II.7.3. BLACKOUT?

 2.7.3. MENU: Blackout? 

THE HOMAGE TO TYCOONS IS CAMOUFLAGED WHEN IT'S POSSIBLE, IGNORED WHEN IT ISN'T

 

Pamela Spurdon

In brief

• Tycoons equal to an emperor

• Merch contributes to the transformation, but is not its cause 

• Masking the monument's purpose

• Ignoring the obvious and getting away with it

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Tycoons equal to an emperor

TYCOONS EQUAL TO AN EMPEROR

EXCEPT FOR THE MESSAGE ON THE FACADE THE ROTUNDA AND VOIDS ARE TWINS, ON THE CITY'S MOST EXPENSIVE LAND

      Claude Abron

The difference is in the two entrances, both of which are surrounded by voids and female figures:

• The voids

• At the Emperor's entrance a ramp for horses sets the site a apart. 

• At that of the subscribers, a colonnade of female nudes surrounds the empty space. 

• The female figures :

•  For the Emperor, a pair of caryatids clothed by layers of drapery underscore his entrance.

• For the abonnés, the colonnade of 14 nudes subtly radiated sensuality* until its restoration (in 2016). 

*Nudity is the clothing of gods. In official art the idealized bodies represent the Republic, Justice etc. and as cold abstractions, do not incite desire. There are no other examples of sensual nudes on buildings of the time, except, perhaps, for Carpeaux's lifelike female nude in the group La Danse on the Opéra's facade.

Before restoration (in 2016)  / Félix Sinpraseuth

"Coming, honey?" / Alex Varenne

That colonnade alludes to the ballerinas and highlights the void's immensity.

Roland Halbe-Yatzer

Lit by the caryatids' lanterns 

the abonnés strolled toward their entrance,

feeling themselves masters of the universe.

That is the original point of the edifice.

Renovation begun in 2011 has made it

almost impossible to perceive.

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   Merch contributes to the transformation,

but is not its cause 

MERCH CONTRIBUTES TO THE TRANSFORMATION, BUT IS NOT ITS CAUSE

RENOVATION LEADS TO PASSING THROUGH THREE LEVELS OF BOUTIQUES TO REACH THE EXIT

 Commerce also makes hiding a third 

of the spectacular void by a restaurant,

but it does not explain asepticizing the statues

or changing the exit.

Please click on.

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Next,

Masking the monument's purpose 

MASKING THE MONUMENT'S PURPOSE

THE HOMAGE TO MAGNATES IS CAMOUFLAGED OR IGNORED

Their entrance has almost vanished:

(Since 2011)

The arrow might show its location, though I recall a very simple door that was always closed, at the rear of the huge space empty except for an official's car. I did not think of taking a picture. The change took place in 2011.

The restored statues are hard, slick and cold rather than almost palpable. 

# # #

How mask the vast space where the abonnés left their carriages and that underscored their entrance? Two-thirds of the space is neutralized...

• The northern section is hidden until late afternoon because the light is in one's eyes. One sees the colonnade and does not think of the void: 

• The center is a restaurant terrace. Tables and parasols divide its immensity while greenery and a barrier separate it from the street:

Passers-by do not notice it:

# # #

But the last third is too big to hide. Empty, it stands out.* Changing the exit masks the space from visitors leaving the building:

*For a short time tables and parasols occupied the full space, but many more clients would have been needed to fill it. So it is empty.

• They used to leave by a vast glass portal, descended a staircase that was short but wide, walked through the whole space and left with a sense of majesty.

The pothole shows disregard for the past and the belief that since visitors now have their backs to it as they leave, it will pass unnoticed. 

 

• The current dark exit, built toward 2020, leads directly to the street. Because its smaller size is easier to guard from theft of wares from the boutiques visitors have just passed through? (Please read on.) On the contrary: When half closed the earlier glass portal was of the same size and its luminosity favored control.

This new exit is another example of a detail that seems to have little importance, yet throws light on what counts most.

# # # 

 

But about observant passers-by 

there is nothing to be done. 

This photo was not posed

and the onlooker seems to wonder

what is the reason for the huge space,

empty except for the pothole.

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Ignoring the obvious and getting away with it

IGNORING THE OBVIOUS AND GETTING AWAY WITH IT

THE PAINTING OF AN ORGY COVERS THE WHOLE CEILING OF THE ABONNÉS' SALON

Its most explicit scene strikes the eye on entering.

Yet:

 

• The audio-guide comments minor elements of decoration (busts and small tapestries) and mentions neither subscribers nor ceiling.  

•  A touristic article overlooks the salon itself. 

• Guided tours say nothing. I've been in the salon a number of times with visitors and when a group arrives we've listened. The guide omits the ceiling and clients do not ask.

Web site comments show only one visitor's surprise of such decor in what is said to be one of high culture's great achievements:

Harald Wolff

The Opéra performs the exploit

of turning profit-seeking and pedophilia into grandeur — 

and (most of) the public,

 that of ignoring it.

 

 

End of this section.

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Next section,

II.7.4. 
From nymphs to Nazis — 
how the Opéra girls saved the City of Love