forthcoming exhibitions autumn 2016

forthcoming exhibitions
autumn 2016
Fantin-Latour. A fleur de peau (14 september 2016 - 12 february 2017)
Musée du Luxembourg
Dream (17 september 2016 - 22 january 2017)
Musée Cantini, Marseille
Hergé (28 septembre 2016 - 15 janvier 2017)
Grand Palais, galeries nationales
Winterhalter, Court portraits, between splendour and elegance (30 septembre 2016 - 15 janvier 2017)
Musées et domaine nationaux du Palais de Compiègne
Mexique 1900-1950: Diego Rivera, Frida Kahlo, José Clemente Orozco and the avant-garde
(5 october 2016 - 23 january 2017)
Grand Palais, galeries nationales
The bear in prehistoric art (16 October 2016 – 30 January 2017)
Musée d’archéologie nationale, Saint-Germain-en Laye
Inside the wardrobe of the Empress Joséphine, the Château de Malmaison’s collection of women’s
costumes (7 december 2016 - 6 march 2017)
Musée national des châteaux de Malmaison et Bois-Préau
head of press office : Florence Le Moing, [email protected], 01 40 13 47 62
assistant : Keiko Deguchi, [email protected]
press officers : Julie Debout, [email protected]
Svetlana Stojanovic, [email protected]
Sandrine Mahaut, [email protected]
Pauline Volpe, [email protected]
@Presse_RmnGP
more informations on grandpalais.fr
press release
Fantin-Latour
À fleur de peau
14 September 2016 – 12 February 2017
Musée du Luxembourg
19 rue Vaugirard, 75006 Paris
This exhibition is organised by the Réunion des Musées
Nationaux – Grand Palais and the musée de Grenoble in
partnership with the musée d’Orsay.
It will be presented from 18 March to 18 June 2017 at the
musée de Grenoble.
As the first retrospective of the work of Henri Fantin-Latour (1836-1904) in Paris since the landmark exhibition
on the artist at the Grand Palais in 1982, this exhibition will illuminate the most emblematic works from an
artist who is principally known for his still lifes and group portraits, and will also reveal the important place in
his oeuvre of the so-called «imaginative» paintings.
Very attached from his youth to the faithful reproduction of reality, Fantin-Latour also explored, with great
relish, a more poetic vein approaching that of the Symbolists. The exhibition offers a rich panorama that
includes over one hundred and twenty works, paintings, lithographs, drawings and other preparatory studies.
Organised chronologically, the exhibition opens with the artist’s youthful endeavours, particularly the unsettling
self-portraits that he painted between 1850 and 1860. Confined to his studio, Fantin-Latour took inspiration
from his intimate circle: as captive models, he painted his two sisters reading and embroidering, while his
skilfully executed still lifes from the 1860s already demonstrate the young artist’s exceptional powers of
observation.
The seismic development that took place in the decade between 1864 and 1872, Fantin-Latour’s defining
period, are on display in the second part of the exhibition. Imbued with great ambition, the young artist was
working intensely, innovating with panache in the field of group portraiture. With Hommage à Delacroix, the
first of his great group portraits, he took his place in the lineage of a certain type of modernity, alongside
Delacroix and Manet. With Le Toast (1864-1865), Un atelier aux Batignolles (1870) and Coin de table (1872),
he intensified his work to the point of a manifesto.
The third part of the exhibition presents the series of still lifes and portraits that the artist painted between
1873 and 1890. With the exception of portrait commissions, which gradually became scarcer in his work, the
artist himself described the majority of these paintings as «studies from nature». The sumptuous portraits
of flowers that he went on to paint by the dozen demonstrate a rare talent for the composition of bouquets
as well as an exceptional virtuosity in capturing textures. His portraits, whether posed or more intimate, also
illustrate an acute observational sense.
Henri Fantin-Latour, La Lecture (detail), 1877, oil on canvas, 97 x 130 cm, Lyon, Musée des beaux-arts, Photo Alain Basset
Nevertheless, the artist gradually loses interest in portraits and still lifes as we move into the fourth part of the
exhibition. «I do what I please»: with these words, written in a letter to Edwards in 1869, Fantin-Latour was
describing his so-called «imaginative» works that took increasing prominence in his oeuvre over the years.
Nourished by his passion for music, inspired by mythological subjects or odes to the beauty of the female
body in the guise of chaste allegories, these works reveal a less well-known side to the artist.
Between the austerity of the family portraits, the richness of his still lifes and the fantasy of the imaginative
paintings, a highly subtle portrait of the artist is revealed, whose complex personality is demonstrated by the
extensive correspondence that he maintained with a number of friends and artists at the time. The exhibition
also innovates by dedicating a room to Fantin-Latour’s creative process, based around L’Anniversaire, painted
in 1876, presented alongside paintings, drawings and lithographs that were reworked several times. This
retrospective also provides an opportunity at last to put on public display a collection of unseen photographs,
a true repertoire of forms for the artist.
Other than shining a light on the traditionally minor genre of still life, which the artist developed into genuine
floral portraits, the exhibition wishes to paint a picture of the artist as engaged with the questions of his day,
between a passion for the real and a desire for escape, who imposed himself, for all his discretion, as a
pivotal figure in his century.
.......................................
curators: Laure Dalon, curator for the Rmn – Grand Palais, assistant to the Scientific Director; Xavier Rey,
curator for the musée d’Orsay, and Guy Tosatto, director of the musée de Grenoble.
.......................................
opening: daily from 10:30am to 7pm,
late opening on Fridays to 10pm.
published by Réunion des Musées
Nationaux – Grand Palais, 2016:
prices: €12, concessions €8.50
(16-25 years, jobseekers and large
families), Special Youth rate: €8.50
for two admissions (from Monday to
Friday after 17:00), free for under-16s,
benefit recipients
- exhibition catalogue, 22,5 x 26 cm,
256 pp., 240 ill., €35
presse contacts:
Réunion des musées
nationaux - Grand Palais
254-256 rue de Bercy
75577 Paris cedex 12
- exhibition album, 21 x 24 cm,
48 pp., 45 ill., €10
Florence Le Moing
[email protected]
01 40 13 47 62
access: Métro: St Sulpice or Mabillon
RER B Luxembourg
Bus: 58; 84; 89; stop at Musée du
Luxembourg / Sénat
- exhibition e-album, for digital tablets,
€4.99
Sandrine Mahaut
[email protected]
01 40 13 48 51
@Presse_RmnGP
information and reservations:
museeduluxembourg.fr
www.grandpalais.fr
follow the exhibition on social
networks: #FantinLatour
press release
Dream
17 September 2016 – 22 January2017
Musée Cantini
19 rue Grignan, 13006 Marseille
Exhibition organised by the Réunion des musées
nationaux – Grand Palais and the City of Marseille.
Throughout history, the different spheres of knowledge have taken an interest in the mysterious phenomena
of dreams, attempting to penetrate their secrets, to uncover their hidden meaning or purpose.
Since Antiquity, Egyptians, Greeks and Oriental societies have attached great importance to and have
interpreted dreams, which they compared to the great collective myths and considered as avatars, premonitions
or warnings from above.
In the 19th century, a number of artists represented dreams as a revelation of another universe that transfigured
objective reality, and attempting to convey the oneiric world was for them a manner of transgressing the
frontiers of art, widening its scope and asserting its new powers. These artists brought a highly varied set
of responses to the new avenues offered in representing the journey through the mirror and away from the
tangible world, from representations of the dreamer to the dream itself. In this sense, the ability to create such
imaginary responses can be considered as a metaphor for art itself.
The writings of Sigmund Freud on the interpretation of dreams at the start of the 20th century revealed that
the dream is a privileged door to the unconscious, that links the subject to the vast imaginary realm as a
spontaneous self-portrait of the interior life of the dreamer in symbolic form.
Psychoanalysis allows an awareness of processes in action, the displacement and free association so dear to
the surrealists, the dream considered as a rebus whose interior logic is ours to decode. Artists thus attempt to
delve into their interior dialogue, their fantasies, these uncharted areas and constructions of the imagination,
theatres of symbols, escaping from the boundaries of reality in order to represent them.
The exhibition comprises seven sections that represent different moments of the night :
Sleep. The exhibition is a truly oneiric experience, told in the style of a dream. As an introduction, visitors
cross the Plante à sommeil (2005) by Christophe Berdaguer and Marie Péjus, then read the watchword
written out in neon by Claude Lévêque: Dream! (2008). Then they fall asleep as they pass by the feminine
figures of Odilon Redon, Auguste Rodin, Félix Vallotton, Salvador Dalí and Pablo Picasso.
Nocturnes. From the end of the 19th century, night scenes (nocturnes) painted by symbolist artists began
a journey into the world of interior reality. Une Vision by Victor Hugo begins this voyage into the unreal
where the fantasy of dreams is rather strange. Nocturnal scenes by William Degouve de Numcques and the
luminous mists of Léon Spilliaert lead us to the magic realism of Paul Delvaux. As the location for all kinds
of imaginaries, the forest is the frontier of dreams magnified by Max Ernst, a disturbing world where strange
creatures emerge, carried by inspiration.
Pablo Picasso, Femme aux persiennes (détail), 1936, Paris, Musée Picasso
Photo © RMN-Grand Palais (musée Picasso de Paris) / Jean-Gilles Berizzi © Succession Picasso, 2016
Dreams. The emergence of psychoanalysis 1900 and the publication of the surrealist manifesto in 1924
offered a new iconographic repertoire to artists who journeyed freely through the labyrinths of the soul. The
representation of dreams freed us from subjectivity.
Victor Brauner revealed foreboding esoteric phenomena, Yves Tanguy wandered through the vast deserts
of thought, Salvador Dalí, taking inspiration from the beaches of Catalonia, painted paranoid landscapes
inhabited by mythical creatures, while Man Ray dreamed of the lips of his muse, a strange sensual satellite
floating above the Paris Observatory.
Fantasies. The surrealist universe is populated by diaphanous or sensual feminine figures, passionate but
inaccessible lovers who appear, like statues, throughout the work of Félix Labisse, or discretely disrobe in the
brush strokes of Wilhelm Freddie. Beyond this «veiled eroticism», the philosophies of the Marquis de Sade
influence the suggestive photographs of Hans Bellmer and the collages of Jindrich Styrsky.
Nightmares. From the «Sleep of Reason» illustrated by Francisco Goya to the infernal visions of Marcel
Berronneau, these artists give birth to the terrifying monsters, the malefic octopuses, enigmatic sphinxes and
hybrid serpents of Valère Bernard and the insects of Germaine Richier.
Hallucinations. The waking dream, so dear to the surrealists in their explorations of the unconscious, was
the source of many kinds of experimentation. The mescaline drawings of Henri Michaux, the photographs
of Raymond Hains and the paintings of aboriginal dreamtime are visually close to the kinetic works of Victor
Vasarely. Brion Gysin’s psychedelic Dreamachine (1961) is «the only work of art to be viewed with the eyes
closed», where one gazes at syncopated beams of light through the eyelids to the point of hallucination.
Awakening. In a train with Bernard Plossu, on a horizontal balcony in the bay of Hong Kong in the playful
illusions of Philippe Ramette, in a room with Sandy Skoglund surrounded by floating fish or under the light
of a Chinese full moon photographed by Darren Almond, the visitor finally awakes to the random rhythms
of Carillon (1997) by Pierre Huyghe, through which each visitor is invited to replay John Cage’s Dream
Symphony (1948) in their dreams.
Added to this, on the second floor of the museum, is a display of cards that make up the Jeu de Marseille. This
unique collection, which attests to the Surrealists’ fascination with the realm of dreams, metamorphosis and
the subconscious, was given to the City of Marseille in 2003 by Aube Elléouët-Breton (the poet’s daughter)
and her daughter Oona, in memory of Varian Fry.
.......................................
curators : Christine Poullain, head curator, director of musées de Marseille; Guillaume Theulière, curator, deputy
director of musées de Marseille; Olivier Cousinou, curator at musée Cantini
exhibition design: ATELIER MACIEJ FISZER, with Bastien Morin for handwriting
.......................................
open: from thuesday to sunday from 10 a.m.
to 6 p.m., closed every monday
closed on 25th and 26th December, and 1st
January
rates : 10 €, reduced 8 €
access : Musée Cantini, 19 rue Grignan,
13006 Marseille.
Metro line 1 - Stop ‘‘Estrangin / Préfecture’’
publications by Réunion des musées
nationaux-Grand Palais, Paris 2016 :
- exhibition catalogue : 192 p., 22 x 28
cm, 35 €
press contacts :
Réunion des musées
nationaux - Grand Palais
254-256 rue de Bercy
75 577 Paris cedex 12
Florence Le Moing
[email protected]
+ 33 1 40 13 47 62
Julie Debout
[email protected]
audioguide : 4 €
informations et réservations :
www.grandpalais.fr
www.lereve.marseille.fr
@Presse_RmnGP
press release
Hergé
28 September 2016 – 15 January 2017
Grand Palais
National Galleries
Square Jean Perrin entrance
The exhibition also takes us back to Georges Remi’s earliest days, the child in Brussels who
before he became Hergé nourished his imagination in the cinema and learning about black and
white aesthetics on the big screen. He was just as fond of adventure novels as he was of illustrated stories and the comics that were emerging from France and the United States. His love
of drawing dates back to these years, and his first illustrations, which appeared in the Belgian
Catholic press, already demonstrate his gift for storytelling.
Hergé was the subject of a retrospective at the Centre Pompidou to mark the centenary of his
birth in 2007. The Musée Hergé in Louvain-la-Neuve near Brussels, which opened in 2009, is
now joining forces with the Rmn-Grand Palais to reveal the many facets of Hergé’s work through
his original drawings, the paintings he surrounded himself with and photographs, evoking the
encounters that guided his life and his artistic vision. His interviews, writings and testimonials
explain his choices, bringing his doubts, his vivacity and his limitless curiosity to life, tracing the
career of a true artist.
.......................................
Exhibition organised by the Réunion des Musées
Nationaux - Grand Palais and the Musée Hergé.
This exhibition provides an opportunity to decipher the art of Hergé, an illustrator who used every means at his disposal and never failed to take inspiration from other art forms. Ancient and
primitive civilisations were fascinating to him. He always held the grand masters in high regard.
He even branched out into painting himself during the 1960s. It was at this point that he developed a passion for some of the most avant-garde artists of the era, collecting works by Warhol,
Lichtenstein, Fontana, Dubuffet, Raynaud and others. In his strips, as in cinema, painting and
photography, he explored new angles, framing techniques and perspectives. A whole range of
processes helped him compose his stories, powerful sequences and images that have made
an impression on generations of Tintin readers.
What is singular and distinctive about Hergé’s art in comparison with many other comic artists
is his extraordinary capacity to convey reality in an inventive yet instantly familiar fashion, so
that the reader is easily transported into this world, despite its disparate elements. Using simple
lines with impressive accuracy, he traces the contours of our existence and gives birth to emblematic characters who represent the great values of society. These characters are faced with
all sorts of incredible situations that often have parallels with the history of the 20th century. But
the exhibition also provides an opportunity to reveal a less well-known side to Hergé: his brilliant
career as a graphic designer in advertising, seen in posters that feature a high level of formal
creativity.
It all began on 10 January 1929, with the publication of the first adventures of Tintin in Le Petit
Vingtième, and continued to develop over the years and encounters, with his introduction to
Chang in 1934 being particularly decisive. While Hergé was working on a story about Tintin in
the Far East, this young Chinese student helped him learn about his culture and worked closely
with him on The Blue Lotus, Hergé’s first acknowledged masterpiece and the first true Tintin
adventure. Without realising it, Hergé was beginning a fabulous writing career, as an accomplished artist and storyteller. Although he was not aware of it, he created his own style, his own
technique, a school of art. His reputation and success only grew throughout the 20th century, in
Belgium, Europe and across the globe.
Andy Warhol, Portrait of Hergé, 1977, Screenprint and acrylic on canvas, Musée Hergé © The Andy Warhol Foundation for
the Visual Arts, Inc. / ADAGP, Paris 2016 © Jean–Pol Stercq / ADAGP, Paris 2016
curators:
• Jérôme Neutres, director of strategy and development, Rmn-Grand Palais
• The Musée Hergé, with the support of Moulinsart
.......................................
opening times: Thursday to Monday from
10 am to 8 pm. Late-night opening on
Wednesdays from 10 am to 10 pm.
Closed on Tuesdays
During the toussaint ( All saints) and
Christmas scholl holidays : additional late
opening on Thursday and Friday until
10pm
planned early closure at 7pm on 29
september and at 6pm on 24 and 31
december.
closed on 25 december.
price: €13, €9 concessions (16-25 years,
jobseekers, large families). Free for under
16s, those claiming benefits and OAPs.
access: métro lines 1 and 13 “ChampsElysées-Clemenceau” or line 9 “Franklin
D.Roosevelt.
information and reservations:
www.grandpalais.fr
#ExpoHergé
with the support of:
published by Réunion des musées
nationaux – Grand Palais / Moulinsart,
Paris 2016:
- exhibition catalogue,
21 x 24.8 cm, 304 pages, €35
- the exhibition album,
23,5 x 28,5 cm, 48 pages, €9,90
press contacts :
Réunion des musées nationaux Grand Palais
254-256 rue de Bercy
75 577 Paris cedex 12
Florence Le Moing
[email protected]
01 40 13 47 62
Svetlana Stojanovic
[email protected]
01 40 13 49 95
@Presse_RmnGP
press release
Organised with the Augustiner Museum in Fribourg-en-Brisgau and the Museum of Fine Arts in
Houston, this exhibition benefits from a number of prestigious loans, particularly from the collections
Winterhalter
Court portraits, between
splendour and elegance
30 September 2016 - 15 January 2017
of Queen Elizabeth II of England and the Museum of French History at the Palace of Versailles. It
retraces Winterhalter’s career, particularly his work for the Salons and his commissions for the two
French royal families. The exhibition continues with a selection from the collections of the Second
Empire museum to the Portrait de l’impératrice Eugénie entourée de ses dames d’honneur, the
artist’s monumental masterpiece. An educational area will also allow visitors young and old to sit in
the same fashion as Winterhalter’s models.
Musées et domaine nationaux du Palais de
Compiègne
place du Général de Gaulle, 60200 Compiègne
.......................................
This exhibition is organized by the Musée national du
Palais de Compiègne and the Réunion des musées
nationaux-Grand Palais, the Städtische Museen Freiburg,
and the Museum of Fine Arts, Houston.
director: Emmanuel Starcky, director of the Musées et domaine nationaux du Palais de Compiègne
et de Blérancourt
curator: Laure Chabanne, curator at the musées du Second Empire au musée national du Palais de
Compiègne
scenography: Maffre Architectural Workshop (MAW)
.......................................
As the last great European court painter, Franz Xaver Winterhalter led an extraordinary life. Born
in 1805 to a humble family in a small Black Forest village, he studied art in Munich before being
appointed as painter to the court of Baden. Following a period of study in Italy, he settled in Paris in
1834, where he built his reputation in the Salons with his genre paintings. In 1837, his Decameron
was a huge success, turning him into a fashionable painter. From that point on, commissions came
thick and fast. From 1838, King Louis-Philippe commissioned a series of portraits of the Orleans
royal family. It is likely that the influence of the King’s daughter Louise, Queen of Belgium, led
Winterhalter to be asked to paint the portrait of Leopold I of Belgium and to work for his niece, Queen
Victoria. He was also solicited by Napoleon III when he came to power. Winterhalter soon eclipsed
his rivals to become the favoured portrait artist to the Empress Eugenie. In the 1860s, Emperor
Franz Joseph of Austria and his wife Elisabeth, Tsarina Maria Alexandrovna and the Hohenzollern
family all commissioned sumptuous portraits. Artist and critic Alfred Stevens came to write that: “His
open: every day except Tuesdays from 10 a.m. to 6 publication by the Réunion des musées
nationaux-Grand Palais, Paris 2016:
p.m. (last entries at 5.45 p.m.)
admission: € 9,5, concession € 7,5
permanent collection), free for visitors
friends of the Musées nationaux du
Compiègne, and all visitors on the first
the month
(including - exhibition catalogue, 240 pages, 146 ill.,
under 26, € 39
Palais de
Sunday of
access: from Paris: motorway A1, exit n° 9 towards
Compiègne Sud.
from Lille: motorway A1, exitn° 10 at Arsy.
SNCF Paris: trains leaving from Gare du Nord
(about 40 mn)
informations and booking on:
www.grandpalais.fr
www.musee-palaisdecompiegne.fr
speciality is painting the queens and princesses of the world. It seems as if every figure of nobility
wants to be the subject of Winterhalter’s brush.”
Although the formal portrait was a highly codified genre, Winterhalter varied his compositions by
adapting to his patrons’ tastes with brio. His brilliant style is characterised by a great freedom of
movement, with refined lighting effects and a certain boldness in the association of colours. His
portraits reflected the image that the European elite wished to give of themselves, midway between
tradition and modernity, combining references to Van Dyck with an expression of the modes and
sensibilities of the era.
Franz Xaver Winterhalter, Alexandra, princesse de Galles, (detail), 1864, oil on canvas; 162,6 x 114 cm, Sa Majesté la reine
Elisabeth II, Royal Collection Trust/ © Her Majesty Queen Elizabeth II 2016
Cette exposition bénéficie à Compiègne du soutien du conseil général de l’Oise
press contacts:
Réunion des musées nationaux
- Grand Palais
254-256 rue de Bercy
75 577 Paris cedex 12
Florence Le Moing
[email protected]
+33 (0)1 40 13 47 62
Pauline Volpe
[email protected]
+33 (0)1 40 13 47 61
@Presse_RmnGP
press release
Mexique 1900 - 1950
Diego Rivera, Frida Kahlo,
José Clemente Orozco and
the avant-garde
5 October 2016 – 23 January 2017
Grand Palais
Galeries nationales
This exhibition is organized by the Rmn - Grand
Palais and the Secretaría de Cultura / Instituto
Nacional de Bellas Artes / Museo Nacional de
Arte, México.
alternative avant-garde movements that demanded their own place on the international art scene, independent
from the revolutionary paradigm.
The third part of the exhibition explores a selection of artists and works offering an alternative to the ideologies
of the time: the hallucinatory masks of Germán Cueto, Robert Montenegro’s enigmatic portraits and the
abstractions of Gerardo Murillo «Dr. Atl» and Rufino Tamayo.
The fourth and final part is entitled A Meeting of Two Worlds: Hybridation demonstrates how, from the start of
the 20th century, Mexican artists resident in the United States (including Marius de Zayas, Miguel Covarrubias
and the major muralists) played a decisive role in the avant-garde scenes in cities like New York, Detroit and
Los Angeles. And conversely, as a result of the notoriety acquired by Mexican artists living abroad in the
early decades of the 20th century, a number of foreign artists decided to move their studios to Mexico. By
collaborating with local artists, they were able to develop a remarkably rich artistic scene, particularly focused
on Surrealism through Carlos Mérida, José Horna, Leonora Carrington and Alice Rahon.
The exhibition ends its chronicle of collaboration, the source of a perpetual «renaissance», with the arrival in
Mexico in 1949 of Mathias Goeritz. The vitality of Mexican art is illustrated by works from the principal artists
from the current scene, such as Gabriel Orozco and his «rubbings» taken from the Paris Métro.
.......................................
The Réunion des musées nationaux-Grand Palais, the Secretaría de Cultura / Instituto Nacional de Bellas
Artes / Museo Nacional de Arte, México (MUNAL), have joined together to organise an exhibition that traces
a vast panorama across modern Mexico, from the first stirrings of the Revolution to the middle of the 20th
century, complemented by a number of works from contemporary artists.
Mexican 20th century art offers the paradox of having close links to the international avant garde yet presenting
an incredible singularity, a certain strangeness even, and a power that challenges our European perspective.
In the first part of the exhibition, we explore how such modernity drew inspiration from the collective imaginary
and traditions of the 19th century. This relationship, clearly demonstrated by the academic art that developed
following the restoration of the Republic in 1867, persisted through the ideological precepts of the Mexican
School of Painting and Sculpture, promoted by by José Vasconcelos from 1921.
International currents came to counterbalance such anchorage in tradition. At the turn of the 20th century,
Symbolism and Decadentism were expressed in fascinating forms, such as Ángel Zárraga’s famous Woman
and Puppet (1909). Little by little, the aesthetic experimentation of Mexican artists in touch with the Parisian
avant-garde in the first decades of the century became clear, first and foremost in the work of Diego Rivera.
The second part of the exhibition aims to demonstrate how the Mexican Revolution, as an armed conflict,
laid the groundwork for a new national identity. The artistic creativity in the years following the Revolution
had an ideological aspect. It employed media other than easel painting, including muralism and graphic
design. Naturally, the exhibition focuses on the work of the three leading artists of Mexican muralism, los
tres grandes: Diego Rivera, David Alfaro Siqueiros and José Clemente Orozco. The male revolution opened
the way to many new possibilities and encouraged women to contribute to the economic effort. This situation
allowed women to take their place on the artistic stage, as both artists and benefactors.
curator: Agustín Arteaga
exhibition design : Atelier Jodar Architecture
.......................................
open: daily from 10am to 8pm,
and until 10 pm on Wenesday.
closed every Tuesday and on 25
December. Closed at 6pm on 24
and 31 December
admission: 13 €, concessions 9 €
(16-25 yearsold, job seekers and
large families).
Free for children under 16, lowincome benefit recipients.
directions: metro line 1 and 13
«Champs-Elysées-Clemenceau»
or line 9 «Franklin D.Roosevelt.
publications by Réunion des
musées nationaux-Grand Palais,
Paris 2016 :
- exhibition catalogue, 24,5 x 29
cm, 328 pages.
- exhibition album, 24,5 x 29 cm,
48 pages, 10 €
press contacts :
Réunion des musées nationaux - Grand Palais
254-256 rue de Bercy
75577 Paris cedex 12
Florence Le Moing
[email protected]
+33 1 40 13 47 62
Julie Debout
[email protected]
@Presse_RmnGP
information et booking :
www.grandpalais.fr
#ExpoMexique
The towering presence of Frida Kahlo should not conceal a wealth of extraordinary artists such as Nahui Olin,
Rosa Rolanda or photographers like Tina Modotti and Lola Álvarez Bravo.
In parallel to the Mexican School of Painting and Sculpture in the 20s and 30s, the period was also marked
by a range of other experimental techniques. The triumph of Muralism and nationalist art tended to eclipse
Diego Rivera (1886-1957), Portrait of Adolfo Best Maugard, 1913, oil on canvas, México, INBA, Museo Nacional de Arte
Photo © Francisco Kochen, © 2016 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F / Adagp, Paris
The exhibition is supported by ENGIE and the Total Foundation.
press release
The bear
in prehistoric art
16 October 2016 – 30 January 2017
Musée d’Archéologie nationale Domaine national de Saint-Germain-en-Laye
This exhibition is organised by Réunion des
Musées Nationaux – Grand Palais and the Musée
d’Archéologie Nationale - Domaine National de
Saint-Germain-en-Laye
The ideas and beliefs of the hunter-gatherers of the Upper Palaeolithic era (roughly between
38,000 and 11,000 years ago) have left only fragile and fleeting traces. Nevertheless, the artists
who expressed themselves discreetly through small art objects or in more spectacular fashion
on the walls of caves offer us an extraordinary opportunity to understand the complexity of the
intellectual and spiritual life of their contemporaries, dozens of millennia ago.
By choosing to focus on the bear in prehistoric art, this exhibition sets out to allow the whole
family to discover the diversity and the incredible artistic qualities of Palaeolithic art, from
the bone and reindeer antler statuettes with carved stone inserts to the cave paintings. The
pieces on display are drawn from the collections of a number of museums and demonstrate the
extraordinary riches of this art. In an original fashion, the visit juxtaposes furniture design and
parietal works, in order to allow visitors the chance to appreciate both the similarities and the
huge divergences between these two forms of prehistoric art.
The exhibition also explores the relationships between bears, these impressive and fascinating
animals, and prehistoric man, who lived amongst them and hunted and feared them. Bears were
portrayed throughout the Upper Palaeolithic era, although the vast majority of representations
are from the Magdalenian period (between 19,000 and 11,000 years ago).
As with most animals in Palaeolithic art, representations of bears are not very realistic, but
based on the use and even the exaggeration of certain anatomical features. Bears can thus be
identified using criteria, ‘codes’ that visitors will learn to recognise.
Bears play a singular role in these works left to us by prehistoric man. Sometimes portrayed
with other animals and even humans, they are most often depicted amongst themselves. On
cave walls, they often need to be searched for and decrypted, as they are often discreet or
concealed.
Cut-out contour of the head of a bear, bone, cut-out and engraving, 3,3 x 2,3 x 0,3 cm, Grotte d’Isturitz, Saint-Martin-d’Arberoue, PyrénéesAtlantiques, fouilles René et Suzanne de Saint-Périer, 1928-1959, Magdalénien, entre -19 000 et -11 000 ans environ, musée d’Archéologie
nationale, Saint-Germain-En-Laye © Rmn-Grand Palais (musée d’Archéologie nationale) / Franck Raux
Based on the Palaeolithic era, the exhibition also includes more recent works from other
cultures that live with bears. From the Inuit statuette to the Native American totem pole, these
representations display echoes of their prehistoric forebears.
The visit also includes romantic images of the Cave Bear, an iconic animal from prehistory,
whose initial popularity in the 19th century continues to this day, in novels and comic strips as
well as in works for a scientific audience.
Pursuing a major scientific role in the field of prehistoric art since it opened in 1867, the Musée
d’Archéologie Nationale is committed to presenting current research on the subject, making
it accessible to the widest audience. The exhibition includes 3D animations that help visitors
to understand the most subtle representations, an immersive video environment presenting
parietal art, as well as an interactive game concerning the materials, techniques and styles of
art objects featuring bears.
.......................................
curators: Catherine Schwab, Chief Heritage Curator, Musée d’Archéologie Nationale,
Palaeolithic Collections, UMR 7041 ArScAn “Archaeology and Science from Antiquity”, and
Elena Man-Estier, Heritage Curator, Regional Archaeological Service, UMR 6566 CReAAH
“Centre for Research in Archaeology, Achaeoscience and History”.
.......................................
open : daily, except Tuesdays,
10 am – 5 pm
rates: € 4,50
directions: RER line A – station: SaintGermain-en-Laye opposite the Château
(20 mins from Charles de Gaulle/Étoile)
RATP bus 258
Autoroute A13, RN 190, RN 13, N186
information and booking on:
www.musee-archeologienationale.fr
www.grandpalais.fr
publication by the Réunion des
musées nationaux-Grand Palais,
Paris 2016 :
- exhibition album
20 x 23, 4 cm, 84 pages, € 18
contacts presse :
Réunion des musées nationaux Grand Palais
254-256 rue de Bercy
75 577 Paris cedex 12
Florence Le Moing
[email protected]
01 40 13 47 62
Svetlana Stojanovic
[email protected]
01 40 13 49 95
@Presse_RmnGP
#expoOurs
events under the nave 2016
press release
Inside the wardrobe of
the Empress Joséphine,
press contacts
the Château de Malmaison’s collection
of women’s costumes
7 December 2016 – 6 March 2017
Musée national des châteaux de Malmaison et
Bois-Préau
Biennale des antiquaires
10 – 18 septembre 2016
Claudine Colin Communication 01 42 72 60 01
Caroline Vaisson [email protected]
Alizée Brimont [email protected]
Elmgreen & Dragset
This exhibition has been organised by the Musée National
des Châteaux de Malmaison and Bois-Préau.
24 septembre 2016
Galerie Perrotin
Heloise Le Carvennec, Directrice de la communication [email protected]
FIAC
The exhibition brings together around fifty costumes and clothing accessories from the First Empire, which
are rarely displayed due to their extreme fragility.
This exceptional collection is the only one to include so many clothing items that belonged to the Empress
Joséphine and her daughter Hortense, in the very place where they lived.
Above all, it contains objects that were dispersed by time and political circumstances, then rediscovered and
acquired by collectors and enthusiasts. The result is a set of magnificent items and moving souvenirs that
interweave to tell us some of Joséphine Bonaparte’s story.
The Empress’s wardrobe often expresses her unusual tastes in fashion and her love of the innovations
created by the couturier Hippolyte Leroy, who understood her so well, in the same way that Rose Bertin
understood Marie-Antoinette. Behind the superficial glitter, visitors can explore her imperial elegance,
following the sometimes disjointed thread of the souvenirs of her life.
The exhibition itinerary begins in the Salle des Atours, the actual place where Joséphine’s clothes were kept.
It then explores a display of magnificent dresses and court gowns. Finally, her daytime dresses and their
accessories (shawls, shoes, etc.) are presented, as well as dresses from other wealthy families, similar to
those that Joséphine and Hortense might have worn.
.......................................
access : RER ligne A or Metro line 1,
Grande Arche de la Défense then bus 258,
«Le Château» stop.
Artlys publication:
- exhibition’s catalogue, 20 x 30 cm,
80 pages, 60 illustrations, €19
press contact:
Réunion des musées nationaux
- Grand Palais
254-256 rue de Bercy
75 577 Paris cedex 12
Florence Le Moing
[email protected]
01 40 13 47 62
Robe de cour attribuée à l’Imperatrice (détail) ; après restauration ; après 1810, broderie, fil d’argent, tulle ; Rueil-Malmaison,
musée national des châteaux de Malmaison et Bois-Préau © Rmn-Grand Palais (musée des châteaux de Malmaison et de BoisPréau) / Photo Adrien Didierjean
20 – 23 octobre 2016
Brunswick Arts [email protected]
Maud Le Guennec 01 53 96 83 26 - Amélie Cognard 01 43 93 83 28
Paris Photo
10 – 13 novembre 2016
Brunswick Arts [email protected]
Marina David/ Andre Azema 01 53 96 83 83
Le Grand Palais des Glaces
14 décembre 2016 – 2 janvier 2017
Groupe Ludéric 01 47 59 57 10
Véronique Blanchard [email protected]
Eric Demarq [email protected]