mars 31st, 2018

Eugène Delacroix (1798–1863)

The exhibition not to be missed
Paris Musée du Louvre from March 29, to July 23, 2018

© Musée du Louvre / E. Lessing
Delacroix, La liberté guidant le peuple.

Eugène Delacroix was one of the giants of French painting, but his last full retrospective exhibition in Paris dates back to 1963, the centenary year of his death.

In collaboration with the Metropolitan Museum of Art in New York, the Louvre is holding a historic exhibition featuring some 180 works – mostly paintings – as a tribute to his entire career.

From the young artist’s big hits at the Salons of the 1820s to his final, lesser-known, and mysterious religious paintings and landscapes, the exhibition will showcase the tension that characterizes the art of Delacroix, who strove for individuality while aspiring to follow in the footsteps of the Flemish and Venetian masters of the 16th and 17th centuries.

It will aim to answer the questions raised by Delacroix’s long, prolific, and multifaceted career while introducing visitors to an engaging character: a virtuoso writer, painter, and illustrator who was curious, critical, and cultivated, infatuated with fame and devoted to his work.

Organized by:  Sébastien Allard and Côme Fabre, Department of Paintings, Musée du Louvre.

Musée du Louvre, 75058 Paris – France

Practical information :

The Louvre is open every day (except Tuesday) from 9 a.m. to 6 p.m.

Night opening until 9:45 p.m. on Wednesdays and Fridays.

Closed on the following holidays: January 1, May 1, May 8, December 25.

More information:

janvier 5th, 2017

Vermeer and the Masters of Genre Painting


Johannes Vermeer, The Milkmaid, The Rijksmuseum, Amsterdam ©.

Paris Musée du Louvre
Exhibition 22 February – 22 May 2017

The Musée du Louvre, in collaboration with the National Gallery of Ireland in Dublin and the National Gallery of Art in Washington, is holding a landmark exhibition about renowned painter Johannes Vermeer.

For the first time since 1966, this event will bring together twelve of the Delft master’s paintings – a third of his total known body of work – providing an insight into the fascinating relationships the artist maintained with other great painters of the Dutch Golden Age.

Thanks to special loans from the most prominent American, British, German, and  naturally Dutch museums, visitors will be able to see Vermeer in a new light.

The exhibition does away with the legend of the reclusive artist living in his own inaccessible, silent world, without ever implying that Vermeer was just one painter of many. Indeed, his artistic temperament grew more distinct through encounters with other artists. Vermeer did more than launch a new movement: he acted as an agent of metamorphosis.

Exhibition curators: Blaise Ducos, Department of Paintings, Musée du Louvre, Paris, Adriaan E. Waiboer, National Gallery of Ireland, Dublin, and Arthur K. Wheelock Jr., National Gallery of Art, Washington.

septembre 20th, 2016

René Magritte : La trahison des images


René Magritte : La trahison des images
21 September 2016 – 23 January 2017 – Musée national d’art moderne Centre Pompidou, Paris

The exhibition “Magritte: La trahison des images” offers a completely new approach to the work of the Belgian artist René Magritte. Featuring both well-known masterpieces and other less familiar works, all drawn from leading public and private collections, it offers a fresh look at one of the key figures of Modern art.

The latest in the series of monographic exhibitions the Centre Pompidou has devoted to major figures in 20th-century art : “Edward Munch: L’œil moderne”, “Matisse: Paires et séries” and “Duchamp: La peinture, même” – this exhibition brings together around one hundred paintings, drawings and documents offering a fresh approach to the painter. “Magritte: La trahison des images” explores the artist’s interest in philosophy, an interest that would culminate in the publication of Foucault’s Ceci n’est pas une pipe (1973), born out of the writers discussions with the artist.

In a 1936 lecture, Magritte declared that Les affinités électives, painted in 1932, marked a turning point in his work – his abandonring of the automatism and random chance of early Surrealism. Showing an egg enclosed in a cage, this was the first of his paintings intended to solve what he termed a “problem”. After randomness and a “chance encounter between sewing machines and umbrellas” came a relentlessly logical method that sought solutions to the “problems” of women, of chairs, of shoes, of rain… The exhibition opens with Magritte’s research on these problems, which mark the “reasoning” turn in his art.

Magritte’s art is characterized by a series of motifs – curtains, shadows, words, flames, bodies in pieces, and more – which he endlessly arranges and re-arranges. The exhibition replaces of these into each to one of painting’s foundational narratives and hence to the philosophical challenge to visual representation: the curtains with the antique fend of in realism illustrated by the contest of Zeuxis and Parrhasius; words with the biblical story of the Adoration of the Golden Calf, that counterposes the text of the law to pagan image; flames and enclosed spaces with Plato’s Allegory of the Cave; shadows with Pliny the Elder’s account of the invention of painting.

Curator: Mnam/Cci, Didier Ottinger.

Centre Pompidou, Place Georges-Pompidou, 75004 Paris. (Every day from 11 a.m. to 10 p.m. except Tuesdays).

More information:


mai 27th, 2011

Van Dongen, fauve, anarchist and socialite

Fernande Olivier 1905 Collection privée © ADAGP, Paris, 2011

Musée d’Art Moderne de la Ville de Paris,
25 March – 17 July 2011

The Musée d’Art Moderne is offering a fresh appreciation of Kees Van Dongen (1877–1968), the dazzling, disconcerting painter who made his reputation in Paris in the 1920s. The exhibition includes and adds to « All eyes on Kees Van Dongen », shown at the Boijmans Van Beuningen Museum in Rotterdam (18 September 2010 – 23 January 2011).

This exhibition centres on the success that came with his Paris period. The exhibition comprises some 90 paintings and drawings, together with ceramics, dating from 1895 to the early 1930s.

The exhibition title suggests not so much a succession of periods as an overlay of artistic poses: the Dutch rebel mixing in anarchist circles around 1895 and ever ready to caricature and denounce; and the avant-garde artist playing a very personal role in the Fauvist movement and a decisive one in its dissemination abroad, in Holland, Germany and Russia. The « urbane » Fauve Kees Van Dongen focused on the female body, and in particular on the face made-up to the point of deformation under the electric lighting he borrowed from Degas and Toulouse-Lautrec and which became, in a way, his trademark.

Colour made Van Dongen the guiding spirit of Fauvism, the colour he revivified with his trips to Morocco, Spain and Egypt and his reinvention of the Orient in the early 1910s. Yet Paris remained his dominant subject: the Montmartre of the early 20th century, where he would meet Picasso and Derain and which would charm him with its working-class vitality and vie de bohème; Montparnasse before and after the First World War, where he was one of the main driving forces with his depictions of a new, more eroticised woman; and then the Paris of the Roaring Twenties – the « cocktail period », he called it – when he would devote himself exclusively to the new elite, to now forgotten literary men and women and stars of stage and screen, anticipating by forty years the world of Andy Warhol’s « beautiful people ». The poses are wildly overdone, with melodramatic costumes and props laying bare all the artificiality of models who existed solely in terms of the roles they played.

Musée d’Art Moderne de la Ville de Paris, 11 Avenue du Président Wilson, 75016 Paris
(open Tuesday-Sunday, 10 am – 6 pm).

More informations:

avril 4th, 2011

Manet, the man who invented Modern art

Amazone in a Riding Habit  ©
(Thyssen-Bornemisza Foundation – Madrid)

Paris, Musée d’Orsay 5 April – 3 July 2011

More than a one man retrospective for Edouard Manet (1832-1883), the exhibition Manet, the Man who Invented Modern Art explores and highlights the historical situation around him, including the reaffirmed legacy of Romanticism, the impact of his contemporaries and the changes in the media at the time.

Manet was also Modern in the way he challenged the ancient masters from Fra Angelico to Velazquez. This exhibition takes another look at the many links that the painter resolutely created and rejected within both public and political spheres. For modernity was also a question of integration and of resistance. The exhibition will therefore focus on the teaching of Thomas Couture, Baudelaire’s support and encouragement, the reform of religious art, erotic imagery, the art of the fragment(ed), his relationship with women painters (Berthe Morisot, Eva Gonzalès), the temptations of high society, his decision to remain outside the main Impressionism movement and his complicity with Mallarmé at his darkest.

This exhibition focuses on later works that are less well known and, more importantly, little-understood if regarded as simply a stage of the process towards « pure painting ».

This is the first major exhibition devoted to Manet in France since the memorable 1983 exhibition at the Galeries Nationales du Grand Palais, organised by Françoise Cachin, former director of the Musée d’Orsay.

Curator : Stéphane Guégan, curator, Musée d’Orsay.

With the support of Bank of America, Merrill Lynch

Musée d’Orsay : 1, rue de la Légion d’Honneur, 75007 Paris.

More informations :


mars 18th, 2011

François Morellet, Réinstallations

Centre Pompidou March 2 to July 4, 2011

In the series of the Centre Pompidou retrospective devoted to the great figures of contemporary art, a new exhibition presents a rereading of the work of François Morellet.

This exhibition focuses on one aspect of the original and pioneering work by the artist, facilities.

In collaboration with the curators of the exhibition, Alfred Pacquement and Serge Lemoine, François Morellet has selected twenty-six works of varying sizes that cover the major turning points in his career from 1963 to today.

Very different in nature from each other and made of various materials – tubes of neon lights with projection pieces of wood, paper, silk screen adhesive strips on the walls, canvas frames, aluminum tubes, metal plates, they are installed in space and on the walls.

The whole is « relocated » in the gallery 2, 6th Floor, Centre Pompidou, to create a varied course full of contrasts and surprises, able to cause visual impacts as to arouse pleasure both elegance that’s about the beauty of the effect.

Museum Centre Pompidou : Place Georges Pompidou, 75004 Paris

More informations :

mars 2nd, 2011

Louvre museum: Egypt in stone, Egypt in paper

Thematic exhibitions from march 2 to june 2 2011

La Chapelle des ancêtres de Thoutmosis III

Prisse d’Avennes was one of many keen travelers exploring the shores of the Nile in the first half of the 19th century, fascinated by Pharaonic ruins and Arab monuments alike.

With an open, inquiring mind, he approached the rich diversity of Egypt as an archaeologist, Egyptologist, and ethnologist. During his two sojourns in the country – the first lasting 17 years, from 1827 to 1844, the second, an extended tour from 1858 to 1860 – he amassed a rich crop of manuscript notes, mostly unpublished, and a significant body of graphic works recording the appearance and state of the monuments, including tracings of carved decorations and inscriptions, watercolors, prints, photographs and annotated cuttings. Unlike collectors of antiquities, he brought few objects home from Egypt – but those he did (including the papyrus that bears his name, and Thutmosis III’s Chapel of the Ancestors, now in the Louvre) are of the highest historical importance.

His rich, dense body of work was bequeathed to the manuscripts section of France’s Bibliothèque Nationale. Hence the exhibition’s original format: Égypte de papier (‘Egypt on paper’) at the Bibliothèque Nationale, including fine works from the library’s iconography collection representing the Egypt of the pharaohs, and the Arab world, on public display for the first time; and Égypte de pierre (‘Egypt in stone’) at the Louvre, adjacent to the Chapel of the Ancestors, including unpublished archives on the transport of the monument to France, and the discovery of its historical importance since the 19th century.

Curator : Elisabeth Delange, Musée du Louvre, Department of Egyptian Antiquities

More informations:

février 16th, 2011

Inauguration of the new Dali Museum in Florida

The new Dalí Museum in St. Petersburg Florida was inaugurated on 11 January 2011 at eleven minutes past eleven in the morning.

Princess Cristina de Borbón took part in the inaugural ceremony for the new museum, as did the Managing Director of the Fundació Gala-Salvador Dalí, Joan Manuel Sevillano, the Foundation’s General Secretary Lluís Peñuelas and various representatives of Cadaqués and Figueres town councils.

In a modern style, with architecture reminiscent of the geodesic dome of the Dalí Theatre-Museum in Figueres, the building is the new headquarters of a private institution founded in 1982 in order to preserve the artistic legacy collected down through the years by Albert Reynolds Morse and his wife Eleanor, who were friends of Dalí and Gala for 45 years.