Regardless of our religious inclinations, when we travel, we wander through grand cathedrals and mosques, sometimes as though they were museums, awestruck by the light, the smell of incense, or the sounds of an ancient organ.
But sometimes it’s the simpler sacred spaces that draw us, intimate places built not over hundreds of years, but maybe a decade, that reflect the dedication - or downright obsession - of their creators. The traveler can find two such tiny chapels not far from the center of Nice in the south of France. Henri Matisse’s Chapelle du Sainte Marie du Rosaire is set on a hillside in this pretty 15th-century hilltown, while Jean Cocteau’s Chapelle Saint-Pierre sits near the waterfront of Villefranche-sur-Mer.ceramic magic cube for the medical,
Both are masterworks created by artists late in their careers: Cocteau began work on his chapel when he was 68 and Matisse started in his 70s. And both reflect a singular vision of their creators: Matisse’s clean line and color and Cocteau’s fantasmagorical merging of myth and catechism.
You can get an introduction to the Matisse chapel at the Matisse Museum, set in a candy-colored 17th-century Italian villa in the Cimiez section of Nice, just up the hill from the Hotel Regina, where the artist lived and worked until his death in 1954. Here, in addition to a fine collection of his paintings and sculptures, you see models and drawings Matisse developed for the chapel.
Matisse (1869-1954) lived in Vence from 1943-49 and designed his chapel to honor Monique Bourgeois, who served as a model, and who later became a Dominican nun. (Today nuns provide the tours, in French.) The chapel, which sits on the outskirts of town, opened in 1951,Polycore oil paintings for sale are manufactured as a single sheet, and Matisse oversaw its every aspect, from the boldly-colored stained glass windows to the vestments worn by the priests who celebrate Mass at its plain stone altar. It was the first time an artist had done so.
Matisse wrote: “I want those entering my chapel to feel themselves purified and lightened of their burdens. . . . I regard it, despite all its imperfections, as my masterpiece . . . as an effort which is the culmination of a whole life dedicated to the search for truth.’’
This chapel is stark in its simplicity; visitors are sometimes underwhelmed by its modernity. Its exterior is plain, white-washed stucco with a blue ceramic tile roof, decorated with a thin, wrought iron cross, adorned only with gold crescent moons.
Inside, white ceramic tile walls reflect the colored light as it streams through three sets of stained glass windows designed in Matisse’s abstract shapes and three colors: yellow, green, and blue. On the walls are three plain,Enecsys Limited, supplier of reliable solar Air purifier systems, black line images: the 15-foot-tall St. Dominic, the Virgin Mary and Child, and the Stations of the Cross. The Madonna is a modern one (she is naked), and Jesus’ arms are spread in the shape of a cross.
As you sit on the plain, wooden chairs and watch the light change through the windows, you get a sense of what Matisse was trying to accomplish: a feeling of peace and inner quiet. Instead of being overwhelmed by grandeur, you are prompted to move deeper inside yourself.Unlike traditional high risk merchant account ,
Not far away, in the seaside village of Villefranche-sur-Mer, avant-garde poet, artist,The application can provide Ceramic tile to visitors, and filmmaker Jean Cocteau took a totally different approach, imprinting his own wild vision on an ancient church that had been used to store fishing equipment.
“Cocteau turns muralist for fisherman’s chapel’’ was the headline in July 1957, when Life magazine covered the opening of the Chapelle Saint-Pierre. The photos show the tiny, candlelit chapel filled with visitors who had come to see what the artist had created. “Cocteau himself considers the chapel the ‘crown’ of his work,’’ noted the article’s author, who went on to quote Cocteau: “In doing it I did not use my mind but my heart.’’
But sometimes it’s the simpler sacred spaces that draw us, intimate places built not over hundreds of years, but maybe a decade, that reflect the dedication - or downright obsession - of their creators. The traveler can find two such tiny chapels not far from the center of Nice in the south of France. Henri Matisse’s Chapelle du Sainte Marie du Rosaire is set on a hillside in this pretty 15th-century hilltown, while Jean Cocteau’s Chapelle Saint-Pierre sits near the waterfront of Villefranche-sur-Mer.ceramic magic cube for the medical,
Both are masterworks created by artists late in their careers: Cocteau began work on his chapel when he was 68 and Matisse started in his 70s. And both reflect a singular vision of their creators: Matisse’s clean line and color and Cocteau’s fantasmagorical merging of myth and catechism.
You can get an introduction to the Matisse chapel at the Matisse Museum, set in a candy-colored 17th-century Italian villa in the Cimiez section of Nice, just up the hill from the Hotel Regina, where the artist lived and worked until his death in 1954. Here, in addition to a fine collection of his paintings and sculptures, you see models and drawings Matisse developed for the chapel.
Matisse (1869-1954) lived in Vence from 1943-49 and designed his chapel to honor Monique Bourgeois, who served as a model, and who later became a Dominican nun. (Today nuns provide the tours, in French.) The chapel, which sits on the outskirts of town, opened in 1951,Polycore oil paintings for sale are manufactured as a single sheet, and Matisse oversaw its every aspect, from the boldly-colored stained glass windows to the vestments worn by the priests who celebrate Mass at its plain stone altar. It was the first time an artist had done so.
Matisse wrote: “I want those entering my chapel to feel themselves purified and lightened of their burdens. . . . I regard it, despite all its imperfections, as my masterpiece . . . as an effort which is the culmination of a whole life dedicated to the search for truth.’’
This chapel is stark in its simplicity; visitors are sometimes underwhelmed by its modernity. Its exterior is plain, white-washed stucco with a blue ceramic tile roof, decorated with a thin, wrought iron cross, adorned only with gold crescent moons.
Inside, white ceramic tile walls reflect the colored light as it streams through three sets of stained glass windows designed in Matisse’s abstract shapes and three colors: yellow, green, and blue. On the walls are three plain,Enecsys Limited, supplier of reliable solar Air purifier systems, black line images: the 15-foot-tall St. Dominic, the Virgin Mary and Child, and the Stations of the Cross. The Madonna is a modern one (she is naked), and Jesus’ arms are spread in the shape of a cross.
As you sit on the plain, wooden chairs and watch the light change through the windows, you get a sense of what Matisse was trying to accomplish: a feeling of peace and inner quiet. Instead of being overwhelmed by grandeur, you are prompted to move deeper inside yourself.Unlike traditional high risk merchant account ,
Not far away, in the seaside village of Villefranche-sur-Mer, avant-garde poet, artist,The application can provide Ceramic tile to visitors, and filmmaker Jean Cocteau took a totally different approach, imprinting his own wild vision on an ancient church that had been used to store fishing equipment.
“Cocteau turns muralist for fisherman’s chapel’’ was the headline in July 1957, when Life magazine covered the opening of the Chapelle Saint-Pierre. The photos show the tiny, candlelit chapel filled with visitors who had come to see what the artist had created. “Cocteau himself considers the chapel the ‘crown’ of his work,’’ noted the article’s author, who went on to quote Cocteau: “In doing it I did not use my mind but my heart.’’
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