(National Navy Museum) is a maritime museum located in the Palais de Chaillot, Trocadero, in the XVIe arrondissement of Paris. It has annexes at Brest, Port-Louis, Rochefort (Musee National de la Marine de Rochefort), Toulon and Saint-Tropez. The permanent collection originates in a collection that dates back to Louis XV of France. In 1748, Henri-Louis Duhamel du Monceau offered a collection of models of ships and naval installations to Louis XV of France, with the request that the items be displayed at the Louvre and made available to students of the Naval engineers school, which Duhamel headed. The collection was put on display in 1752, in a room of the first floor, next to the Academy of Sciences; the room was called "Salle de Marine" (Navy room), and was used for teaching. With the French Revolution, the Salle de Marine closed in 1793. The collection was added to models owned by the King personally, to others owned by the Ministry of Navy, and yet others owned by emigres or executees (notably Philippe Égalite). A short-lived museum was opened between 1801 and 1803 at the Ministry of Navy, then located at Place de la Concorde.   Related Paintings of Musee national de la Marine :. | Sacred Allegory (detail) dfg | Battle of Poltava | Sts Paul the Hermit and Anthony Abbot ar | Drunkennes of Noah | The Fall of Phaeton |
Related Artists:
Theodore Gudin
French Painter, 1802-1880 was a French painter of the 19th century. He especially painted navy scenes, and was a pupil of Girodet-Trioson. Gudin was one of the first Peintres de la Marine, at the court of Louis-Philippe and Napoleon III.
Johann Michael Sattler
(28 September 1786, Herzogenburg, Lower Austria - 28 September 1847, Mattsee, Salzburg) was an Austrian portrait and landscape painter, best known for his large-scale panoramas. Sattler attended the Vienna Academy beginning in 1804 under the tutelage of Hubert Maurer. In 1819 Sattler moved to Salzburg, where in 1824 he began to paint a 360-degree panorama of the city as seen from the top of Salzburg's castle. The massive work covered 125 square metres and was first exhibited in 1829. Salzburg made him an honorary resident. Stattler toured across Europe with the painting for ten years, writing about his return in 1838, "with 30 tons and crossing approximately 30,000 kilometres of land and water, a feat no one had ever done before me and one which would be difficult to repeat in the future." Satler's son, the artist Hubert Sattler, donated the work to the city in 1870. The painting is now on display at the Salzburg Museum in a specially designed area called the Panorama Museum.
Alesso Baldovinetti
(October 14, 1427??August 29, 1499) was an Italian early Renaissance painter. Baldovinetti was born in Florence to a family of a rich merchant. In 1448 he was registered as a member of the Guild of St. Luke: "Alesso di Baldovinetti, dipintore." He was a follower of the group of scientific realists and naturalists in art which included Andrea del Castagno, Paolo Uccello and Domenico Veneziano. Tradition says that he assisted in the decorations of the church of S. Egidio, however no records confirm this. These decoration were carried out during the years 1441 - 1451 by Domenico Veneziano and in conjunction with Andrea del Castagno. That he was commissioned to complete the series at a later date (1460) is certain. In 1462 Alesso was employed to paint the great fresco of the Annunciation in the cloister of the Annunziata basilica. The remains as we see them give evidence of the artist's power both of imitating natural detail with minute fidelity and of spacing his figures in a landscape with a large sense of air and distance; and they amply verify two separate statements of Vasari concerning him: that "he delighted in drawing landscapes from nature exactly as they are, whence we see in his paintings rivers; bridges, rocks, plants, fruits, roads, fields, cities, exercise grounds, and an infinity of other such things," and that he was an inveterate experimentalist in technical matters. His favourite method in wall-painting was to lay in his compositions in fresco and finish them a secco with a mixture of yolk of egg and liquid varnish. This, says Vasari, was with the view of protecting the painting from damp; but in course of time the parts executed with this vehicle scaled away, so that the great secret he hoped to have discovered turned out a failure. In 1463 he furnished a cartoon of the Nativity, which was executed in tarsia by Giuliano de Maiano in the sacristy of the cathedral and still exists. From 1466 date the groups of four Evangelists and four Fathers of the Church in fresco, together with the Annunciation on an oblong panel, which still decorate the Portuguese chapel in the basilica of San Miniato, and are given in error by Vasari to Piero Pollaiuolo. A fresco of the risen Christ between angels inside a Holy Sepulchre in the chapel of the Rucellai family, also still existing, belongs to 1467. In 1471 Alesso undertook important works for tile church of Santa Tr??nita on the commission of Bongianni Gianfigliazzi. First, to paint an altar-piece of the Virgin and Child with six saints; this was finished in 1472: next, a series of frescoes from the Old Testament which was to be completed according to contract within five years, but actually remained on hand for fully sixteen. In 1497 the finished series, which contained many portraits of leading Florentine citizens, was valued at a thousand gold forms by a committee consisting of Cosimo Rosselli, Benozzo Gozzoli, Perugino and Filippino Lippi; only some defaced fragments of it now remain.