Heather Jacques Wood and Dr. Daryl Lee, French and Italian
For this project, I wrote an honors thesis examining how museum space—understood as a form of public space—has been shaped by the forces of politics, culture, and public space theories. Two museums in particular, the Musée d’Orsay and the Musée du Louvre, served as case studies and as sources for comparison and contrast. My examination focused on the time from 1980 to present, as these years reflect a significant era of birth and change for both museums. As an additional contrast, I examined the impact of the same shaping forces listed above—politics, culture, and public space theories—on a museum yet to open: La Cité de l’Architecture et du Patrimoine. By exploring the continuing history of the Cité, I sought to discover whether similar shaping factors had influenced a museum that is evolving under disparate political circumstances.
In the introduction of the thesis, I sought to provide a political context for the birth of the Orsay and the renovation of the Louvre by describing the unique political situation existing in the 1980s and early 1990s. The French President during this era, François Mitterrand, was the first Socialist to hold power in over forty years. Additionally, a political power-sharing situation known as cohabitation significantly affected the nation’s politics from 1986-1988. Mitterrand endeavored to overcome the uneasiness among French citizens resulting from both his party affiliations (Socialist) and to the power sharing between a Leftist President and a Rightist Prime Minister. His methods for strengthening domestic support include creating cultural and political symbols, which would serve to remind the French people of past glories and would leave an indelible mark of his presidency on the Parisian landscape. Among his key projects were the completion of the Orsay and the renovation of the Louvre. These museums were therefore significantly influenced by contemporary politics, which influence is still evident today (see Photo 1 at the end of this document).
In the first chapter of the thesis, I examined the influences of politics, culture, and public space theory on the Musée d’Orsay. The Orsay was envisioned before Mitterrand, but was not constructed until Mitterrand’s term in office, when it was named as one of his grand architectural projects. The history of the Orsay manifests conflict and compromise between the government, the museum curators, and the museum architects. The museum is a product of this compromise, which is reflected in its architecture, art collections, and services. The Orsay can, however, be considered innovative within the conservative institutional culture of French museums because it offered educational services to its patrons that no museum had previously offered. This expansion of services can be seen as evidence of progressive thinking about museums that began with André Malraux in the 1960s. The history of the Orsay therefore provides a valuable case study for the effects of politics, culture, and public space theory on museums.
The second chapter of the thesis follows the pattern of the Orsay chapter in tracing the influences of politics, culture, and public space theory on the renovation of the Louvre (1981-1999). The Louvre, like the Orsay, manifests direct government involvement, and therefore political influence. The museum has long stood as a political and cultural symbol for the French, extending back to its public opening following the French Revolution. Its historical significance adds weight to its present significance, which can be illuminated by recourse to cultural dynamics that French scholar Pierre Nora explains in a theory known as lieux de mémoire. Among Mitterrand’s many public works projects, the Louvre renovation is especially noteworthy, both because of the museum’s historical significance and also because of the project’s scale. The museum was key in bolstering Mitterrand’s public support and popularity. Like the Orsay, the Louvre’s renovation reflects extensive shaping by politics, culture, and public space theory.
In the epilogue of the thesis, I examined a museum yet to open, La Cité de l’Architecture et du Patrimoine. Though this museum has evolved in a political situation substantially different from that of the Orsay and Louvre, it still reflects considerable political and cultural influences. Politics both within and without the French government have affected the Cité’s development. Additionally, the museum represents a continuing interest in maintaining and promoting French culture—both on the part of the government and on the part of French citizens. Influences similar to those affecting the Orsay and Louvre have also affected the Cité—which suggests that, regardless of who holds power in the French government, politics and culture shape museum space.
While I believe that I accomplished my purpose in researching these museums—to discover how they had been shaped by politics, culture, and public space theory—I would have liked to examine other Parisian museums to determine whether they had been similarly affected. Additionally, while I did travel to Paris to conduct some independent research on these museums—most especially on La Cité de l’Architecture et du Patrimoine because very little information about the museum existed in the form of books, periodicals, etc.—having additional time to research the museums, interview curators, and so forth would have allowed a deeper analysis. In future years, I intend to explore this topic further; for now, however, I consider the opportunity to research and write about this topic—with the help of a skilled and knowledgeable mentor—an invaluable experience that stands as the highlight of my undergraduate education