The Salon Les Nouveaux Ensembliers, organized by Manufactures nationales – Sèvres & Mobilier national, is in keeping with the spirit of the 1925 International Exhibition of Decorative Arts, which celebrated Art Deco and the alliance of luxury and functionality. Like the Ensembliers of the time, this first edition highlights a new generation of architect-decorators, invited to rethink spaces with an interior designer approach, combining aesthetics, contemporary uses and sustainability.
Under the theme “The Embassy of Tomorrow,” the ten selected interior designers—Atelier Craft, dash&zephir, Emilieu, Estudio Rain, Marion Mailaender Studio, Mathilde Bretillot, OUD, Paul Bonlarron, Pierre Marie Studio, and Sophie Dries—were given carte blanche. Their proposals reinterpret iconic spaces—domestic, reception, or diplomatic—by showcasing French expertise, eco-responsibility, and innovation. The show thus presents projects that strike a balance between tradition and modernity, while affirming the excellence of design and interior architecture as a reflection of French culture.
“For 40 years, I’ve been opening the same lock at 95 rue de Seine, and I admit that as soon as I walk through the door, I’m overwhelmed by immense joy. I love this place dearly. I’ve shaped it over time in my own way, influenced by all the people I’ve met, the people I love and admire. I do my job like a director. Every month, I showcase different artists of all nationalities and styles, paying little attention to successive trends or the “expectations” of the art market. A beautiful story mixing enthusiasm and despair, which makes me ask myself the same question every day: ‘Do I stop or do I continue?’ But the artists and people who trust me always win; they give me the strength to continue. I’m happy to celebrate this anniversary with you, and I invite you to discover the artists who have been with me all these years.”
In 1901, Berthe Weill opened a gallery at 25 rue Victor-Massé, in the Pigalle district. She chose to engage with the artists of her time, contributing to their discovery and subsequent growth, despite limited resources. Among them were some of the greatest names in the avant-garde, as well as others less prominent today. With unfailing enthusiasm and perseverance, she was their voice and supported them for nearly forty years until the closure of her gallery in 1940, in the context of the war and the persecution of the Jews. As early as 1933, she had published her memories of three decades of activity under the title “Pan! Dans l’œil…”, a pioneer in this literary genre.
Yet, the trajectory of Berthe Weill, once almost erased, is not yet inscribed in the firmament of art dealers, which includes Daniel-Henry Kahnweiler, Paul and Léonce Rosenberg, Ambroise Vollard and Paul Guillaume. The exhibition, organized by the Grey Art Museum in New York, the Montreal Museum of Fine Arts and the Musée de l’Orangerie in Paris, aims to highlight a still little-known aspect of the history of modern art.
Berthe Weill has been committed to supporting artists since the beginning of the century, under the motto “Make Way for Young People,” which appears on her advertising card. From Picasso—whose work she helped sell before her gallery even opened—to Modigliani—whose only solo exhibition she organized during his lifetime in 1917—she contributed to the recognition of Fauvism by regularly presenting exhibitions by Gustave Moreau’s group of students who had gathered around Matisse. A little later, she became involved with the Cubists and artists of the École de Paris in battles for art, for the emergence of its new forms, but also against conservatism and xenophobia. Despite the vicissitudes, her interest in young artists never wavered, and thus she fiercely defended very different figures, some of whom did not belong to any specific movement, and gave them a chance by organizing one or more exhibitions. She also promoted a number of women artists, regardless of gender or school, from Émilie Charmy, whom she exhibited regularly from 1905 to 1933 and whom she described as a “lifelong friend,” to Jacqueline Marval, Hermine David, and Suzanne Valadon, then highly prominent.
By 1951, when she passed away, she had presented more than 300 artists at her gallery’s four successive locations: 25 rue Victor-Massé; 50 rue Taitbout from 1917; 46 rue Laffitte from 1920 to 1934; and finally 27 rue Saint-Dominique. She organized hundreds of exhibitions until her gallery closed permanently in 1940.
The exhibition invites visitors to discover the dealer’s career and personality through her contribution to the advent of some of the moments that art history has retained. It also traces the life of a gallery in the first half of the 20th century in its continuity and its twists and turns. Around a hundred works, paintings, sculptures, drawings, prints and jewelry, evoke the exhibitions that Berthe Weill organized and the historical context in which they took place. The works of Pablo Picasso, Henri Matisse, Diego Rivera, and Amedeo Modigliani will thus be displayed alongside those of Emilie Charmy, Pierre Girieud, and Otto Freundlich, forming the portrait of a woman and her actions.
October 8, 2025 – January 26, 2026
MUSEE de L’ORANGERIE
Jardin des Tuileries, Place de la Concorde (côté Seine) 75001 Paris
David is a monument. “Father of the French School,” “regenerator of painting,” he created images that still haunt our collective imagination today: Marat assassinated, Bonaparte crossing the Alps, the Coronation of Napoleon… It is through the filter of his paintings that we imagine the great hours of the Revolution and the Napoleonic Empire, and in his portraits that the society of that time is relived.
On the occasion of the bicentenary of his death in exile in Brussels in 1825, the Louvre, which houses the world’s largest collection of the artist’s paintings and drawings, offers a new perspective on a personality and work of exceptional richness and diversity. The exhibition highlights the inventiveness and expressive power of the painting of an artist who created images that still inhabit our collective imagination today.
The exhibition, which covers the long career of an artist who lived through six political regimes and actively participated in the Revolution, brings together around a hundred exceptional loans, including the imposing fragment of the Oath of the Tennis Court (on loan from the Louvre Museum to the Palace of Versailles) and the original version of the famous Marat Assassinated (Royal Museums of Fine Arts of Belgium, Brussels), the height of his art.
https://www.germanopratines.fr/wp-content/uploads/2025/10/DAVID-Exposition-Musee-du-Louvre-1.jpg14841125Hélènehttps://www.germanopratines.fr/wp-content/uploads/2019/12/logo-germanopratines-3-1030x221.pngHélène2025-10-12 18:23:492025-10-12 18:29:40Jacques-Louis David
We’ve been waiting for the Barbarians for four decades, like we’ve been waiting for Godot. Among them is Mattia Bonetti, who became One after sharing the stage with two. With all its paradoxes and oxymorons united and embraced, in complete exclusivity, Mattia Bonetti’s work has always been unclassifiable, and that’s what makes it so original. The whimsy of a poet, blended with the rigour of a designer, cannot be tucked away in a dresser drawer with a filing cabinet. A cabinetmaker, received as if in an armchair, illuminate
A cabinetmaker, received as if in an armchair, illuminated with powerful reflections in a mirror, Mattia Bonetti is no Narcissus. His masks are proof. A delicate brutalist, a lyrical barbarian, a velvety primitive, a telluric ‘Satyricon’, whether he’s working bronze, beating iron or forging it, sculpting wood or sanding it, the man brilliantly breaks down a table of contents reminiscent of myths and legendary ornaments. Between manifest pieces and gold leaf, between inspired gestures and adorable laconicism, here is a new play in sixteen previously unseen acts crafted by the elite of art’s artisans.
This new collection by Ronan Bouroullec extends his exploration of light—its way of inhabiting matter, lifting it, anchoring it, and giving it form. Slender structures, suspended in space and punctuated by glass halos, stand halfway between drawing and sculpture. A tension thus arises between fragility and rigor, lightness and structure. It is a collection of lights—a more appropriate word than lamps or luminaires, technical and almost trivial. Each of them is composed of two elements of fine blown glass: a white opaline globe, diffusing the light, encased in a transparent, gray, or amber corolla, which, depending on the viewing angle, filters or reflects it. They are most often connected to other identical elements by black or gray anodized solid aluminum rods—the design, assembly details, and edge tension are of an almost watchmaking precision—to form sets of 3, 4, 9, 15, or 20 lights, arranged in vertical lines, circles, or grids.
La sphère lumineuse insérée au centre d’une corolle de verre, de métal ou de perspex est l’un des fondamentaux du vocabulaire formel des designers’ lights, de Fontana Arte à BBPR ou Gino Sarfatti ou même Pascal Mourgue. Mais ce n’est pas tant à l’histoire du design que renvoient les pièces présentées ici par Ronan Bouroullec qu’à celle de l’art minimal. On peut lire cette référence dans le répertoire des matériaux – le métal anodisé qui évoque les Progressions ou les Stacks de Donald Judd-, des formes -on pense au disque Untitled (1968) du Moma de Robert Irwin, ou des effets -le halo des néons de Dan Flavin. Mais elle est plus présente encore dans l’importance des enjeux de perception et de relation à l’espace ici mis en jeu. Fondée sur un système de combinatoires et de répétitions -caractéristiques du minimalisme tant en sculpture qu’en musique- la composition des lumières de Ronan Bouroullec se développe de manière potentiellement infinie. Leur dimension est déterminée par l’espace dans lequel elles s’inscrivent, et dont elles viennent modifier la perception. Elles jouent sur les différents états simultanés de la lumière : diffusée, filtrée, réfléchie, projetée. La perception en est double, selon que la source de lumière est dirigée vers le mur- flottement, mystère- ou vers le spectateur – cercles, auras. Pour citer Robert Irwin : « la question n’est pas de faire des objets… ce qui nous occupe, c’est notre état de conscience et la forme de nos perceptions ».
Ronan Bouroullec’s work on light has been marked from the beginning by a form of tension between two opposing poles. That of abstraction (Luce Orizzontale and Luce Verticale in 2020, Luce Sferica in 2025) and that of the evocation of an image (notably at work in the series Bells, in 2005, then Conques et Lianes in 2010, or Chaînes, in 2016, highlights of his long-term collaboration with Galerie kreo). A form of oscillation between the priority given on the one hand to the issues of form and on the other to those of perception. This new proposal is resolutely on the abstract side, the phenomenological side. “What you see is what you see,” according to the phrase with which Franck Stella established the very essence of minimalism.
Minimalism. The term is tricky to use, as the clichés of contemporary design have burdened it with connotations of simplism, boredom, and laziness. If Ronan Bouroullec reclaims it, it is to reinvigorate it with the exact opposite qualities: delicacy, subtlety, sensitivity, and confusion.
He restores to it a spirit whose principles Pascal evoked thus: “We barely see them, we feel them rather than see them, we have infinite difficulty making them felt by those who do not feel them themselves. These are things so delicate, and so numerous, that it takes a very delicate and clear sense to sense them.” This spirit has a name: the spirit of finesse.
The gallery’s third exhibition dedicated to Duchamp, this presentation, combining ready-mades, drawings, sound recordings, editions and rarely shown pieces, is part of a broader current trend, echoing the major retrospectives planned for 2026–2027 at MoMA, the Philadelphia Museum of Art and the Centre Pompidou – Grand Palais.
It features several central pieces from Duchamp’s constellation: the Kodak Box from 1914, the Green Box, the Suitcase Box, all fragments that condense, displace, and recompose. A few essential pieces mark the exhibition—Le Peigne, Air de Paris, three different versions of L.H.O.O.Q.—as well as a rare collection of works on paper: the first sketch for the Tamis du Grand Verre, a rare signed check from 1963, and a youthful caricature, grating and ambiguous (Ni homme, ni femme, pas même Auvergnat), in which an androgynous figure emerges for the first time—like a prefiguration of Rrose Sélavy.
Conceived as a retrospective in miniature, the exhibition seeks neither to demonstrate nor to bring together, but to illustrate a few essential fragments of an artist who has constantly blurred the lines between the author, the work and its reproducibility. Organizing a retrospective in the intimacy of the gallery at 36 rue Jacob amounts to replaying the gesture of the Boîte-en-valise: it is not the work as a whole that one attempts to fit into a restricted space, but a condensation of his gestures, his thoughts and his techniques.
John Singer Sargent (Florence, 1856 – London, 1925) is, along with James McNeill Whistler, the most famous American artist of his generation and arguably one of the greatest painters of the 19th and early 20th centuries. Adored in the United States (his portrait of Madame X is considered the Mona Lisa of the Metropolitan Museum of Art’s American art collection in New York), he is also celebrated in the United Kingdom, where he spent most of his career. In France, however, his name and work remain largely unknown, something the Musée d’Orsay exhibition hopes to change.
While the 2007 exhibition Painters of Light: Sargent & Sorolla (Paris, Musée du Petit Palais) introduced the artist to the French public, no solo exhibition has ever been devoted to him. Yet it was in France, and more specifically in Paris, that the young painter trained, developed his style and network of artists, achieved his first successes, and produced some of his greatest masterpieces, such as Dr. Pozzi at Home (1881, Hammer Museum, Los Angeles) and Daughters of Edward Darley Boit (1882, Museum of Fine Arts, Boston).
Developed in partnership with the Metropolitan Museum of Art in New York, the exhibition “Sargent. The Parisian Years” aims to introduce this painter to a wide audience. The exhibition brings together more than 90 works by John Singer Sargent, some of which have never been presented in France. It traces the meteoric rise of the young artist, who arrived in Paris in 1874 at the age of 18 to study with Carolus-Duran. The exhibition covers his career up to the mid-1880s, when he moved to London following the scandal caused by his portrait of Madame Gautreau (Madame X) at the Salon.
During this decade, Sargent forged both his style and personality in the dizzying Parisian art world, marked by the proliferation of exhibitions, the development of Naturalism and Impressionism, and the rise of Paris as the world capital of art. The young American painter found support among other expatriates but also integrated brilliantly into French society, forging ties with a circle of enlightened artists, writers, and patrons. The numerous portraits Sargent left us of these figures paint a captivating portrait of a rapidly changing, highly cosmopolitan society, where the old European aristocracy rubbed shoulders with the young fortunes of the new world. Constantly seeking new inspiration, Sargent rarely depicted “Parisian life” but took advantage of his roots in the French capital to make numerous trips to Europe and North Africa. He brought back numerous paintings, landscapes, and genre scenes, which combined exoticism, mystery, and sensuality. But it was in the field of portraiture that Sargent established himself as the most talented artist of his time, surpassing his masters and equaling the great artists of the past. His formidable technical skill, the brilliance of his touch, the shimmering of his colors, and the provocative assurance of his compositions disturbed the public and seduced critics who saw in him the worthy heir to Velázquez. Commenting in 1883 on one of his most original paintings, Portrait of the Daughters of Edward Darley Boit, the American writer Henry James, a friend of Sargent, noted that the artist “offers the strangely disturbing spectacle of a talent who, at the threshold of his career, has already nothing more to learn.”
In 1884, the portrait of Virginie Gautreau, which Sargent would later describe as “the best thing he ever did,” nevertheless provoked hostile reactions at the Salon. These reactions focused in particular on the sitter’s morality and reflected the worldly and social stakes of “public” portraiture in France at the end of the 19th century. A special section of the exhibition is dedicated to this moment in Sargent’s career and to this painting, exceptionally loaned by the Metropolitan Museum of Art and on view in Paris for the first time since… 1884!
Based on extensive research, “Sargent. The Parisian Years” also takes stock of the lasting ties that the artist maintained with his city of training, even after his move to London. His commitment to the inclusion of Olympia by Manet, an artist he admired, in the national collections in 1890, bears witness to this. It was also in France that Sargent received his first form of institutional recognition, when the State purchased his portrait of the dancer Carmencita for the Musée du Luxembourg in 1892.
Rarely brought together in separate exhibitions, Pierre Soulages’s work on paper nevertheless constitutes an essential part of his artistic career. As early as 1946, he explored this avenue with walnut stain paintings featuring broad, bold strokes, which immediately marked his singularity within the abstract approaches of the time. Thanks to exceptional loans from the Soulages Museum, the exhibition brings together 130 works created between the 1940s and the early 2000s, including 25 previously unseen works. Discover a collection of paintings on paper, long preserved in the artist’s studio, which demonstrate the consistency and freedom with which Soulages approached this medium.
Favoring walnut stain in his early years, Pierre Soulages often returned to this material, prized by cabinetmakers for its qualities of transparency, opacity, and luminosity, in contrast to the white of the paper. He also used ink and gouache for works whose limited formats in no way compromise their formal power and diversity. By highlighting this collection of paintings on paper, the exhibition invites you to rediscover Pierre Soulages in a practice that is both intimate and decisive, at the heart of his visual language.
