The Secret Language of Flowers: Notes on the hidden meanings of the Louvre's flowers

Hardback

Main Details

Title The Secret Language of Flowers: Notes on the hidden meanings of the Louvre's flowers
Authors and Contributors      By (author) Jean-Michel Othoniel
Physical Properties
Format:Hardback
Pages:208
Dimensions(mm): Height 210,Width 130
ISBN/Barcode 9782330120160
Audience
General
Illustrations 162 Illustrations, unspecified

Publishing Details

Publisher Actes Sud
Imprint Actes Sud
Publication Date 27 June 2019
Publication Country France

Description

A follow-up to The Secret Language of Flowers: Notes on the Hidden Meanings of Flowers in Art . To celebrate the 30th anniversary of the Louvre pyramid, Jean-Michel Othoniel was invited to create a work relating the importance of flowers in the Museum's eight art departments. The artist photographed the floral wealth concealed in the masterpieces of the Museum's painting, drawing, sculpture, embroidery and enamel collections. Using this, Othoniel composes his own original herbarium, accompanied with notes on the secret language of flowers and their symbolism in the history of art. Among the seventy details of flowers, you will find the thistle in Durer's selfportrait, the poppy in the Paros funerary stele, the apple sitting on a stool in The Lock by Fragonard, or the peony attached to the unfastened blouse of the young woman in Greuze's Broken Pitcher. The work also introduces us to lesser-known details in works, offering a magnificent treasure hunt for visitors of the museum. Amid this vast prairie spangled with symbolic flowers, the artist asks this question: If there could be only one, which would be the Louvre's flower? A question to which the artist himself offers his own response.

Author Biography

Jean-Michel Othoniel lives and works in Paris. From drawing to sculpture, installation to photography and writing to performance, he has invented a world with multiple contours. Early in his artistic career he explored materials with reversible qualities, such as sulfur and wax, before moving onto glass in 1993. Today his works have an architectural dimension and are frequently commissioned for exhibition in public or private gardens around the world.