From September 16, 2016 to January 23, 2017
The first part of the exhibition is dedicated to the Leyden period (1625-1631), where Rembrandt came into his own as a painter. It will enable visitors to grasp the evolution of Rembrandt’s art, with primarily historical and biblical themes, highlighting the artist’s perfect mastery of technique, the increasingly apparent presence of light and shadow, and the growing psychological comprehension of his subjects, such as in The Pilgrims of Emmaus.
The second part will be dedicated to Rembrandt’s years of triumph in Amsterdam, from 1631 to 1635, when he produced numerous portraits of notables deemed “more lively” than those of other reputed portrait painters in the great capital of art. The works of Rembrandt are admirable for the extraordinary energy visible in the portraits, the historical and biblical scenes, and especially in the engravings and drawings, that will be exhibited as a counterpoint to his paintings.
The period of 1652-1669 is known as Rembrandt’s “late style”, when the painter reached the apogee of his art. His realistic, smooth and subtle style appears disconnected from the art of his Dutch contemporaries and the taste of the epoch. Rembrandt simplified shapes and colours, as his drawings became “cubist”, and his palette more restricted, concentrating on the essential.
Hodler - Monet - Munch
"Paint the impossible"
From September 15, 2016 to January 22, 2017
Why bring together Ferdinand Hodler, Claude Monet and Edvard Munch in an exhibition ? Because they are all essential European modernist painters, between Impressionism, Post-Impressionism and Symbolism. Because their works take us through the 20th century – up to 1918 for Hodler, 1926 for Monet and 1944 for Munch – and they have had a determining influence on the history of art. And because all three confronted questions about art which seemed insuperable, with the same constancy, and at the risk of being misunderstood.
Icons of Modern Art. The Shchukin Collection
From October 22, 2016 to February 20, 2017
Fondation Louis Vuitton.
The exhibition pays tribute to one of the greatest Art patron of the early 20th century, Serguei Shchukin, the visionary Russian collector of French modern art.
From the end of the 19th century, Serguei Shchukin, the important muscovite industrialist, began to integrate himself into the Parisian arts milieu of the era, which tasked itself with defending the impressionist, post-impressionist and modern movements. Shchukin forged relationships with modern art dealers Paul Durand-Ruel, Berthe Weill, Ambroise Vollard, Georges Bernheim and Daniel-Henry Kahnweiler, and celebrated artists Monet and Matisse.
These friendships heavily influenced the formation of his collection, which remains one of the most radical art collections of its time.
Among the 278 paintings exhibited, feature 29 Picasso, 22 Matisse, 12 Gauguin ... Highlights Masterpieces are Le Déjeuner sur l'Herbe by Claude Monet, La Cueillette de fruits by Gaugin, Femme à l'éventail by Picasso, Femme à la fenêtre by Lautrec (drawing) and Femme au rateau by the Russian avangardist Kazimir Malevich.
Beyond Stars. The Mystical Landscape from Monet to Kandinsky
From March 14 to June 25, 2016
Connecting with an order beyond physical appearances, going deeper than material realities to come closer to the mysteries of existence, experimenting with losing oneself in perfect unity with the cosmos: these quests are all characteristic of mysticism, the spiritual phenomenon that exists alongside all religions, in all continents.
Why not, then, acknowledge its presence in Western Symbolist painting, which, at the close of the 19th century, precisely sought to elevate art to the medium of the ineffable, and the artist to the rank of initiate? Organised in collaboration with the Art Gallery of Ontario in Toronto, the exhibition aims to look at the mystical aspect of the Symbolist landscape.
In the West, since the Renaissance, and even more so since the age of Romanticism, the landscape has been recognised as the pictorial genre that can give expression to inner feelings through form – a genre that conveys immediate spiritual experiences that cannot be put into words, yet is based on the representation of a natural environment that is stable, measurable and familiar.
Elevation towards the infinite, the trials of the night, the quest for light, the individual’s search to become one with the whole, the experience of nature’s transcendental forces: these situations, both sensory and spiritual, sought out or felt as much by the painter of the Symbolist landscape as by the spectator of the work, are like the stages of the mystical journey.
The selection of works includes landscapes by Gauguin, Denis, Monet, Hodler, Klimt, Munch and van Gogh, as well as by the leading figures of the Canadian school of the 1920s and 1930s, such as Lawren Harris, Tom Thomson and Emily Carr. Thus a dialogue will be created between secular, Catholic and Protestant mystical traditions, and will include the relationship to the natural world before and after the cataclysm of the First World War.
Pissarro in Eragny - Anarchy and nature
From March 16, to July 9, 2017
In 1884, Camille Pissarro (1830-1903) settled with his family in the village of Eragny, in the Oise.
For twenty years, he lived there with his farm and fields, receiving his friends artists, Monet, Cézanne, Van Gogh and Gauguin to name a few. He continued his painting of French rural life and discovered anarchist ideals of the late nineteenth century.
The exhibition at the Luxembourg Museum retraces the later bucolic years of an artist considered as one of the fathers of Impressionism.
Camille Pissarro “First of Impressionists”
From February 23, to July 2, 2017
The Marmottan Monet Museum presents, from February 23 to July 2, 2017, the first monographic exhibition Camille Pissarro in Paris for 36 years.
Some seventy-five of his masterpieces, paintings and temperas, from major museums worldwide and prestigious private collections, tracing the work of Camille Pissarro, from his youth in the Danish West Indies to large series urban of Paris, Rouen and Le Havre at the end of his life.
Considered by Cézanne as ” the first Impressionist ” Pissarro was one of the founders of this group. It is also the only one to participate in their eight exhibitions. Companion and faithful friend of Monet, master of Cézanne and Gauguin, Seurat inspirer, supporter of Signac, Pissarro is a major and essential artist. Polyglot intellectual, committed and militant, listening to the younger generation, his work, powerful and evolving, offers a unique view of the research that has animated the Impressionists and Post-circles of the second half of the nineteenth century.
Henry Fantin Latour
From September 14, 2016, to February 12, 2017
Best known for his still lifes and group portraits, Henri Fantin-Latour is a somewhat more complex artist than he appears to be. Very attached from his youth to the faithful reproduction of reality, as evidenced by his emblematic works, Fantin also explored a more poetic vein approaching that of the Symbolists. The exhibition will focus on the artist from a new perspective by shedding light on his creative process and unveiling, in particular, a corpus of unpublished photographs, a true repertoire of forms for the painter.
Vermeer and the Masters of Genre Painting.
From February 22 to May 22, 2017
Organized in partnership with the National Gallery of Ireland in Dublin and the National Gallery of Art in Washington, the exhibition will present Vermeer’s great masterpieces and those of his contemporaries.
“The Sphinx of Delft”: coined by French journalist and art critic Théophile Thoré-Bürger when he revealed Vermeer to the world late in the 19th century, this famous expression has served mainly to promote an enigmatic image of the painter. The myth of the solitary genius has done the rest. Yet Johannes Vermeer (1632–1675) did not attain his level of creative mastery in isolation from the art of his time.
Through comparisons with the works of other artists of the Golden Age—among them Gerrit Dou, Gerard ter Borch, Jan Steen, Pieter de Hooch, Gabriel Metsu, Caspar Netscher, and Frans van Mieris—the exhibition brings to light Vermeer’s membership of a network of painters specializing in the depiction of everyday life while admiring, inspiring, and vying with each other.
Although they were painting in different cities of the Republic of the Seven United Netherlands, their pictures show marked similarities of style, subject, composition, and technique.
This dynamic rivalry played its part in the remarkable quality of their respective works; in this context we might be tempted to think of Vermeer as just one painter among others, but in point of fact this reciprocal contact tended to render his temperament sharper and more individual. Rather than a stylistic innovator, he emerges as an agent of metamorphosis.
Valentin de Boulogne. Beyond Caravaggio
From February 22 to May 22, 2017
Considered the most brilliant of the painters coming in the wake of Caravaggio, and one of the greatest French artists—indeed, the equal of Poussin—Valentin de Boulogne (1591–1632) spent the greater part of his career in Rome executing prestigious papal commissions. His work was also collected by people in power, most notably Cardinal Mazarin and Louis XIV, and throughout the 19th century served as a model for masters as different as David and Courbet.
With all the freedom of Caravaggio—who also died in his prime—Valentin borrowed his predecessor’s dramatic realism, chiaroscuro, and subject matter (taverns, concerts, martyrs, saints, etc.), but transformed them, allying a neo-Venetian chromatic sensibility with a totally new sense of the grandiose and the melancholic.
Owner of the world’s largest collection of his works, the Louvre, in partnership with the Metropolitan Museum of Art, is presenting the first monographic exhibition of the most significant representative of the Caravaggesque movement in Europe.
Serenissima! Venice in feast, from Tiepolo to Guardi.
From February 22 to June 25, 2017
Paris Cognacq Jay museum.
Set in parallel with the Carnival of Venice 2017, the Doges city’s biggest party is illustrated by a collection of around 60 works from masters Tiepolo, Guardi, Canaletto or Longhi.
The exhibition is set around four themes related to the Venetian festivals: Dance and music, the Commediadell'Arte, especially with theater author Carlo Goldoni, the Opera, with famous theaters such as the Fenice. Power in representation.
The receptions of foreign princes, especially French, are also the occasion of extraordinary celebrations in Saint Mark's Square or the Grand Canal.
The secular and sacred institutions of the Serenissima like to invite crowds to great festivities crystallizing the image of a powerful and sumptuous Venice.
What would Venice be without her carnival? Established in the Middle Ages, this colorful and masked festival brings together in the eighteenth century a cosmopolitan crowd that likes both the outdoor fairground attractions and the more discreet entertainment of the Ridotto, the ancestor of the casino.
From Zurbarán to Rothko.
From March 3 to July 10, 2017
Paris Jacquemart André museum.
Alicia Koplowitz has amassed through Grupo Omega Capital Ω, a collection that reflects her own personal tastes, bringing together numerous masterpieces from some of the world’s greatest artists.
The Old and Modern Masters feature heavily in her collection, fostering a dialogue of sorts across the centuries: antique sculptures and paintings by Zurbarán, Tiepolo, Canaletto, Guardi and Goya can be seen alongside paintings and drawings by Toulouse-Lautrec, Gauguin, Van Gogh, Picasso, Van Dongen, Modigliani, Schiele, de Staël, Freud, Rothko and Barceló, as well as sculptures by Giacometti, Bourgeois and Richier.
A selection of some of the most beautiful pieces from this exceptional collection is to be presented to the public for the first time at the Musée Jacquemart-André, the former residence of another remarkable collector: Nélie Jacquemart, who together with her husband developed a splendid ensemble as eclectic as Alicia Koplowitz’s - Grupo Omega Capital Ω collection can be.
The exhibition pays tribute to one of the most prolific collectors of our time. The fifty-three works shown here retrace her tastes and the choices she has made over a period of thirty years, and invite us to share in the emotion of the collection. Beyond the diversity of technique, epochs and styles, the works in the Alicia Koplowitz Collection all share the same artistic sensibility. They bear witness to a subtle but confident, audacious taste, with a certain penchant for female portraits. Whether she is the model or artist, the creator shaping the material or the inspiring muse, woman is at the heart of the majority of these artworks, all of which have been selected by Alicia Koplowitz
From March 13 to July 24, 2017
Paris Grand Palais.
Mirror of the world, the garden is a way to see nature, to stage it and to think it. It is marked by the imprint of man, who in fact, especially from the Renaissance, is a total work of art.
In an immersive and poetic journey, paintings, sculptures, photographs, drawings and installations retrace six centuries of creation around the garden.
The exhibition, conceived as a "garden walk", brings together the greatest artists: Dürer, David, Monet, Cézanne, Picasso, Matisse, Magritte and Wolfang Laib.
Rodin, exhibition of the centennial.
From March 22 to July 31, 2017
Paris Grand Palais.
Auguste Rodin (1840-1917) is considered one of the fathers of modern sculpture.
Before Braque, Picasso, Matisse and many others, he integrated the "accident" into his work and invented the unfinished work, the partial figure, the assemblage and the collage.
On the occasion of the centenary of his death, the exhibition takes a fresh look at this protean artist, summoning his collectors or the artists of his time, Carpeaux, Bourdelle, Claudel, Brancusi, Picasso or Richier. To understand the power of his genius.
Baroque during the Enlightenment.
From March 21 to July 16, 2017
Paris Petit Palais museum.
French painting from the 18th-century tends to evoke the refinement of fete galante and portraiture rather than the rhetoric of great religious paintings. Yet outside of the exhibition period, churches in Paris were known as places to admire contemporary painting: the artists therefore put their best work on display.
Parishes and congregations looking to renovate the capital’s churches were among the main sponsors of painters throughout history. This exhibition aims to reveal the significance and the diversity of religious painting in Paris, from the Regency to the Revolution: from the heirs of the grand siecle, such as Largillierre and Restout; to disciples of rocaille, from Lemoine to Carl Van Loo; to the best of Neoclassicism, from Vien to David.
In a spectacular setting, centre stage is given to the works still conserved in Parisian churches, which have been restored for the occasion as part of an unprecedented campaign. In addition to immense altar paintings that revealed stunningly rich colours upon restoration,
the Petit Palais’s galleries also feature sketches and other large paintings that were scattered among different museums, churches, and cathedrals throughout the country, offering visitors the opportunity to rediscover an entire segment of 18th-century painting at its peak.
From March 28 to Luly 23, 2017
Paris Quai Branly - Jacques Chirac museum.
What links did Picasso maintain with non-Western arts? This question, frequently addressed, was however avoided by the artist himself for a long time. This exhibition aims to decipher a relationship born of admiration, respect and fear.
“Negro art? Don’t know it.” It was with this provocative tone that the Andalusian painter, sculptor and graphic artist made a point of denying his relationship with non-European art. However, and as his personal collection demonstrates, the arts of Africa, Oceania, the Americas and Asia never ceased to accompany him in all his various studios.
The documents, letters, objects and photographs brought together in the first part of the exhibition and displayed chronologically, are evidence of this, demonstrating Picasso’s interests and curiosity about non-Western creation. In a second, more conceptual section, Primitive Picasso offers a comparative view of the artist’s works with those of non-Western artists, and leans more towards an anthropology of art than an analysis of aesthetic relationships.
The resulting confrontation reveals the similar issues those artists have had to address (nudity, sexuality, impulses and loss) through parallel plastic solutions (deforming or deconstructing bodies, for example). Primitive art, therefore, is no longer considered to be a stage of non-development, but rather an access to the deepest, most fundamental layers of the human being.