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- 1. The ceiling of the Paris Opera by Jules-Eugène Lenepveu before it was covered by Chagall
Photo : René Jacques (CC BY 2.5) - See the image in its page
It is a fight for which we were pioneers: on November 2, 2003, exactly twenty years ago, just a few months after the birth of La Tribune de l’Art, we wrote in an article about the restoration of the Opera’s foyer painted by Paul Baudry:
"Gradually, the Paris Opera is getting a second youth. But this monument will only be definitively restored when the ceiling commissioned by André Malraux from Marc Chagall in 1964 is removed."
Let us be clear. We do not deny the quality of Chagall’s work. The fact remains that the decision to cover the ceiling by Lenepveu, chosen by Garnier for his building, was undoubtedly in keeping with the times, but today it seems very anachronistic. It is regrettable that when the Opéra-Bastille was built, the specifications did not provide for the integration of Chagall’s ceiling in the new hall. Why shouldn’t it be placed elsewhere than at the Opera? The answer is that the ceiling was painted for this building and that the artist’s moral rights must apply. But why should this be true for Chagall and not for Lenepveu, who has the privilege of precedence.
Little by little, minds are changing. Lovers of Lenepveu and Garnier were gaining ground and supporters of a return to the original ceiling were no longer rare. But it would take a courageous Minister of Culture to take such a decision".
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- 2. Jules-Eugène Lenepveu (1819-1898)
The Muses and the Hours of Day and Night, 1872
Sketch for the ceiling of the Opéra
Oil on canvas - 141 x 142.5 cm
Paris, Musée d’Orsay
Photo: Didier Rykner - See the image in its page
A courageous Minister of Culture may be useful, but it may not be essential. For there are, fortunately, the painter’s heirs, who have the moral right, which, it should be remembered, is perpetual. However, the latter, represented by Michel Brossard, president of the Association of the Friends of Lenepveu, whom we met four years ago on this subject, have decided to officially request that the ceiling painted above that of their ancestor (ill. 1 and 2) be taken down. An article in the Figaro of 7 April recalls the history of the obscuring of the original ceiling by Chagall, at the request of André Malraux. The Opera had been classified as a historical monument since 1923, including the ceiling by Lenepveu. That was in 1964, sixty years ago next year, and the painter’s successors, as well as those of the architect Charles Garnier, had not been consulted.
As this article recalls, the director general of architecture at the Ministry of Culture said at the time: "The new ceiling stands 10 cm [from Lenepveu’s ceiling], held in place by wedges, If in fifty years’ time we want to dismantle Chagall to return to the Second Empire, we can easily do so". More than fifty years have passed, and that is exactly what we want. We learn, moreover, that Henri Loyrette, the former president of the Louvre, is in favour of this operation, which would be much simpler than one might imagine: Chagall’s work (produced under his direction from his model) is painted on 24 resin panels.
In May, a meeting is due to take place between the Ministry of Culture, the Opera and the rights holders. Let us hope that the latter will not weaken and will maintain their legitimate request, which would give back to the monument its unity that it should never have lost. A solution will have to be found to reinstall Chagall’s ceiling in another place. Why not finally - if technically possible - in the hall of the Opéra Bastille, a mediocre building that could only be improved. Or, as Adrien Goetz suggests, in the Palais de Tokyo or in the Musée du message biblique Marc Chagall? There is no problem that does not have a solution. Let’s get Chagall out of the Opera, give it back Lenepveu!