You can’t miss it. You are compelled toward it. As if by otherworldly powers. And it sits there resonating with majesty and power on the left bank of the Seine.
The Bourbon Palace, so named because it was constructed by Louise-Françoise de Bourbon, the legitimized daughter of Louis XIV, is one of the most storied buildings in Paris.
It was seized and nationalized during the French Revolution, and from 1795 to 1799, it was the meeting place of the Council of Five Hundred — the executive branch of government that defined the new foundational tenets of France.
And of these tenets, the three most important were liberté, egalité and fraternité. Popularized by Maximilien Robespierre, liberty, equality and brotherhood would come to have profound poignancy for all those who would come to France, one, in particular, a graffiti artist named John Perello.
And if you were to have told him in the late ’80s — when he’d moved to Paris, enchanted by tales of Picasso and Montmartre, and of the innumerable artist studios that littered the city — that one day he would be asked to paint the new interpretation of Eugène Delacroix’s legendary oeuvre commemorating these values, he might have found it a little implausible.