CITY GUIDE

The Dior Gallery, which bears witness to the bold vision of Christian Dior and his six successors: Yves Saint Laurent, Marc Bohan, Gianfranco Ferré, John Galliano, Raf Simons and Maria Grazia Chiuri.

L'Atelier des Lumières dedicates its new exhibition to the Egypt of the Pharaohs, featuring masterpieces from a civilization that spans three millennia and fascinates every generation. The immersive journey takes visitors along the Nile with its lush flora and fauna, and invites them to discover the daily life of ancient Egypt with its bas-reliefs, paintings and ancient papyri.

The digital exhibition reveals the remains of ancient Egypt as they appeared to French scientists during the Egyptian Campaign from 1798 to 1801, and as drawn by painter David Roberts. Visitors are immersed in this period of history, discovering the construction sites of the pyramids, the temples dedicated to multiple divinities, the mythical battles that punctuated the reigns of successive sovereigns, and immersing themselves in the Valley of the Kings and the Valley of the Queens.

Conceived as a labyrinth, the "Surrealism" exhibition is an unprecedented plunge into the exceptional creative effervescence of the Surrealist movement, born in 1924 with the publication of André Breton's founding Manifesto.

Combining paintings, drawings, films, photographs and literary documents, the exhibition features works by the movement's emblematic artists (Salvador Dalí, René Magritte, Giorgio de Chirico, Max Ernst, Joan Miró), as well as by female Surrealists (including Leonora Carrington, Ithell Colquhoun and Dora Maar).

Both chronological and thematic, the tour is punctuated by 14 chapters evoking the literary figures who inspired the movement (Lautréamont, Lewis Carroll, Sade...) and the poetic principles that structure its imagination (the artist-medium, the dream, the philosopher's stone, the forest...).

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For its reopening exhibition after more than a year of renovations, the Musée Jacquemart- André will be presenting some 40 masterpieces from the famous Galerie Borghèse in Rome. This exceptional partnership between the two institutions offers a unique opportunity to admire in Paris a group of major works by famous artists of the Renaissance and Baroque periods, rarely loaned abroad, from Caravaggio to Rubens, Botticelli, Raphael, Titian, Veronese, Antonello da Messina and Bernini.

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The exhibition covers the period from Jackson Pollock's (1912-1956) first works, influenced by Mexican muralists, to his first drippings in 1947. This body of work bears witness to the diverse sources that nourished the young artist's research, combining the influence of Amerindian arts with that of the European avant-gardes, including Pablo Picasso. The exhibition features some one hundred works from institutions including the Museum of Modern Art, the Centre Pompidou, the Tate and the Metropolitan Museum of Art.

The aim of the exhibition is to present in detail the beginnings of the American artist, a period that was the laboratory of his work and his myth, by restoring the artistic and intellectual context in which Pollock evolved. Chronological and thematic, the exhibition highlights the key moments of the years 1934-1947, both in terms of Pollock's work and the "making of the Pollock myth". By calling on certain key figures in Pollock's artistic career, the exhibition highlights the intensity and singularity of his work in its various dimensions (painting, printmaking, sculpture).

Poet, lyricist, screenwriter, playwright and committed humanist, Jacques Prévert (1900-1977) also devoted much of his life to the visual arts. His abundant imagination gave life to a unique body of work, full of magic and humanity. More than 170 objects in various formats (paintings, drawings, lithographs, manuscripts, photographs, objects, archives, film and interview extracts, etc.) tell the story of an artist who, despite himself, was little known.

With this exhibition, the Musée de Montmartre celebrates the 70th anniversary of Jacques Prévert's installation in the 18th arrondissement, Cité Véron, above the Moulin Rouge. Like an alchemist, the artist juggled images as he did words. He deconstructs them, assembles them, constructs and creates worlds "à la Prévert", taking us into his reverie and his time. Profoundly poetic and visual, these creations enrich our understanding of his prolific universe.

The exhibition presents masterpieces from the collection of the Berggruen Museum in Berlin that once belonged to Heinz Berggruen. Ceded to the German state in 2000, a few years before the collector's death, this vast ensemble finds a particular echo in the Walter-Guillaume collection at the Musée de l'Orangerie. The hundred or so masterpieces by Picasso, Klee, Matisse and Giacometti demonstrate the major role played by this player in the Paris art market in the second half of the 20th century.

The tour, featuring monographs and thematic focuses, highlights the gallery owner and collector's particular and personal tastes, particularly around his two favorite masters: Picasso and Klee. The choices, encounters and affinities that led to the creation of this unique collection are also highlighted. The exhibition explores Heinz Berggruen's singular relationship with his artists and his post-war art market network in Paris.

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From October 9, 2024, Pinault Collection presents a major exhibition dedicated to Arte Povera at the Bourse de Commerce. Between heritage and influence, the exhibition features over 250 historical and contemporary works from this major Italian artistic movement of the 1960s.

This exhibition sheds light on both the Italian birth and the international influence of this movement, through the works of the thirteen main protagonists of Arte Povera: Giovanni Anselmo, Alighiero Boetti, Pier Paolo Calzolari, Luciano Fabro, Jannis Kounellis, Mario Merz, Marisa Merz, Giulio Paolini, Pino Pascali, Giuseppe Penone, Michelangelo Pistoletto, Emilio Prini and Gilberto Zorio.

In the mid-1960s, a number of Italian artists - mainly from Turin, Genoa, Bologna, Milan and Rome - initiated an original, free-spirited, totally unconventional and undogmatic body of work, expanding the fields of painting, sculpture, drawing and photography, creating the first "installations" in art history, as well as performative works and actions.

Using simple materials and techniques, these artists have created installations involving the viewer within the work. Favoring "natural" and "rural" elements (such as earth, potatoes, lettuce, water, coal, trees, living animal and human bodies, etc.), "artificial" and "urban" (elements found in hardware stores such as stainless steel plates, lead ingots, light bulbs, wooden beams, neon tubes, etc.), their works trigger flows of physical and chemical energy, and even psychic energy, calling upon notions of memory and emotion to engage viewers."

The exhibition focuses on Gustave Caillebotte's (1848-1894) predilection for masculine figures and portraits of men, and aims to question the modernity of the artist's masterpieces in the light of art history's new look at masculinity in the 19th century. This event is being organized in the year of the 130th anniversary of the artist's death, which also coincides with the date on which he bequeathed his incredible collection of Impressionist paintings to the French state.

In his desire to produce true, fresh art, Caillebotte took his immediate environment and the people around him as his subjects. He introduced new figures into painting, such as the urban worker, the man on the balcony, the sportsman or the naked man in the intimacy of his toilet. At a time of the triumph of virility and republican fraternity, but also of the first crisis of traditional masculinity, the power of these images questions both the social and sexual order. Beyond his own identity as a wealthy young Parisian bachelor, Caillebotte's work, at the heart of Impressionism and modernity, raises profound questions about the male condition.

The museum honors a little-known piece from its collections, Auguste Rodin'sÉtude de robe de chambre pour Balzac. Based on a selection of sculptures from the museum's collections, 19th-century fashion pieces from the Palais Galliera and previously unpublished archives from the library of the Institut de France, the exhibition reveals an investigation into Rodin's search for a body for Balzac. Taking as its starting point the process of creating the Monument à Balzac, the exhibition invites a wider reflection on the evolution of representations of the body in the public space.

Chosen by the Société des Gens de Lettres in 1891 to sculpt a monument to Balzac, Auguste Rodin embarked on a quest for the novelist who had been missing for almost half a century: the stages of this investigation will be retraced throughout the exhibition. Rodin then set himself the challenge of embodying Balzac in clay and plaster for four years. The exhibition follows the sculptor's path towards the idealization of the body, and ends with a confrontation between the statue of Balzac and a work by contemporary sculptor Thomas J. Price depicting an anonymous black woman in jogging pants, symbolizing a new diversity in 21st-century public statuary.