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278:. Further delays in acquiring additional land for the project, jointly financed by the King and the City of Paris, were partly occasioned by a long absence of Condé from 1771. De Wailly returned ti Italy and in his absence Marigny resigned; his successor, the abbé de Terray, championed a rival project urged by the City of Paris, that was the design, awkwardly enough, of Peyre's brother-in-law and De Wailly's friend from Roman days,
270:, Paris, which was at the heart of a complicated urbanistic scheme battered by many conflicting interests. De Wailly and Peyre were commissioned in 1767 to begin designs the project on the orders of Marigny, on the momentum gained by their joint success at the Opéra of Versailles. First designs were approved by the kind at the end of 1769, and revised designs the following spring; an
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236:, not as it was to be seen in Rome, but as it had originally been constructed. Peyre included grand designs for an academy and for a cathedral that was quickly identifiable as a "purified" neoclassical rendering of
286:, brother of the king, the Peyre-De Wailly project was finally confirmed in 1778 with a slight modification to its planned orientation, to bring it into accord with the comte de Provence's residence, the
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232:, and was attuned to the new classicism in the arts. Peyre interspersed his own work with carefully drawn views and sections of Roman monuments, such as a reconstruction of the tomb of
191:, whose sister Peyre eventually married. Peyre stayed in Rome until early in 1756, during the years when the students at the Academy were creating temporary projects in the new
240:. Peyre's volume added to the repertory of architectural design that fed Neoclassicism. A mark of its continued usefulness was its reissue in 1795, after his death, with a
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294:, who had objected to the project from the start, were installed in the new theatre, which was inaugurated by Marie-Antoinette, 9 April 1782, with a performance of
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The definitive account of the complicated proceedings is Monica
Steinhauser and Daniel Rabeau, "Le Théâtre de l'Odéon de Charles de Wailly et Marie-Joseph Peyre"
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Peyre was the architect of the HĂ´tel de
Nivernais, rue de Tournon, which was praised by his former master Blondel and the HĂ´tel de Luzy, rue FĂ©rou.
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Dissertation sur la distribution des anciens comparée à celle des modernes, et sur la manière d'employer les colonnes
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from 1753, where he was soon joined by De Wailly, the following year's winner, who brought with him
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In 1762 he built a villa for Mme LeprĂŞtre de
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manner, (Eriksen 1974:212, and pl. 48) quite unlike anything else done in France at that time.
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I,:110, noted in Robin
Middleton, "Jacques François Blondel and the 'Cours d'Architecture'",
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in council, 26 March 1770, authorising the project's execution in the gardens of the former
424:(1973) pp 8-49; a summary is in Allan Braham, "Charles de Wailly and Early Neo-Classicism"
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From 1767 he worked with De Wailly on a project for the new Théâtre-Français, the present
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His portrait was painted by Marie-Suzanne Roslin, 1771. Among his pupils were
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155:(1730 – 11 August 1785) was a French architect who designed in the
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David Adhead, "'Like a Roman sepulchre': John Soane's design for a
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Supplement, composé d'un
Discours sur les monuments des anciens
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for architecture in 1751 and was a pensionnaire at the
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The
Journal of the Society of Architectural Historians
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A facsimile of the 1765 edition was published in 1967.
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in 1772, jointly with his friend
Charles De Wailly.
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495:Eriksen, Svend, (Peter K. Thornton, translator),
527:. Reprinted in facsimile by Gregg Press, 1967.
504:Histoire de l'architecture classique en France
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517:Oeuvres d'architecture de Marie-Joseph Peyre
400:, Cambridgeshire, and its Italian origins",
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482:A Dictionary of Architecture and Building
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175:and formed a lifelong friendship with
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167:He began his training in Paris with
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344:(1770–1843) were also architects.
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512:exhibition catalogue, 1976:266ff.
471:Winner of the Prix de Rome, 1762.
316:Pierre-François-Léonard Fontaine
217:In 1765 he produced a volume of
499:(London: Faber and Faber) 1974.
431:No. 835 (October 1972), p 682f.
571:French neoclassical architects
556:18th-century French architects
506:IV (Paris: Picard) 1952:225ff.
497:Early Neo-Classicism in France
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576:Prix de Rome for architecture
379:Noted in Hanno-Walter Kruft,
515:Peyre, Marie-Joseph (1795).
369:(Getty Library) illustration
280:Pierre-Louis Moreau-Desproux
189:Pierre-Louis Moreau-Desproux
329:. Peyre's younger brother,
173:Giovanni Niccolo Servandoni
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333:(1739–1823), and his son
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169:Jacques-François Blondel
426:The Burlington Magazine
383:1994, ch. 13, note 154.
331:Antoine-François Peyre
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185:French Academy in Rome
99:French Academy in Rome
561:Architects from Paris
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37:Marie-Suzanne Giroust
35:Portrait of Peyre by
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288:Palais du Luxembourg
502:Hautecoeur, Louis,
335:Antoine-Marie Peyre
268:Théâtre de l'Odéon
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223:marquis de Marigny
157:Neoclassical style
153:Marie-Joseph Peyre
141:Théâtre de l'Odéon
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320:Jules de MĂ©rindol
292:Comédie Française
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68:(1785-08-30)
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238:St. Peter's
540:Categories
490:References
246:John Soane
105:Occupation
440:Blondel,
301:Iphigénie
212:Palladian
163:Biography
137:Buildings
108:Architect
200:Gobelins
195:manner.
127:Practice
525:Gallica
398:Wimpole
262:, Paris
402:Apollo
296:Racine
113:Awards
78:France
56:France
348:Notes
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272:arrĂŞt
52:Paris
521:View
318:and
63:Died
48:1730
45:Born
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