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The MET in Louvre

Dialogues of oriental antiquities

The Department of Oriental Antiquities hosts ten major works from the Department of Ancient Near Eastern Art of the Metropolitan Museum of Art (The Met) in New York, currently closed for comprehensive renovation work. The Louvre was thus able to design with the Met an unprecedented dialogue between these two collections which will take place within the permanent rooms of oriental antiquities.

Dated between the end of the 4th millennium BC and the 5th century AD, the Met’s works, exceptional guests, introduce remarkable correspondences with the collections of the Louvre, that is, together they form a pair brought together for the first time on this occasion, or that they complement each other due to the specificities linked to the history of each of the two collections. From Central Asia to Syria, often passing through Iran and Mesopotamia, these collection dialogues allow us to (re)discover these multi-millennial works and the stories to which they bear witness in a different way.

February 29, 2024 – September 28, 2025

MUSEE DU LOUVRE

AILE Richelieu et Aile Sully, niveau 0

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Henry Cros, sculptor and designer

The 19th century still has some great discoveries in store for us, the little-known figure of the painter, sculptor, ceramist and glassmaker Henry Cros is one of them. Thanks to the important collection of drawings by the artist, inventor of glass paste sculpture, the Museum of Decorative Arts is offering from March 6 to May 26, 2024, a monograph by this artist admired by Auguste Rodin and Antoine Bourdelle, friend by Paul Verlaine and Édouard Manet. Was he romantic, neo-classical, or symbolist? This is one of the questions posed by the exhibition “Henry Cros, 1840-1907, sculptor and designer”, through more than a hundred works bringing together sculptures, paintings and drawings, from the museum’s collections, alongside some exceptional loans. The artist’s major themes are presented: touching portraits of children, figures from a dreamed Antiquity and fairy tales. The artist’s technical mastery is illustrated by more than fifty drawings and around thirty sculptures in glass, wax, terracotta, bronze and marble. This project allows us to discover the work of Henry Cros, of whom Bourdelle said that he brings together “all of Antiquity in a new soul”.

Henry is the brother of the famous inventor and poet Charles Cros and the doctor Antoine Cros. This famous trio participates in the literary and artistic modernity of the 1860s-1870s. The exhibition addresses the various personalities of the artistic and literary worlds around which the three brothers revolve with portraits drawn by Henry Cros: that – rare – of a young Paul Verlaine autographed, of the caricaturist André Gill, of the publisher of the Parnassien poets Alphonse Lemerre , the actor Coquelin junior and of course the legendary figure of the free and scandalous salonnière Nina de Vilars de Callias, the lover of his brother Charles. Antoine’s collection of poems, illustrated with a print by Henry in 1882, evokes the other brother, a doctor by profession, who also runs a political-literary salon.

The dual practice of painter and sculptor and the contemporary rediscovery of ancient polychrome plastic guide Cros on the path of color sculpture. His monochrome projects remained numerous until 1880, the exhibition presents some in terracotta, marble and bronze including the moving Portrait of a little boy dated 1875. Among the works presented, we discover the vase cast by Hébrard d ‘after the model of the glass vase from the Museum of Decorative Arts. Numerous drawings and sketches for portraits or original photographs are highlighted, such as the preparatory drawing for the bust of Nina de Vilars.

The exhibition unveils a large encaustic painting, Urania (1882), muse of astronomy, an important state commission demonstrating the culmination of Cros’s research. The ancient encaustic paint then used for coloring marbles is one of the sources of his research. His modern portraits, inspired by those modeled during the Renaissance, which marked his contemporaries, remain of rare originality and psychological presence. The portrait of his young wife or that of the astonishing Shah of Persia, Nasse el Din, are examples of this. His compositions close to the poetic universe of the first Renaissance correspond to the great successes of the artist’s beginnings. The exhibition highlights five of them, including La Promenade du Salon of 1874, where we observe the contrast between the precise delicacy of the figures and the freedom of the backgrounds with impressionist touches, whose photographic focus is outstanding.

At the crossroads of his two technical periods, between waxes and glass pastes, Henry Cros creates a few polychrome terracotta busts with colored clays (engobes). He gives life and presence to these young figures, like the gypsy woman from the Pyrenees in the Cité de la Ceramique museum in Sèvres. An example far from his parallel research on the archetypal image of a feminine ideal.

“Glass paste” is the name given by Henry Cros to a new technique of molding polychrome glass powders, which allows him to create colored sculptures and opens a new path in the creation of modern glass. He devoted the last twenty years of his life to this medium, and produced the most significant works of his artistic career. A large part of the exhibition is dedicated to him, with the remarkable watercolor projects, but also the masks, medallions and bas-reliefs, which retrace this period.

The exhibition highlights the two large watercolor projects and the version cast in bronze by Hébrard, as well as the rare glass vase produced by the hand of Henry Cros. Among the works in glass paste, the medallion portrait of young François Coppée, The Nymph Galatea, the mask La Flamme from the Universal Exhibition of 1900 or the cup Le Silence, illustrate the great richness and diversity of the themes addressed by the ‘artist.

This monograph demonstrates the mark left by this unique artist, celebrating a man whose daring creativity and innovative and poetic research have undoubtedly marked the history of 19th century art and particularly a certain history of modern glass.

March 6 – May 26, 2024

MAD

107 rue de Rivoli 75001 Paris

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Revoir Van Eyck

La Vierge du chancelier Rolin

To share with the public the event represented by this historic restoration (the work had never been restored since its entry into the Louvre in 1800), the museum decided to devote the first of the exhibitions – files to be held in the room de la Chapelle since 2014 to Jan Van Eyck’s masterpiece: Chancellor Rolin in prayer before the Virgin and Child, also known as The Virgin of Chancellor Rolin. The restoration, which notably made it possible to lighten the layers of oxidized varnish which darkened the painting, offers a spectacular rediscovery of the painting.

This operation is part of the current momentum of study of the works of Van Eyck, first launched by the restoration of the altarpiece of the Mystic Lamb in Ghent. For almost ten years, in fact, these international and interdisciplinary dialogues have strongly renewed the questions of specialists. In turn, the Louvre intends to show the public how the studies carried out at the Center for Research and Restoration of the Museums of France and the restoration itself question what we thought we knew about this work, long called The Virgin of Authun.

This major painting of Western art, today surprisingly little known, may seem difficult to understand. This is why the exhibition will be guided by questions, which are all stages of looking at the painting: for what use(s) did Van Eyck design this very special work, intention of Chancellor Nicolas Rolin? Why did he paint in the background a landscape so miniaturized that it is almost invisible? How can we understand the two little characters in the garden? What dialogues does the work maintain with both the art of illumination and sculpted funerary bas-reliefs? Can we know how 15th century artists understood this work? In a sense, the Rolin Virgin crystallizes the tensions that ran through Flemish art in the first third of the 15th century, between medieval tradition and revolutionary experimentation.

The exploration of The Virgin of Chancellor Rolin is enriched by its comparison with other works by Van Eyck, but also by Roger Van der Weyden, Robert Campin and the great illuminators of the time. Around sixty painted panels, manuscripts, drawings, sculpted bas-reliefs and goldworked objects will be exceptionally brought together, thanks to the support of numerous museums and institutions in France and abroad such as the Städel Museum in Frankfurt (which is lending the Virgin of Lucca), the Gemäldegalerie in Berlin, the Royal Library in Brussels, the Morgan Library and Museum in New York and the Museum of Fine Arts in Philadelphia.

March 20 – June 17, 2024

MUSEE DU LOUVRE

Aile Sully, 1er étage, Salle de la Chapelle

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The arts in France under Charles VII

The Cluny museum highlights a pivotal moment in history and art history, that of the reign of Charles VII (1422-1461). Driven out of Paris, taking refuge in Bourges, the dauphin Charles succeeded in reconquering his throne, then his kingdom occupied by the English.

From the 1420s, during the Hundred Years’ War, the Kingdom of France experienced profound political and artistic changes. In the north of the kingdom, occupied by the English and the Burgundians, multiple artistic centers emerged. When the dauphin Charles manages to reconquer his throne, thanks in particular to Joan of Arc, and then his kingdom, the conditions for a renewal are met. Major sponsors, like Jacques Cœur, are calling on a new generation of artists. The latter converted to Flemish realism, described as ars nova, in full swing notably with Jan van Eyck, while through Italian influence, they imbued themselves with the ancient heritage developed by artists like Filippo Brunelleschi,

Donatello or Giovanni Bellini. Artistic creation gradually broke with international Gothic and turned towards a new vision of reality, the beginnings of the Renaissance. After a first part of historical contextualization, the exhibition shows the diversity of the arts in the main geographical centers, often associated with great figures of
sponsors. In a third and final section, the route allows an analysis of the specificities of this art in France, between Burgundian and Flemish ars nova, and Italian innovations. An essential chapter is devoted to Provence and the role of René d’Anjou, sponsor and introducer of northern art, evoking, among others, the figure of the artist Barthélemy d’Eyck.

Throughout the visit, the exhibition demonstrates the diversity of artistic production during the reign of Charles VII. It brings together prestigious illuminated manuscripts, paintings, sculptures, pieces of goldwork, stained glass and tapestries. Exceptional works appear there, such as the canopy of Charles VII (Louvre Museum), the manuscript of the Grandes Heures de Rohan (Bibliothèque nationale de France) or the painting of the Annunciation of Aix (Aix-en-Provence) by Barthélémy d’Eyck, painter
of Duke René of Anjou who illuminates his Book of Tournaments (National Library of France). For the first time, the Parisian triptych of the Passion and Resurrection of Christ by André d’Ypres is reconstructed in its entirety (Louvre Museum, Getty Museum, Fabre Museum). Finally, an entire section is devoted to Jean Fouquet, one of the greatest French painters of the 15th century. A brilliant illuminator, he is the author of the famous portrait painted on wood of Charles VII (Musée du
Louvre), presented prominently in the exhibition.

March 12 – June 16, 2024

MUSEE CLUNY

28 rue du Sommerard 75005 Paris

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Tina Modotti

The eye of the revolution

The life of Tina Modotti (Udine, Italy, 1896 – Mexico, 1942) was marked by some of the most important historical events of the first half of the 20th century: the economic emigration of Europeans to America, the birth silent cinema on the west coast of the United States, the post-revolutionary agrarian movements in Mexico, the rise of political muralism, the claim of indigenous Mexican culture, the emancipation of women in the public sphere, the opposition between Stalinists and Trotskyists after the Russian Revolution of 1917 and the Spanish Civil War.

She is part of a generation of women who made a major contribution to photography in the 1920s and had a great influence on later Mexican photography, from Manuel Álvarez Bravo to Graciela Iturbide. Modotti was introduced to the practice of photography thanks to Edward Weston; However, his work, which develops a very personal vision, goes beyond the formalist teaching of the latter.

After her economic emigration from the Italian city of Udine to San Francisco and Los Angeles, Modotti left for Mexico, where she participated in the “Mexican renaissance” and the post-revolutionary cultural effervescence. Integrated into the circle of artists and muralists established there, she quickly combined “embodied photography” with Weston’s formalism. An activist in the Mexican Communist Party (PCM) since 1927, she denounced the condition of the poor with her camera, insisting in particular on the construction of a new imagination around Mexican women.

In 1930, Modotti was expelled from Mexico because of her communist commitment. She then lived for several years in the Soviet Union, where her photographic activism transformed into activism. In the mid-1930s, the Soviet Communist Party sent him to Spain. During the civil war, she organized the evacuation of “children of war”, coordinated the management of military hospitals and carried out missions relating to propaganda. Following the defeat of the Republicans in 1939, she crossed the Pyrenees alongside thousands of exiles. Exhausted and disillusioned by the outcome of the Spanish Civil War, she had to leave Europe again. She died in 1942 in Mexico City.

February 13 – May 12, 2024

JEU DE PAUME

Jardin des Tuileries

1 place de la Concorde 75001 Paris

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In the Seine

Objects found from prehistory to the present day

In 2020, in Clichy-la-Garenne (Paris suburbs), a team of prehistorians from Inrap (National Institute for Preventive Archaeological Research) is carrying out a preventive excavation on a plot close to the banks, affected by a real estate program. Under four meters of modern embankments, they discover the history of the ancient bed of the Seine, dated between −85,000 and −25,000 years before our era (Paleolithic). During this period, the river bed is very wide and dotted with sandy banks. The banks are gently sloping and the sand islands allow animals and human groups to cross it in places. The climate is cold and windy, and the landscape, dominated by a steppe of tall grasses, grasses and a few rare shrubs, is roamed by large mammals: reindeer, horses, bison and woolly rhinoceroses.

The river which has shaped Paris from the first human settlements to the present day has received numerous objects that have fallen, thrown away, lost, or moved by the currents. They all bear witness to the history of the Seine, its evolution, its developments and its landscapes, but also its successive populations, their lifestyles, their beliefs or their struggles. Presented chronologically, these discoveries are also an opportunity to explain the scientific methods used in the interpretation and dating of archaeological remains and objects.

The exhibition is structured around four chronological periods and several themes chosen from archaeological discoveries linked to the Seine. Firstly, there are human settlements from prehistoric times, on the banks of the river, then in Antiquity, the time of its first developments. The medieval and modern periods reveal weapons, ex-votos and waste, while the Seine today still provides us with chance finds, such as pieces of bridges. These objects bear witness to the stories of men and women who built their daily lives with the Seine, whether Neanderthal hunters or the pious and superstitious Parisian people.

January 31, 2024 – February 1st, 2025

CRYPTE ARCHEOLOGIQUE DE L’ILE DE LA CITE

7 place Jean Paul II 75004 Paris

01 55 42 50 10

Tuesday to Sunday from 10 a.m. to 6 p.m.

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Iris Van Herpen

Sculpting the Senses

Iris van Herpen holds a resolutely special place in the history of fashion. The field of his research and experiments aims to unravel the mysteries of the human body. Dynamic tension, fluidity, finesse and complexity, but also poetry and philosophy, the main conversations she establishes between body and clothing allow her to transmit a new, rich and enthusiastic look at our world in the making. A world where body, mind and soul interact in an invisible way, more and more intensely.

His creations shake up the codes of clothing and are so many openings towards worlds a priori disconnected from his discipline. His insatiable curiosity leads him to explore distant areas. It draws as much from contemporary art as from architecture, from the life sciences as from the history of the arts, from alchemy as from mysticism. She handles artisanal techniques as well as cutting-edge technologies with precision and expertise. His meetings and collaborations with creators from the past as well as the present are as many forays into unknown territories, permanent questions, incomparable heights to shake up the order of things and the foundations of fashion. The living world, but also classical and contemporary dance, which she practices from a very young age, are the founding elements of her relationship with the body and clothing.

Fascinée par l’eau, […] elle y puise un univers infini d’intuitions. Et, comme l’écrit Gaston Bachelard, « l’eau est aussi un type de destin, non plus seulement le vain destin des images fuyantes, le vain destin d’un rêve qui ne s’achève pas, mais un destin essentiel qui métamorphose sans cesse la substance de l’être. ». Et c’est ce rapport étroit à l’eau, ses multiples états, ses facultés à se métamorphoser qui permet à Iris van Herpen de transposer la philosophie de cet élément à celle de ses créations. De la minuscule goutte de pluie tombée de la troposphère à l’immensité de l’océan, elle approfondit les jeux d’échelle et pratique des grands écarts permanents entre l’infiniment petit et l’infiniment grand, entre le passé et le présent, entre aujourd’hui et demain, entre un monde en souffrance et un autre en devenir. Elle compose autour des corps physique, mental, émotionnel et éthérique, cherchant à déclencher, par le vêtement, un dialogue entre le corps et les sens. Ses robes sont une invitation à pénétrer dans une société en pleine métamorphose, à vivre des expériences sensorielles et extrasensorielles.

A multi-talented designer, she creates much more than just dresses with her hands and machines. She questions with philosophy, poetry but also commitment, a modern sphere caught up in its paradoxes, stifled by climatic and societal crises. Its collections, each season, through sensitive and enlightened collaborations, with architects, contemporary artists, designers question singular themes: water, air, weightlessness, the skeleton, crystallization, metamorphosis , hybridization, hypnosis, the soul, synesthesia, lucid dreaming, rebirth… By pushing back with energy and determination the limits of classical and traditional ways of thinking and seeing, she examines the potential of the imagination to transform the perception of the world, a world that she wishes to re-enchant.

the exhibition questions the place of the body in space, its relationship to clothing and its environment, its future in a rapidly changing world. A selection of more than 100 haute couture pieces created by Iris van Herpen interact with works of contemporary art and pieces from natural sciences such as corals or fossils creating a unique resonance with historical pieces.

The skeleton theme is inaugurated by the Skeleton dress, echoing the hybrid skeleton of a work by Japanese artist Heishiro Ishino. The place of the body is also evoked at the heart of organic and architectural networks represented by a dress, a metaphor for a Gothic cathedral, but also by Ferruccio Laviani’s Gothic cabinet or by a documentary by Yann Arthus-Bertrand and Michael Pitiot Terra, committed to the defense of life and the interconnections of its ecosystems. Then, the visitor is invited to leave the physical dimension of the body to explore the sensory world, including photographs by Tim Walker, a work by Matthew Harrison or a spectacular projection of Renaissance Dreams by the artist Refik Anadol. Finally, the darkness of mythology around the theme of the jellyfish dialogues with works by Kate McGwire, EcoLogicStudio, Damien Hirst and even Samurai armor. An installation by Casey Curran offers a reflection on the place and physical and spiritual future of human beings.

Celebrating his unique approach, this retrospective, which is structured around nine themes, identifies the very essence of his work fusing fashion, contemporary art, design and science. The theme of water and the origins of life, omnipresent in the designer’s work, inaugurates the journey. Her latest collection Carte Blanche, highlighted in this space in dialogue with the work Origins by David Spriggs, literally invites the visitor to immerse themselves in the designer’s aquatic world.

Water is also addressed on the scale of the immensity of the ocean with the wave of the Collectif Mé. A space reveals natural environments invisible to the naked eye already revealed in the 19th century by the boards of Ernst Haeckel or by the exceptional glass models of Léopold and Rudolf Blaschka. Works by Ren Ri and Tomáš Libertíny, composed by bees, contrast with the fragility of those made of paper by Rogan Brown.

Iris van Herpen’s dresses today reinvent the “way of inhabiting” a piece of clothing. Its textiles become innovative, hybrid, results of 3D printing and laser cutting or even connected textiles. By generating these new materials and using these revolutionary textures, Iris van Herpen defines, in the manner of builders, microarchitectures, but, unlike them, microarchitectures in movement. Her dresses come to life from the first action of the body in space, in a ballet of textures and materials, frictions and sliding, colors and transparencies. Movement against movement, the second skin that she places on the surface engages microdances that trigger spaces for breathing, spaces for meditation, and reflection. Intimate dialogues between the private body and the public body, the works of Iris van Herpen question this infinite and yet infra-thin space between the body and clothing, this invisible border, which plays on the surface of the epidermis and which allows development The senses.

These fertile discussions around architecture are so many pollinations that make the designer the first to show, in 2010, a 3D printed look. His exchanges with artists like David Altmejd also lead him to think about the body as fiction. Dressed in a concept as much as in clothing, the bodies dressed in the works of Iris van Herpen weave close links with the past to bring out mythological reminiscences or even fantastical stories. By collaborating with Anthony Howe, she propels the being into an imaginary future where the clothing itself would be in movement, a kinetic clothing dialoguing with the complexity of human anatomy, the beauty and diversity of its environment.

The exhibition ends with a presentation of the works of Iris van Herpen as if projected into the immensity of the cosmos. Her dresses are presented in a dance of the sky, bodies floating in space and time. The photographic works of artist Kim Keever, as well as shots of nebulae, call us to elevate ourselves to feel the world in a more holistic way. Three spaces complete the tour: an evocation of Iris van Herpen’s workshop, a cabinet of curiosities presenting her accessories (shoes, masks and elements of hairstyles) alongside elements of natural sciences and videos and a room allowing to give space to the living and moving body through videos of the designer’s fashion shows. The exhibition is accompanied by a sound composition created by Salvador Breed. It challenges the senses and further immerses the visitor in this journey around the body and themes dear to the designer.

November 29, 2023 – April 28, 2024

MAD

107 rue de Rivoli 75001 Paris

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Bijoy Jain / Studio Mumbai

The breath of the architect

The Cartier Foundation presents an exhibition specially created for the institution by architect Bijoy Jain, founder of Studio Mumbai in India. He is the author of a work testifying to a deep concern for the relationship between man and nature, and of which time and gesture are essential factors. Exploring the links between art, architecture and materials, Bijoy Jain offers the Cartier Foundation a total creation: a space of reverie and contemplation in dialogue with Jean Nouvel’s iconic building.

Bijoy Jain imagines an exhibition that is experienced as a physical and emotional experience. The architect’s breath offers visitors a true invitation to breathe, to wander in complete peace, to rediscover silence: “Silence has a sound, we hear it resonate within us. This sound connects all living beings. C is the breath of life. It is synchronous in each of us. Silence, time and space are eternal, just like water, air and light, which are our elemental construction. This abundance of sensory phenomena, dreams, memory, imagination, emotions and intuition come from this reservoir of experiences, anchored in the corners of our eyes, in the soles of our feet, in the lobes of our ears, in the timbre of our voice, in the murmur of our breath and in the palms of our hands.”

Summoning shadow and light, lightness and gravity, wood, brick, earth, stone and even water, the architect designs a sensory journey, in resonance with the material. Developed to the rhythm of the breath and shaped by hand, the exhibition displays an installation composed of fragments of architecture.

Sculptures in stone or terracotta, facades of vernacular Indian habitats, coated panels, lines of pigments traced with wire, bamboo structures inspired by tazias – funerary monuments carried on the shoulders in memory of a saint during Shiite Muslim processions – these transitory and ephemeral constructions present a world that is both infinite and intimate and transport us to places as close as they are distant.

At the suggestion of Hervé Chandès, curator of the exhibition and artistic general director of the Cartier Foundation, Bijoy Jain also invites the Chinese artist living in Beijing HU Liu and the Danish ceramist of Turkish origin living in Paris Alev Ebüzziya Siesbye. Granting the same importance to the ritual mastery of the gesture, to the resonance and dialogue with the material, all three share the same ethos and the same sensitivity. HU Liu’s black monochrome drawings are entirely made in graphite, through the iteration of the same movement, in order to reveal the essence of natural elements: the grass caressed by the wind, the surf of the waves or the silhouette of the branches of a tree. Alev Ebüzziya Siesbye’s ceramics, as if weightless, are also the result of great dexterity and an intense dialogue with the earth.

For Bijoy Jain, the physical world we inhabit is a palimpsest of our cultural evolution. Humanity crosses a constantly evolving landscape, whose successive writings intertwine.

The architect’s breath attempts to give a glimpse, however fleeting, of the sensoriality that emanates from architecture, of the intuitive force that binds us to the elements and of our emotional relationship to space.

December 9, 2023 – April 21, 2024

FONDATION CARTIER

261 boulevard Raspail 75014 Paris

01 42 18 56 50

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Chana Orloff

The Zadkine museum presents the first monographic Parisian exhibition dedicated to Chana Orloff, since 1971. Bringing together around a hundred works, it invites us to (re)discover an artist remarkably celebrated during her lifetime but unjustly unknown today, whose work is yet well represented in French and international collections, particularly in Israel.

The Zadkine museum, located a stone’s throw from the artist’s studio on rue d’Assas at the start of his career, seems ideally suited to pay him this tribute: the sculptures of Chana Orloff occasionally interact with those of the master of the place, the sculptor Ossip Zadkine, who knew the artist whose exact contemporary he was. Their backgrounds also have many similarities: they are both of Jewish origin and born in the Russian Empire, she in what is now Ukraine and he in what is now Belarus. Parisians at heart, familiar with the Montparnasse district, Chana Orloff and Ossip Zadkine have led a parallel and independent route.

The exhibition reveals a strong and free female figure, whose emblematic work of the School of Paris marked her era. It highlights the major themes dear to Chana Orloff: the portrait through which the artist became known and acquired her economic independence, but also the representation of the female body and motherhood – classic themes of Western sculpture. Nothing predestined Chana Orloff, born in 1888 in what is now Ukraine, to become one of the most renowned sculptors of the School of Paris. Raised in a Jewish family that emigrated to Palestine, the young woman arrived in Paris in 1910 to obtain a sewing diploma. But, in a bustling capital, Chana Orloff discovered a vocation for sculpture. Through contact with the artists of Montparnasse, many of whom, such as Modigliani or Soutine, became his friends, Chana Orloff forged a personal and inimitable style. It is above all his portraits, both stylized and similar, which ensure his success: with them, the artist intends to “make the era”.

Chana Orloff’s success in the interwar period was impressive: she exhibited in France and abroad and, in 1926, she obtained French nationality after receiving the Legion of Honor the previous year. The same year, she had a custom house-workshop built by architect Auguste Perret, near Montsouris park in the 14th arrondissement of Paris, which can still be visited today. Proof of her reputation, Chana Orloff is one of the rare sculptors to take part in the major exhibition of Masters of Independent Art organized at the Petit Palais in Paris in 1937.

However, the Second World War abruptly interrupted its success. Persecuted because of her Jewish origins, Chana Orloff narrowly escaped the Vel d’hiv roundup with her son and managed to flee to Switzerland. Returning from exile in 1945, she discovered her house-workshop ransacked. However, she returned to sculpture and shared her life between France and Israel where she created several monuments, such as the moving Ein Gev Motherhood, a full-scale model of which is presented in the exhibition. She died in 1968, a year after Zadkine.

November 15, 2023 – March 31, 2024

MUSEE ZADKINE

100 bis rue d’Assas 75006 Paris

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Cheri Samba

in the Jean Pigozzi Collection

Chéri Samba – born in 1956 in Congo – is undoubtedly the most famous African painter of his generation. Ambassador of “popular painting” of Kinshasa, he has largely contributed to making this informal movement known with his figurative paintings in frank colors which challenge, denounce, caricature and provoke, most often with humor, in a style which is anything but naive .

This exhibition at the Maillol Museum is the first retrospective of the painter’s work, covering 40 years of creation. With more than 50 paintings, she presents a journey through several “Sambaian” themes: the self-portrait as a central element of her painting, the Congo and Africa, geopolitics and the environment, the history of art and finally women, theme with which an unprecedented dialogue with the work of Maillol appears in the museum.

All of the works brought together for the occasion come from the Jean Pigozzi collection, the most important collection of contemporary African art in the world, which has contributed for more than thirty years to the recognition of sub-Saharan African artists on the scene. international.

October 17, 2023 – April 7, 2024

MUSEE MAILLOL

59-61 rue de Grenelle 75007 Paris

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Fashion and Sport

from one podium to another

In the run-up to the 2024 Olympic Games, the Paris Museum of Decorative Arts presents an exhibition that explores the fascinating links between fashion and sport, from Antiquity to the present day. This large-scale project reveals how two seemingly distant universes share the same social issues, around the body.

450 pieces of clothing and accessories, photographs, sketches, magazines, posters, paintings, sculptures and videos highlight the evolution of sports clothing and its influence on contemporary fashion. Jean Patou, Jeanne Lanvin, Gabrielle Chanel, Elsa Schiaparelli are among the pioneers who, during the interwar period, took an interest in the sporting world and transcribed it in their haute couture creations.

The exhibition also shows how sportswear has made it possible to divert sports clothing from its specific use to integrate it into the daily wardrobe. The question of comfort, the common thread of the exhibition, allows us to understand the reasons why jogging and sneakers have become fashion essentials, both for everyday life and for haute couture, from Balenciaga to Off-White.

September 20, 2023 – April 7, 2024

MAD

107 rue de Rivoli 75001 Paris