With its renowned museums and highly respected art galleries, Paris has long been a paradise for art lovers and accomplished artists. It wasn’t until 1850, though, that the first gallery opened. No matter that nineteenth-century Paris was the world capital of art. Struggling artists faced the daunting task of finding venues where they could exhibit their work. The needs of those in the art world spurred France’s art schools, better known as académies, to hold annual and sometimes semiannual exhibitions, or salons.
Among the most esteemed was the government-sponsored, eagerly anticipated Paris salon, where artists selected by a jury jostled for recognition on soaring walls stacked high with art. Since capturing visitors’ attention virtually assured demand for an artist’s work, competition was fierce for coveted eye-level spots.
Reportedly, the jury dismissed artists Pierre-Auguste Renoir, Claude Monet, Alfred Sisley, Jean Bazille, Camille Pissarro, Paul Cézanne and Edouard Manet, whose distinctive, unorthodox way of capturing light en plein air went against established tastes. To appease them, Napoléon III (1852–70) founded the now-famous “Salon des Refusés,” (Salon of the Refused) in 1863, which encouraged the French and others to view the Impressionists with new understanding, thus shifting public perception, albeit reluctantly.
As it happens, to this day Europeans stack paintings and drawings high on walls and over doors in a manner called salon style. Meanwhile, half a world away, works of art loom in moderne fashion—that is, in a single row surrounded by ample space. Either way, displaying works of art is an art in itself, much harder than it looks, even for a people seemingly having a sixth sense for style.
It isn’t surprising, then, that the French borrow tips from none other than their famous museums, which offer timeless lessons in placing art, anymore than that they embrace a few ideas of their own. Here are some guidelines worth considering:
F Whereas small paintings scattered around a room disappear on generous walls, when grouped together and hung inches apart they make a strong statement.
F A mélange of paintings, watercolors and drawings can shape a single arrangement and look intriguing on a wall over a sofa that is covered in a solid fabric. (Patterned sofas distract from the people sitting on them, pointed out the late Albert Hadley, often called the dean of American decorating. Therefore, one cannot help but wonder if he also felt patterned sofas diverted attention from the artwork.)
F Some of the most pleasing groupings mass similar subjects—say, landscapes, ladies, children, fruit, animals, birds, flowers, botanicals or architectural plates. This is not to imply that in order to fuse seamlessly collections must be single-minded, only that a sole subject offers an organizing principle.
F Intermingling framed drawings and paintings in a rectangle—either horizontal or vertical—creates a sense of order. There isn’t a hard-and-fast rule, but identically framed works look best hung approximately two inches apart; allow three to four inches between works in a grouping of various shapes and sizes.
F It helps to measure the available wall space, and then use the floor to come up with a pleasing arrangement before hammering a single picture hook.
F Regardless of size, hang works of art at eye level, so that their center is at about 65 inches from the floor. Keep the same centerline on all walls of the room.
F Large or small, a work of art that eclipses the rest—in value or in sentiment—is worthy of pride of place at the center of a grouping. The honor is a testament to its significance.
F An important work of art can also stand alone—preferably not in the middle of a long wall, however, if the artwork is small.
F Before placing any piece, consider that it is best to view some works of art close up while others are more readily appreciated from a distance.
F A sculpture should be visible from all sides.
F A small painting hung beneath a larger one arouses interest.
F A frame should never overshadow the art. Then, again, an impressive frame can garner added respect for a less-than-important work of art by giving it a stronger presence.
F Many museums insist on pairing works with frames from the same period, not that this is an easy thing to do. It is rare to find age-appropriate frames, mostly because not many survived the French Revolution, much less two World Wars.
F For pared-down simplicity, a stretched canvas can hang frameless against a backdrop of dramatic architecture.
F The idea of propping paintings on fireplaces reaches back to seventeenth-century England. At the time, lofty gilt mirrors hung above smoke-stained chimneypieces in France’s grandiosely paneled rooms, coloring the capital’s gray light. Some boiserie had oil paintings inset. Paintings also adorned the tall, narrow spaces between windows, as they still do. But these days, works of art often lean against the wall above fireplaces, too.
F Direct sunlight should never fall on prints, watercolors or textiles. Fading, yellowing and foxing can result from overexposure to light. Heat can crack oil paintings, so humidity is essential—ideally around 50 percent.
F Not all works of art need be illuminated, and certainly not in identical ways. Low-voltage picture lights often hang above paintings in Europe. Meanwhile, lighting has gone high-tech in museums and homes on North American shores.
When interest in art starts early, a home’s art collection can grow by the week. While a large bench might appear visually imposing, a small one is perfect for hosting the day’s debris. Jackets (unseen) hang behind closed doors on the opposite side of the mudroom.
Boldly patterned wallpaper by Thibaut puts an exhilarating spin on a laundry with Whirlpool units. French-inspired wire baskets are by Aidan Gray. The child’s maternal grandmother smocked the dresses. Smocking dates back to the Middle Ages.
There is no question that French kitchens can rightly boast of being incredibly efficient, with an array of breadboards, bowls, pots and pans within easy reach. Meanwhile, those living on this side of the Atlantic prefer tucking clutter out of sight. Nearly all favor fitted cabinets with pullout compartments, where there is a place for everything, including supplies for the artists in residence.
“Let them eat cake.” Clearly, Marie Antoinette never uttered those words. This tale first appeared in Confessions by Jean Jacques Rousseau, two years before Marie Antoinette arrived in France. At age fourteen, Maria Antonia was ill prepared for the strong resentment her Austrian roots stirred. In a political alliance arranged by her ambitious mother, she obediently married Louis August, the future Louis XVI in 1770. Mixed media on paper is by Roxbury, Connecticut, artist Gary Komarin.
In a twist on traditional French, contemporary furnishings paint an artfully fashioned sitting room with importance. Acrylic on canvas is by Pennsylvania artist Steven Alexander. While majestic eighteenth- and nineteenth-century Loire Valley châteaux made striking first impressions, inside, a damp cold often prevailed. As a result, the owners themselves frequently sat beside the fire in a small private room adjacent the master bedroom. Rather than calling these areas sitting rooms, they were known as chauffe-pieds, or foot-warmers.
Statement-making Arabel linen and a Duralee tape pair effortlessly, heightening the look of Louis XV chairs. Adding to the European air is the fluid window treatment, a Cowtan & Tout linen. It is the bedazzling John Richards chest, however, that eases formality, much like in classic Paris apartments, where the old mixes with the new.
Louis XIV owned more than 413 beds. Surely, then, he would have appreciated bedding from Leontine Linens, New Orleans, the most Gallic of U.S. cities. Louisiana—named after the influential Sun King—became a state in 1812. From 1682–1763, the province was under French control, and once again, from 1800–03 when it became a U.S. territory as part of the Louisiana Purchase. Headboard is from Celerie Kemble.