Our editors will review what you’ve submitted and determine whether to revise the article (Read Sister Wendy’s Britannica essay on art appreciation.) extensive stone structures broke up the cavernous space and created a central nave for the sculpture collection and gallery spaces for painting and decorative arts (Read Glenn Lowry’s Britannica essay on “Art Museums & Their Digital Future.”) Please enable JS and disable any ad blocker Global Lead Partner Discovering the light of the Impressionists and cataloging the warm surfaces of Giotto and Piero della Francesca conjuring small-scale paintings of breathtaking variety For his first institutional exhibition in France he will exhibit 34 of his works at the Musée d’Orsay in Paris amongst those of the colossi of French painting Sharing a space with Claude Monet’s series of Rouen Cathedral is particularly exciting for the artist ‘I’m very happy that I will be with the cathedrals,’ he says ‘I think Monet and I have something in common with series He said that painting different moments of the day was more of an excuse to look at the same thing again and again – to look at it anew I’ve been looking up close at Monet’s paintings but I don’t see them as impressionist paintings I am not trying to capture a moment of reality They are more symbolic and metaphysical.’ Based on jungles near his hometown of São Paolo it’s important to point out that Arruda never paints en plein air He starts with a small canvas in the studio without an image in mind or mnemonic in hand building up the picture through memory and meditation or landscapes – genre descriptions that he resists yet uses for lack of better labels The subject of an Arruda painting is inseparable from its atmosphere: light and a sense of immensity at an intimate scale all of his paintings share the same title: Untitled (from the Deserto-Modelo series) ‘to fill my eyes with the colors of fresco.’ He sees in his work a sense of both rupture and continuity with European landscape painting in that he continues to work with nature and light ‘But my light is not the same as the Impressionists – mine is more complicated The Impressionists’ light is more about the future It’s more complicated because our times are more complicated.’ It’s a light of meditation, I suggest, then mention that he has in the past praised the work of Agnes Martin delighted to talk about one of his favorite artists ‘Agnes can make these things happen on the surface of the painting without rhetoric – it’s very direct and she also finds a way to see the world with poetry.’ Both artists have a monk-like devotion to repetition I propose to Arruda that there’s something Sisyphean in his daily practice in the way described by Albert Camus in his book The Myth of Sisyphus (1942) Rolling the boulder up the hill every day is monotonous even pleasure – and the same applies to the daily practice of painting the same limited motifs on a small scale ‘I’m happy you saw this happiness or pleasure but what I like about the repetition is that we can make things our own A concurrent exhibition at Carré d’Art – Musée d’art contemporain in Nîmes will feature paintings that are more ‘iconographic’ says Arruda painted in the cool grays of a still life by Giorgio Morandi as if the vessel has just emerged from the earth and started to float away while in another a cross levitates above an empty boat Arruda explains that he wanted to highlight a different side of his practice in Nîmes; in both the paintings and the installation – light projected onto walls like ghostly ephemeral paintings – he wanted to emphasize the ‘void’ and the possibility of above and below I thought of César Aira’s great novella An Episode in the Life of a Landscape Painter (2000) The story is a fictionalized account of a few months in the life of German painter Johann Moritz Rugendas traveled across South America to capture its ‘physiognomic’ likeness while Rugendas rides through the inconceivably vast landscape of Argentina almost mental.’ I suggest to Arruda that he is like Rugendas but the immense history of Western painting returning to his studio to make paintings that are ‘small and intimate and I worry that I’ve taken this analogy too far Lucas Arruda is represented by David Zwirner (New York, Hong Kong, London, Los Angeles, Paris) and Mendes Wood DM (São Paulo, Brussels, New York, Paris). ‘Qu’importe le paysage’From April 8 until July 20, 2025Musée d'OrsayParis ‘Deserto-Modelo’From April 30 until October 5, 2025Carré d'Art, Musée d'art contemporainNîmes Craig Burnett is a writer based in London. He's the author of Philip Guston: The Studio, Afterall Books, 2014. Caption for header image: Lucas Arruda, 2025. Photo by Gui Gomes. © Lucas Arruda. Courtesy of the artist and David Zwirner. Historic estates in the lush Loire Valley are embracing contemporary art, revealing a heritage in transformation ReadHow Laure Prouvost reimagined the myth of Icarus in Marseille In an exhibition at Mucem, the French artist immerses herself in the Mediterranean and examines the connections between humans, living beings, and objects ReadMark Leckey’s eternal search for the ecstatic In the run-up to a much-awaited solo exhibition at Lafayette Anticipations in Paris, the British artist discusses the runaway power of today’s image culture, making sense of medieval metaphysics, and his own tilt toward transcendence You don't have permission to access the page you requested What is this page?The website you are visiting is protected.For security reasons this page cannot be displayed Simon Lhopiteau was struck by the city’s natural beauty when he first visited five years ago what I recall is being able to breathe good After moving from Paris to Seattle two years later with his husband an international contract attorney at Blue Origin and open-minded art community inspired him to open Galerie Orsay Paris-Seattle on Capitol Hill It’s an expansion of Lhopiteau’s Paris gallery “When we were considering moving to Seattle I thought about either getting older in my gallery in Paris or getting younger with a new adventure and a new gallery in Seattle,” Lhopiteau Lhopiteau was introduced to art at an early age—his grandparents collected art and his mother studied at the School of Fine Arts often taking Lhopiteau and his siblings to Paris museums Lhopiteau studied art of the Italian Renaissance and 17th Century France while earning a master’s degree from the École du Louvre and working for a year at the Peggy Guggenheim Collection in Venice It’s also two blocks from Lhopiteau and Darde’s home Offered for sale in the 930-square-foot Capitol Hill space are artworks by Franco-Russian abstract painter Marcelle Loubchansky; French photographer and Pablo Picasso muse Dora Maar; Spanish painter and sculptor Joan Miró; Ukrainian-born French and Israeli sculptor Chana Orloff; and Hungarian cubist painter Alfréd Réth Two notable pieces include Henry Lyman Saÿen’s inscribed and colorful 171 Boulevard St depicting a sweeping view of Paris rooftops from Saÿen’s studio there are only four Saÿen paintings like it—the Smithsonian has two Alexander Calder’s signed and dated Snake with Heart  (1972 hangs prominently above the gallery’s unlit fireplace “The Calder gouache is very impressive,” he explained “Calder gave it to one of his best friends and it has stayed in the same family since 1972 I met the family owner years ago when they asked me to work for them as an expert and they offered me the opportunity to purchase [the piece].” In January, Lhopiteau hosted a book-launch party for documentary photographer Erica Hilario adding Hilario’s contemporary black-and-white images to the mix of art for sale and other clients organize their collections and the Loveless Building is very elegant,” he said and sharing the stories behind the gallery’s paintings I have the opportunity to focus on American It’s a chance for me to explore new leads and to share with people from the neighborhood and beyond.” Galerie Orsay Paris-Seattle, located at 713 Broadway E, is open Tuesday through Saturday, noon to 5 PM or by appointment by emailing [email protected] Δdocument.getElementById( "ak_js_1" ).setAttribute( "value" Δdocument.getElementById( "ak_js_2" ).setAttribute( "value" + SUBSCRIBE TO CHS: Support journalism dedicated to your neighborhood. SUBSCRIBE HERE TODAY Got a tip? E-mail CHS — [email protected] — Call or text (206) 399-5959 — About CHS Samsung Newsroom's videos will no longer be supported on Internet Explorer. Please try a different type of web browser. Samsung Electronics has partnered with the Musée d’Orsay to bring 25 iconic pieces of artwork from the Parisian museum’s collection into the homes of The Frame TV owners around the world The masterpieces available for display include Pierre-Auguste Renoir’s “Dance at Le Moulin de la Galette,” Paul Cézanne’s “Mont Sainte-Victoire,” Vincent van Gogh’s “Starry Night,” Claude Monet’s “Blue Water Lilies,” Henri-Edmond Cross’ “The Evening Air” and Henri Rousseau’s “The Snake Charmer.” Available through Samsung Art Store this selection offers a unique opportunity to experience the world’s largest collection of Impressionist and Post-Impressionist art from the comfort of home ▲ Samsung Electronics’ partnership with the Musée d’Orsay brings 25 iconic pieces of artwork including Claude Monet’s “Poppy Field” (1873) Launched in 2017 by Samsung in collaboration with Swiss designer Yves Béhar The Frame redefines the role of a TV as the world’s largest TV art platform With its silhouette reminiscent of a traditional painting The Frame seamlessly blends into any interior and reflects Samsung’s goal of bringing art into modern homes users can access and explore more than 2,500 pieces from world-renowned museums and galleries including The Met Tate and Victoria and Albert Museum (V&A) — as well as iconic pieces from artists such as Jean-Michel Basquiat The Frame’s QLED 4K UHD glare-free matte display automatically adjusts brightness and colors for high-quality rendering at any time of day The Frame’s reproduction of artwork is more realistic than ever with Pantone Validated colors Users can choose from a wide range of frame sizes for a fully customizable experience allowing The Frame TV to complement interior décor and elevate the ambiance of any room including Vincent Van Gogh’s “Starry Night” (1888) “We’re delighted to launch this collaboration and hope to enrich it further,” said Julia Beurton “Being able to enjoy carefully curated masterpieces from the museum’s outstanding collection at home is an invitation to bring a piece of Orsay’s beauty into one’s living room.” “We are proud to collaborate with the prestigious Musée d’Orsay to deliver a truly immersive artistic experience on The Frame TV,” said Guillaume Rault Vice President of Samsung Electronics France “Combining over eight years of partnerships with the world’s leading museums our unrivaled expertise allows us to render the artworks’ beauty with absolute precision and care while adapting them to digital formats we’re bringing art directly into the homes of more than five million people around the world so that everyone can rediscover these masterpieces in a new light.” The Musée d’Orsay’s 25 featured masterpieces will be available on Samsung Art Store starting September 30 TAGS Press Resources > Press Release Products > TVs & Displays Samsung-TVs-and-Displays-The-Frame-TV-Partnership-with-Musée-d’Orsay-25-Artworks_dl1.jpg Samsung-TVs-and-Displays-The-Frame-TV-Partnership-with-Musée-d’Orsay-25-Artworks_dl2.jpg Copyright© 2010-2025 SAMSUNG All Rights Reserved 2025Parade aims to feature only the best products and services Parade aims to feature only the best products and services The shoe that dozens of shoppers love is the Eileen Fisher Hilly Wedge d’Orsay Pump you can now get your hands on a pair for only $60 and reviewers "highly recommend" getting them while they're on sale at this awesome price.  Nordstrom RackThese shoes feature an almond toe shape with an extended block heel that resembles a wedge One shopper called them "cowboy heel shoes," which is the perfect way to describe their unique design The front and back of the shoe are made with genuine suede that helps amp up their elegance "They are really well made and beautiful," said one shopper and others gushed about how "gorgeous" they are.  We've seen heels that look similar to this pair but what sets them apart is the elastic band that's attached to the front portion of the shoe The stretchy material is amazing because it helps prevent irritation and blisters and we're guessing it's one of the many reasons why shoppers can't stop raving about how "comfy" they are One reviewer said that the "adorable" wedges "provide such incredible comfort," and another added that "the craftsmanship is beyond impressive." and we're not mad about the limited color options and that combined with the shoe's sophisticated design makes them "quite versatile" according to shoppers We can picture them looking great with everything from casual jeans or shorts to fancier dresses and skirts and there's plenty of sizes available for the taking That being said — sale items as good as these shoes rarely stay in stock for long grab your pair ASAP before they're gone for good Prices are accurate and items in stock at time of publishing One of the best-known female architects to come out of Italy Aulenti found fame with her transformation of a dated Parisian train station into the Musée d’Orsay Born Gaetana Emilia Aulenti in the northern Italian municipality of Palazzolo dello Stella on December 4 Gae Aulenti would become one of the most celebrated female architects and designers to come out of post-war Italy the architect Ambrogio Annoni asked [architect Cini] Boeri “how she could ever think of being an architect with curly hair.” Architect Sofia Badoni recalled how professors had problems believing in women’s capabilities; in one instance rationalist architect Piero Portaluppi gave her low exam marks because he did not believe that the work she had submitted was her own After graduation, it was difficult for many of the woman graduates to build careers independent of men with whom they collaborated. More often than not, they became part of a husband-wife team in which the husband received all the credit (see also: Denise Scott Brown) she was able to build her career independent of her spouses Aulenti rose to international fame in the 1980s with her transformation of Paris’s Gare d’Orsay into the Musée d’Orsay But she had worked in design long before that After graduating from the Polytechnic University she spent time working for the well-known Italian architecture and design magazine Casabella She designed furniture and lighting for the likes of Fontana Arte France’s minister of culture put an end to the debate in 1971 when he gave the Gare d’Orsay historical protections to preserve the building In 1978 it was announced that the building would be converted into an art museum The French architectural firm ACT was awarded the project but Aulenti would soon be awarded the position of interior architect The opening of the Musée d’Orsay in December 1986 exposed Aulenti’s designs to much criticism even though she was chosen for the project because her ideas best aligned with the vision of the museum’s curators Writing soon after the museum’s inauguration art critic Ann Cremin opined that the “very heavy post-modernist arcades and pillars” designed by Aulenti seemed “to combat the airy spaciousness which is the main characteristics of the original architecture.” An editorial in The Burlington Magazine went further arguing that “[f]ew modern buildings can show such contempt for the handicapped: the ground floor The words of critics didn’t limit Aulenti’s career Aulenti built a name for herself in adaptive reuse in the art world she would convert the Palazzo Grassi in Venice into an art exhibition space for Fiat Group transform San Francisco’s former main library into the Asian Art Museum and renovate the Museu Nacional d’Art de Catalunya in Barcelona in time for the 1992 Summer Olympics Support JSTOR Daily! Join our membership program on Patreon today. the artist has been producing a serial body of work composed of small-format paintings he calls Deserto-Modelo (Models of Desert) a term borrowed from the Brazilian poet João Cabral de Melo Neto These “models of desert” – meaning imaginary landscapes inner visions painted from memory in his studio – are never created “sur le motif” or based on photographs but are always mnemonic reconstructions close to abstraction the question of light and discernable projection of a form of introspection is particularly perceptible in them which creates intensity and finishes by creating spaces that are neither abstract nor figurative.” Although small in size Lucas Arruda’s paintings are imbued with dramatic tension paradoxically monumental given the scale of the canvas The inspiration for this invitation to Lucas Arruda comes from the simple spontaneous sensation so widely shared by observers of his canvases: they are familiar to us edges of dense jungles and cloudy skies – border on universality as it is hard to identify the places and periods depicted Yet Lucas Arruda’s paintings do not fully subscribe to the pictorial tradition of landscape so abundantly represented in the Musée d’Orsay’s collections which would include Jean-Baptiste Camille Corot’s pictorial work and the Barbizon school Gustave Courbet’s tormented seascapes and Eugène Boudin’s ponds not of course forgetting the impressionists Claude Monet and Paul Cézanne is composed of works based on observations of reality whereas Lucas Arruda’s output in entirely the fruit of his imagination which is fundamentally varied by the ways in which light is depicted becomes the cornerstone of a more intuitive rapprochement between Lucas Arruda and Claude Monet the exhibition itinerary tracks the progress of this line of thought with the help of some thirty impressionist canvases from the Musée d’Orsay’s collections countered by some thirty canvases by Lucas Arruda The Musée d’Orsay contemporary exhibition “Lucas Arruda Qu’importe le paysage” is held on the occasion of the 2024 France – Brazil season For the first time for a contemporary project implemented by the Musée d’Orsay the exhibition will be echoed by a simultaneous monographic presentation at the Carré d’Art in Nîmes “Lucas Arruda Deserto-Modelo” from April 30 to October 5 at which Lucas Arruda’s multimedia works will be presented complementarily political deportees from concentration and extermination camps and workers requisitioned by the Compulsory Labor Service returning home from Germany arrived on Quai d’Orsay by the truckload Feted by the Parisians and sometimes awaited by anxious loved ones they were directed inside the station by public administration officials and an army of volunteers they went through the mandatory procedures that would enable them to return to civilian life a few hours later: an identity check Provided with a carte de rapatrié (repatriated person’s card) they could return to their home base if they still had one and even a radio recording of the millionth repatriate’s voice … This is the first time that so many works and documents relating to this episode at Gare d’Orsay have been brought together and analyzed each of which contains the whole of history along with a wide range of viewpoints on these events that converge and sometimes oppose each other labelled by the National Mission for the 80th Anniversary of the Liberation was made possible thanks to loans from the following institutions: The Heritage and Photography Media Library (MPP) the Communication and Audiovisual Production Agency for the Department of Defense (ECPAD) the Liberation of Paris Museum –General Leclerc Museum –Jean Moulin Museum the Musée d'Orsay's salle des fêtes is transformed into a place of discovery creativity and wonder for the whole family Every day from April 12 to 27 (except Mondays) open-access activities allow everyone to discover the collections in different ways and at their own pace activities offer children the chance to discover architecture and urban planning through an immersion in the history and evolution of the city of Paris These are all opportunities to illustrate how art and architecture have intertwined to shape the modern urban landscape Kapla enthusiasts will be at the museum's Salle des fêtes to build an impressive model of one of the museum's facades before your very eyes You too can imagine and build the craziest Kapla architectures Come and meet our visual artists: they'll guide you in the creation of a participative fresco around the posters that shaped the city's appearance in the second half of the 19th century You can also give free rein to your creativity and imagine yourself as an architect for a day which lend themselves to the desires of young and old alike With a few snips of scissors and dabs of glue you can build a model of the Musée d'Orsay or a pop-up of the nave The impressive glass roofs of the old station its majestic hall and its magnificent clock witnesses to the industrial and architectural history of the 19th century giant family games await you: a memory game a jigsaw puzzle inviting you to reconstruct the architecture of Monet's Gare Saint-Lazare and construction games immerse the whole family in the museum's collections Discover four episodes of Promenades imaginaires a podcast specially designed for children aged 7 and over Author Béatrice Fontanel draws inspiration from paintings in the museum to imagine stories that take them on a journey through time.. The little ones can sit in the story hut and discover with Lunii the stories imagined by author Anne Cortey around the museum's works: a panther a floor planner who has forgotten his lunch... volunteers from the "Lire et faire lire" association will be on hand to read to budding visitors giving them the chance to take a break and let their imagination run riot Strike a pose and have your photo taken as if you were exploring the rooftops of Paris or send a souvenir postcard at the Musée d'Orsay Explore the collections with your family in complete freedom thanks to the vacation "cocotte" In an era when women were not considered to be full citizens in Norway becoming a key figure in the art scene of her time A member of the board of trustees and the acquisitions committee of the Norwegian National Gallery for twenty years at the beginning of the 1890s she opened a painting school where she taught some of the most notable artists of the next generation She received the support of collector Rasmus Meyer While Backer's painting evolved greatly in stylistic terms over the course of her long career she stayed true to a limited number of subjects and motif studies were an integral part of her work throughout After detailing her artistic education in the great cultural capitals of the time the exhibition also presents the work of the artists in Harriet Backer's inner circle: Scandinavian women also educated in Europe and who shared her commitment to feminism The exhibition then turns to the artist's preferred themes: rustic interiors paintings of traditional Norwegian churches and her very particular approach to still-life painting A large part of the exhibition is dedicated to pictures of musical scenes Music was an important part of Backer's life: her sister was a famous musician in Norway and one of the main subjects of her paintings where musical notes sing through the resonant brushstrokes the first retrospective of Backer's work in France reflects one of the main principles of the Musée d'Orsay program: offering the opportunity to discover alongside the work of the most emblematic figures lesser-known artists who are nonetheless essential to an understanding of the most significant artistic developments of the second half of the 19th century There has been particular focus on Norway due to its dynamic arts scene and the close ties Norwegian artists developed with the Parisian avant-garde The Harriet Backer exhibition is an initiative of the Oslo National Museum and the Kode Bergen Art Museum and is organized in collaboration with the Stockholm National Museum and the Musée d'Orsay in Paris Fresh ideas from museums around the globe in your inbox each week the museum has shattered attendance records and set a new benchmark for immersive museum experiences At the Museum XR Summit Head of the Digital Development Department at the Musées d’Orsay and Chloe Jarry Lucid Realities shared the story behind the project The centrepiece of this innovative project was the virtual reality experience which complemented the museum’s most anticipated exhibition of the year celebrating the artistry of Vincent van Gogh broke all attendance records since the museum’s opening 40 years ago By creating an engaging VR narrative that allowed visitors to explore Van Gogh’s life and art in new ways the Musée d’Orsay successfully introduced a new way of engaging with audiences The project’s success can be attributed to a carefully coordinated public-private partnership From scripting and financial backing to production and final presentation and Unframed Collection brought together teams with diverse expertise For museum professionals looking to replicate such a project Implementing a VR experience at such a scale wasn’t without its challenges From securing funding to managing operational logistics The project was financed through a mix of public funds and contributions from partners like ViveArts For museums considering similar initiatives diversifying funding sources and seeking public-private partnerships can mitigate financial risks the technical challenges of maintaining VR hardware and software required a dedicated support system Lucid Realities and Unframed Collection’s expertise in immersive storytelling and operational management were invaluable in overcoming these obstacles Van Gogh’s Palette was a hit with visitors 64% of participants said the VR experience influenced their decision to visit the museum and 9% stated they would not have come without it For museums aiming to attract new audiences such results highlight the potential of VR to draw in first-time visitors half of the visitors experienced VR for the first time during this exhibition showcasing the medium’s ability to engage traditional museum audiences while also attracting those less familiar with the art world This balance between innovation and accessibility was key to the project’s success the Musée d’Orsay designed the experience to be user-friendly and inclusive The mediators played a crucial role in assisting visitors unfamiliar with VR technology While there is room for improvement in making VR more accessible to visitors with disabilities the museum has laid a strong foundation for future projects The success of Van Gogh’s Palette highlights the transformative potential of VR in museums the initiative demonstrated a sustainable business model by charging a modest fee which contributed to covering costs while remaining accessible museums of all sizes can benefit from exploring this technology Whether it’s through short-term exhibitions or permanent installations VR offers a powerful way to combine storytelling starting with mobile-based VR or augmented reality (AR) applications could provide a cost-effective entry point the Musée d’Orsay plans to tour Van Gogh’s Palette internationally This ambitious move not only extends the lifespan of the project but also offers a model for museums seeking to monetise their VR initiatives through licensing and distribution Museum professionals should also consider the environmental impact of VR projects From energy consumption to recycling outdated hardware sustainability must remain a priority as the sector embraces new technologies The Musée d’Orsay’s innovative approach to integrating VR into its programming offers valuable lessons for museums worldwide the museum has set a precedent for what’s possible when tradition meets innovation For museums looking to embark on a similar journey VR can become a transformative tool for education and revenue generation in the cultural sector the Van Gogh Museum in Amsterdam set out to transform how educational materials for schools were delivered Recognising the challenges faced by teachers—a.. We collect and exhibit objects and spread their stories often to make lessons of the past tangible and to inspire people.. museums face increasing pressure to engage diverse audiences © MuseumNext 2025 | Terms and Conditions | Privacy Policy | Designed by General Public Caillebotte acquired more than seventy pieces by Cezanne He assembled a remarkable collection of modern art while providing financial support for his Impressionist friends he wrote a will in which he bequeathed this collection to the French government He stated that the paintings should all be exhibited at the Musée du Luxembourg in Paris (then called the "musée des artistes vivants") The government initially accepted this bequest but difficulties arose with exhibiting the works at the Musée du Luxembourg After lengthy discussions between Martial Caillebotte and the museums' administrative departments a compromise was found: the bequest would only comprise a selection of forty works They became part of the national collections in 1896 it was unprecedented to see such a large collection of Impressionist works in a museum It was thanks to Caillebotte's generosity and determination that Impressionism finally gained official recognition in France Usually on display in different areas of the Musée d’Orsay, the pictures in the Caillebotte bequest will be reunited for the duration of the exhibition "Caillebotte. Painting men" the Degas pastels and the Millet drawings from the Caillebotte bequest will not be exhibited fulfilling an intellectual desire to bring the painting physically closer to Lucas Arruda’s works as it is so frequently mentioned and associated with the artist in the literature bearing on his work and finally have an opportunity to examine their real connection close-up The principle underlying the hanging in Room 33 provides us with a more classical as it has already been exhibited in other institutional contexts This major step – even in a museum of old art – also enables visitors to appreciate the artist’s work on its own merits the observer might well be able to explore other reference points absent from the Musée d’Orsay’s collections and consequently from the exhibition Here, we come across the lineage of a form of painting that blurs the classical separation of sky and sea, in the manner of Caspar David Friedrich’s Monk by the Sea; a taste for near-monochromes inspired by nature that dissolve in the light reminiscent of Armando Reverón; a fondness for misty textures created by blurred brushstrokes à la William Turner and even attention to Giorgio Morandi’s creamy flat tints We might also associate the latter with tireless use of the same subjects both as regards the landscapes of his early days and his countless still lifes not so much for their symbolism as for their geometry and graphic quality,bringing his motifs to the borders of abstraction Lucas Arruda’s painting certainly calls these features to mind but above all provides us with a nuanced and altogether unique vision This “time apart” in the midst of the itinerary enables visitors to observe Lucas Arruda’s inherent and profound originality as well as his talent for varying the motif without ever exhausting it where the linear arrangement is like a horizon line and where the simultaneous multiplicity of forms evidences the creativity of each canvas questions of spacing and rhythm become essential The first convergence point that might be evident to visitors in Room 34 comparing Lucas Arruda once again with a bygone painter is their shared character as prodigious and highly systematic painters The eclecticism of the thirty Deserto-Modelo on show in the exhibition resonates with Monet’s prolific output as a confirmed champion of series: his body of work includes thirty cathedrals the alignment of Arruda’s white monochrome and Monet’s Frost evidences the close attention paid by both painters to the idea of these references to harmonies are confirmation of the fact (green for the Water-Lily Pond chosen here the culmination of this analogy between Arruda and Monet undoubtedly resides in the compelling question of light A well-known commentary written by Georges Clémenceau in 1895 on the occasion of the first presentation of Cathedrals highlighted two degrees of appreciation of a relationship continued here by Arruda how the eclecticism of circumstance dictated by the weather time of day and season led to variations on the light spectrum on the Cathedral’s mineral façade which Monet himself explored in his captions “grey weather” while Lucas Arruda’s mind obviously creates his weather moments ex nihilo or based on fragmentary elements the Cathedrals fulfill an old pictorial ambition: that the sunny canvas becomes a radiant source of light in its turn It is this same search for the luminophorous painting that we find in the approach taken by Lucas Arruda who is fascinated by overhead projector slides scraping away the pictorial layer in order to let the light they contain shine through from behind is freely translated from the prose poem by the 19th-century Brazilian poet Manuel Bandeira the author explains that the figurative features of the landscape the Glória (the Rio de Janeiro neighborhood he lived in the bay and the horizon line took second place to the creation’s more immediate context: the alley below the poem echoes an interview Lucas Arruda gave a few years ago: “My approach in the studio is at the heart of my creative process I work accompanied by my artistic references my experienceswith the world and my relationship with life fixed project or expectation before starting on a new work; each painting shows me how to continue painting is like holding a candle in the dark which only enables you to see what’s close to you.” So before imagining and painting light you have to look at your immediate environment this subtitle is by no means meant to reflect a pejorative value judgment as we might be led to think at first glance should be read as an exhortatory apostrophe a categorical performative imperative: the landscape has to matter as its view inspires us In a syntactical and internationally intertextual nod to Alfred de Musset “For this first invitation to an artist from the southern hemisphere it is the Musée d’Orsay’s great pleasure to welcome Lucas Arruda to the heart of the Impressionist Gallery Although the theme of landscape is this rapprochement’s obvious entry point it is really around the question of light and the strength of the sensations they arouse that these old and contemporary canvases harmonize no matter what landscape, provided you have… talent “It is an honor to have been invited by Sylvain Amic and Nicolas Gausserand to be the first Brazilian artist to have a solo exhibition at the Musée d’Orsay Above and beyond a personal accomplishment I see it as a testimony to the importance of Brazilian painting today Exploring the Impressionist Gallery and applying myself to hanging my work in dialogue with these paintings has been an overwhelming experience that taught me how light could be a subject in itself how a brushstroke could contain movement and time There is something profoundly beautiful in this meeting: my imaginary landscapes set alongside those painted by the impressionists I think that this accumulation of memories of images superimposed over the course of time operates as an internal archive of different landscapes And even though our existences are anchored in the present moment our minds cross other eras and other images; I suppose that painting does not obey the linear passage of time." Developed in partnership with the Museo del Paesaggio in Verbania the exhibition provides an opportunity to present a part of Troubetzkoy’s studio collection which was bequeathed to the Italian museum after his death It is an invitation to look at his practice and very recognisable style with fresh eyes The way in which Troubetzkoy worked on his models in energetic little touches that catch the light and make it vibrate on his bronze casts’ surfaces clearly raises the question of impressionism in sculpture Visitors will acquaint themselves with a sensitive and very modern artist who was particularly subtle in his ability to depict the fluidity of bodies the energy of movement and the strength of characters which was produced between the late 19th and early 20th century will also provide a lively image of the Belle Époque A catalogue will be published to mark the occasion the first work in French on a sculptor who nonetheless spent part of his life in Paris Although Paris enabled Troubetzkoy to launch his career at international level was the city that enabled him to discover himself train and define himself as an artist free of all academic constraints he got to know the main actors in the Scapigliatura literary and artistic movement who played a major role in his first years of training He made a name for himself among the public at large by participating in the city’s main exhibitions (Brera La Famiglia Artistica and La Permanente) every year from 1886 to 1897 including the bust of the painter Giovanni Segantini modelled in 1896 whose bronze edition enjoyed enormous success Troubetzkoy’s first customers were Milanese (for portraits and several tombs in the Cimitero Monumentale) It was also through the good offices of a Milanese engineer that eight of the artist’s sculptures were presented at the World’s Columbian Exhibition in Chicago in 1893 and that four of them were shown the following year at the California Midwinter International Exhibition in San Francisco and were purchased by the businessman Michael Henry de Young for the city’s museum which induced the sculptor to go to California in 1917 In addition to a great many of Troubetzkoy’s major sculptures the Galleria d’Arte Moderna’s collection also includes works by the Scapigliatura artists who guided his first steps Having moved to Paris for my year abroad I decided to take advantage of my newly-stamped EU visa – a golden ticket granting free museum access – with a visit to a bucket-list location the Musée d’Orsay assembles masterpieces from the most famous French impressionists and post-impressionists: Monet the presence of some female artists like Berthe Morisot offers a glimpse into the overlooked historic contributions of women in art.  Visiting at night proved to be my best decision doors open for a late night viewing between 6pm and 9.45pm enabling you to wander around at a slightly less frenetic pace and approach the most well-known pieces without being wedged into a wall of tourists Accompanied by fellow exchange students from Germany I wandered the halls as Paris grew dark outside My Belgian friend happens to be a walking encyclopaedia on art pointing out the clin d’œils (‘easter eggs’) in the various portraits.  As a fan of French novels associated with ‘le réalisme’ (Le Père Goriot it’s no surprise that I was drawn to the realist paintings on display A flagship work was Gustave Courbet’s Un enterrement à Ornans (A Burial at Ornans) an enormous canvas depicting a provincial burial in the artist’s birthplace The piece was something of a succès de scandale at the time since it attributed the grand proportions previously reserved to mythical or divine subjects to a so-called mundane scene but another to see it in person; the scale is truly immense Courbet’s L’Origine du Monde (The Origin of the World) is even more striking An extremely detailed study of female anatomy this painting had been mentioned in some of my French classes under the category of ‘subversive art’ Rumour has it it’s still forbidden to use this image – from 1866 by the way – as a Facebook profile picture I’m not inclined to test if this is still the case Though the realist collection of the Musée d’Orsay is fascinating there’s no doubt that it’s best known for its impressionist paintings There are so many noteworthy ones that it’s difficult to know where to begin from Monet’s ‘series’ paintings like Rouen cathedral and the Gare Saint-Lazare I once had to try and recreate the latter for a Year Seven art class; the outcome was fairly atrocious but it made me appreciate the perspective in the original all the more.  The Van Gogh painting that interested me most was L’Église d’Auvers-sur-Oise (The Church at Auvers) Doctor Who fans will surely understand why In the iconic episode “Vincent and the Doctor” Matt Smith actually takes Amy Pond (Karen Gillan) to the Musée d’Orsay where they discover a shadowy (invented) figure concealed in the Auvers church window Vincent Van Gogh,  L’Église d’Auvers-sur-Oise Perhaps lesser known is Gustave Caillebotte an impressionist painter who also produced more realistic art This dual leaning is epitomised by the contrast between two of his paintings Partie de bateau is an intimate rendering of a man rowing as though they were sitting in the boat across from him.  I wholeheartedly recommend a night at the Musée d’Orsay It’s not a particularly original suggestion Moving through the museum halls at night is magical and the art seems to invite you to linger a little longer The Establishment’s overall attendance was only 3% lower than in 2023 the Musée d’Orsay received 3,751,141 visitors (as against 3,871,498 in 2023) The Musée de l’Orangerie received 1,198,694 visitors (as against 1,239,539 in 2023) Their visitors came to admire the two Museums’ permanent collections along with their exhibitions 794,000 visitors for Van Gogh in Auvers-sur-Oise The highest exhibition attendance since the Museum opened.725,000 visitors for Paris 1874 Inventing Impressionism (March 26 – July 14 80,000 visitors for the innovative VR experience An Evening with the Impressionists The program is currently being presented in several cities in France (Bordeaux in particular with its launch in the United States in September 2024 Exhibitions still underway461,213 visitors at December 31 2024 for the exhibition Harriet Backer (1845-1932) The highest exhibition attendance for ten years at the Musée de l’Orangerie.406,000 visitors for Robert Ryman 2024).Exhibition still underway 348,507 visitors at December 31 Masterpieces from the Museum Berggruen / Neue Nationalgalerie Berlin (October 2 The 2024 Paris Olympic and Paralympic Games  The Games provided a time for sharing and enthusiasm at the Musée d’Orsay and the Musée de l’Orangerie The Musée de l’Orangerie was right in the heart of the urban sports stadium while the Musée d’Orsay saw several events take place in front of its doors as well as the opening ceremony.Although summer attendance was lower during the Olympic and Paralympic Games (-26% at the Musée d’Orsay compared with 2023 and -22% at the Musée de l’Orangerie) visitors to both Museums during this period were younger than usual There was a sharp increase in the 26-45 y/o age group which accounted for 34% of visitors to Orsay (as against 11% in 2023) and 29% at the Orangerie (as against 11% in 2023).From September 2023 onwards the Olympic and Paralympic Games also gave rise to a true “Cultural Olympiad” including several shows (5 creations by contemporary artists at Orsay – Mourad Merzouki Josépha Madoki and Hortense Belhôte – and a “Dance in the Water Lilies” cycle devoted to hip-hop and urban dance at the Orangerie) that brought in a total of over 50,000 attendees also younger than usual.Impressionism’s 150th birthday celebrated all over France the Musée d’Orsay’s collections were also showcased regionally the “Impressionism’s 150th Birthday with the Musée d’Orsay” operation which accompanied the anniversary right across France 63,000 visitors to the MUba Eugène Leroy in Tourcoing Impressionist Landscapes (March 16 to June 24 2024) and record attendance at the Piscine de Roubaix for the exhibition At the invitation of The Little Chatelaine: Impressionist Children at La Piscine Thanks to the Musée d’Orsay (February 17 –May 26 ArtDependence Magazine is an international magazine covering all spheres of contemporary art ArtDependence features the latest art news highlighting interviews with today’s most influential artists fair directors and individuals at the axis of the arts The magazine also covers series of articles and reviews on critical art events new publications and other foremost happenings in the art world If you would like to submit events or editorial content to ArtDependence Magazine, please feel free to reach the magazine via the contact page Essential digital access to quality FT journalism on any device Complete digital access to quality FT journalism with expert analysis from industry leaders Complete digital access to quality analysis and expert insights complemented with our award-winning Weekend Print edition Terms & Conditions apply Discover all the plans currently available in your country See why over a million readers pay to read the Financial Times Paris 2024 is breaking tradition with an extraordinary Olympic Games Opening Ceremony on the iconic Seine River with athletes proudly representing their nations while parading through the heart of Paris which offers sweeping views of the city and the River Seine the terrace will be transformed for an exclusive event where guests will get to have a once in a lifetime experience The evening will be hosted by Mathieu Lehanneur the designer of the Olympic Torch and Cauldron for the Paris 2024 Games being part of such a significant global event taking place in Paris is an honor Hosting this evening allows me to share my passion for both art and the Olympics with fans from around the world.” The evening begins in the main atrium of the Musée d’Orsay where an art historian will guide guests through an exclusive tour of the world’s largest collection of Impressionist art The tour concludes at the museum’s terrace where guests will find a magical garden setting to relax and gather as the Opening Ceremony begins Guests will enjoy a series of special experiences throughout the evening Request to book this experience beginning June 13th at 3 p.m. CET at airbnb.com/orsayexperience Guests are responsible for their own travel to and from Paris as well as their own accommodations Additional instructions to access the Musée d’Orsay will be provided to individuals selected to participate in the experience This Experience is available to 30 guests (15 requesting guests and a plus one) You want to experience Paris 2024 Games? Discover available stays at www.airbnb.ie/e/paris2024stays and Paris 2024 official hospitality packages for the Olympic Games provided by On Location *Please note: Guests are encouraged to remain on the Musée d’Orsay terrace for the entire duration of the event ordinary Parisians were captivated by a street art craze featuring glamour female influence and the high-tech of the time This was the 1880s and 1890s when advertising creative talent and colour printing came together to adorn walls Metro stations and public urinals with the poster art that defined Paris life in the French Belle Époque This week the Musée d’Orsay has opened the first comprehensive exhibition of the age of “poster mania” often from celebrity artists such as Henri de Toulouse-Lautrec one of a group of post-impressionist painters who called themselves the Nabis Would you like to visit the sublime Musée d'Orsay the fascinating museum that was once a Parisian railway station we've got all the tips you need to avoid hours of waiting take advantage of the best deals and organize your visit to the best of your ability the Musée d'Orsay was built on the site of a former railway station which had been erected to accommodate visitors to the1900 Universal Exhibition The station was built by Victor Laloux and two other architects who had to integrate the structure harmoniously into an elegant neighborhood facing the Louvre and the Tuileries Gardens the station became a shipping center for prisoners and a reception center for prisoners during the Liberation President Valéry Giscard d'Estaing decided to build a museum in the carcass of the station but it was not until nine years later that the museum was inaugurated by President François Mitterrand The Musée d'Orsay boasts an impressive collection of Western art photographs and decorative arts dating from the mid-19th to the early 20th century These include famous Impressionist works such as Edouard Manet's Déjeuner sur l'herbe Gustave Courbet's L'origine du monde and Degas' La petite danseuse de quatorze ans The museum also hosts temporary exhibitions on artists artistic movements or periods in art history concerts and film screenings in its auditorium So don't bother showing up on these days - you'll be disappointed The museum opens every day (except Mondays) from 9:30 am to 6:00 pm when you can take advantage of a reduced rate of €12 from 6:00pm Refer your establishment, click herePromote your event, click here The exhibition on show at the Musée d'Orsay offers an exploration of Céline Laguarde's photography reveals her intimate relationship with music Aside from her career as a photographer, Céline Laguarde was a renowned pianist and close friend of Darius Milhaud The program presents pieces which she played Natacha Kudritskaya has dual cultural heritage: Ukrainian and French She won the Rachmaninoff international youth piano competition in Novgorod (Russia) in 2000 and went on to study music in Paris at the Conservatoire National Supérieur de Musique then at the Tchaikovsky Academy of Music in Kiev For this concert dedicated to Céline Laguarde « Céline Laguarde Photographe (1873-1961) » Michael Elmgreen and Ingar Dragset in their Berlin studio with (right) This Is How We Play Together (2024) and(left) a model for the artwork An as-yet-untitled artwork (foreground) and Balancing Act (Blue) (2024) This Is How We Play Together and Invisible alongside artworks Balancing Act (Blue) and Laundry (both 2024) 3 (2024) in front of Les Romains de la Décadence (1847) by Thomas Couture We visit Elmgreen & Dragset at their Berlin studio ahead of new exhibition ‘L’Addition’ at Paris’ Musée d’Orsay This playful mindset underpins a major new show at Musée d’Orsay in Paris is staging a contemporary exhibition in its central sculpture nave ‘L’Addition’ (opening 15 October 2024) considers the effects of recontextualisation alongside a figurative rethinking of classical motifs with Elmgreen & Dragset’s works taking their cue from the 19th-century sculptures in the museum’s permanent collection Look again at the apparently traditionally styled and crafted works and you begin to spot subversive details: a classical figure appears to be wearing headphones and could that one be playing with a drone Michael Elmgreen and Ingar Dragset in their Berlin studio Building on 2022’s ‘Useless Bodies’ exhibition at Fondazione Prada (W*277) where Elmgreen & Dragset’s figures were paired with figurative sculptures dating from 300BC to the 19th century here the duo use the contrast between old and new as the backdrop for a consideration of masculinity In juxtaposing the classical and the modern they trace its representation throughout the timelines interwoven in the Musée d’Orsay’s historical halls we explore different depictions of masculinity particularly those that have been underrepresented or written out of art history,’ say the artists (who were interviewed by email and speak as a duo) ‘Our sculptures express the vulnerability linked to growing up and forming an identity The figures deal with traditional notions of masculinity and the struggles associated with trying to fit into a heteronormative world where the masculine role has not evolved as much as other identities have.’ They point out that many of the sculptures in the museum’s collection portray sensitive versions of masculinity creating a conversation with the introduction of their own contemporary pieces many people’s understanding of gender and sexuality is much more fluid and complex today The acceptance of non-binary identities represents real progress we are experiencing a concerning regression among some conservative-minded men who feel lost amid the shifts in society They simply don’t know what their role is today It sometimes still seems like there is a long way to go in redefining masculine roles so it is urgent to keep on pushing.’ Fittingly the exhibition runs concurrently to ‘Caillebotte which focuses on 19th-century artist Gustave Caillebotte and the arresting modernity of his male portraits 'It sometimes still seems like there is a long way to go in redefining masculine roles Elmgreen & Dragset’s works play with neoclassical materials and forms but their figures are frozen in leisure – listening to music launching a drone into the air or engrossed in VR – on the precipice of worlds we can’t access This is taken literally in the case of a boy who stands at the end of a diving board contemplating the vast hall of the Musée d’Orsay below or figuratively in the isolation of those lost in a world of music with the technology they clutch seemingly an extension of themselves we are asked to imagine their situation – what are they listening to – forcing us to confront our own assumption of their identity and who we consider they are the washing machine serves as a kind of plinth for the seated sculpture Sometimes the most profound ‘truth’ can occur in the most banal imagery' ‘The meeting between our figures and those from the permanent collection feels natural,’ the artists say our sculptures have certain contemporary signifiers Many of the 19th-century pieces in the nave are figures interacting with objects such as books and musical instruments We specifically created some sculptures to mirror these gestures incorporating gadgets like VR goggles or a drone Some of these figures might appear contemplative Since the audience can’t know what these figures are listening to or what they are seeing behind their VR masks they might project their own interpretations on to them.’ escapism and design stories from around the world direct to your inbox Works are almost indistinguishable from the classic pieces they either encompass a hyper-reality or mimic historical forms a hyper-realistic silicone figure of a boy drawing in front of a monumental painting perhaps a pupil left behind by his teacher and classmates,’ explain the artists might more noticeably be in conversation with the works around them and play with people’s expectations of a figurative sculpture A realistic-looking sculpture made of silicone real hair and clothing versus marble evokes distinct associations and viewers react to them differently.’ a nostalgic childhood captured through the shadowy lens of memory we try to create artworks that express certain emotions conflicts and developments that are relevant to our own lives Looking back in this way also helps us to better understand our current and evolving selves,’ they add. ‘Ever since creating our sculpture of a boy on a rocking horse for the Fourth Plinth at Trafalgar Square in London in 2012 we have continued to revisit the theme of upbringing in our practice a formative and overwhelming time when one encounters so many norms and expectations for the first time there is room for progress and hope.’ and our instinctive commitment to maintaining the order of the everyday have been subjects for artists for centuries there is something reassuring and very human about this work but we are still bound to our bodily routines Sometimes the most profound ‘truth’ can occur in the most banal imagery.’ Neither artist received a formal art education and they are keen to leave works open to interpretation the latest step in a career defined by questioning accepted norms in the art world we embedded a white cube gallery into the ground It almost resembled an open grave and empowered the spectator we often restage an entire exhibition venue into a different kind of setting so it resembles – to name a few examples – an office landscape By changing the spatial settings in which we present our works we hope that the audience can experience both the art and the venue in a new way we are not completely transforming the space but we will alter a part of this iconic hall quite dramatically.’  Hannah Silver is the Art Watches & Jewellery Editor of Wallpaper* she has overseen offbeat design trends and in-depth profiles and written extensively across the worlds of culture and luxury. She enjoys meeting artists and designers viewing exhibitions and conducting interviews on her frequent travels.  Orsay collaborates with Maxi Meraki on their emotive single ‘Amado,’ released via Adriatique’s Siamese label The track serves as a heartfelt tribute to Orsay’s late father ‘Amado’ features warm piano melodies and the enduring influence of those who shape our lives ‘Amado’ — “loved ones” in English — is dedicated to the ones who are not here anymore yet are still so close to our hearts,” shares Orsay who created the single with his late father in mind “This track is very special to me because I made it a few months after my father passed away The original vocal on it was a voice message that he left me and that I used as inspiration to create all the melodies and feelings in the track.” After his successful ‘Natura’ release Listen to ‘Amado’ below and grab your copy here. Do you know Christian Krohg? If not, the Musée d'Orsay in Paris is devoting a brand-new exhibition to him this spring and summer this retrospective entitled " Christian Krohg Le peuple du nord " is an opportunity to admire the works of this Norwegian artist popular in northern Europe but virtually unknown in France the Scandinavian artist trained for 5 years in painting techniques in Germany before moving to the Danish peninsula of Skagen in 1879 He finally decided to end his artistic career at home in Norway becoming director of the Oslo Academy of Fine Arts until his death in 1925 His works truly marked the late 19th and early 20th centuries the artist sought to raise awareness of certain moral and social issues By presenting an in-depth overview of Christian Krohg's artistic career, the Musée d'Orsay reveals the artist's links with the political and social struggles of his time visitors can discover his pictorial links with French artists such as Gustave Courbet and Édouard Manet There's also his very fine series of sailors whose first canvas"Bâbord!"(1879) marked a turning point in the artist's career thanks in particular to its framing inspired by photography Not to be forgotten are his portraits of members of the bohemian milieu of Kristiania These include Swedish writer August Strindberg and Norwegian painter Gerhard Munthe The Musée d'Orsay is also exhibiting several of the Scandinavian painter's works of social art Evoking extreme precariousness and prostitution they had an undeniable impact on Norwegian society it was immediately banned for"offending public decency" Christian Krohg 's talent for capturing everyday life with insatiable realism is evident in his paintings of families a fishing family based in Skagen in northern Denmark The People of the North " will undoubtedly appeal to lovers of painting more specifically naturalism and impressionism but also to the curious who would like to learn more about Scandinavian art The only downside is that we'd have liked to see even more To find out more about the personal and artistic life of this Norwegian painter visit the Musée d'Orsay from March 25 to July 27 the Musée d'Orsay is organizing several events around the exhibition " Christian Krohg an inaugural lecture will be given by Servane Dargnies De Vitry curator of painting at the Musée d'Orsay and curator of the exhibition winner of the 2023 Nobel Prize for Literature activist and journalist – was a central figure on the Norwegian scene at the turn of the 19th and 20th centuries embodied in particular by the playwright Henrik Ibsen Krohg transposed the major social debates of his time into his works His paintings pay homage to the most vulnerable: from fishermen struggling against the elements to the wretched folk and the prostitutes of the big cities It was to the latter that he dedicated his masterpiece Albertine an unprecedented fusion of art and literature The empathy he felt for his models was the vehicle he chose to reach the widest possible audience lived several times in Paris and travelled constantly becoming one of the leading painters of the Skagen artists' colony in Denmark he fully embodied the pictorial trends of his time It is therefore quite natural that he should find his place in the Musée d'Orsay organised in partnership with the Nasjonalmuseet in Oslo Following exhibitions devoted to Edvard Munch the Musée d'Orsay is once again shining new light on Norwegian art art should touch the viewer and arouse empathy his stay in France - in Paris and Grez-sur-Loing (Seine-et-Marne) - led him further along this path he drew social inspiration; from Edouard Manet he borrowed pictorial devices to involve physically the viewer in the painting: figures with their backs to the foreground But what Krohg particularly took from Manet and impressionists like Gustave Caillebotte was the daring approach to framing that created the illusion of fragments of life taken at random He went so far as to make this his slogan: “It all depends on the cropping” the image should not be assembled in terms of perspective Krohg applied these principles throughout his career eschewing the landscape in favour of close-ups of the action Krohg became one of the leaders of the “Kristiania Bohemia” intellectuals and students - including the painters Edvard Munch and Oda Krohg (née Lasson) and the writer Hans Jæger - shook up the Norwegian capital with their non-conformist lifestyles and radical ideas The Bohemia's great role models were the Danish critic Georg Brandes (1842-1927) whom Krohg would describe as one of the “few landmarks in his life” and the Norwegian playwright Henrik Ibsen (1828-1906) As a painter as well as a writer and journalist Krohg played his part in this movement known as “Modern Breakthrough” or Scandinavian naturalism His aim was to produce art that could play a role in social progress and to give a realistic portrait of his time particularly through his many portraits of leading figures in Scandinavian cultural life Krohg explained that art should play a social role addressing a wide audience while tackling social issues His works of purely social art were few in number but they had a considerable impact on Norwegian society This is partly due to the double scandal caused by Albertine which was banned and confiscated by the police the day after its publication these social paintings are dominated by a severe pessimism typical of literary naturalism Krohg explores the way in which extreme poverty gives rise to prostitution reducing some lives to a "struggle for existence" this is the title of Krohg's last great naturalist painting a poignant observation of a society incapable of helping its most vulnerable members a realist novel that was immediately banned for offending public decency he tells the story of a poor young girl who is intoxicated with alcohol and raped by a police officer then summoned to the police station to undergo the gynaecological examination required of prostitutes at the time to prevent the spread of sexually transmitted diseases These ordeals break her spirit and plunge her into prostitution illustrating an implacable social determinism Krohg denounces the unfair treatment meted out by the Norwegian authorities to these women deprived of their freedom and with no law to protect them Controversy erupted in Norway in the wake of the novel's seizure supported by thousands of citizens defending freedom of expression In his defence speech in the Supreme Court Krohg claimed that he based his story on a true account related to him by one of his models he felt it his duty to “shout it out to the world It also inspired his great painting Albertine in the Police Doctor's Waiting Room the people captivated him even more than the unique nature and the light Three generations of the Gaihede family of fishermen became the main subject of his paintings When Oda Lasson and Christian Krohg set up their own household in the late 1880s despotic figure that Bohemia railed against Krohg portrayed Oda as a caring mother in moments of great intimacy - breastfeeding reading in the evening - the antithesis of her sulphurous reputation These family scenes are in keeping with Krohg's great social compositions: a painting of solicitude the ideal of a society capable of looking after its most vulnerable members and the strength of intra-family relationships Their exhibitions always lie at the intersection of performance The presentation they have created specifically for Musée d’Orsay will have the visitor dive into a museum upside down The artists have conceived a radical architectural intervention entitled “L’Addition” which is unlike anything the museum has ever shown While challenging modes for displaying artworks the duo will present a series of new figurative sculptures These works will depict various topics linked to contemporary masculinities in close dialogue with the museum’s historical permanent collection highlighting the similarities and differences in artistic approaches to figuration Music, dance and painting: all the elements come together at the Musée d'Orsay to create a memorable weekend! On May 24 and 25 2025, the Moulin Rouge takes over the famous Parisian museum A weekend full of surprises and performances awaits curious visitors and party-goers alike During this joyous May weekend, visitors to the Musée d'Orsay may be surprised to see rhinestones, sequins and frou-frou between two aisles. Throughout the two days, the Moulin Rouge presents a Grande Revue Paris 1900 and the famous cabaret artists of the time the Moulin Rouge dancers blend past and present through special performances and a parade that allows us to admire the costumes of the Parisian cabaret The Moulin Rouge artists bring to life the works of Toulouse-Lautrec who portrayed the great cabaret artists of his day The event also pays tribute to singers and dancers such as La Goulue All the while showcasing the work and talent of the Moulin Rouge's current artists and craftsmen the artists of the Moulin Rouge meet us in the Nave of the museum The dancers put on a show amidst the statues performing the frenzied French Cancan for which the Parisian cabaret is famous These celebrations and events are organized as part of the L'art est dans la rue exhibition which honors the work of artists such as Toulouse-Lautrec Although little known outside her own country Harriet Backer was the most famous female painter in Norway at the end of the 19th century She achieved a highly personal synthesis of interior scenes and plein-air painting drawing her inspiration from both the realist movement and the innovations of impressionism with a free brushstroke a palette that became progressively lighter and a keen interest in variations in light While Backer's painting evolved stylistically over the course of her long career she remained faithful to a limited number of subjects and the direct study of her chosen motif Returning to Norway in the early 1890s after training in the great European art capitals of Munich and Paris which became one of the most important in the country before the creation of the Academy of Fine Arts Backer was also a member of the board of directors and the acquisitions committee of the National Gallery of Norway for twenty years Harriet Backer demonstrated a keen taste for drawing and painting from childhood she pursued her training in the major art capitals of Western and Central Europe she travelled to Berlin and then to Florence home to a vibrant community of Scandinavian artists It was there that Backer met some of her closest friends including Eilif Peterssen and Kitty Kielland Backer schooled herself by copying ancient masters in museums with a particular interest in seventeenth-century Dutch painting Her longest period abroad was spent in Paris She remained there for ten years from 1878 and enrolled in the academy of Madame Trélat de Lavigne a school for women that was highly appreciated by Nordic artists and whose tutors included Léon Bonnat showed an interest in naturalism and also took note of the impressionists Denmark and Finland who shared her ambition to become a professional painter Many Scandinavian women went to Germany and France to train in private studios as the Schools and academies of fine arts remained closed to them a landscape painter and campaigner for women's rights with whom she shared an apartment-studio for the rest of her life Their companionship challenged the gender norms of the time such a close union between two women painters was not uncommon at the turn of the twentieth century with most remaining unmarried to maintain their personal and professional independence Backer found herself among several Nordic artists completing their training in this artistic capital It was here that they became professional artists exhibiting at the Salon and gaining public and critical recognition These women artists lived as a community and portrayed each other in cross-portraits in which the studio played the symbolic role of a room of one's own where independence was won through creativity Her sister Agathe Backer Grøndahl was one of the most important Norwegian composers of her day The piano had pride of place in her apartments where her music-loving friends would gather for intimate concerts The painting At Home (1887) shows the author Asta Lie at the piano in the apartment-studio that Backer shared in Paris with her friend Kitty Kielland The theme of the woman at the piano recurs frequently in Backer's work throughout her career it is associated with portraits of her close friends and family music was a model for Backer: she wanted this painting to be "music for the eye" she saw music as the aspiration and model for all art she created rhythms and colourful harmonies that conveyed the impressions produced by music "It doesn't matter that I promised to stop painting interiors torturing myself with lines of perspective and battling with chair legs As soon as I enter a room with blue and red colours on rustic furniture or matt and shiny walls where the light reflected by trees and sky enters through a window or door I rapidly find myself in front of a canvas."  This is how Harriet Backer described her fascination with rural interiors in a conversation with the painter Christian Krohg She first tackled the subject in 1881 on a study trip to Brittany with the painters Kitty Kielland and Germain Pelouse exploring how light transforms colours and atmospheres according to the times of day – an approach that recalls the impressionists She continued to explore these motifs during her various travels in Norway indirectly offering a simple and authentic view of everyday life although it never become her principal subject Church interiors and religious rituals would become important subjects for Harriet Backer following her return to Norway in 1888 They contributed greatly to her reputation in her native country At a time of political demands for a distinct Norwegian identity medieval buildings constructed before Danish and Swedish colonisation Most of the churches she painted are of Lutheran denomination Lutheranism is the oldest form of Protestant Christianity and is still the majority religion in Norway Harriet Backer  painted them tirelessly sometimes in challenging physical conditions due to the building’s bad condition or great isolation focusing on the architectural elements that give these edifices a singular atmosphere She pays particular attention to the play of light and colour on the varnished woodwork the stone and the pews that have tarnished over time and describes everyday religious ceremonies reflecting both her altruism for her contemporaries and her humble personal and introspective vision of faith Harriet Backer's interest in landscapes came late Her earliest known attempts date from the summer of 1884 They are influenced by the naturalism of Jules Bastien-Lepage and coincide with the taste for outdoor painting that was very much in vogue amongst Nordic artists Her landscapes combine an intense focus on colour with a freedom of touch reminiscent of impressionism Backer lived on a farm in Fleskum near Oslo with some of her close friends from Munich This improvised artistic colony marked the start of a profound movement in painting throughout northern Europe the works of Kitty Kielland and Eilif Peterssen led to the emergence of a national neo-romanticism that exalts the intrinsic power of Nordic landscapes and identities It accompanied the increasing demand for political autonomy amongst the Scandinavian countries Backer only embarked on this path in the subsequent decade with landscapes centred on denser forms and the dark and mysterious tones that play out in Norwegian nature Harriet Backer moved into a studio at 2 Hansteensgate in Kristiania (Oslo) where she lived and worked for the rest of her life alongside her painter friends Kitty Kielland and Asta Nørregaard she returned to still lifes for the first time since her Munich years.  She painted the secret just as she had painted figures in their interiors She explored the relationship between colour and form through several objects and plants that recur from one painting to the next Some of her depictions of vases and apples are reminiscent of paintings by Cézanne and she was referred to by her pupil Henrik Sørensen as his "sister" Another theme she developed in the early twentieth century was the window She simplified the details and concentrated on this focus of light since she painted at such a slow rate that she couldn't live on the sale of her paintings alone she encouraged her pupils to develop their own style Backer had some considerable influence on the new generation of Norwegian artists often overlooked in France despite his training in Paris is at the heart of this exceptional retrospective The exhibition covers a key decade in his career marked by his apprenticeship with Carolus-Duran his early successes and the influence of the Parisian art scene Among the key works on display are Dr Pozzi chez lui (1881) and Les Filles d'Edward Darley Boit (1882) true masterpieces of his innovative style and technical virtuosity which brilliantly capture a changing cosmopolitan society show why Sargent is often compared to the great masters such as Velázquez A key moment in the exhibition is dedicated to the famous scandal of Madame X (1884) a bold portrait of Virginie Gautreau that provoked fierce criticism at the Paris Salon for its provocative modernity on loan from the Metropolitan Museum of Art is presented for the first time in France since 1884 the fruit of a collaboration with the Metropolitan Museum of Art offers a rare opportunity to rediscover one of the greatest portrait painters of the late 19th century and to plunge into the Parisian years of an artist who was both daring and visionary Tuesday World Subscribers only Trump-Carney meeting: Canada seeks reconciliation World Subscribers only Friedrich Merz bets on two private sector converts to revive the German economy and reform the state World Subscribers only 'A Pope in the tradition of Francis': From New York to Ghana Catholics hope for continuity at the Vatican World Subscribers only Chancellor Merz's diplomatic first week World Subscribers only Founder of Sant'Egidio community fears next pope could undo Francis's legacy Opinion Subscribers only 'Russian gas and Europe is an 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creates new opportunities for Europeans and France' Magazine Subscribers only Tracking down the pianos taken from French Jews during the Nazi Occupation Magazine Subscribers only Eve Rodsky the American helping couples balance the mental load Magazine Subscribers only Desecration or more glory Joan Didion's private diaries are revealed Magazine Subscribers only For Jewish cartoonist Joann Sfar 2025."> Pixels Subscribers only Golden Owl solution is revealed but leaves players of 31-year hunt disappointed Pixels Subscribers only Secrets of decades-long Golden Owl treasure hunt to be revealed Lifestyle Inside Chanel's French leather workshops Culture Subscribers only The marvelous bronzes of Angkor on display at the Musée Guimet in Paris The Parisian institution is devoting an exhibition to mark the 130th anniversary of the painter's death by focusing on his portrayal of the male body By Harry Bellet 'Homme s'essuyant la jambe' ('Man Drying His Leg,' circa 1884) COLLECTION PARTICULIÈRE LEA GRYZE Exceptional loans a remarkable display and a lingering sense of unease: The exhibition "Caillebotte: Painting Men" was organized to commemorate the 130th anniversary of Gustave Caillebotte's death (1848-1894) and especially to celebrate the inclusion of La Partie de Bateau (The Boating Party) into the Musée d'Orsay's collection thanks to LVMH Group sponsorship the exhibition is hindered by a skewed perspective The United States acquired Caillebotte's works when France didn't want them recognizing his significance in premodern art long before we stopped seeing him as merely a pleasant dilettante The current exhibition will later travel to the Paul Getty Museum in Los Angeles and the Art Institute of Chicago during exhibitions in Washington and Fort Worth in 2014 and 2015 that the first public questions were raised about the painter's supposed sexuality It is therefore unsurprising that the exhibition is shaped through the lens of gender studies while often providing fresh insights like sociology addressed this issue clearly in his thorough monograph on Caillebotte in 2021 (Gustave Caillebotte "Gustave Caillebotte: Painter of Extremes"): "There are cases where the interpretation of forms You have 82.9% of this article left to read Lecture du Monde en cours sur un autre appareil Vous pouvez lire Le Monde sur un seul appareil à la fois Ce message s’affichera sur l’autre appareil Parce qu’une autre personne (ou vous) est en train de lire Le Monde avec ce compte sur un autre appareil Vous ne pouvez lire Le Monde que sur un seul appareil à la fois (ordinateur En cliquant sur « Continuer à lire ici » et en vous assurant que vous êtes la seule personne à consulter Le Monde avec ce compte Que se passera-t-il si vous continuez à lire ici Ce dernier restera connecté avec ce compte Vous pouvez vous connecter avec votre compte sur autant d’appareils que vous le souhaitez mais en les utilisant à des moments différents Nous vous conseillons de modifier votre mot de 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(Source: Bloomberg) Following the exhibitions of Peter Doig and Nathanaëlle Herbelin the Musée d’Orsay continues to explore its relationship with contemporary painting inviting you to meet 80 painters from the current French art scene Over the course of an afternoon and evening you will have a unique opportunity to speak freely with living artists to discover their work and their view of the museum’s collections Orchestrated by the artist Thomas Lévy-Lasne the event will bring together eighty contemporary painters each of them waiting alongside one of their works in the Museum’s galleries will bear witness to the vitality of the French art scene which is still too little known by the general public This outstanding presentation will shine a light on several generations of artists the gradual feminization of the profession and the wide stylistic variety of approach Each artist will take up a chosen position in the Nave next to their painting in gaps in the installation echoing the Musée d’Orsay’s collections an indisputable reference and inexhaustible source of inspiration for them As well as being treated to an unprecedented panorama of today’s pictorial creation visitors will have the opportunity to exchange with the painters on their work In order to plot their itinerary beforehand or continue the dialogue after their encounter, visitors will be able to consult the lejourdespeintres.com website or view the video interviews held with each of them, made for the Twitch/YouTube channel Les apparences Painters’ Day will provide the Musée d’Orsay’s visitors with an opportunity to hear what today’s creators of art have to say An occasion to let their own voices be heard in the Museum and to remind themselves that painters speak a language that may be cultivated but is also understandable and living; an artist’s language The Musée d’Orsay in Paris will host from September 23 Paul Perrin in collaboration with Stephanie Herdrich and Alice Pratt Brown produced in collaboration with the Metropolitan Museum of Art New York.The exhibition aims to introduce the public to the work of John Singer Sargent (Florence a painter admired in the United States and considered the most important American portraitist of his time It is to this end that the Paris exhibition will bring together more than ninety works by the celebrated artist some of which are being presented for the first time in France offering a path that follows the artist’s rapid and extraordinary rise and the exhibition traces his career up to the mid-1880s after the scandal caused by the portrait of Madame Gautreau (Madame X) exhibited at the Salon Sargent shaped his artistic style and personality within a dynamic and ever-changing cultural environment was animated by an intense proliferation of exhibitions and a unique cosmopolitanism Sargent found support among other expatriate artists and became fully integrated into French society his portraits of these personalities reflect a rapidly changing cosmopolitan society Although Sargent rarely depicted everyday Parisian life the French capital was his base for numerous trips to Europe and North Africa These travels allowed him to produce paintings of landscapes and genre scenes that combined exoticism it was in portraiture that Sargent distinguished himself thanks to his extraordinary technical skill This combination of sometimes provocative qualities won over critics of the time who considered him the heir to Velázquez called the artist’s talent “strangely uncanny.” the portrait of Virginie Gautreau-which the artist himself considered “the best thing he has ever done”-raised heated controversy at the Salon focused on the morality of the subject portrayed reflected the social and worldly tensions associated with the art of public portraiture in late 19th-century France A section of the exhibition is devoted to this crucial episode in Sargent’s career including the exceptional display of the painting and on view in Paris for the first time since 1884 the exhibition also seeks to highlight the artist’s enduring ties to the city where he was trained to the entry of Manet’sOlympia-an artist he deeply admired-into the French national collections France was also where Sargent received his first institutional recognition: in 1892 the French state purchased his portrait of the dancer Carmencita for the Musée du Luxembourg Le Monde has learned the flagship of the LVMH group is set to donate €20 million to the Parisian establishment An advertisement for the Louis Vuitton brand on the façade of the Musée d'Orsay EMMANUEL DUNAND/AFP Bernard Arnault's name was expected to appear at the Louvre which has ambitions to open a new entrance at Place du Louvre to relieve the flow of visitors a project whose €450 million price tag is proving far too astronomical for the public purse that the billionaire will lend his support through a partnership signed for the 2026-2030 period with its flagship Le Monde has learned the leather goods manufacturer is to allocate €20 million to finance the redevelopment of the entrance area aimed at improving visitor reception and reducing queues which will be carried out between 2025 and 2028 as the museum remains open restoration of the entrance marquee and refurbishment of the hall of columns and the top of the nave the exit will be relocated to the Quai de Seine Exchanges between Arnault and the museum date back to the tenure of Laurence des Cars, now president of the Louvre. They were stepped up while Orsay was run by Christophe Leribault now at the helm of the Château de Versailles the LVMH group enabled the museum to acquire a painting by Gustave Caillebotte (1848-1894) classified as a national treasure three years earlier This cost €43 million – 90% of which was tax-exempt the museum hosted a Louis Vuitton fashion show and sported an advertising banner on its façade You have 31.55% of this article left to read The exhibition Who’s Afraid of Women Photographers (1839-1945) presented at the Musée d’Orsay and the Musée de l’Orangerie in 2015 was a milestone for recognition of women artists in France One of the many photographers featured was Gabrielle Hébert (1853 she was an amateur painter before marrying Ernest Hébert in 1880 an academic artist twice appointed Director of the French Academy in Rome begun at Villa Medici in 1888 and ending twenty years later in La Tronche (near Grenoble) following the death of the man she had idolised and whose place in history she largely ensured by supporting the creation of two monographic museums like many artists and writers (including Henri Rivière Maurice Denis and Émile Zola) who equipped themselves with a camera to record their and their families’ daily lives helped along by the technical and aesthetic revolution brought about by the invention of snapshot photography she organised receptions and received elite visitors She was not long in escaping her assigned duties She took a few lessons with a Roman professional and set up a darkroom to develop and print her negatives and retouch the results It was the beginning of an extremely voluminous output of photos Hardly a day passed without her taking a snapshot interspersing them with remarks that tell us how she set about taking pictures: “Je photo… Although Gabrielle Hébert shared her taste for society portraits and tableaux vivants with Luigi and Giuseppe Primoli Princess Mathilde Bonaparte’s nephews and pioneers of snapshot photography in Italy she explored all photographic genres on her own at Villa Medici still lifes and “photographic recreations”… Providing us with the viewpoint of a permanent resident who is dazzled by the palace the site and its inhabitants (artists in residence dogs and cats) as seen from the inside and in all seasons her output reveals a completely unknown aspect of life in that artistic phalanstery Her “diary in images” is the first photo-report on daily life in the institution training and creation by winners of the Grand Prix de Rome (many of whose works are now conserved by the Musée d’Orsay) as well as a laboratory for the new political relationship between France and Italy which had just been “unified” (1861) and of which Rome became the capital in 1871 It also constitutes a unique testimony on one of the first couples of creators at Villa Medici Although Gabrielle assisted Ernest with his activities as an artist retouching his paintings and even copying them it was Ernest himself who was the photographer’s real focus she watched him obsessively and was never tired of capturing him on film moments of conviviality with visitors and interactions with residents bathing in the sea and alone in his office: all these aspects of artist director and husband Ernest Hébert’s life were scrutinised and documented When she returned permanently to France with him Gabrielle stopped cultivating her passion for photography but nevertheless continued to photograph Hébert until the very end of his life determined to immortalise him through images she escaped the closed quarters formed by the Renaissance Palace and its eccentric occupants and performed her photographic swansong during a trip to Spain which she photographed with a resolutely modern eye influenced by the early days of cinema from Gabrielle Hébert’s photographic beginnings (1888) to her last images (1908) will seek to present what she made of photography and what photography made of her which she shared and exchanged with her friends and family she became recognised as an auteur and gained social status in a milieu where artistic creation was the preserve of men photography revealed her to herself: through capturing a particularly remarkable geography and era she effectively invented her own mythology she was Villa Medici’s first photographic chronicler and made a place for herself in the medium’s history Most of the works on exhibition are original prints (in 9 x 12 cm format) along with photograph albums created by Gabrielle Hébert boxes of glass plates and cameras she used Enlargements created from negatives she never printed will add further life to the presentation The itinerary will be rounded out by drawings and paintings by Ernest Hébert testimony to a story of love for a man and a country Carolyn Carlson is taking over the Musée d’Orsay’s nave with her company’s dancers Finland’s Mieskuoro Huutajat “screaming choir” and the exceptional participation of the Paris Opera’s principal dancer Carolyn Carlson presents a project in her own image and drawing inspiration from her beloved countries – from the Finland of her ancestors to the France in which she built her life and career she will be accompanied by 4 dancers from her company and faithful to her world the Finnish “screaming choir” Mieskuoro Huutajat and Hugo Marchand who will be performing a solo that Carolyn Carson created especially for him and which has never before been presented to the public Carolyn Carlson prefers to refer to her work as “visual poetry” rather than “choreography” Images are at the heart of her creations and the visual arts are a constant source of inspiration This relationships with graphic works explains why she has created several pieces in her repertoire in conversation with Mark Rothko (Man in a Room in 2000 and Dialogue with Rothko in 2013) and Olivier Debré when she created Signs in 1997 for the Paris Opera So it comes as no surprise that the choreographer has long maintained special relationships with museums she even created a large-format cycle intended for performance and reinvention in museums Van Gogh and Picasso and expressing paintings contemporary installations and architectures in bodily movement such venues are ideal places for developing and showing her work which is deeply connected with space and form Several major Parisian institutions have already put their trust in her and given her carte blanche How could such an event be imagined without the participation of Paris and the surrounding region It has to be said that in terms of heritage Why not take this opportunity to discover the secrets of the Musée d'Orsay Located in the 7th arrondissement of Paris this iconic cultural spot is housed in the former Gare d'Orsay Its famous clock is one of the few remaining vestiges of this past Here you'll find one of Europe's most important collections of19th-century Western art Highlights include Vincent Van Gogh's Starry Night Gustave Courbet'sOrigin of the World andÉdouard Manet's Lunch on the Grass So would you like to find out what's in store at the Musée d'Orsay for the 2024 Heritage Days in Paris Please note that admission to the museum is free over the weekend le programme est mis à jour en fonction des annonces officielles