Art and architecture - for iPod/iPhone
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The Louvre was designed to house a great art collection for the people of France. Was there a plan from the outset to build a canon of work where the relationships between artists, their origins, their schools and faiths could be traced across centuries? And how did architect I.M.Pei persuade President Mitterrand to allow a pyramid to be built at the Louvre? The album goes on to explore how architecture can reflect relationships between different traditions. Two great buildings, Palladio’s church of the Redentore in Venice and Sinan’s Sokullu Mehmet Pasha mosque in Istanbul illustrate shared approaches to the purpose for which the spaces were designed. This material is taken from The Open University course A216 Art and its histories.
The pyramid at the Louvre
Architect, I M Pei, discusses the design brief for his pyramid entrance to the Louvre.
English Philistines, French Sophisticates
How a British King's art collection became a French King's art collection.
Subversive classicism
How French sculptor, Puget, nearly lost his head with his representation of Louis XIV.
Open museum
Pierre Rosenberg, Director of the Louvre, on the original idea that the museum must reflect art history and be open to everyone.
Unfinished business
Pierre Rosenberg, Director of the Louvre, discussing why the Louvre will never be finished.
A tale of two temples
Palladio's church of the Redentore in Venice and Sinan's Sokullu Mehmet Pasha mosque in Istanbul are compared.
Public or private
Sinan's Sokullu Mehment Pasha mosque where all men would be equal before Allah.
Very different innovators
The front and back of Palladio's church of the Redentore in Venice could be entirely different buildings.