Da nije bilo grofa Pavla Šuvalova, ne bi bilo ni čuvenih Napoleonovih sto dana, niti bi se ikada odigrala Bitka kod Waterlooa.
U proljeće 1814. godine Francusko je Carstvo prestalo postojati. Savezničke trupe su zauzele Pariz, Napoleon se odrekao prijestolja, a na vlast su u Francuskoj ponovo došli Burbonci. U znak poštovanja prema čovjeku koji je nekada imao vlast nad cijelom Europom saveznici su Bonaparteu ostavili titulu cara, ali je mogao upravljati samo malenim otokom Elbom u Sredozemnom moru.
Napoleon potpisuje abdikaciju.François Bouchot/Muzej povijesti Francuske
Napoleon je krenuo u progonstvo krajem travnja, oprostivši se u dvorcu Fontainebleau s vojnicima svoje Stare garde. Morao je proći kroz cijelu Francusku do luke Fréjus, gdje ga je već čekao brod koji će ga odvesti na Elbu.
Napoleon nakon abdikacije u dvorcu Fontainebleau.Paul Delaroche
Svrgnuti car je putovao skromno, u običnim kočijama, u pratnji manjeg konvoja i nekoliko izaslanikakoje su mu saveznici dodijelili. U ime cara Aleksandra Prvog Bonapartea je pratio general poručnik Pavel Šuvalov. Upravo njemu će Napoleon dugovati život.
Protiv Napoleona
Kada je "Velika armija" prodrla u Rusko Carstvo, grof Pavel Šuvalov je zapovijedao Četvrtim pješadijskim korpusom, ali se vrlo brzo teško razbolio te je bio prisiljen predati zapovjedništvo drugome.
Portret grofa P. A. ŠuvalovaGeorge Dawe/Ruski muzej
Šuvalov se vratio na front 1813. godine, kada su se ruske trupe već kretale Europom, polako postiskujući Francuze prema Parizu. Grof je pratio cara Aleksandra I. u svim bitkama, a za sudjelovanje u "Bitci naroda" kod Leipziga dobio je orden svetog Aleksandra Nevskog.
U posljednji tren
U prvo vrijeme je narod dočekivao Napoleona i njegovu pratnju likovanjem i uzvicima "Živio car!" Međutim, kako su se kretali na jug, oduševljenje je bivalo sve manje, narod je uglavnom šutio, da bi na kraju pokazao i neskrivenu mržnju.
U Provansi je gomila obasula Bonapartea psovkama i prokletstvima, a on je bio spokojan, pretvarajući se da sve to nema nikakve veze s njim.
Prava opasnost ga je čekala u gradiću Orgonu, južno od Avignona. Usput je gomila postavila vješala s Napoleonovom figurom od slame. Ljudi su pojurili prema zatvorenim kočijama u pokušaju da svrgnutog cara izvuku vani i ubiju. U raspirivanju narodnog gnjeva mogli su sudjelovati i rojalisti, koji su bili zainteresirani da "korzikanski monstrum" ne stigne na odredište.
Napoleon napušta Elbu.Joseph Beaume
Gomila je savladala malobrojni konvoj i već je bila blizu cilja kada je pristigao grof Šuvalov. On je jedini izdržao pritisak, a zatim je i sam šakama i vikom potisnuo gomilu. Tako je dobio na vremenu i dao znak Napoleonovom kočijašu da potjera konje i što brže napusti Orgon.
Kada im je izmakao Bonaparte, nezadovoljnici su bili spremni rastrgati Šuvalova, no čim su saznali da je pred njima ruski general, obradovali su se i pozdravili ga poklicima: "Živjeli naši osloboditelji!"
Ubrzo je Šuvalov stigao Napoleonovu kolonu i predložio mu da zamijene kapute i da on, Šuvalov, sjedne na Napoleonovo mjesto. On je ujedno objasnio da će tako atentator, ako se pojavi, ubiti njega, ruskog generala, umjesto Napoleona. Kada je Napoleon u čudu pitao zašto bi Šuvalov to učinio, ovaj mu je odgovorio: "Moj car Aleksandar mi je naložio da vas živog i zdravog dostavim na mjesto progonstva. Izvršenje naredbe moga cara za mene je pitanje časti."
Zahvalnost
Nekoliko dana kasnije Napoleon se živ i zdrav ukrcao na britansku fregatu "Neukrotivi" kojom je otplovio na mediteranski otok. Uoči polaska je ruskom grofu poklonio svoju sablju u znak zahvalnosti. Napoleonova sablja(CC BY-SA 3.0)
Francuski car je tu sablju dobio "za Egipatski pohod" još kao prvi konzul Republike i gotovo se petnaest godina nije odvajao od nje. Činjenica da ju je poklonio ruskom grofu bila je znak Napoleonove iskrene zahvalnosti.
Nepunih godinu dana kasnije Bonapartea će se vratiti u Francusku da trijumfalno preuzme vlast i još će tri mjeseca drmati Europom, a u svemu tome je značajnu ulogu odigrao i ruski general. preneseno sa : Russia beyond
The Louvre museum in Paris on Friday said it was planning to re-open its doors on July 6 following new steps announced by French Prime Minister Édouard Philippe to ease the country's Covid-19 lockdown.
In a statement, the Louvre, France's most visited museum, said a progressive re-opening would entail a reservation system and new signage that would enable "maximum security conditions" for visitors in addition to the wearing of masks and recommended social-distancing measures.
Le musée du #Louvre, le jardin des #Tuileries et le #MuséeDelacroix préparent leur réouverture et annoncent leur nouvelle programmation culturelle de l'été et de l'automne.
The statement came a day after Prime Minister Philippe announced details of the second phase in the gradual lifting of France’s strict coronavirus lockdown, which included a nationwide reopening of bars and restaurants from June 2. But in Paris, where the risk of coronavirus spread remains higher than in the rest of the mainland, only the outside terraces of eating and drinking establishments can reopen to clients.
French Culture Minister Franck Riester on Friday held a meeting with the presidents of major cultural institutions and following this a provisional re-opening schedule was released.
Les musées et monuments nationaux propriété de l’Etat vont rouvrir à partir du 2 juin.
J’ai réuni ce matin les présidentes et présidents de ces établissements pour échanger sur les mesures qui seront prises pour assurer la protection et la santé des personnels et des visiteurs.
The Louvre Museum, the Tuileries gardens, the "jardin du Carrousel" and the Eugène Delacroix National Museum, all part of the same public institution, were all preparing for a phased reopening, the statement noted.
The "jardin du Carrousel" will open Saturday, May 30, while the Tuileries garden will open Sunday, May 31. Gatherings would still be restricted to groups of no more than 10 people.
The Louvre, which had 9.6 million visitors last year, closed in March, just days before France went into a strict nationwide lockdown to stem the spread of the virus
Philippe Pasqua, umjetnik iz Pariza nedavno je kreirao i postavo 4 metra visoku i 7 metara dugačku skulpturu vjerojatno i najpoznatijeg dinosaura svih vremena – Tyrannosaurus Rexa (T-Rex), jednog od najvećih mesoždera koji je ikada kročio ovom planetom.
Skulptura se sastoji od 350 kromiranih kostiju, a sve su napravljene prema obliku kostiju pravog dinosaura koje su pronađene u Kini. Ova skulptura T-Rexa u prirodnoj veličini najbolje pokazuje koliko su zapravo bila velika i veličanstvena bića koja su vladala Zemljom prije više od 65 milijuna godina.
Flights in France will once again be hit by the ongoing strikes against the government's pensions reforms on Tuesday.
France's civil aviation authority the DGAC announced on Monday afternoon that it had asked airlines to reduce their flights to and from Paris Orly airport by 20 percent on Tuesday.
The DGAC said that because of strike notices lodged by air traffic control unions it had asked airlines to cancel flights to and from Orly on Tuesday December 17th.
"The DGAC will set up the minimum service provisions in the air traffic control centers and at airports where regulations allow," the authority said in a statement on Tuesday.
It warned that there may be disruptions and delays to all flights to and from France due to the strike action and has asked customers to check with their airlines about the status of their flight.
Nevertheless the impact on flights on Tuesday is far less than during previous strike days earlier in December.
Air traffic controllers and airport ground staff joined the anti-pension reform strikes on both December 5th and December 10th.
On both those days around one fifth of flights to and from all of France's biggest airports had to be cancelled.
Air France was forced to cancel around 30 percent of internal and short-haul international flights with airlines such as Easyjet and Ryanair also having to ground scores of flights to and from France.
With 35,000 objects displayed in more than 60,000 square meters, a definitive top 10 of the world’s most popular museum, the Louvre, seems like a gesture of insanity. Consider this a guide to the most popular and perfect pieces in the Paris establishment.
Caravaggio, ‘Death of the Virgin’, Oil on Canvas, 369cm x 245cm
Michelangelo Merisi da Caravaggio – Death of the Virgin, c.1605-6
Caravaggio was the raconteur and revolutionary painter of his day, and in Death of a Virgin we can see why. Where his contemporaries worked to depict the saints as unattainable ideals, Caravaggio’s saints are bestowed with the agonies and ugliness of reality. In this particular work, the universal human emotions of grief and despair are exposed to us. This art also features his most sensuous painting of fabric, with the red drapes occupying one-third of the canvas. Caravaggio painted a masterpiece that can still speak volumes to us in this increasingly secular age, featuring a strong depth of emotional truth.
Jacques-Louis David – The Consecration of the Emperor Napoleon and the Coronation of Empress Joséphine on December 2, 1804, 1806
After working as the ‘official artist’ of the French Revolution and leaving us with a series of epic canvases that will color interpretations of those events forever, Jacques-Louis David became court painter of the Second French Empire under Napoleon. In this role, he painted this detailed study of this emperor. For those who come to the Louvre wishing to understand more about French history, this is an essential viewing. The stillness and pomp of Napoleon’s image is emblematic of how far France had changed since David’s kinetic, activity-filled drawing of the Tennis Court Oath, one of the crucial events from the beginning of the Revolution.
Eugène Delacroix, ‘Liberty Leading the People’, Oil on Canvas, 260cm x 325cm
Eugène Delacroix – Liberty Leading the People, 1830
This is one of the Louvre’s paintings so famous it has taken on a life of its own, Liberty Leading the People has inspired everything from the Statue of Liberty, Les Misérables to Coldplay’s Viva La Vida album cover. This legacy, rather than lessening the impact of the original actually makes it even more mesmerizing. A founding image from which modern France takes much of its identity, with the central female figure becoming codified as the definitive ‘Marianne’ (a symbol of France). More generally, however, it is one of art’s most stunning representations of ‘liberté, égalité, fraternité’, and one of the most potent depictions of revolution ever painted.
Anthony van Dyck – Charles I of England, c. 1635
Among the hallowed halls of the Louvre you will find many representations of great men, hundreds of depictions of kings, queens, emperors and gods. Of these, one of the greatest is van Dyck’s portrait of the ill-fated Charles I of England. In this work, van Dyck tempers the melancholia of much of his best work to portray a monarch of poise and unquestionable authority. That history shows us that this rendering was far from the truth makes the painter’s achievement even more remarkable here. It shows in one painting why van Dyck was so in demand as a court painter in Britain.
Théodore Géricault, ‘The Raft of the Medusa’, Oil on Canvas, 491cm x 716cm
Théodore Géricault – The Raft of the Medusa, 1818-9
This painting of a shipwreck ironically launched a wave of work in French Romanticism. Although it has been seen by so many in countless art history books, a visit to the original in the Louvre is a must. To enter the room it hangs in is to be bombarded by the painting (measuring an epic 5 meters by 7 meters) and to be confronted by its convincing depiction of the real savagery of man under pressure. After all, the sinking of the real Medusa was the scandal of its day, with all but 15 of those on board perishing. Those that survived had avoided starvation through cannibalism.
Jean Auguste Dominique Ingres, ‘The Valpinçon Bather’, Oil on Canvas, 146cm x 97.5cm
Jean Auguste Ingres – The Valpinçon Bather, 1808
This female nude redefined the form. Its painter, Ingres, became known for his mastery of depicting flesh. ‘The Valpinçon Bather’ has influenced everyone with an interest in the human body, from Lucian Freud to Man Ray, whose famous photograph of a woman with violin holes drawn on her back is titled ‘Violon d’Ingres’. Far from being worth seeing due to its influence, however, the original is a must-see in its own right due to its being the best work of one of the greatest painters of the female form of all time. It is a painting that still influences how women are depicted in art even to this day.
Leonardo da Vinci – Mona Lisa, c.1503-6
Although you will have to fight through an army of selfie stick carriers to even get a glimpse of it, who could conceive visiting the Louvre without seeing the most famous painting in the world? Thousands of pages have been written about every detail of the elusive sitter, and Leonardo’s technique has been analyzed with more scrutiny than any other artist. Yet the painting still manages to hold on to its aura. It is almost impossible for one small work to live up to so much hype, but if any painting could manage, it would be this one.
The only other genius of the Renaissance that can match the legendary status of da Vinci, Michelangelo Buonarroti’s Dying Slave shares the complex mix of emotion and eroticism of his most famous work, his statue of David in Florence. The Dying Slave features all of the agony and the ecstasy that characterizes the artists’ work (and led to the famous novel and film of the same name). That he was able to produce such a masterwork immediately after completing the Sistine Chapel tells you everything you need to know about the genius of Michelangelo, the master of all the art forms of his day.
Unknown, Monument of King Naramsin, c.2270 BCE
Although the Louvre is best known for its collection of art in Europe from the 14th to 19th century, the museum also houses a treasure trove of items from antiquity. Of these, one of the oldest is the Monument of King Naramsin, made in Mesopotamia 2000 years before the birth of Christ. It shows the aforementioned king treading over a vanquished enemy. This work begins a tradition of depictions of royal power that can be seen across thousands of the museum’s items.
Alexandros of Antioch, Aphrodite of Milos, c.130-100 BCE
The Louvre’s second most visited work after the Mona Lisa, the Milos Aphrodite (better known as the Venus de Milo) has remained just elusive as that 16th-century painting. Although recent developments have been made, much about the statue remained a mystery for many years. Most famously: where are the arms originally attached to the statue located? Whatever the answers to the questions surrounding it though, what we can be sure of is that the Venus de Milo will remain one of the greatest examples of female grace to be found in the Western art canon.
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