Travel Theme Decor

travel theme decor
  • change of location: a movement through space that changes the location of something
  • The action of traveling, typically abroad
  • Journeys, esp. long or exotic ones
  • (of a device) Designed so as to be sufficiently compact for use on a journey
  • the act of going from one place to another; "he enjoyed selling but he hated the travel"
  • change location; move, travel, or proceed, also metaphorically; "How fast does your new car go?"; "We travelled from Rome to Naples by bus"; "The policemen went from door to door looking for the suspect"; "The soldiers moved towards the city in an attempt to take it before night fell"; "news
  • provide with a particular theme or motive; "the restaurant often themes its menus"
  • The first major constituent of a clause, indicating the subject-matter, typically being the subject but optionally other constituents, as in “poor he is not.”
  • An idea that recurs in or pervades a work of art or literature
  • The subject of a talk, a piece of writing, a person's thoughts, or an exhibition; a topic
  • subject: the subject matter of a conversation or discussion; "he didn't want to discuss that subject"; "it was a very sensitive topic"; "his letters were always on the theme of love"
  • a unifying idea that is a recurrent element in literary or artistic work; "it was the usual `boy gets girl' theme"
  • The decoration and scenery of a stage
  • The style of decoration of a room, building
  • interior decoration: decoration consisting of the layout and furnishings of a livable interior
  • Interior design is a multi-faceted profession in which creative and technical solutions are applied within a structure to achieve a built interior environment.
  • The furnishing and decoration of a room

chapel of the Palace of Versailles
chapel of the Palace of Versailles
As the focal point of Louis XIV's fourth (and last) building campaign (1699-1710), the fifth and final chapel of the chateau of Versailles is an unreserved masterpiece. Begun in 1689, construction was halted due to the War of the League of Augsburg; Jules Hardouin-Mansart resumed construction in 1699. Hardouin-Mansart continued working on the project until his death in 1708, at which time his brother-in-law, Robert de Cotte, finished the project (Blondel, 1752-1756; Marie, 1972, 1976; Nolhac, 1912-1913; Verlet, 1985; Walton, 1993). It was to become the largest of the royal chapels at Versailles, and in fact the height of its vaulting alone was allowed to disturb the rather severe horizontality everywhere else apparent in the palace's roof-line, leading to the design being badly treated by some contemporaries at the time, most notably perhaps by the duc de Saint-Simon, who characterized it as an "enormous catafalque" [2]. Nevertheless, the magnificent interior has been widely admired to the present day and served as inspiration for Luigi Vanvitelli when he designed the chapel for the Palace of Caserta (Defilippis, 1968). Dedicated to Saint Louis, patron saint of the Bourbons, the chapel was consecrated in 1710. The palatine model is of course traditional; however, the Corinthian colonnade of the tribune level is of a classic style that anticipates the neo-classicism that evolved during the 18th century, although its use here bespeaks a remarkable virtuosity. The tribune level is accessed by a vestibule, known as the salon de la chapelle, that was constructed at the same time as the chapel. The salon de la chapelle is decorated with white stone and the bas-relief sculpture, Louis XIV Crossing the Rhine by Nicolas and Guillaume Coustou forms the focal point of the rooms decor[3] (Nolhac, 1912-1913; Verlet, 1985; Walton, 1993). The floor of the chapel itself is inlaid with polychromatic marbles, and at the foot of the steps leading to the altar is the crowned monogram of an interlaced double “L” alluding to Saint Louis and Louis XIV (Nolhac, 1912-1913; Verlet, 1985; Walton, 1993). The sculptural and painted decoration uses both Old Testament and New Testament themes (Lighthart, 1997; Nolhac, 1912-1913; Sabatier, 1999; Verlet, 1985; Walton, 1993). The ceiling of the nave represent God the Father in His Glory Bringing to the World the Promise of Redemption and was painted by Antoine Coypel; the half-dome of the apse is decorated with Charles de la Fosse’s The Resurrection of Christ; and, above the royal tribune is Jean Jouvenet’s The Descent of the Holy Ghost upon the Virgin and the Apostles (Nolhac, 1912-1913; Walton, 1993). During the 18th century, the chapel witnessed many court events. Te Deums were sung to celebrate military victories and the births of children (fils de France and fille de France) born to the king and queen; marriages were also celebrated in this chapel, such as the wedding of Louis XV’s son the dauphin Louis-Ferdinand with the Infanta Marie-Therese of Spain on 23 February 1745 and the wedding on 16 May 1770 of the dauphin – later Louis XVI – with Marie-Antoinette. However, of all the ceremonies held in the chapel, those associated the Order of the Holy Spirit were among the most elaborate.[4] (Blondel, 1752-1756; Bluche, 2000; Boughton, 1986; Campan, 1823; Croy-Solre, 1906-1921; Hezuques, 1873; Luynes, 1860-1865; Nolhac, 1912-1913). The chapel was re-consecrated in the 19th century and has since served as a venue for state and private events. Musical concerts are often held in the chapel of Versailles.
Paris 2007: Musee d'Orsay
Paris 2007: Musee d'Orsay
Paul Cezanne (1839-1906) The Cardplayer Between 1890 and 1892 Oil on canvas H. 50.2; W. 46.2 cm. At the beginning of the 1890s, Cezanne produced five paintings on the theme of card players. They differ in size, in the number of characters and in the importance of decor. This work is one of the many preparatory studies associated with this series. It shows a card player who features in the two largest versions, but in a reversed position (Merion, Barnes Foundation; New York, The Metropolitan Museum of Art) as well as in a scene with two characters (private collection), showing, as here, his left profile. The character with the drooping shoulders, now a "Cezanne figure", forms a solid mass, providing stability, with the other players, in the definitive compositions. His presence produces an effect of monumentality often found in portraits painted by Cezanne. This simple man is in deep concentration, in absolute silence, so frequent for an artist. There is a mysterious or enigmatic quality to Cezanne's works on the theme of card players and several hypotheses have been advanced as to the order of their completion. The three reduced versions have carefully thought-out constructions that could indicate they were completed after the other two compositions, which are fuller, and denser in appearance although less developed. Characteristically, Cezanne would have progressed towards simplification, eliminating figures, reducing the size of the painting, and removing all the anecdotal accessories of the "genre scene". With its distinct appearance of a "study", The Cardplayer partly reveals Cezanne's approach to a theme: a "meditation" through successive preliminary works based on single characters. Usually drawings and watercolours preceded the slowly elaborated compositions, making this preparatory study, painted in oils, particularly interesting.

travel theme decor