshes. After some not very profitable trials, it closed indefinitely in 1790 during the national instability caused by the
677:
For a brief period in the 1920s the salt works were reused but eventually closed due to competition. For the following decades, the salt works lay in decay until they were named a UNESCO world heritage site and refurbished as a local cultural center.
884:(Picpus); the Greek temple (Gentilly, Courcelles); the column (le Trône). At Place de l'Étoile, the buildings, flanked with columns alternating with cubic and cylindrical elements, evoked the House of the director at Arc-and-Senans; at the
1509:
Président
Antoine-Louis Hyacinthe Hocquart de Montfermeil (1739-1794), president of the Court of Assistance of the Paris Parliament (1770), general prosecutor (1778), President and first president (1789); after he was executed during the
1052:, a new column formed of alternating cylindrical and cubic stones superimposed for their plastic effect. In this period, taste was returning to the antique, to the distinction and the examination, of the taste for the "rustic" style.
1028:
who carried through the style in the United States for public architecture with the intention that the spirit of the ancient
Athenian democracy would be echoed by buildings serving the new democracy of the United States of America.
653:
for the workers. On the straight diameter are the workshops for the extraction of salt alternating with administrative buildings. At the centre is the house of the director (illustrated), which originally also contained a chapel.
311:. Ledoux would frequently employ this motif that was condemned by the strict French tradition, which embraced the principle of superimposing the classic column motifs on each floor, rising from simplest to the most complex:
461:). From this point Ledoux worked often in the Palladian style, usually employing a cubic design broken by a prostyle portico which gave an air of importance even to a small structure. In this genre, he built, in 1770, a
519:
ground floor. Statues of illustrious members of the
Montmorency family decorate the roof. However, the depletion of the Montmorency fortune meant that Ledoux was required to execute the project with some parsimony.
446:, the Château de Bénouville, while not one of Ledoux's most inventive plans, is notable for the unusual placement of the main staircase at the center of the garden facade, a position normally taken by the main salon.
535:
and for the new entrance of the town, to correct them. This work was finished in April 29th 1776. Of these corrections survived the plan for the first floor of the Museum with the drawings and comments of Ledoux.
1023:
and his project for the Cenotaph of Newton, he is considered a precursor to the utopians who would follow. Boullée and Ledoux were a specific influence on subsequent Greek Revival architects and especially
181:. At an early age his mother, Francoise Domino, and godmother, Francoise Piloy, encouraged him to develop his drawing skills. Later the Abbey of Sassenage funded his studies in Paris (1749–1753) at the
131:. He used his knowledge of architectural theory to design not only domestic architecture but also town planning; as a consequence of his visionary plan for the Ideal City of Chaux, he became known as a
1324:
1185:
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On the Rue Saint-Georges, for the creole Hosten, Ledoux designed an ensemble of tenements for rental, designed in such a way they could in future be extended ad infinitum. In the
971:(granting) was abolished in May 1791, which rendered the facilities useless. A symbol of fiscal oppression, Ledoux, who had amassed a handsome fortune, was arrested and thrown in
2109:
645:
The entrance building opens into a vast semicircular open air space that is surrounded by ten buildings, which are arranged on the arc of a semicircle. On the arc is the
863:
was to have six towers (one every 4 kilometers) and to comprise sixty tax-collecting offices. Ledoux was charged to design these buildings, which he baptized pompously "
1000:
During his imprisonment, Ledoux had started to write a text to accompany the engravings. Only the first volume appeared during his lifetime, in 1804, under the title
157:. Conversely his works and commissions also included the more mundane and everyday architecture such as approximately sixty elaborate tollgates around Paris in the
938:"(Ah! Monsieur Ledoux, you are a terrible architect). Ledoux, rendered the object of scandal by these opinions, was relieved of his official functions in 1787 while
900:
1768:
871:" and to which he wanted to give a character of solemnity and magnificence while putting into practice his ideas on the necessary links between form and function.
1004:(Architecture considered under the relation of art and legislation). It presented the theatre of Besançon, the saltworks of Arc-and-Senans and the town of Chaux.
762:
He was well acquitted with the world of finance and those who inhabited it. He designed a large house and park for Praudeau de Chemilly, the treasurer of the
2104:
1136:
1015:
Around the time of the royal saltworks, Ledoux formalized his innovative design ideas for an urbanism and an architecture intended to improve society, of an
220:(literally "Greek taste") phase of early Neoclassicism. However, under the tutelage of Contant d'Ivry and Chevotet, Ledoux was also introduced to
1369:
143:
hampered his career; much of his work was destroyed in the nineteenth century. In 1804, he published a collection of his designs under the title
1638:
The current Palais de Justice was built under the Bourbon Restoration by the architect Penchaud on the substructures of the building by Ledoux.
978:
He still made a project for a school of agriculture for the duc de Duras, his companion in captivity. Perhaps the intervention of the painter
716:
an orchestra pit. The building was widely acclaimed on its opening in 1784 but when Ledoux submitted plans for the proposed new theatre in
189:. On leaving the Collège, age 17, he took employment as an engraver but four years later he began to study architecture under the tutelage of
899:
This audacious construction met with political criticism, as well as aesthetic criticism of the architect, accused by commentators such as
243:. Another client obtained through the auspices of his teachers was Président Hocquart de Montfermeil and his sister, Mme de Montesquiou.
911:
1033:
408:
The recognition given to the relatively modest Hôtel d'Hallwyll led in 1767 to a more prestigious commission, the Hôtel d'Uzès, on the
1590:
had recently published engravings of the temples at Paestum, which effectively brought them into the European architectural repertory.
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in the form of a pillared triumphal arch. The circular central salon, had at its centre a colonnade which supported the ceiling.
2094:
2084:
2079:
412:. There too, Ledoux preserved the structure of an earlier building. Today the panelling from the salon, an early example of the
401:
decorated with urns at the foot of the garden. However, the limitations of the site made this impossible, so Ledoux resorted to
284:
The following year the Marquis de Montesquiou-Fézensac commissioned Ledoux to redesign the old hilltop château on his estate at
735:. This project, however, was to be beset by many difficulties. Trouble began in 1789 when construction was interrupted by the
277:
and panels painted with trophies of helmets and weaponry, all executed in bold detail. In 1969 this interior was moved to the
17:
1905:
1611:
1329:
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decided to explore a more mechanized and efficient method of extraction, by constructing a purpose-built factory near the
1577:, in: XXVIIe Congrès International d'Histoire de l'Art. L'Art et les Révolutions, Strasbourg 1992, p. 345–372; Abb. 2-5.
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1161:
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and the HĂ´tel de la Guimard. The order employed was generally Doric Greek. Ledoux also used multiple rustic embossings.
986:, helped him avoid the guillotine. But he lost his favourite daughter whilst the other brought a lawsuit against him.
2026:
2007:
1990:
1975:
1957:
1942:
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His reputation established, Ledoux commenced a period of yet more ambitious designs. The HĂ´tel de Montmorency on the
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470:
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698:, Franche-Comté. The exterior of the building was designed as a severe Palladian cube, adorned only by an almost
674:. Thus the dream of success for a factory, conceived at the same time as a royal residence and a new city, ended.
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339:
235:
The two master architects introduced Ledoux to their affluent clientele. One of Ledoux's first patrons was the
2089:
839:
1627:
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Ledoux, who was eventually released, ceased building and attempted to prepare the publication of his complete
731:. This was followed by the spectacular project that he conceived for the Palais de Justice and the prison of
531:
to become "Contrôlleur et ordonnateur des bâtimens de Hesse". Back in Paris, he received the plans for Museum
2040:
251:
994:
835:
416:, largely carved by Joseph MĂ©tivier and Jean-Baptist Boiston to the designs of Ledoux, is preserved in the
158:
1779:
439:(1768–1769) for the Marquis de Livry. With its simple, almost severe, facade of four stories, broken by a
239:, an immensely wealthy connoisseur who commissioned him to remodel part of his palatial town house in the
2048:
1759:
Some examples of this continuation into the nineteenth and the beginning of the twentieth centuries: the
1389:
860:
808:
116:
781:, around a commercial warehouse, he designed the gardens of Zephyr and Flora, which were illustrated by
190:
1514:, his collection of paintings were declared nationals treasures and dispersed among provincial museums.
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1168:
1020:
905:
611:, in the Val d'Amour. The saline water was to be brought to the factory by a newly constructed canal.
572:
In the 18th century salt was an essential and valuable commodity. The unpopular salt tax, known as the
516:
432:
120:
Project for the ideal city of Chaux: House of supervisors of the source of the Loue. Published in 1804.
2011:
1773:
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and boulevard, Paris, 1772 (destroyed) : The woodwork of the circular salon are preserved at the
1250:
927:
504:
478:
915:
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to the notorious influence of Madame du Barry, Ledoux was commissioned with the modernization of the
413:
330:
128:
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painting a colonnade on the blind wall of the neighboring convent, thus extending the perspective.
197:
135:. His greatest works were funded by the French monarchy and came to be perceived as symbols of the
31:
1173:
1073:
637:
2042:
L'architecture considérée sous le rapport de l'art, des moeurs et de la législation. Tome premier
1690:
1065:
876:
752:
289:
2002:, 34 volumes, edited by Jane Turner, reprinted with minor corrections in 1998. New York: Grove.
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686:
1141:
1025:
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the same time the first blows of the pickaxe began to ring on the already obsolete wall of the
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which met in the town house he had built for Mme d'Espinchal, on the Rue des Petites-Écuries.
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in the Chaussée d'Antin; and following that commission the house of Mlle Saint-Germain, in the
450:
236:
221:
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1345:
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512:
304:
182:
1998:
1601:
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288:. Ledoux rebuilt the château and created new gardens, replete with fountains supplied by an
153:
1184:), 1768-1769: Property of the general council of the Calvados, at the present it houses the
982:, son-in-law of the entrepreneur PĂ©coul, and considerably enriched in the collection of the
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2069:
1472:
564:
371:
201:
178:
48:
1150:, Paris, 1766: It is the only private construction of Ledoux which remains in the capital.
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8:
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99:
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260:
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699:
544:(Eastern Saltworks). The modernization was initiated following the construction of the
174:
1866:
Les architectes parisiens du XVIII siècle : dictionnaire biographique et critique
552:, a title he held until 1790, with the position yielding him an annual salary of 6000
449:
Ledoux travelled to England in the years 1769-1771. There he became familiar with the
367:
265:
2022:
2003:
1986:
1983:
Claude-Nicolas Ledoux: Architecture and Social Reform at the End of the Ancien RĂ©gime
1971:
1953:
1938:
1916:
1901:
1869:
1847:
1818:
1648:
1607:
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846:
736:
671:
457:, an influential Renaissance architect, was famous for his Italian villas (e.g., the
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386:
375:
359:
140:
77:
1341:
822:
In the process of his work in Franche-Comté, Ledoux had become an architect for the
796:
1679:
1374:
1224:
934:" ("the bastions of taxation metamorphosed into columned palaces"), and exclamed, "
778:
596:
482:
466:
324:
2019:
Claude-Nicolas Ledoux: Architecture and Utopia in the Era of the French Revolution
1445:
L'Architecture considérée sous le rapport de l'art, des mœurs et de la législation
1209:
1002:
L'Architecture considérée sous le rapport de l'art, des mœurs et de la législation
585:
549:
462:
334:
HĂ´tel d'Hallwyll, Paris, 1766. Elevation of the facade on the rue Michel-le-Comte.
240:
145:
L'Architecture considérée sous le rapport de l'art, des mœurs et de la législation
136:
1764:
1511:
1424:
1310:
972:
893:
767:
732:
608:
500:
485:
355:
259:
In 1762, the young Ledoux was commissioned to redecorate the Café Godeau, in the
54:
1963:
1879:
1713:, who saw it as one of the causes of the Revolution, responded with his famous
1661:
1157:
1116:
939:
663:
592:, salt was extracted from saline wells by vaporizing in wood-fuelled furnaces.
545:
477:, and most notably the Music Pavilion constructed between 1770 and 1771 at the
409:
308:
209:
204:. These two eminent Parisian architects designed in both the restrained French
127:(21 March 1736 – 18 November 1806) was one of the earliest exponents of French
1996:
Vidler, Anthony (1996). "Ledoux, Claude-Nicolas", vol. 19, pp. 55–58, in
1842:
Gallet, Michel (1982). "Ledoux, Claude Nicolas", vol. 2, pp. 648–654, in
1760:
814:
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dates from this period. It has a principal façade in the Ionic order above a
2063:
832:
and undertook to plan their vast headquarters on the rue du Bouloi in Paris.
782:
771:
532:
458:
1443:
In 1804 was published a volume including the works from 1768 to 1789 :
488:, whose patronage and influence were to be of use to Ledoux in later years.
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1698:
1314:
1255:
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had been able to install its employees in the buildings by Ledoux, but the
553:
469:, the house of Attilly in the suburb of Poissonnière, a house for the poet
312:
1355:
829:
728:
215:
1111:
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320:
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850:
717:
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274:
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and the engraving that was published in 1804 illustrate this process.
303:
In 1764, he designed for Président Hocquart, a Palladian house on the
881:
748:
708:
600:
584:. Salt served as a valuable source of income for the French king. In
398:
390:
382:
351:
1237:
559:
474:
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440:
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270:
229:
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496:
1479:
1313:, Paris, 1778 (destroyed in 1826 at the time the prolongation of
694:
In 1784 Ledoux was the architect selected to design a theatre at
627:
574:
528:
443:
225:
170:
346:
Among the still extant works from this period are the bridge of
1384:
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589:
548:. In 1771 Ledoux was promoted to Inspector of the saltworks in
524:
205:
132:
954:
Portrait of Ledoux with his daughter. 1782 - Musée Carnavalet.
30:"Claude Ledoux" redirects here. For the Belgian composer, see
650:
347:
95:
1978:. Foreign Editions: Berlin, 1989; Tokyo, 1989; Madrid, 1994.
1817:. Berkeley and Los Angeles: University of California Press.
385:, Paris), a building that, according to the Dijon architect
151:, an idealistic and visionary town showing many examples of
1359:
1181:
889:
641:
The Royal Saltworks at Arc-et-Senans: House of the director
363:
1935:
Historical Dictionary of Neoclassical Art and Architecture
1884:
Three Revolutionary Architects, Boullée, Ledoux and Lequeu
1575:
Ledoux, Kassel und der Amerikanische Unabhängigkeitskrieg.
1913:
Architectural Theory: An Anthology from Vitruvius to 1870
1846:, edited by Adolf K. Placzek. London: Collier Macmillan.
818:
Rotonde de Chartres (today: entrance to the Monceau park)
2049:
Site du bicentenaire de la mort de Claude Nicolas Ledoux
1164:
have been conserved since 1968 at the Carnavalet Museum.
273:
painted on the walls were interspersed with alternating
942:, succeeding Calonne, disavowed the entire enterprise.
742:
739:, when only the ground floor walls had been completed
1044:
As a radical utopian of architecture, teaching at the
936:
Ah! Monsieur Ledoux, vous ĂŞtes un terrible architecte!
922:" (a "monument to enslavement and despotism"). In his
914:
of taking excessive freedoms with the ancient canons.
788:
1721:" ("The wall walling Paris renders Paris grumbling.")
932:
les antres du fisc métamorphosés en palais à colonnes
381:
In 1766 Ledoux began designing the HĂ´tel d'Hallwyll (
503:, for whom Ledoux designed a Music Pavilion at her
292:. In addition in the gardens and park he built an
614:The design, which received royal approval, of the
427:Pavilion of Mme du Barry, Louveciennes, 1770-1771
2061:
1859:Architecture de Ledoux, inédits pour un tome III
1586:Ledoux is not known to have travelled to Italy;
1246:, faubourg Poissonnière, Paris, 1771 (destroyed)
560:The Royal Saltworks at Arc-et-Senans (1775–1778)
507:, was to use her influence to advance his career
1985:. Cambridge (Mass.) and London: The MIT Press.
892:opened by a peristyle recalled the pavilion of
1832:, translated by Peter Thornton. London: Faber.
1019:charged with symbols and meanings. Along with
2110:Members of the Académie royale d'architecture
1898:Les Propylées de Paris, Claude-Nicolas Ledoux
859:, or internal customs duties: this notorious
849:, of drawing a barrier around Paris to limit
727:for the construction of the new town hall in
193:, for whom he maintained a lifelong respect.
1815:The Architecture of the French Enlightenment
1701:and at the edge of the basin of La Villette.
842:, obtained on an idea from the chemist and
2105:Academic staff of the École des Beaux-Arts
2045:, 1804 (Gallica site: on-line publication)
1606:. Cambridge University Press. p. 26.
681:
47:
1719:Le mur murant Paris, rend Paris murmurant
1423:Project for the prison and law courts of
1405:Project of the town of Chaux, around the
828:, for whom he built a salt storehouse in
255:Château de Mauperthuis, 1763 (demolished)
246:
1928:Claude-Nicolas Ledoux, architecte du Roi
1080:
1072:
1064:
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343:bridges, wells, fountains and schools.
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250:
115:
1401:Some of his other "visionary" designs:
1160:, Paris, 1767 (détruit vers 1870): The
755:, in various masonic ceremonies at the
14:
2062:
1926:Moreux, J.-Ch.; Raval, Marcel (1945).
1647:It is thought that he belonged to the
1937:. Lanham, Maryland: Scarecrow Press.
920:monument d'esclavage et de despotisme
2055:Claude Nicolas Ledoux on Empty Canon
1844:Macmillan Encyclopedia of Architects
1651:, either in Philalèthes or Éveillés.
1599:
1085:The Pavillon of Cercles, On the A39.
743:Domestic and commercial architecture
626:portico, inspired by the temples at
200:, and also made the acquaintance of
177:, the son of a modest merchant from
1251:Pavillon de musique de Mme du Barry
649:'s forge, the forging mill and two
523:In the year 1775 Ledoux arrived in
24:
1199:Hôtel de la présidente de Gourgues
945:
751:Ledoux took part, with his friend
25:
2121:
2033:
1911:Mallgrave, Harry Francis (2005).
1889:Levallet-Haug, Geneviève (1934).
1837:Claude-Nicolas Ledoux (1736–1806)
1600:Camp, Pannill (4 December 2014).
1532:Braham 1980, p. 167 (figure 215).
1069:HĂ´tel de Mlle Guimard - Elevation
723:In 1784, Ledoux was chosen over
463:house for Marie Madeleine Guimard
263:. The result was an interior of
232:, were to influence him greatly.
228:, which, along with the works of
1891:Claude-Nicolas Ledoux, 1736-1806
1748:nouvelle Ă©dition, vol. 9, p. 361
1742:Louis-SĂ©bastien Mercier (1783).
1407:Royal Saltworks at Arc-et-Senans
1277:Royal Saltworks at Arc-et-Senans
1060:
616:Royal Saltworks at Arc-et-Senans
185:, where he followed a course in
149:Royal Saltworks at Arc-et-Senans
1807:
1794:
1785:
1753:
1736:
1724:
1704:
1684:
1666:
1654:
1641:
1632:
1620:
1593:
1580:
1567:
1557:
1438:
1325:Rue des Petites-Écuries (Paris)
1162:boiseries du salon de compagnie
588:, due to subterranean seams of
451:Palladian style of architecture
300:of which little remains today.
224:, in particular the temples of
2095:French neoclassical architects
2085:18th-century French architects
2080:People from Marne (department)
2051:- Saline d'Arc et Senans, 2006
1830:Early Neo-Classicism in France
1544:
1535:
1526:
1517:
1503:
1494:
1485:
1466:
1457:
1227:, Paris, 1769-1770 (destroyed)
1129:, Paris, 1764-1765 (destroyed)
840:Controller-General of Finances
491:
471:Jean François de Saint-Lambert
13:
1:
1896:Lyonnet, Jean-Pierre (2013).
1186:chambre régionale des comptes
1010:
27:French Neoclassical architect
1933:Palmer, Allison Lee (2011).
1678:, a monumental gateway to a
1383:Pavillons et barrières de l'
1221:Maison de Mlle Saint-Germain
836:Charles Alexandre de Calonne
770:. The house had an immense
720:but they were not accepted.
702:neoclassical portico of six
164:
159:Wall of the General Tax Farm
7:
1628:Giovanni Niccolò Servandoni
1396:
1390:Wall of the Farmers-General
1280:(1774–1779) (classified as
1123:Hôtel du président Hocquart
861:Wall of the Farmers-General
809:Wall of the Farmers-General
757:Loge FĂ©minine de la Candeur
568:Plan view of the facilities
169:Ledoux was born in 1736 in
10:
2126:
1366:Siège de la Ferme générale
1270:Boston Museum of Fine Arts
1266:rue de la Chaussée-d'Antin
1127:rue de la Chaussée-d'Antin
1007:He died in Paris in 1806.
350:, the Prégibert bridge in
29:
1970:. Paris: Editions Hazan.
1791:Gallet 1982, pp. 652–653.
1780:Jean-Baptiste André Godin
1475:L'Architecture considérée
1039:L'Architecture considerée
690:Théâtre de Besançon, 1784
129:Neoclassical architecture
106:
84:
62:
46:
39:
2017:Vidler, Anthony (2006).
2014:(subscription required).
1981:Vidler, Anthony (1990).
1948:Rabreau, Daniel (2005).
1900:. Editions Honoré Clair
1450:
1321:HĂ´tel de Mme d'Espinchal
1077:Hôtel de Thélusson, 1778
1055:
1048:, he created a singular
1032:After 1775 he presented
338:On 26 July 1764, in the
296:, a pheasantry and vast
191:Jacques-François Blondel
139:rather than Utopia. The
32:Claude Ledoux (composer)
2039:Claude-Nicolas Ledoux,
1893:. Paris and Strasbourg.
1864:Gallet, Michel (1995).
1857:Gallet, Michel (1991).
1835:Gallet, Michel (1980).
1828:Eriksen, Svend (1974).
1691:Place Denfert-Rochereau
1500:Mallgrave 2005, p. 191.
1205:, Paris (reconstructed)
963:. As of June 1790, the
928:Louis-SĂ©bastien Mercier
901:Jacques-Antoine Dulaure
877:Place Denfert-Rochereau
682:The theatre of Besançon
578:, was collected by the
505:Château de Louveciennes
479:Château de Louveciennes
376:Saint-Etienne d'Auxerre
1915:Blackwell Publishing.
1813:Braham, Allan (1980).
1660:a former associate of
1086:
1078:
1070:
1026:Benjamin Henry Latrobe
955:
819:
811:
801:Rotonde de la Villette
691:
642:
569:
508:
428:
335:
256:
247:Early work (1762–1770)
237:Baron Crozat de Thiers
222:Classical architecture
208:manner, known as the "
196:He then trained under
121:
18:Claude Nicholas Ledoux
2090:French urban planners
2021:. Basel: Birkhäuser.
1999:The Dictionary of Art
1950:Claude Nicolas Ledoux
1588:Giambattista Piranesi
1418:House of the gardener
1409:, published in 1804:
1282:monuments historiques
1210:HĂ´tel of Mlle Guimard
1169:Château de Bénouville
1084:
1076:
1068:
1021:Étienne-Louis Boullée
953:
886:Bureau des Bonshommes
817:
807:, old station of the
799:
789:Architecture for the
689:
640:
632:Jean-Jacques Rousseau
567:
499:
433:Château de Bénouville
426:
333:
254:
198:Pierre Contant d'Ivry
154:architecture parlante
125:Claude-Nicolas Ledoux
119:
41:Claude-Nicolas Ledoux
1769:Familistère de Guise
1573:Cornelius Steckner:
1541:Braham 1980, p. 169.
1523:Braham 1980, p. 161.
1491:Eriksen 1974, p. 66.
1262:HĂ´tel de Montmorency
1046:École des Beaux-Arts
995:Sir William Chambers
912:Quatremère de Quincy
431:Ledoux designed the
202:Jean-Michel Chevotet
1800:Vidler 1996, p. 57.
1711:Pierre Beaumarchais
1463:Vidler 2006, p. 10.
1338:Parc de Bourneville
1334:, Paris (destroyed)
1286:World Heritage Site
1217:, Paris (destroyed)
1203:rue Saint-Dominique
1137:rue Michel-le-Comte
1119:), 1763 (destroyed)
1050:architectonic order
980:Jacques-Louis David
853:and evasion of the
805:Place de Stalingrad
725:Pierre-Adrien Pâris
183:Collège de Beauvais
76:Dormans-sur-Marne,
1695:Place de la Nation
1264:, intersection of
1244:Pavillon d'Attilly
1148:rue de Montmorency
1087:
1079:
1071:
956:
820:
812:
692:
643:
570:
509:
429:
414:neoclassical style
354:, the churches of
336:
257:
122:
2100:Fermiers généraux
2012:Oxford Art Online
1906:978-2-918371-16-8
1868:. Paris: Mengès.
1649:Rosicrucian Order
1613:978-1-107-07916-8
961:fermiers généraux
847:Antoine Lavoisier
737:French Revolution
672:French Revolution
605:Fermiers Généraux
418:Carnavalet Museum
387:Jacques Cellerier
362:, Rolampont, the
360:Roche-et-Raucourt
141:French Revolution
114:
113:
88:November 18, 1806
16:(Redirected from
2117:
1952:, Monum, Paris.
1801:
1798:
1792:
1789:
1783:
1777:
1757:
1751:
1744:Tableau de Paris
1740:
1734:
1731:MĂ©moires secrets
1728:
1722:
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1680:sacred enclosure
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1473:Digital copy of
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1333:
1306:HĂ´tel Thellusson
1284:of France and a
1225:rue Saint-Lazare
1215:Chaussée-d'Antin
1194:
1145:
1133:HĂ´tel d'Hallwyll
1104:Musée Carnavalet
1100:rue Saint-Honoré
924:Tableau de Paris
909:
779:Rue Saint-Lazare
753:William Beckford
620:Salines de Chaux
597:Salins-les-Bains
542:Salines de l'Est
513:Chaussée d'Antin
467:Rue Saint-Lazare
305:Chaussée d'Antin
279:Musée Carnavalet
261:rue Saint-Honoré
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1964:Vidler, Anthony
1886:. Philadelphia.
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1771:
1765:Charles Fourier
1758:
1754:
1741:
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1733:, October 1785.
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1672:From the Greek
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1425:Aix-en-Provence
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1311:rue de Provence
1188:
1139:
1102:, Paris, 1762 (
1063:
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973:La Force Prison
948:
946:Difficult times
903:
894:Madame du Barry
844:fermier général
794:
768:Rue de Provence
745:
733:Aix-en-Provence
684:
609:forest of Chaux
562:
501:Madame du Barry
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486:Madame du Barry
481:for the King's
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546:Burgundy Canal
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366:and portal of
340:Saint-Eustache
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269:and mirrors.
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2070:1736 births
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1761:Phalanstère
1715:alexandrine
1427:, 1785–1786
1373: [
1328: [
1301:, 1778–1784
1296:Théâtre de
1258:, 1770–1771
1240:(destroyed)
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1112:Mauperthuis
1110:Château de
1096:Café Godeau
904: [
492:Later works
395:Doric order
298:dépendances
286:Mauperthuis
2064:Categories
2010:. Also at
1767:, and the
1675:propylaeum
1174:BĂ©nouville
1017:ideal city
1011:Utopianism
916:Bachaumont
880:cube with
851:contraband
729:Neufchâtel
718:Marseilles
660:Panopticon
391:colonnades
370:, and the
325:Corinthian
307:using the
107:Occupation
69:1736-03-21
53:Ledoux by
1392:) (1785).
1356:Compiègne
1231:Pavillon
882:peristyle
867:Propylées
830:Compiègne
749:Freemason
709:Intendant
601:Montmorot
420:, Paris.
399:nymphaeum
383:Le Marais
352:Rolampont
271:Pilasters
216:Goût grec
179:Champagne
165:Biography
110:Architect
1966:(1987).
1930:. Paris.
1882:(1952).
1861:. Paris.
1839:. Paris.
1397:Projects
1298:Besançon
1292:in 1982)
1238:Eaubonne
1178:Calvados
1106:, Paris)
926:(1783),
869:de Paris
696:Besançon
483:mistress
475:Eaubonne
455:Palladio
441:prostyle
437:Calvados
294:orangery
290:aqueduct
230:Palladio
187:Classics
1480:Gallica
1379:, Paris
1146:and 15
984:octrois
856:octrois
700:Grecian
651:bothies
628:Paestum
575:gabelle
529:Germany
444:portico
393:in the
327:, etc.
226:Paestum
171:Dormans
133:utopian
2025:
2006:
1989:
1974:
1968:Ledoux
1956:
1941:
1919:
1904:
1872:
1850:
1821:
1610:
1564:33-50.
1552:p. 138
1434:, 1792
1415:Market
1290:UNESCO
1180:(near
1034:Turgot
969:octroi
838:, the
647:cooper
599:or in
590:halite
554:livres
525:Kassel
517:rustic
313:Tuscan
206:Rococo
100:France
78:France
57:, 1790
1776:]
1451:Notes
1388:(see
1377:]
1346:Aisne
1332:]
1201:, 53
1193:]
1144:]
1135:, 28
1125:, 66
1056:Works
991:Ĺ“uvre
908:]
888:, an
704:Ionic
624:Doric
618:, or
372:quire
348:Marac
321:Ionic
317:Doric
175:Marne
173:-sur-
96:Paris
2023:ISBN
2004:ISBN
1987:ISBN
1972:ISBN
1954:ISBN
1939:ISBN
1917:ISBN
1902:ISBN
1870:ISBN
1848:ISBN
1819:ISBN
1608:ISBN
1360:Oise
1182:Caen
1094:(or
910:and
890:apse
865:les
364:nave
85:Died
63:Born
1778:of
1763:of
1478:at
1354:of
1288:of
1098:),
803:at
666:.
662:of
595:In
473:in
435:in
374:of
2066::
1774:fr
1746:,
1697:,
1693:,
1447:.
1375:fr
1368:,
1340:,
1330:fr
1323:,
1309:,
1254:,
1236:,
1223:,
1213:,
1191:fr
1176:,
1172:,
1156:,
1142:fr
1041:.
975:.
906:fr
785:.
634:.
556:.
527:,
453:.
378:.
358:,
323:,
319:,
315:,
281:.
161:.
98:,
2029:.
1993:.
1960:.
1945:.
1923:.
1908:.
1876:.
1854:.
1825:.
1782:.
1750:.
1717:"
1616:.
1554:.
1482:.
1362:)
1358:(
1348:)
1344:(
1317:)
1272:.
1195:.
1115:(
218:"
214:"
71:)
67:(
34:.
20:)
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