No século XIX, os liceus experimentam a atenção das cidades que os abrigam, provocando sentimentos ambivalentes, entre a atração e a rejeição. Ao procurar múltiplos recursos, as cidades provocam, com efeito, prejuízos que ameaçam sem cessar a saúde, a segurança e a moral dos alunos, como também o curso de seus estudos. Durante muito tempo, os estabelecimentos sofrem para fazer entender suas reivindicações e devem, então, se adaptar sozinhos ao contexto urbano. Mas pouco a pouco estas relações conflituosas diminuem: no final do século XIX, após o fracasso do governo em sua tentativa de transportar para o campo os estabelecimentos de internos, a cidade torna-se uma verdadeira associada, com a qual os liceus não hesitam em multiplicar suas trocas. Pelo seu exemplo, o caso dos liceus parisienses ilustra esta lenta evolução.
La chaire et les gradins De la salle de classe à la salle de cours dans les lycées au XIXe siècle The rostrum and the tiers-from the lecture room to the lesson room in 19th century lycées Der Lehrstuhl und die Sitzreihen. Vom Klassenzimmer zum Lehrsaal in den Gymnasien des 19. Jahrhunderts La cátedra y las gradas. Del aula al aula para clases en los institutos del siglo XIX
The Lycée Louis-Le-Grand in Paris ; chronicle of a delayed reconstruction (1841-1881).
This article sets out ot explain how one of the most prestigious secondary educational establishments in France, the Lycée Louis-Le-Grand, heir to the Clermont College founded by the Jesuits in 1563, had to function in dilapidated and insanitary buildings for over fifty years. Between 1841 and 1885 no fewer than fourteen rebuilding projects, signed by nine different architects, were drawn up, all of them prevented from being put into effect either by political events or by the disagreements between the two authorities on which the school depended, the State and the City of Paris. This paradoxical situation came to an endonly with the new impetus given to school building by Jules Ferry.
Charles Le Cœur’s ambitious project, realised between 1885 and 1898, left precious little of the earlier buildings and marked the apogee of school architecture under the Third French Republic. The country’s leading lycée was also the most expensive one ever built.
Marc Le Cœur : The Annual Salon of the Society of the Friends of the Arts in Pau : Winter Quarters of the Impressionists from 1876 to 1879.
At the same time that their first collective exhibitions were held in Paris, Impressionist artists were invited to present their works at the exhibits of the Society of the Friends of the Arts in Pau from 1876 to 1879, at the initiative of Paul Lafond and Alphonse Cherfils, respectively secretary and vice-president of the Society. The most famous among these artists were Caillebotte, Degas, Morisot, Pissarro, Renoir and Sisley who were joined by a number of their colleagues and teachers. The paintings that were exhibited, several of which were among the chefs-d’œuvre of their authors (notably, Young Man at the Window by Caillebotte, The Orchestra by Degas and A June Morning by Pissarro) were given an indifferent welcome by the public ; and, despite favorable press reviews, they were rarely sold. However, in 1878, the Pau Museum acquired Degas’ celebrated Interior of a Cotton Office in New Orleans. At the end of the following year, after Lafond and Cherfils were repudiated by the public and forced to leave their positions, the exhibitions of these Impressionists ended. This article, based on criticism that appeared in the local press, relates the reception given to these singular exhibits that took place 600 miles from Paris.
Ce document a été généré automatiquement le 19 avril 2019. Tous droits réservés à l'Association LHA Un cas d'école : les lycées A textbook case: the secondary schools Gymnasialbauten als Musterbeispiel Marc Le Coeur Les archives ne manquent pas pour qui entend étudier l'architecture publique française du XIX e siècle, et ceci quel que soit l'objet d'investigation : un édifice particulier, une poignée de constructions analogues élevées dans une même aire géographique ou par un même maître d'oeuvre, voire, de manière plus ambitieuse, les développements d'une typologie sur tout le territoire national. La localisation des sources et leur mode d'exploitation varient seulement en fonction du genre de bâtiment(s) considéré. Pour illustrer à grands traits les moyens de procéder en la matière, il a paru opportun de se pencher sur le cas des lycées, cas exemplaire en raison des questions qu'il soulève. Fondés en vertu des lois du 11 floréal an X (1 er mai 1802) 1 ou du 21 décembre 1880 2 , ces établissements ont compté parmi les bâtiments publics qui se sont peu à peu affranchis des modèles du passé 3 mais, quoi que tous fussent tenus de répondre aux mêmes exigences, ils formaient un ensemble hétérogène eu égard aux différentes natures de leurs locaux (anciens couvents, collèges et hôtels particuliers, ou édifices neufs, construits sur mesure) et, à partir de la Troisième République, à la diversité de leurs populations respectives (garçons ou filles, pensionnaires ou externes). La variété des installations passées n'a d'égale aujourd'hui que celle des archives 4. Pour en comprendre la raison, il convient de saisir la manière dont les travaux de toutes sortes furent menés dans ces édifices, au fil du siècle. Le cadre administratif Maîtrise d'ouvrage En énonçant que « les bâtimens des lycées seront entretenus aux frais des villes où ils seront établis », la loi du 11 floréal (art. 40) a fixé un principe-étendu aux bâtiments des Un cas d'école : les lycées Livraisons de l'histoire de l'architecture, 21 | 2013
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